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Padding for Protective Clothing
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FotoFest Biennial 2026. Ten by Ten Exhibition. Houston, Texas.
No full textThe Biennial 2026, Global Visions – FotoFest at 40, marks four decades of photographic arts and education programming in Houston, Texas. It presents key works and themes from the 20 previous biennials between 1986 and 2024, with more than 450 artists from the United States and 58 countries represented.
Curated by FotoFest co-founder and former artistic director Wendy Watriss and FotoFest executive director Steven Evans, with co-curators Annick Dekiouk and Madi Murphy, the Biennial 2026 reconstitutes the exhibitions and citywide photo and mixed-media presentations that have defined FotoFest’s history.
The 2026 FotoFest Biennial marks the thirtieth anniversary of Ten by Ten. Originally called Discoveries of the Meeting Place, this biennial exhibition is dedicated to sharing the work of artists who participate in FotoFest’s Meeting Place Portfolio Review. Since its founding, The Meeting Place has provided thousands of photographers with the opportunity to meet one-on-one with leaders in the world of contemporary photography.
For each Ten by Ten exhibition, ten reviewers are selected from the most recent Biennial portfolio reviews. These reviewers then nominate a selection of photographers whose work they consider riveting. Of these nominees, ten photographers are invited to show one project from their oeuvre for the final presentation. The selection process, including ten reviewers and ten artists, is the inspiration for the name Ten by Ten. The resulting exhibitions have consistently offered a broad range of photographic themes, styles, perspectives, technologies, and presentations, inviting the audience to explore the varied possibilities of the photographic art form.
An integral component of each Ten by Ten exhibition is the essay that each reviewer writes about their selected artist. The writing contextualizes the work in the exhibition within the framework of photographic history and contemporary discourse. For emerging photographers participating in the exhibition, this essay is often the first scholarly text written about their work. For others, this text strengthens their presence within an international context.
Ten by Ten 2026 presents the work of artists who participated in FotoFest’s 2024 Meeting Place Portfolio Review and 2025 Meeting Place Virtual Portfolio Review. The exhibition features images and objects exploring themes of intimacy, family, historical erasure, environment, and pilgrimage, along with contemporary conversations around identity, race, grief, and belonging. While many of the projects speak to one another, there is no overarching theme. Far from weakening the exhibition, this underscores the myriad approaches photographers use to convey their perspectives. Together, the works presented in Ten by Ten 2026 provide insight into each artist’s lived experience and personal interests while also reflecting the broader concerns shaping photography today.
Celine Marchbank was nominated for the exhibition by Crista Dix, Director of the Griffin Museum of Photography, Massachusetts USA
The Creative Writing Workshop in the 21st Century
No full textA critical interrogation of the creative writing workshop model, this collection of essays provides practical suggestions for contemporary approaches to this contentious method and how it might be reimagined.
Since the inception of the Iowa Writers' Workshop in 1936, the workshop model pioneered there has become the bedrock of creative writing instruction around the world, with much existing scholarship on the subject rightly focusing on matters of inclusivity and social justice or dismissing the workshop altogether. With contributions from senior scholars in the field of creative writing pedagogy and authors ranging from the US, Australia and the UK to China, Workshopping in the 21st Century offers specific, actionable recommendations for ways the model can be reinvigorated. Covering topics such as module design, diversity and inclusion, facilitation and teaching style, assessments, internationality, and the integration of modern technology, each chapter surveys perspectives on the workshop and provides concrete strategies to help instructors and workshop facilitators update and bolster their pedagogical practice
Protective Clothing
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Impact, intersections and interlacing: a reflexive account of navigating REF at a creative university
Full text linkThis article offers a reflexive exploration of impact in creative universities through the lens of a central facilitator navigating the collection of REF case studies across disciplines and faculties. Drawing on personal experience, it interrogates the tensions between bureaucratic expectations and the iterative, experimental, socially embedded nature of creative practice. Using playful metaphors, vignettes and theoretical insights from Barad, Haraway, Ahmed and Bolt & Barrett, the article explores how impact narratives are translated, negotiated, performed without flattening nuance or relationality. It considers the opportunities and constraints of REF: legitimising creative work, fostering interdisciplinarity and generating visibility, while privileging measurable outcomes and potentially homogenising inventive practice. The piece also reimagines impact as performative, narrative, affective and networked, highlighting subtler, community-driven and digital forms of influence. Concluding with playful provocations and a reflexive ‘manifesto’ the article suggests strategies for creative researchers and facilitators to navigate REF logics while preserving the mess and magic of creative practice. It contributes to discussions on research culture, interdisciplinary collaboration and the evolving conceptualisation of impact in arts and humanities contexts
The return was never here: mnemohistory, nostalgia and the fiction of home
Full text linkThis conceptual paper interrogates the idea of ‘return’ in women’s migration through the lens of mnemohistory: a mode of analysis that centres memory not as passive inheritance but as active construction. Framed by the provocative claim that the return was never here, the article explores how return migration is less a homecoming than a gendered performance shaped by nostalgia, postmemory, affective labour. Drawing on Boym’s (2001) distinction between restorative and reflective nostalgia, Hirsch’s (1997) theory of postmemory and Ahmed’s (2004;, p. 2010) work on affective economies, the article explores how familial, national, diasporic imaginaries recruit women into emotionally charged scripts of cultural restoration. Through a constellation of theorists including Halbwachs (1992), Assmann and Czaplicka (1995), Braidotti (1994) and Gordon (2008), it argues that return is not a reversal of departure but a looping, haunted process of re- membering, often requiring women to reconcile inherited fictions of ‘home’ with present dissonance. By shifting focus from structural integration to mnemonic desire, the paper offers new theoretical insights into how return migration operates as a site of affective contradiction, memory politics and feminist refusal. It invites us to imagine ‘home’ not as a destination but as a verb still in the making
No Such Thing as a Final Draft: the Effects of Always Framing Student Work as “In Progress” and Never “Finished”
No full textThis chapter identifies a falsity in the way the student work produced for the workshop environment is commonly understood and proposes an alternative, then explores the impact of that change.
A critical interrogation of the creative writing workshop model, this collection of essays provides practical suggestions for contemporary approaches to this contentious method and how it might be reimagined.
Since the inception of the Iowa Writers' Workshop in 1936, the workshop model pioneered there has become the bedrock of creative writing instruction around the world, with much existing scholarship on the subject rightly focusing on matters of inclusivity and social justice or dismissing the workshop altogether. With contributions from senior scholars in the field of creative writing pedagogy and authors ranging from the US, Australia and the UK to China, Workshopping in the 21st Century offers specific, actionable recommendations for ways the model can be reinvigorated. Covering topics such as module design, diversity and inclusion, facilitation and teaching style, assessments, internationality, and the integration of modern technology, each chapter surveys perspectives on the workshop and provides concrete strategies to help instructors and workshop facilitators update and bolster their pedagogical practice
Memory work in mentoring: Reflections from UK supervisory practice
No full textAt UK universities in the 2020s, supervising undergraduate and postgraduate students has often felt like navigating a rolling horizon, where the rules of engagement change midterm and what counts as safe discussion is never entirely clear. Precarity (both my own and my students’) lingers in the background, shaping what is possible, permissible, sometimes perilously invisible in teaching. Within this context I have turned to mnemohistory (Assmann, 2008) as a lens for supervision: an approach that treats memory not as a static repository but as a dynamic, interpretive practice that can uncover, trace, reconstruct histories that have been marginalised or suppressed. In my supervisory conversations, memory work becomes a tool to illuminate past injustices, archival silences and also forgotten voices, embedding these traces into contemporary student learning. This piece reflects on how engaging students in remembering, interrogating, reimagining such histories allows us to resist institutional erasures and prepare students to engage with the social and political currents shaping communication studies today
Evaluating Assessment Practices in Team-Based Computing Capstone Projects
Full text linkTeam-based capstone projects are vital in preparing computer science students for real-world work by developing teamwork, communication, and industry-relevant technical skills. Their assessment, however, is challenging, requiring alignment between academic criteria and external stakeholder expectations, fair evaluation of individual contributions, recognition of diverse skills, and clarity on external partners’ involvement in the evaluation process. The high stakes of these projects further demand transparent and equitable assessment methods that are perceived as fair by all involved. Our working group (WG) addresses the challenges of capstone project assessment by examining the perspectives of instructors, students, and external stakeholders to support fair and effective evaluation. Building on insights from our previous WG and a comprehensive review of the literature, we used a mixed-methods approach combining online surveys (quantitative) and in-depth interviews (qualitative) with instructors, students, and external stakeholders. In total, we collected 66 survey responses and conducted 30 interviews across multiple countries and institutions, capturing a diverse range of global perspectives on capstone course assessments. Insights from instructors and students revealed several commonalities, for example, in the types of assessed components and the challenges of identifying and addressing non-contributing group members. Our findings also revealed clear variation between instructor and student perspectives on how contributions are measured and weighted. Instructors were reluctant to rely heavily on peer or self-evaluation due to concerns about reliability, preferring scaffolded assessments and early-warning systems to gather contribution data and moderate team dynamics. They viewed contribution-based grading as positive but resource-intensive. Students, in contrast, emphasized the need for more transparency, formative feedback, and accurate recognition of individual contributions. They also expressed concerns about the lack of recognition for hidden labor (e.g., project management, team coordination), assessor inconsistency, and a reluctance to critique peers. Instructors treated peer input as supplementary evidence, whereas students perceived it as high-stakes and socially risky. Stakeholder involvement in assessment was generally limited to providing formative feedback and participating in final showcase events. We also identified generative AI as a rapidly evolving challenge, with both students and instructors seeking guidance on acceptable use and exploring opportunities to automate aspects of assessment. Our results offer actionable evidence-based guidance for designing transparent and equitable assessment practices in team-based computing capstones
Neither artificial or intelligent: Applications of creative machine learning in screenwriting and story development in the Charismatic consortium
No full textIntroduction
“Until you were born, robots didn't dream, robots didn't desire unless we told them what to want.” – Professor Hobby (A.I. Artificial Intelligence, Spielberg, 2001).
The emergence of Fourth Industrial Revolution (4IR) technologies — from machine learning and AI to augmented reality, cyber-physical systems, and genomics — has triggered profound shifts in politics, economics, and creativity. Across all sectors, these technologies are reshaping workflows, business models, and cultural production. The screen industries are no exception. In recent years, 4IR tools have transformed how screen media is created, produced, and consumed, influencing everything from creative workflows to the growing dominance of technology companies including Netflix. These changes have prompted both industrial action and deep unease among creative communities.
In a sector already under pressure from declining advertising revenues and fast-changing distribution models, media companies now face the imperative to “produce more, faster, and manage the growing complexity of audiences, channels, and technologies” (Pfeiffer Reports 2018: 2). A slew of technology companies and startups have stepped in offering solutions which promise efficiencies at all stages of the production chain - from development and screenwriting and, to production and post-production right through to distribution, marketing and exhibition. These often take the form of opaque, general-purpose ‘black box’ tools, concealing both the methods by which content is generated and the datasets it draws upon. In the high-risk stage of screen development, where intellectual property and chain of title are critical, such apacity has created a great deal of anxiety among writers and presents what appears to be an existential threat to those who commission their labour - agencies, studios, broadcasters, and streaming services – all operating in a confusing regulatory environment (Sweney 2025, Stacey and Courea 2025). At the time of writing, multiple legal cases are underway that test the copyright and copyright-adjacent implications of the datasets and algorithmic models used in AI (Mishcon de Reya 2025, BakerHostetler 2025).
In light of this, screenwriters, commissioners, and producers are rightly demonstrating caution as to what the use of these models means in terms of legal and regulatory compliance, and the use and retention of intellectual property in what has been described as a creative ‘Wild West’ (Stelter 2024).
At the same time, some see in these technologies the potential for new forms of storytelling, for new audiences: “Far from heralding the end of human creativity, AI presents new ways of being original” (Mökander et al., 2025).
This paper draws on the early findings of the £1.04m Innovate UK-funded Charismatic Consortium, a year-long research and development programme exploring the design, deployment, and ethical use of AI tools for screenwriting and story development. Our research examines the design, deployment, and effectiveness of new and established AI tools specifically relating to screenwriting and story development, and the potential ethical application of wider 4IR technologies within the screen industries. Our research examines the gap between what screenwriters and filmmakers aspire to create and what can realistically be codified in AI systems. It also identifies the frictions between the vocabulary and practices of screen creatives and those of software engineers, and considers how to bridge them. Central to our aim was giving voice to creatives in a technology landscape dominated by companies whose rapid product releases often disregard — and sometimes actively seek to dismantle — long-established rights and protections for creative content.
While AI may increasingly enable aspects of creative practice, the ability to articulate why a creative work was made, and to transparently demonstrate how it was made, remains as important as ever to writers and those who commission them as the outputs themselves. From the perspective of working filmmakers, we consider the impact of these technologies on screen story development and delivery, and their broader implications for the future of creative authorship