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The White Time
No full textDiscussion on the Irish designer Roisin Pierce whose work gives focus to the colour white that has become her signature. Drawing from the Irish tradition of ‘whitework’ her work creates contemporary, complex, three-dimensional work
Gina Kaminski Rescues the Giant
No full textGina Kaminski is struggling to cope with multiple unknowns of a school trip to an art gallery, so she is given the chance to decompress in the art gallery bookshop. Her support assistant reads Gina the story Jack and the Beanstalk. Gina immediately identifies three huge mistakes and is furious. She portals into Fairytale Land to fix them. She overcomes obstacles and saves the day (and the Giant!) with fantastical ingenuity. This is an action adventure story told through an autistic, own-voice lens. The picturebook deploys a fourth wall breaking, first person, present tense POV for an immediate and intimate insight into a multi-sensory neurodiverse world. Gina also uses an emotions chart to articulate her feelings when life is overwhelming and she cannot express herself verbally. These visual aids are often found in school and domestic settings. The book showcases hitherto underseen representations of everyday neurodiversity, agile and effective teaching support systems and nonverbal communication. Gina interrogates and remixes a fairytale to form her own values, particularly on emotional and mental health support, while navigating the traditional hero’s journey in a manner that is appropriate for the young reader. The book encourages the reader to ‘Be More Gina’: if information, or a narrative, or an instruction, or news feels wrong, feel brave enough to challenge it. The text encourages young readers to state their needs and to consider self-care
Vestiges of Memory - a symposium on the connections between photography and autobiographical memory
Get PDFThe two-day, interdisciplinary research symposium Vestiges of Memory: Intersections between Photography and Autobiographical Memory took place at the University for the Creative Arts (UCA) in Canterbury on 18-19 July 2024. Convened by Dr Sara Andersdotter and funded by UCA, the symposium focused on ways in which 21st century artists, photographic practitioners and other researchers explore the intricate relationships between photography and autobiographical memory.
Celine Marchbank - A Stranger in My Mother’s Kitchen:
As an artist my most significant works have explored autobiographical stories around death, loss and grief.
My work explores complex emotional experiences through delicate quiet everyday domestic details, making work that is warm, familiar and accessible. I presented a body of work A Stranger in my Mother’s Kitchen recently published into a book by Dewi Lewis. This work, made over a five year period, a mixture of photography, writing and archival material, is an exploration of my grieving process whilst retracing my mother’s life and legacy after
her death.
After discovering my mother’s archive of recipes, a collection of 40 years as a head-chef, I felt an overpowering need to do something with these. I wanted to feel the warmth of eating my mother’s food again, to feel the feeling of being nurtured and cared for once more, so I decided to cook all the recipes. This process allowed me to feel closer to her, but it also became a distraction from my grief. The recipes were haunted with memories; the smells took me back to moments we shared like nothing else, and the more I continued the more I felt connected to her. I photographed the process, but this is no cookbook. I wrote about and explored my grief and recovery; this creative process became my grieving process. The action of making allowed me to explore complex and confusing emotions, and learn about my new life as a daughter, a daughter without a mother.
The published work in book form unpacks these layers of memory, grief and time. The recipes are tucked into the pages like a scrapbook of culinary memories, encouraging the reader to take out and cook from. This accessible form allows the viewer to interact and feel involved, and importantly it opens up conversations around their own memories or grief
Through My Eyes
No full text'Through My Eyes' is a guided audio-tour of Penzance.
More than just a tour – it’s an invitation to connect, listen and to see the world through the unique perspective of young people living at the westerly edges of Cornwall today.
A lens into their lives, hidden places, imagination, hopes and dreams for the future. A remapping of Penzance developed in collaboration with the young people who live in Penzance and call it home.
'Through My Eyes' has been commissioned by Wildworks Theatre as a part of their program Hello Stranger! with support from Trelya and PZ Youth Centre; funded by the UK Government through the UK Shared Prosperity Fund.
'Through My Eyes' opened on June 1st 2024 at The Exchange Gallery in Penzance, followed by showings on June 23rd 2024 as a part of Golowan Festival
Serving the Marginalized through Design Education
Get PDFTransformative educator Paulo Freire illuminates how education has the power to either oppress, by reinforcing and reproducing oppressive structures, or to transform by engaging students in a critical exploration of the world. Therefore, educators can choose to assimilate students into the world as it is, or to help them to become active subjects engaged in constructing the future.
This chapter will discuss how design educators can work towards the latter by utilizing Freire’s transformative pedagogy. The chapter will first outline the principles underpinning Freire’s transformative pedagogy and then explore the process in action. Utilising data from a UK university project with dyslexic students, along with examples drawn from an anti-racist student group and a community learning group, it will show how this type of critical engagement leads to action and transformation. Considering the vital role design students play in creating our world, the chapter will conclude by discussing the importance of transformative pedagogy for design education
Digging in the Dark: Recent Listening
Get PDFCD reviews of
Thank God We Left The Garden, Jeffrey Martin (Loose)
The Way of the Sevenfold Secret, Steve Scott (The Harding Street Assembly Lab)
Always Digging the Same Hole, Astrïd (False Walls)
Exploratorium, Gene Coleman (False Walls)
Darkness and Scattered Light, John Luther Adams (Cold Blue)
Vesperi, Marco Baldini ( Another Timbre
Esport Studies in Higher Education: A Content Analysis of Validated Course Curricula in the United Kingdom
Get PDFThere is considerable interest in the development of esport studies in the global higher education sector. As esports has grown in popularity, so too have university courses increased in number. Since Jenny, Gawrysiak, and Besombes (2021) reviewed international esports curricula, the United Kingdom (UK) has gone from five course providers to 24. Yet, there seems to be little consensus on what an esport degree entails due to their varying foci and interdisciplinary complexity. As such, this research questions: what are the trends in curriculum design for esport degrees in the UK? A content analysis is being conducted on validated course specification available for those programmes listed on the University and College Admission System (UCAS) for 2024/25 entry. These documents are being reviewed in correspondence with the hub-and-spokes model and career pathways presented in Scott et al (2021). They also explore the notion of ‘graduateness’ (Steur, Jansen, & Hofman, 2012) with attention to relevant benchmarking statements drawn from the Framework for Higher Education Qualifications (FHEQ), Sector-Recognised Standards (SRS), and relevant Professional, Statutory, and Regulatory Bodies (PSRBs). The initial findings reveal an intricate network of partnerships, particularly between awarding bodies and providers where there is scope for progression or articulation from earlier levels of study. They also seem to suggest that many courses remain general, that there is some consensus emerging on the shape of esport ecosystems, and that specialized courses which focus on particular career pathways are starting to emerge. These trends have implications for the revalidation of curriculum in forthcoming years, illustrate how providers can work with professional bodies to assure quality, and might also inform institutions interested in offering new awards for this industry. It is also hoped that these findings may stimulate discourse between industry and academia
