12244 research outputs found
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Wild Places: Mountain (2015) [REF2021 collection]
No full textWild Places: Mountain was a dance performance produced by choreographer duo Külli Roosna and Kenneth Flak, commissioned by the Korzo Teater in The Hague for the 2015 CaDance Festival. Hyde developed a wearable sensor system for dancers for the piece, and an hour-long score combining through-composed layers with these interactive elements.
This Collection comprises a multi-component output with contextualising information, evidencing the outputs in the form of video documentation of the full performance, video documentation of project choreography (publicly accessible and hosted externally on Vimeo), video documentation of the project trailer (publicly accessible and hosted externally on YouTube), and photo documentation of the performance images from the CaDance Festival. Contextualising information includes a 300-word statement, a Research Timeline, and Research Questions
Fountain 17 (2015-2017) [REF2021 collection]
No full textCelebrating the centenary of Duchamp's Fountain (1917) and bicentenary of Armitage Shanks (1817), Fountain 17 was a touring exhibition of works by artists invited to respond to Duchamp's iconic readymade, at Hull’s Humber Street Gallery in 2017. Minott exhibited two artworks in the Fountain 17 exhibition: The Bride Stripped Barr (2016), a mixed media sculpture which superimposes a scaled redrawing of Duchamp's The Bride Stripped Bare by her Bachelors, Even (1915-1923) against Alfred Barr Jr.'s Cubism and Abstract Art diagram (1936); and The Genuine Bears This Signature (More Sustaining Than Meat) (2016), a sequence of seven facsimile chocolate bars in mixed media, alongside extracts from Duchamp's White Box notes (1912-20) regarding Appearance and Apparition, which uses the moulding of chocolate as a metaphorical device. Minott was also invited to contribute an essay, 'Marcel Duchamp and Graphic Design', for the accompanying publication, and to provide the opening lecture entitled 'Fountain: A Delay in Porcelain'.
This Collection comprises a multi-component output with contextualising information, documenting the central outputs, the two exhibited artworks displayed at the group touring exhibition. Contextualising information includes a 300-word statement, research timeline, and research questions, along with an essay and a lecture created for Fountain 17. Projects and texts stemming from Minott’s extensive Duchamp research are also documented, including Minott’s film The Oculist’s Dentist
Meeting educational challenges of pre- and post- COVID-19 conditions through self-directed learning: considering the contextual quality of educational experience necessary
Get PDFPurpose: Fostering the skills necessary for self-directed learning competence could be considered the most essential goal of formal education, especially due to uncertainty and changing conditions – exampled by the COVID-19 pandemic. Importantly, self-directed learning competence can afford a person the ability to adapt to changing social contextual conditions: thus, facilitate personal growth and development – even in the face of volatile and rapidly changing social contextual conditions. Design/methodology/approach: To date research has failed to comprehensively identify exactly what type of educational experience is necessary for such an adaptive meaning-making process during self-directed learning. The present theoretical paper attempts to redress this concern. Findings: Highly contextualized educational experience is necessary to enable contextual-specific, adaptable, meaning-making. Two constituents of highly contextualized educational experience are proposed: (1) contextual-specific information available during the educational experience, and (2) contextual-specific meaning schemes resultant from the educational process. Originality/value: This novel work presents an important argument that education should encourage learners to construct knowledge that is adaptable and transferable to their context, rather than automatized knowledge that is not adaptable or transferable. This is a key concern for persons who face rapidly changing social contextual conditions and therefore should be given consideration in both the design of education and in further research on self-directed learning. Like a vaccine in an arm provides a certain protection against COVID-19, fostering our populations’ SDL competence is fundamental for affording persons with an ability to meet the demands of our rapidly changing world
Dexter Dalwood: Collages 1999-2011
No full textAlthough created between 1999 and 2011, Dalwood’s collages feel relevant to the present moment in time. Presenting a series of unpeopled, interior scenes, they speak to the supremacy of the domestic realm at a time when our homes have become inescapable, often claustrophobic, territory. Yet these small-scale works intimate a life beyond four walls; indeed, the fourth wall opens to the viewer, offering a voyeuristic glimpse into an empty interior that reveals its occupant by composition – and on occasion, title – only
Identifying new parameters informing the relationship between silence and sound in diverse musical performance practices and perception
Get PDFWhile it was Cage who foregrounded the significance of silence as an act in his ground-breaking composition 4'33", it was Miles Davis who made the performative value of the silent space or absence of sound even more explicit when he drew attention to the notes one does not play. This article examines the significance and role of silence in music. However, a number of questions remain about how musicians use, perform and understand silence in relation to sound and how silence potentially plays a role in the listener's perception of the player's authorial or expressive voice. The aims of the study reported in the article were threefold: (i) to identify how silence is manifest in performance practice; (ii) to identify whether silence in a musical excerpt can affect the listener's perception; and (iii) to further our understanding of the role of silence as a parameter of performance creativity. We explored the ways in which two musicians perform silence in relation to sound, Miles Davis in Round Midnight and Glenn Gould in the Aria from Bach's Goldberg Variations. We made qualitative analyses of transcriptions of their recordings and conducted an online survey of listeners' perceptions of the difference between two recordings of the same piece played by the same performers. Converging evidence from an interdisciplinary literature review and the empirical studies identifying new parameters informing the relationship between silence and sound in diverse musical performance practices and perceptions will be discussed along with implications for new conceptualisations about how silence acts relationally to sound in performance practice
Alice Kelly, Commemorative modernisms: women writers, death, and the First World War [book review]
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Sculpting China: critical puppetry and the formation of diasporic identity in 'Chang and Eng and Me (and Me)'
No full textIn my short, filmed puppetry performance Chang and Eng and Me (and Me) (2021), the audience witness the construction, manipulation and destruction of figures representing the Siamese-Chinese conjoined twins Chang and Eng Bunker. These processes mirror the formations and transformations of identities that Chang and Eng underwent as diasporic individuals in Siam, on tour in Europe and as naturalised U.S. citizens. In this essay, I analyse these examples from my own practice to propose a framework for critical puppetry and to assert its value as an embodied form of inquiry and resistance