12244 research outputs found
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Hydrodynamic equations for coastal boulder movement: reflections on a recent review
No full textHydrodynamic equations are frequently employed in the study of coastal boulder movement to estimate the height of tsunami or storm waves responsible for initiating dislodgement. A recent review has challenged the use of such equations and, through a test using a data set of boulders that were moved during storms over winter 2013–14 in the Aran Islands (Ireland), concludes that the equations are flawed. To evaluate this claim, this study revisits the foundation of the equations and reflects on the recent review. We conclude that, although the review is timely and welcomed for the questions it prompts, it arguably does not provide grounds to pronounce the equations flawed. This is due to various considerations, including (1) the equations have been misapplied to physical settings other than as originally intended, (2) wave-type parameters for estimating tsunami and storm wave heights from boulder measurements appear reasonable and not flawed when used within the intended physical settings, (3) the Aran Islands may not be an appropriate location to test the equations because of their physical setting, (4) the exclusion of storm surge and wave setup effects in the test is likely to underestimate the calculated height attained by storm waves, and (5) for comparison, recently revised equations are used to recalculate the Aran Islands boulder data set, indicating that all but 33 boulders demonstrably moved by the 2013–14 storms may be explained by the maximum storm wave height proposed by the review and that all these moved boulders might be explained if the effects of storm surge are included. Analytical tools, such as provided by hydrodynamic equations for boulder dislodgement, are considered important in the contribution they make to coastal risk assessment and hazard management
The research-informed teaching revolution - North America: a handbook for the 21st century teacher
No full textWe know that educators and education systems at large face countless decisions every day. We also know that grounding educational decisions in research can improve the likelihood of desirable teaching and learning outcomes, as well as reduce the likelihood of unintended consequences. Research is just one among many types of evidence used in educational decision-making, however. So being “evidence informed” is as much about engaging with research evidence as it is engaging with practice-based evidence (e.g., professional judgment) and data-based evidence (e.g., school performance data). How can educators become evidence-informed? In our view, the best approach is to learn from examples from experts of how research can be integrated with these other types of evidence, and so regularly inform our own everyday practice. With that in mind, this practical handbook offers 16 illuminating chapters that provide a wealth of advice and perspectives on the subject written by North American educators who are striving to realize the idea of research-informed practice. Key themes – reflective practitioners, networks and collaboration, trust -emerge to help teachers formalize, prioritize and mobilize the use of research-evidence in schools
The Habits of Artists (2014-2019) [REF2021 collection]
No full textBy understanding the patterns and routines in artists’ behaviours as unique features of creative knowledge making, The Habits of Artists seeks to deepen our insight into art learning. Employing a unique platform through which the audience is engaged in public learning as performance, the research asks whether we can find fitting frameworks for communicating the complexities of art practice, in which often subjective and bespoke logics drive creativity.
This multi-component output is comprised of a series of performance events and texts jointly conceived and co-authored by Jo Addison and Natasha Kidd. Taking place between 2014 and 2020, five iterative participatory performances were commissioned by Tate, Freelands Foundation, and Blip Blip Blip, beginning with Noticer and followed by the four-part series Inventory of Behaviours. These participatory performance events were designed to collect and analyse the rituals, traits, and habits of artists that surround the production of their work in the physical, digital, and psychological realm of the studio. A sequence of iterative events, each performance was contingent upon the findings of the last. Two chapters expand on the research questions and methods of the performances.
Through the project’s multiple components, Addison and Kidd explore and communicate through participation and dialogue how artists’ peripheral activities, behaviours and habits have been systematically ignored by scholarship, but also their pedagogical value.
Addison and Kidd have disseminated the project’s findings through conference papers, talks and seminars at the Royal Geographical Society, London and the National Association for Fine Art Education (NAFAE), amongst others.
This Collection contains documentation of the performance events, as well as contextualising information including two co-authored publications, a film about research as practice, talks and presentations, and information about the research context and findings. It also contains a 300-word Statement about the Research Project, a Research Timeline and a set of Research Questions.
This multi-component output is comprised of a series of performance events and texts jointly conceived and co-authored by Jo Addison and Natasha Kidd. Taking place between 2014 and 2020, six iterative participatory performances were commissioned by Tate, Freelands Foundation, and blip blip blip, beginning with Noticer and followed by the five-part series Inventory of Behaviours. These participatory performance events were designed to collect and analyse the rituals, traits, and habits of artists that surround the production of their work in the physical, digital, and psychological realm of the studio. A sequence of iterative events, each performance was contingent upon the findings of the last. Two chapters expand on the research questions and findings of the performances
Writing_Making (2015-2019) [REF2021 collection]
No full textWriting_Making contains three projects – concerning roundabouts, A Game of JUG, and A cup is a – undertaken between 2015 and 2019. Each explores skilled production, as an intimate engagement between body, material and site, through experimental combinations of making, language and display.
A cup is a (2015) was shown in London as part of Marsden Woo’s group exhibition Many a Slip: invited artists juggle with the domestic symbol of ‘the cup’, curated by Alison Britton (22 July – 5 September 2015). Two cup objects were shown with two image-texts.
A Game of JUG is a project that began with an invitation to show in the Pour Me group exhibition at Devon Guild of Craftsmen, Bovey Tracey, Devon (18 March – 7 May 2017). Three jug objects and six image-texts, collectively titled Krug | Cruche | Jarra | Jug (1 litre), were exhibited. The project also resulted in a 30-image loop, produced for MediaWall, a multi-screen display (7.35m high x 3.75m wide) in the foyer of the Commons Building, Newton Park Campus, Bath Spa University (15 – 29 June 2017). Images were selected from those created during the writing_making process initiated by the Pour Me exhibition.
concerning roundabouts is an experimental, process-led exploration of methods that interweave material, embodied knowledge and language. The primary output is an uncreative visual poem, constructed from five textual sources
Racism and white fragility: writing 'The wandering star', a novel for young people
No full textThis thesis consists of two parts: a novel for teens (aimed at ages 11 to 14) and an
accompanying contextualising commentary. The novel, "The Wandering Star",
explores concepts related to racism and white fragility through the dual
perspective of two thirteen-year-old aspiring ballerinas in the context of
contemporary South African society. The concept of white fragility provided a
useful conceptual framework within which to view both personal and Active
responses to the challenges of writing about race. Both the novel and the
commentary can thus be viewed in light of my endeavour to resist white fragility
and build racial stamina. Through the two strands of this thesis, I examine how I,
a white South African author for young people, might approach writing the
‘other’ (in this case, a black teenage girl) in a manner that avoids cultural
appropriation and harmful racial stereotypes, with the overarching goal of
contributing to the diversity of children’s literature.
The contextualising commentary, a personal-critical piece of writing, is divided
into three chapters. In the first, ‘Beginnings’, I discuss the origins of the novel,
how my research into race, particularly critical race theory, led to the insight that
critically examining whiteness is a vital part of writing an antiracist novel for
young people, and why good intentions matter less than impact. The second
chapter, ‘Looking Outwards’, examines the process of seeking out voices and
perspectives outside of myself in order to better capture the voice of my black
protagonist, Naledi. I discuss actively including diverse voices in my reading,
how receiving feedback from sensitivity readers aided the development of the
novel, the limits of allyship and the importance of recognising unintentional
white centring. The third chapter, ‘Looking Inwards’, details my search to find
methods for resisting white fragility in the novel. I identify examples in the work
of other white South African writers for young people where white fragility
arguably prevents racism and white supremacy from being adequately addressed,
and I discuss how I attempt to reverse such instances in "The Wandering Star"
Cold War Anglia (2019) [REF2021 collection]
No full textCold War Anglia was a research project that aimed to explore how the Cold War impacted not only on the landscape but also on the local communities of East Anglia and the significance of the region’s role in the conflict. The research was articulated through a series of paintings, drawings and photographs as well as a public lecture.
This Collection supports a multi-component output with contextualising information. The items contained with in this Collection represent a 300-word statement, Research Timeline, photo documentation of creative works (paintings), exhibition catalogue and press release, and documentation of a project-related website
The Depraved Appetite of Tarrare the Freak: puppetry as a practice-based analytic within the medical humanities (2014-2017) [REF2021 collection]
No full textTarrare the Freak is a project which negotiates a model of puppetry as a practice-based analytic to deepen understanding of ethical and historical issues within the medical humanities. In the Tarrare project Purcell-Gates investigated the use of puppets to both portray and critique the medical gaze, with the three areas of intervention including; ethical engagement, historiographic displacement of conventional historical narratives of the ‘progress’ of modern medicine and materialising the medical gaze. The piece showcased at the Bristol Festival of Puppetry and Suspense, London in 2015, and toured the UK in 2017 including a 3-week run at Wilton’s Music Hall, London. The tour included a public engagement event titled ‘Performing the Freak’ that paired the show’s creators with medical and medical humanities professionals, disability artists and scholars of monstrosity and disability to explore key themes of the show for a public audience.
This Collection comprises a body of creative and critical work that investigates a series of research questions from a variety of angles, via a documented performance, public engagement event, and published journal article. Contextualising information includes a 300-word statement, research timeline, and research questions, as well as websites documenting elements of the collaborative processes involved in the production
bête gabriel-rufael (for tenor saxophone, percussion, and computer-controlled click-track) (2015) [REF2021 collection]
No full textbête gabriel-rufael is a composition for saxophone and percussion that explores the materiality of sound through performative actions particularly sensitive to the rapidity or density of their deployment. The piece was premiered at La Vitrola (Montreal) on the 14th May 2015. Subsequent performances of the piece have included the Canadaian Music Centre (Toronto), Spread Art (Detroit), Constellation Chicago (Chicago), Sprectrum (New York), and the Huddersfield Contemporary Music Festival (UK).
This collection evidences the output in the form of a musical score and an audio recorded performance. Contextualising information includes a 300-word statement, research timeline, and research questions
Code as Prosthesis (2020) [REF2021 collection]
No full textCode as Prosthesis is a practice-led research project which aims to understand how generating music by means of computer algorithms relates to the traditional and inescapable materialities of musical practice. The research was funded by means of an Automation Fellowship awarded by the Southwest Creative Technology Network (SWCTN). Dissemination of the findings took place through the use of an innovative interactive website (codeasprosthesis.net), as well as through the International Journal of Creative Media Research (April, 2020).
This Collection documents a single-component output with contextualising information. The items provide evidence of the output in the form of the link to the output website, and contextualising information is provided in the form of a 300-word statement, Research Timeline & Research Questions, and the link to the Journal Article in the International Journal of Media Studies
