671 research outputs found
Optimism and Diversity - A View from ICON by Roderick Mills:AOI board member Roderick Mills attended ICON10 The Illustration Conference in Detroit, Michigan USA in July 2018. He shares this thoughts here.
No full textOPTIMISM AND DIVERSITY – A VIEW FROM ICON BY RODERICK MILLSAOI board member Roderick Mills attended ICON10 The Illustration Conference in Detroit, Michigan USA in July 2018. He shares this thoughts here.July 2018 saw the latest incarnation of ICON10 The Illustration Conference, held in the city of Detroit Michigan USA. Held every two years the conference has grown in statue to cover 5 days of conference, workshops and related activities.Of all the growing conferences happening around illustration it is ICON with its split between both academic research and the industry that position itself on the crossroads of where arguably the profession currently resides. Detroit or Motorcity, the birthplace of Motown was suitably the venue this year, a city that has had its fair share of economic ups and downs, with the conference split across the two venues of the Westin Book Cadillac Hotel and Detroit College for Creative Studies.I was fortunate to speak during the Educators Symposium at the start of the conference, where once again there was a growing number of international delegates and speakers discussing how educators are reacting to the changing nature of illustration, both in terms of careers, the challenges of technology, but also the social political situations that illustrators find themselves.As in the previous conference in Austin Texas two years ago there was a palpable air of celebration, of a profession evolving as an ever increasing number of creatives are calling themselves illustrators.The illustrator Robert Newman likened it to a ‘golden age of illustration’, with the illustrator no longer confined to the page, and what we know of as illustration greatly expanded.This diversity of those moving into the profession was very evident at ICON, with a greater range of speakers bringing new perspectives to the audience during the 5 days the conference. There were talks on the reclaiming of images for minorities, feminist voices in comics, the politics of working in VR, and self promotion for gay illustrators, all added to great range of topics and agendas that demonstrates the change of illustration discourse from those of the past that centred purely on the industry.The illustrator and academic Gil Ashby commented that illustration is more about ‘a way of thinking rather than learning a set of skills’, there is a genuine shift for illustration to a sense of advocacy, that it has an inherent quality to engage with communities beyond the traditional routes of commercial work.Alongside this sense of optimism, conversely the importance of defining yourself from a legal point of view when dealing with clients or the very software that we use was also pointed out. In the complex world of corporations understanding the difference between freelance, contractor, or employee becomes ever more essential – knowledge and education would seem vital in sustaining a career in the future.Attorney Chuck Cordes gave one of the most thought provoking talks on copyright and how the artist/industry relationship is changing, suggesting that illustrators need greater confidence in asserting one’s rights, and the bargaining power that a visual image maker inherently has, one of the best professional practice talks that I’ve heard.The energy and enthusiasm of ICON is extremely infectious, they certainly know how to do conferences in the USA, but on a wider point it perhaps is also reflective of the buoyancy of illustration worldwide
Optimism and Diversity - A View from ICON by Roderick Mills:AOI board member Roderick Mills attended ICON10 The Illustration Conference in Detroit, Michigan USA in July 2018. He shares this thoughts here.
No full textOPTIMISM AND DIVERSITY – A VIEW FROM ICON BY RODERICK MILLSAOI board member Roderick Mills attended ICON10 The Illustration Conference in Detroit, Michigan USA in July 2018. He shares this thoughts here.July 2018 saw the latest incarnation of ICON10 The Illustration Conference, held in the city of Detroit Michigan USA. Held every two years the conference has grown in statue to cover 5 days of conference, workshops and related activities.Of all the growing conferences happening around illustration it is ICON with its split between both academic research and the industry that position itself on the crossroads of where arguably the profession currently resides. Detroit or Motorcity, the birthplace of Motown was suitably the venue this year, a city that has had its fair share of economic ups and downs, with the conference split across the two venues of the Westin Book Cadillac Hotel and Detroit College for Creative Studies.I was fortunate to speak during the Educators Symposium at the start of the conference, where once again there was a growing number of international delegates and speakers discussing how educators are reacting to the changing nature of illustration, both in terms of careers, the challenges of technology, but also the social political situations that illustrators find themselves.As in the previous conference in Austin Texas two years ago there was a palpable air of celebration, of a profession evolving as an ever increasing number of creatives are calling themselves illustrators.The illustrator Robert Newman likened it to a ‘golden age of illustration’, with the illustrator no longer confined to the page, and what we know of as illustration greatly expanded.This diversity of those moving into the profession was very evident at ICON, with a greater range of speakers bringing new perspectives to the audience during the 5 days the conference. There were talks on the reclaiming of images for minorities, feminist voices in comics, the politics of working in VR, and self promotion for gay illustrators, all added to great range of topics and agendas that demonstrates the change of illustration discourse from those of the past that centred purely on the industry.The illustrator and academic Gil Ashby commented that illustration is more about ‘a way of thinking rather than learning a set of skills’, there is a genuine shift for illustration to a sense of advocacy, that it has an inherent quality to engage with communities beyond the traditional routes of commercial work.Alongside this sense of optimism, conversely the importance of defining yourself from a legal point of view when dealing with clients or the very software that we use was also pointed out. In the complex world of corporations understanding the difference between freelance, contractor, or employee becomes ever more essential – knowledge and education would seem vital in sustaining a career in the future.Attorney Chuck Cordes gave one of the most thought provoking talks on copyright and how the artist/industry relationship is changing, suggesting that illustrators need greater confidence in asserting one’s rights, and the bargaining power that a visual image maker inherently has, one of the best professional practice talks that I’ve heard.The energy and enthusiasm of ICON is extremely infectious, they certainly know how to do conferences in the USA, but on a wider point it perhaps is also reflective of the buoyancy of illustration worldwide
Print isn't dead Element 004 / People of Print interview
No full textRoderick Mills graduated with a Masters in Communication Art & Design from the RCA in 2001. Specialising in drawing, photography, film-making, curation, writing and educatio; he is the course leader for Illustration at Brighton University and deputy chairman of the Association of Illustrators - the list goes on..
Print isn't dead Element 004 / People of Print interview
No full textRoderick Mills graduated with a Masters in Communication Art & Design from the RCA in 2001. Specialising in drawing, photography, film-making, curation, writing and educatio; he is the course leader for Illustration at Brighton University and deputy chairman of the Association of Illustrators - the list goes on..
In the crit
No full textIn The Crit When being a stylist or a copyist no longer cuts the mustard, critical thinking is more important than ever for professional illustrators. Roderick Mills and Jasper Goodall examine that special space called The Crit where students first learn to reflect on their image- making, their creative thinking and ultimately their professional, artistic and personal ambition
2007 Colin Roderick Lecture
No full textLet me thank my audience for coming to listen to me today: let me thank the Foundation for Australian Literary Studies for inviting me to give this year’s Colin Roderick Lectures.<br />I like to think that Professor Roderick would have looked kindly on the choice of a lecturer drawn from the bleak, ambiguous demi-monde where journalism and literary endeavours meet - for he was involved, as many of you will know, during his days as an editor at Angus and Robertson, in the celebrated libel case in 1961 over “The Bandar-Log,” a novel, still unpublished, by the distinguished Canberra press gallery journalist, Alan Reid. Roderick’s own writings had a strong influence on me at a particular point in my path as an author: but the one act of his that resonates most strongly in my thoughts is the decision he made, 40 years ago, to establish a centre for the study of Australian writing here in the North.</jats:p
Polyphony and the anxiety of influence in the fiction of Henry James
No full textJames's fiction, especially in the Middle Phase, centres
on the figure of the artist and is characterized by, the two
interrelated aspects which previous criticism has largely
overlooked: the Bakhtinian 'polyphonic' -creation of
'author-thinkers'; and the conflict between ephebes and
precursors, for which Harold-Bloom's concept of 'the-anxiety of
influence' is the most illuminating model. Polyphony is the
narrative mode, and influence is the intra-artistic, theme.
These, as the Introduction to the thesis makes clear, are
rehearsed in James's inaugural novel, Roderick Hudson. Rowland
Mallet is an author-thinker, and his failure is caused by
authorial limitations. His monologism -is impaired by his
mistaking empathy for the authorial sympathy. Likewise,
Hudson's failure does not arise from a mercurial temperament,
but from a polyphonic shortcoming: not possessing the power of
fiction to contain the fiction of power in, his mentor. And the
relationships among the three artists - Gloriani, Hudson and
Singleton - perfectly exemplify the Bloomian-theme. It is these
two concepts, polyphony and influence, which are the major
preoccupation in the Middle Phase; as, the works chosen
demonstrate. These are a novella, a novel, and a number of
short stories all of which have been unjustifiably neglected.
Chapter One, on The Aspern Papers, argues that Tina Bordereau,
far from being, the artless victim seen by many critics,
actually challenges and defeats the narrator by the very form
of her narrative. Her 'realist' discourse undermines his
language of 'romance', and shows up its internal unstability.
Chapter Two is an extensive study of the critical reception of
The Tragic Muse. The most common areas of critical attention
have been its contemporary topicality, its relation to previous
novels on similar themes, and the possible genealogy of Gabriel
Nash. Those have all missed the core of the work. - Chapter Three
demonstrates how polyphony and the anxiety of influence make
the novel what it really is. Influence arises from the
juxtaposition of, and the wrestling between, artistic ephebes
and their precursors (Nick and Nash,, Miriam and Madame Carre).
The dialogic quality defined by Bakhtin is crucial to the
proper, and even-handed, characterization of all, the conflicts
in the novel. And since most of James's tales in the eighties
and nineties -are about 'masters - and acolytes, the anxiety of
influence remains central. Chapter Four is a study of 'The
Author of Beltraffiol' and 'The Lesson of the Master'. Again the
characters' manipulations are a crucial focus in a way that
G6rard Genette's terminology helps to illuminate. The fact that
the ephebe is the author-thinker emphasizes the inextricability
of the Bakhtinian and the Bloomian in James. Just as
polyphony offers a different focus for explicating the poetics
of James's fiction; so the ephebal conflict provides the basis
for a fresh perception of James's own artistic struggle
Industrial Energy from Water-Mills in the European Economy, Fifth to Eighteenth Centuries: the Limitations of Power
No full textThe water-mill, though known in the Roman Empire from the second century BCE, did not come to enjoy any widespread use until the 4 th or 5 th centuries CE, and then chiefly in the West, which was then experiencing not only a rapid decline in the supply of slaves, but also widespread depopulation, and thus a severe scarcity of labour. For the West -- those regions that came to form Europe -- the water-mill then became by far the predominant 'prime mover': i.e., an apparatus that converts natural energy into mechanical power. The classic study, as a monograph in technological and engineering history, is Terry S. Reynolds, Stronger than a Hundred Men: A History of the Vertical Water Wheel (Baltimore and London, 1983). Indeed he has calculated that even the early medieval watermills provided about 2 hp, enough to liberate from 30 to 60 persons from the wearisome task of grinding grain into flour, the mill's virtually sole use during the first millennium. He, and others, have neglected to note, however, that, apart from providing such economies in labour, water-mills also conserved on the capital and land resources (fodder crops) that would have been required to produce a comparable amount of power with animal-powered mills (horses, mules). The aim of this study is to analyse in greater depth the economic implications and consequences of the application of water-mills, their impact on European economic history up to the Industrial Revolution era, in those areas not well treated by Reynolds and other historians: in the fields of mining, metallurgy, and textiles -- including the cotton industry of the initial phase of the Industrial Revolution. The study also necessarily analyses as well the necessary technological innovations to achieve the productivity gains in these economic sectors: especially in the devices (cam and crankshafts) to convert the basic rotary power of mills into reciprocal power, initially to operate trip-hammers; and the more gradual, if only late-medieval, displacement of the original undershot wheels with the far more effective, if more capital costly, overshot wheels. The study thus begins with the late-medieval technological revolutions in both mining and metallurgy, providing the key transitions to the early-modern European economy. A demonstration of significant productivity gains is counterbalanced, however, in this study by an examination of the physical and economic limitations on the uses of water-power and, particularly in the field of woollen-cloth production, the negative consequences of water-powered machinery, in the form of both fulling-mills and gig-mills (cloth-finishing), in impairing the quality of the finer fabrics. In particular, cost-benefit analyses are provided to show why the late-medieval English cloth industry did indeed achieve significant gains in switching from foot- to mechanical-fulling, while, at the same time, the leading draperies of the late-medieval Low Countries were perfectly rational in eschewing such mills before the 16 th century -- when they did indeed adopt them, for rather different types of textiles. On the other hand, and indeed in striking contrast, the application of water-power in the medieval production of silks and then especially in the 18 th -century production of the new cotton textiles, with those major innovations of the Industrial Revolution era (water-frame and mule) had the opposite result: of greatly improving quality while also radically reducing production costs. Indeed quality-improvements in spinning cotton yarns was the chief goal of these entrepreneurs, with the ambition of displacing fine Asian textiles from world markets.technology, energy, hydraulic power, water-power, mills, textiles, cottons, woolens, silks, mining, metallurgy, blast smelters, forges, iron, silver, copper, Roman Empire, medieval Europe, Italy, Flanders, England, Industrial Revolution.
Brighton illustration: then, now, after
No full textThe Drawers, the Makers, the Storytellers, the Thinkers, the Designers, the Entrepreneurs, the Reporters, the Art Directors, the Multi-Disciplinarians, the Film Makers, the Visionaries. A survey of recent work coming out of the Illustration course at the University of Brighton. Covering 50 years his exhibition sets out to celebrate what has been achieved, and to offer possible futures for the practice of illustration in a wider context. Over the past few years the popularity of Illustration has grown as a subject matter and as a creative platform. Since the publication of ‘Pen and Mouse: Commercial Art and Digital Illustration' by Angus Hyland in 2001 Illustration embraced digital technology and with the advent of the Internet has grown in relevance as creative platform. Today illustration is a truly multi-disciplinary, communicating ideas, narratives, concepts, emotions, a viewpoint… As the definitions of what is illustration have become blurred, the Illustration department at Brighton is at the forefront of current thinking about the subject - with graduates orientating themselves towards very diverse audiences. From traditional narrative/story telling, areas of Design crossovers, Art Direction, and Film/Animation. Now with ever changing technology students are working naturally across both print based media and digital, exploring ideas and creating virtual worlds for viewers to inhabit and interact with. It is the intention of the exhibition to bring together some of the running themes produced on the Illustration course to help explore what Illustration is today, and to provocatively challenge preconceptions. The exhibition curated by Paul Burgess and Roderick Mills explores the links, themes and ideas amongst the work of both graduates and staff across varying media. From the illustrated print stories by Quentin Blake, Raymond Briggs, Emily Gravitt to the interactive screen based narratives of Daphne Christoforou and the cyclical sequences that exist only as domain names such as 'theinternetboresme.com' created by recent graduate Jonathan Taylor. This is envisaged not only as a celebration of the breadth of what Illustration at Brighton is, but an opportunity to stimulate a discourse both internally and nationally about what we mean by Illustration now. The Illustration course was originally written in 1976 by John Vernon Lord, who would become the first Professor of Illustration, as part of a second year specialism from the existing Graphic Design course. Eventually the popularity of illustration as a specialism necessitated a separate course, though projects remained common across the two disciplines – something recognizable today with current students studying the same modules. Later with George Hardie becoming Professor of Visual Communication the illustration course would have a distinct identity, a conceptual depth alongside the skills of visual storytelling. The unique closeness with the Graphic Design course at Brighton has influenced much of the graphic language produced by students, and it is the intention of the exhibition to show how graduates of Brighton have a confidence in identifying their individual practice and audience in an entrepreneurial spirit rather than simply fitting into the existing commercial market, and collaborating across disciplines, embracing the opportunities of new platforms such as the iPhone and iPad. The exhibition is thematic rather than chronological – in order to draw together some of the themes that have recurred through the 50 years, identifying some of the underlying skills of the past, present and future of illustration. The exhibition, 'Brighton Illustration: Then, Now, After…' was accompanied by a catalogue essay authored by Mills
Rescate y conservación del Acervo Histórico del Palacio de Minería: Informe de las labores de conservación preventiva e intervenciones menores en material Bibliohemerográfico y actividades en apoyo al Acervo Histórico : octubre 2011 - febrero 2012
No full textEl presente informe tiene como finalidad dar constancia de los trabajos realizados en el Acervo Histórico del Palacio de Minería, por los restauradores Roderick Palacios, Isabel Ritter y Eleonora Cruz, pasantes de la Licenciatura en Restauración de Bienes Culturales como prestación de su servicio social.</p
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