• Developing materials from the Black and Ethnic Minority Experience (BE-ME) project for use in undergraduate teaching

      Burke, Deirdre (University of Wolverhampton, 2003)
      The Black and Ethnic Minority Experience (BE-ME) is a collaborative project involving the local community, council, colleges and the university to demonstrate the potential of the (BE-ME) archive for undergraduate teaching.
    • Dialogism’s radical texts, and the death of the radical vanguard critic

      Geal, R; Cutchins, Dennis; Krebs, Katja; Voigts, Eckart (Routledge, 2018-04-01)
      © 2018 selection and editorial matter, Dennis Cutchins, Katja Krebs, Eckart Voigts; individual chapters, the contributors. It is not only artworks that can be grouped into historical and cultural contexts such as Sumerian or Anglo-Saxon epic poetry, Yoruba or Olmec statuary, Baroque chiaroscuro or Mughal miniature painting, Ming or Attic vases, the French nouvelle vague or Brazilian cinema novo. Academic interpretation of art, too, is located within historically specific networks of thought in which any one form of understanding art interacts in complex ways with prior and overlapping forms of understanding. This is true of all arts disciplines, but it has been particularly instrumental in relation to the study of adaptation. In part, this is no great revelation for the field. Because of certain consequences of its historical development, relating to the comparative valorisation of its intersecting media, adaptation studies has a strong record of historical self-analysis. The long domination of a fidelity-based model, which attempted to account for how filmmakers might ‘faithfully’ negotiate what Jack Jorgens calls the “expressive possibilities of shifting relations between words and images” (1977: 17), eventually ushered in a new theory which critiqued fidelity analysis by locating it within a historically specific context. But the precise form of the model which displaced fidelity analysis is not subject to the same historical explanation. That is not to say that its intellectual roots are not thought of historically. The new model is usually called dialogism because of the way that it principally draws on early twentieth-century Russian philosopher Mikhail Bakhtin’s (1981) idea that all works of art are constantly informed by and informing other works of art, so that adaptations are just more acute examples of this dialogue between texts. There are specific historical reasons, however, why it should be dialogism, rather than some other methodology which might make a similar criticism of fidelity analysis, that replaced fidelity as adaptation studies’ new orthodoxy at around the turn of this century.
    • Diary of a Well-Maker: a note on crafts as research practice

      Hackney, Fiona; Rana, Mah (Plymouth College of Art, 2018-11-30)
      This paper signals the value of making for well-being as a reflexive research activity. It focuses on a series of short reflective diary entries created by artist and researcher Mah Rana during her daily encounters with people, spaces, places, and things. The entries are personal and incidental, involve memories and snippets of conversation but, crucially, they are all positioned from her perspective as a self-identified ‘well-maker’. Someone, that is, who is alert to the particular values, benefits, qualities, and characteristics of creative making for mental and physical health: who takes note of how these manifest in our everyday lives, often in the quietest of ways.
    • Digital Archiving as an Art Practice

      Harrison, Dew (CHArt (Computers and the History of Art), 2005)
      The paper explores the activity of archiving within the field of fine art and museum studies with particular emphasis on the digital archive and new media database. Harrison identifies and develops new forms of digital archiving within curatorial projects, art-based collaborations, and Conceptual Art works. These archival forms are not constructed by information scientists or museum professionals, but by artists.
    • Digital realities & virtual ideals: Portraiture, idealism and the clash of subjectivities in the post-digital era

      Altintzoglou, Evripidis (Taylor and Francis, 2019-02-26)
      All portraits play host to a number of antithetical tensions, such as ‘private’ and ‘public’, ‘real’ and ‘ideal’, without which they would be reduced to a type of unassuming identification of subjects. Whereas in premodern times the artist was subject to the demands of the commissioner, after modernism the representational desires of the sitter began to clash with the creative intentions of the artist. Prior to the introduction of digital formats, this clash of subjectivities manifests itself in photography during the production of the work, the shooting of a portrait. Digital photography and post-production editing have expanded the methods for idealising external appearance; a desire stimulated by the recent technological acceleration of production and circulation of more ‘manipulated’ portraits than ever. In what ways, therefore, does the introduction of digital post-production editing and composite images affect this double-clash in portraiture, between the real and ideal, and the desires of the sitter against the intentions of the artist? Moreover, how does the evolution of self-portraiture in the ‘selfie’ affect the epistemological character of the genre? As such, is conceptual and aesthetic subservience a matter of technological possibility or creative determination?
    • Direct or directed: orchestrating a more harmonious approach to teaching technology within an art & design higher education curriculum with special reference to visual communications courses

      Marshall, Lindsey; Meachem, Lester (Taylor & Francis, 2007-02-15)
      In this scoping study we have investigated the integration of subject-specific software into the structure of visual communications courses. There is a view that the response within visual communications courses to the rapid developments in technology has been linked to necessity rather than by design. Through perceptions of staff with day-to-day experience of the issues arising from the incorporation of such technology, we were able to construct an account of potential directions. There is a necessity for continual review of course content to ensure that training in software is embedded in the creative aspects of the curriculum in order to maximise the potential of new technology, maintain currency and future-proof the curriculum. We argue that curriculum developers in visual communications need to incorporate appropriate hardware and software within the studio environment.
    • Dirty Practice: A Painting Workshop and the Hidden Curriculum

      Mieves, Christian; Ayliffe, Maggie; Hartshorne, Ian; Moloney, Donal; Quaife, Magnus (Black Dog Publishers, 2016)
    • Disrupting heteronormative temporality through queer dramaturgies: Fun Home, Hadestown and A Strange Loop

      Whitfield, Sarah (MDPI, 2020-06-15)
      This article considers how André De Shields performance in Hadestown (2019), and the musicals Fun Home (2015) and A Strange Loop (2019) can be seen to respond to the ‘quagmire of the present’ (Mũnoz, 2009 1): and argues that they disrupt heteronormative temporality through queer dramaturgy. It explores musicals that present queer performativity and/or queer dramaturgies, and addresses how they enact queer strategies of resistance through historical materialist critiques of personal biographies. It suggests that to do this, they disrupt the heteronormative dramaturgical time of the musical, and considers how utopian ‘small but profound moments’ (Dolan 2005, p. 6) may enact structural change to the form of the musical. The article carries out a close reading of De Shields’ performance practice, and analyses the dramaturgy of Fun Home and A Strange Loop through drawing on the methodologies of José Mũnoz (2009) and Elizabeth Freeman (2010). It considers how they make queer labour visible by drawing on post-dramatic strategies, ultimately suggesting that to varying extents, these musicals offer resistance to the heteronormative musical form.
    • Diversity and Unity

      Brennand-Wood, Michael (2015-04-23)
    • Diversity Studio Collection: Autumn/Winter 2008/09

      Dillon, Patricia (2007)
      This submission represents an original collection of textile designs derived through textile experimentation. The process is linked to the biennial focus upon the “Indigo” exhibition. The “Diversity Studio” conducts market analysis, creative development, product testing and materials investigation that leads to a new presentation every six months. The work described in this submission delivers:1) Current and emerging trends in Fashion and Textiles.2) Reports on ‘social, technical, economic and political’ issues (STEP factors) that impact upon current practice in fashion and textiles. 3) Original design to inform future markets. The work demands research and dialogue with industry professionals such as the Creative Director and Editor of “Textile View,” Marie Christine Vianney. While the process includes factor analysis and original interviews and research; it is instinctive vision that defines the prediction. Dillon is the primary investigator of new trends and conceptual thinking for the partnership and sets the parameters for the new collection in consultation with the other members.
    • Diversity Studio Collection: Autumn/ Winter Trends 2005/06

      Dillon, Patricia (2004)
      The submission represents a collection of original concepts and designs in textiles produced as a response to trend analysis and market directives for the Autumn/Winter season. The process is linked to the biennial focus upon the “Indigo” exhibition. The “Diversity Studio” conducts market analysis, creative development, product testing and materials investigation that leads to a new design collection every six months. The work involves trend analysis, contextual analysis of changing technology, social, political and economic conditions; which all inform the development of a series of cogent/creative designs that help drive the industry and its related economy. Although the process includes factor analysis and original interviews and research; it is instinctive vision that defines the final creative output. Dillon is the primary investigator of visual and materials trends and conceptual thinking for the partnership and sets the parameters for the new collection in consultation with the other members. The material strategy UNDERTAKEN: in the work this year focused on distortion of surface, which employed a mixture of machine techniques including intasia, inlay, stitch transfer and fabric manipulation.
    • Diversity Studio Contribution to the Zibetti Textile Art Lab Archives

      Dillon, Patricia (2006)
      The applied research delivers the following: Examples of specialist technique in embroidery and embellishment; Combinations of colour, textures, materials and processes that are both original and of artistic merit. and finally, original design to inform future designers and researchers. The work includes extensive process/practice based research that focuses on the exploitation of embroidery and embellishment. Dillon is immersed in the discourse and material knowledge of the discipline and its market: A mix of intellectual and tacit knowledge combined with instinctive development informs the creative research, which results in, the development of ideas and material expression of those ideas within this dynamic creative industry.
    • ‘Does anybody have a map?’ The impact of ‘Virtual Broadway’ on musical theatre composition

      Chandler, Clare; Scheuber-Rush, Simeon (Song, Stage and Screen, 2017-06-19)
      In contemporary popular music, ‘There are no longer subjective gatekeepers controlling who gets let “in”, promoted and exposed. The choice is ours. Now, anyone can be famous.’ (Price, 2011). This is a transformation also evident in musical theatre, where an upsurge in ‘YouTube musical theatre composers’ (Pasek & Paul, 2015) and social media engagement challenges the dominance of the book musical. Opportunities for self-promotion on the internet are vast, and allow composers to reach a more diverse audience, but in what ways do these emerging opportunities also influence the form of works produced. For instance, online audiences often lack time to invest emotionally in a long theatrical piece, and prefer songs that deliver similar emotional arcs in condensed form. If humans on-line have an average attention span of 8 seconds (Riecke-Gonzales, 2015), for example, this paper considers how musical theatre might evolve to meet the requirements of millennials. The growing popularity of Dear Evan Hansen, arguably the first truly ‘digital age’ musical (Takiff, 2016), provides a present instance of the impact of ‘virtual Broadway’ (Pasek & Paul, 2015) on the musical theatre model. It is both possible and timely to debate the extent to which this hybrid has ‘democratized access to creation and distribution tools’ (Bhargava and Klat, 2017), allowing new voices and models to break through, or has actually limited the genre’s scope.
    • Does past experience effect balance in older women: a cross-sectional study comparing retired dancers and age-matched controls?

      Wyon, Matthew; Reeve, Eileen; Ambegaonkar, Jatin; Cloak, Ross; Clarke, Frances; Davies, Paul (Springer Nature, 2021-05-24)
      Background: Falls are increasing prevalent in the elderly but little data has been reported on the effect of previous life experience on balance ability. Aims: The aim of the present cross-sectional study was to determine whether participants with historically highly developed postural control (retired dancers) provided protection after activity had stopped by comparing their balance abilities with age-matched sedentary counterparts. Methods: Ten retired dancers [RD] 65 ±7.36yrs and 10 sedentary controls[C] 66 ±5.66yrs carried out a series of balance tests in a laboratory setting in a set order: Romberg, Functional Reach, Timed Up and Go, Berg and Tinetti. Results: The RD group performed significantly better solely in the static balance tests (Romberg and Berg Balance) (p<0.05). Therefore, past exercise history of the individual possibly needs to be considered when selecting a balance test battery with a need to use tests that have multiple constructs of balance. Conclusion: The RD group performed significantly better at static balance tests suggesting a possible skill retention from their dance careers
    • Does this look right? Working within the collaborative frame.

      Moore, Samantha; Ehrlich, Nea (University of Edinburgh, 2016-10)
      The first scholarly text to explore the expanding field of animated documentary filmmaking Drawn from Life, a multidisciplinary anthology, introduces readers to a diverse range of filmmakers past and present who use the animated image as a documentary tool. In doing so, it explores a range of questions that preoccupy twenty-first-century film artists and audiences alike: Why use animation to document? How do such images reflect and influence our understanding and experience of ‘reality’? From early cinema to present-day scientific research, military uses, digital art and gaming, Drawn from Life casts new light on the capacity of the moving image to act as a record of the world around us.
    • Domestic Bliss

      Aycliffe, Margaret (2004)
      “Domestic Bliss” (9 panels 45 x 45cm each, oil, gloss paint and digital print on canvas) were commissioned for the exhibition; “Terrain: Contemporary British Abstraction” which took place in St Petersburg, Russia, 4th – 26th September 2004. Ayliffe sought to continue her exploration of the innate hierarchies applied to media and process in painting and to upset or corrupt the formal language of painting through the social language of the everyday and the decorative. Within each of the 9 panels the same elements occur: the printed stitch, the repeated gestural mark and the hard-edge predetermined pattern. However, the panels are not identical and when configured the logical extension of the elements from one panel to the next is disrupted. The embroiderers’ cross-stitch is created by sewing upon a grid to create a modular form, analogous to that of the digital pixel. The grid is also, as Rosalind Krauss has observed, “emblematic of the modernist ambition within the visual arts”. The grid, then as an underlying structure of embroidery, modernist painting practice and the digitized imagery, became an important element in the work. The piece thus attempted to further democratise the ground and context in which the pixellated, gestural, decorative and repetitive elements might be allowed to butt up together in a constructive rather than oppositional relationship.
    • Doubled Up

      Moore, Samantha (2004)
      Doubled Up tells of the film maker’s shock at finding out she was expecting twins. Using multiple perspectives from mother, artist, children and medical professionals, she reassesses her life and experiences. Referencing Prof Mary Kelly’s (University of California, Los Angeles) ‘Post-Partum Document’, the film uses diagrams, layers and multiple perspectives to process chaotic information into a diagrammatic and functional structure. The effect of this process, the imposition of order on what appears to be random content, can be seen as an ironic masculinisation of what Kelly calls the ‘monolithic mother-child relationship’. The medium of the moving image allowed Moore to use layers – including those of three and four dimensions – and the subject matter of multiple birth to increases the number of simultaneous perspectives. The piece was digitally constructed using a combination of archive material (digital video and found items) and original imagery combined in Painter, and Premiere. It was an investigative work, bounded by the available found material. Visually there was a diagrammatic motif throughout. The structure was non-narrative but still made a linear progression based on chronology.
    • Dress and textiles network: Heritage and design in the West Midlands

      Hackney, Fiona (Museum-University Partnership Initiative (MUPI), 2018-10-10)