• Afterword: Confidence in art evidence

      Prior, Ross W.; Rowe, Nick; Reason, Matthew; Balfour, Michael; Preston, Sheila (Bloomsbury Methuen Drama, 2017)
      In pointing to the fact that there are no fixed prescriptions for what constitutes evidence and impact in applied arts, art (meaning all art forms) is offered as a way of providing those answers. Personal embodied ways of knowing are of interest to researchers and values the importance of knowledge that is incrementally gained through the act of doing and being. Art is empirical – art and art processes are observable. Art is a way of knowing and as such provides researchers with a rich vehicle for research that does not need to be scientific or rely on the social sciences. Whilst mixed methods research may be useful, applied arts researchers can and should have full confidence in using an art based research method. This should also extend to a confidence in artistic outcomes, offering us clear understandings of both evidence and impact.
    • Afterword: towards a future paradigm

      Prior, Ross W; Mateus-Berr, Ruth; Jochum, Richard (De Gruyter, 2020-05-01)
      The use of art as research has greatly matured, and, despite the current preoccupation with measurement in the education sector, artistic research has continued to gain acceptance as a legitimate methodology for artists. Yet art-based research is still not completely and universally embedded within higher education learning and teaching approaches. The field’s continued lack of confidence in using art as a vehicle of research is one reason. There is a need to stop relying upon other disciplines to justify the power of art. If we acknowledge that words cannot always reveal the uniquely felt qualities of art, then we cannot persist in using words as exclusive modes of research. Personal, embodied ways of knowing are of interest to researchers and value the importance of knowledge that is incrementally gained through the acts of doing and being. However, art is empirical-art and art processes are observable and can be entwined throughout the art-making process as a methodology of inquiry. Proposed here, as a future paradigm, is the threefold primacy of art in research, learning and teaching-positioning art as the topic, process and outcome of research. Significantly art as research recognizes art objects as full participants and uses art as its evidence.
    • Age-related responses in circulating markers of redox status in healthy adolescents and adults during the course of a training macrocycle

      Zalavras, A; Fatouros, IG; Deli, CK; Draganidis, D; Theodorou, AA; Soulas, D; Koutsioras, Y; Koutedakis, Y; Jamurtas, AZ; Department of Physical Education & Sport Science, University of Thessaly, Karies, 42100 Trikala, Greece. (Hindawi Limited, 2015-04-06)
      Redox status changes during an annual training cycle in young and adult track and field athletes and possible differences between the two age groups were assessed. Forty-six individuals (24 children and 22 adults) were assigned to four groups: trained adolescents, (TAD, N=13), untrained adolescents (UAD, N=11), trained adults (TA, N=12), and untrained adults (UA, N=10). Aerobic capacity and redox status related variables [total antioxidant capacity (TAC), glutathione (GSH), catalase activity, TBARS, protein carbonyls (PC), uric acid, and bilirubin] were assessed at rest and in response to a time-trial bout before training, at mid- and posttraining. TAC, catalase activity, TBARS, PC, uric acid, and bilirubin increased and GSH declined in all groups in response to acute exercise independent of training status and age. Training improved aerobic capacity, TAC, and GSH at rest and in response to exercise. Age affected basal and exercise-induced responses since adults demonstrated a greater TAC and GSH levels at rest and a greater rise of TBARS, protein carbonyls, and TAC and decline of GSH in response to exercise. Catalase activity, uric acid, and bilirubin responses were comparable among groups. These results suggest that acute exercise, age, and training modulate the antioxidant reserves of the body.
    • Ali Baba and the Forty Thieves

      Arnott, Steve (London: Pollock’s Toy Theatres Ltd, 2006)
      This animation seeks to challenge traditional themes of narrative structure through the use of digital media. The resulting piece works on a number of levels and is accessible to a wide audience. It maintains the essence of toy theatre whilst being aware of current media practice, software and techniques. The visuals are influenced by 19th Century designs and rendered in three-dimensional effect with depth and lighting. Maintaining the story within the frame of the traditional toy theatre; Arnott’s research continues this traditional form of storytelling in current media form for the modern child. This research concerns the transposition of 18/19th century toy theatre storytelling into digital animations, keeping true to the original form and aesthetic which enabled rich imaginative play through effective staging of stories. The project was proposed to Pollock’s Toy Museum; production developed through meetings, collaboration and detailed research. The work reflects traditional aspects of toy theatre but is designed to appeal to a ‘media savvy’ public. It is a synthesis of ancient and modern methods of storytelling and production values
    • All Work, No Play…: Representations of Child Labour in Films of the First World War

      HOCKENHULL, STELLA (Taylor & Francis, 2018-05-21)
      This article analyses the representation of children in short documentary films of the First World War. It suggests that, rather than adopting sentiment which might evoke emotion and mobilise public protest, the films were more pragmatic, aimed at conscripting children for the war effort. Indeed, they deployed a non sentimental approach, instead favouring military order which chimed with the predominating ‘structure of feeling’ of that period. Examining the campaign to encourage children to form part of the workforce and support the patriotic cause, this essay analyses a number of newsreel documentaries within the context of contemporaneous visual culture.
    • Althusser and contingency

      Pippa, Stefano; Pippa, Stefano (Mimesis International, 2019-01-31)
      The concept of contingency plays a central role in Althusser's attempt to recast Marxist philosophy and to free the Marxist conception of history from notions such as teleology, necessity and origin. Drawing on a wealth of published and unpublished material, Stefano Pippa discusses how Althusser's unfaltering commitment to contingency should encourage us to revisit our understanding of his conceptions of structural change, ideology, politics and materialism. As grounded on contingency, Althusser's so-called 'Structural Marxism' originates in fact a 'logic of interruption' and a notion of structurally under-determined becoming; just like his theory of ideology is radically reinterpreted on the basis of his notion of 'overinterpellation'. Though constant, Althusser's relationship with contingency has not been monolithic throughout his career. As observed by Pippa, it is possible to distinguish a 'political' and a 'philosophical' moment in Althusser's late materialism of contingency. Perhaps, as this volume suggests, the problematic coexistence of these two aspects might account for the unstable character of Althusser's late philosophical project.
    • Always on: Capitalist continuity and Its discontents

      Penzin, Alexei; Kholeif, Omar; Sarkisov, Karen (Prestel Publishing, 2019-09-03)
      Why should we critically reflect on continuity today? To immediately address the central point, it suffices to invoke the issues and standpoints that occupy radical theorists today, such as the direct, impassionate question, When and how will capitalism finally end? Another widespread articulation of the same concern would range from the different obscure claims about “living in the end times,” stemming from politico-eschatological perspectives of capitalism’s self-destructiveness, to hard evidence of disaster capitalism’s devastation and destabilization of the natural world. In a less theoretical but more pointed form, this central concern has been echoed in people’s responses to the greedy, cynical warmongering of recent times, new right-wing populist deceptions of the dispossessed masses, and the incredible burgeoning of inequality worldwide. These versions of desperate wondering could be summed up in the question, When will this massive, repetitive absurdity end? Today, this end is imagined in less utopian, inspiring shapes than before, ranging from explosive, unpredictable technological acceleration, random catastrophes, and ecological disaster to more sober discussions about the opportunities for a renewed radical politics.
    • An 'Individual Learning Profile' (ILP)

      Salter, Pam; Peacock, Diane (University of Wolverhampton, 2001)
      A short diagnostic learning support questionnaire was designed and issued to ascertain individual and generic levels of key skills of all incoming level 1 students in the School of Art and Design (SAD). This was completed at induction with the intention of providing an indication of an ‘Individual Learning Profile’ (ILP) for each student. It was anticipated that the ILP would assist both staff and students in their understanding of their strengths and weaknesses and how best they might achieve their potential. It would also indicate at the earliest opportunity the need to implement support for study. Recent emphasis upon widening access into Higher Education (HE) has highlighted variations in student profiles. The very terms non-standard entry, mature, returner, disadvantaged, precede the notion of concealed social and educational inequality. Primary concerns centre upon lack of IT skills and the number of students with dyslexic difficulties in the School. Early identification of students requiring and/or requesting help, and those ‘at risk’, is expected to be ‘cost-effective’ for all concerned. The ILP is intended to underpin the goal of achieving true equal opportunity for learning, in addition to maximising student retention and achievement across the School. Initial research into the development of the Individual Learning Profiles (ILP’s) centred upon the need for a brief overview from each student rather that detailed information, which, if necessary, could be extended later during individual counselling. Reference to previous models of good practice included the work undertaken in other UK HE Institutions, in particular that of De Montfort University (DMU) who were contacted (June 2000) in relation to their HEFCE funded work on a national Key Skills survey of entrants.
    • An evaluation of the module guides and assignment briefs used in the School of Art and Design (SAD)

      Scull, Paul (University of Wolverhampton, 2001)
      At the beginning of the 1999/2000 academic year, the School of Art and Design at the University of Wolverhampton introduced all students to new module guides. The aim of this project was to evaluate the module guides and assignment briefs currently used in the School of Art and Design and to propose any modifications. In particular, the objectives were to identify key issues and constraints by means of a literature review; to identify and use methods by which relevant, reliable and unbiased information might be gathered; evaluate collected information; identify aspects of the guides and briefs which might benefit from changes as well as aspects of good practice. Although originally identified as an ‘innovation’ bid, the innovation (the introduction of new module guides and assignment briefs) had already taken place. The primary concern of this project was therefore to review the innovation.
    • An interactive speech interface for virtual characters in dynamic environments

      Mehdi, Qasim; Zeng, Xin; Gough, Norman (2004)
      In this paper, we propose a new improvement to our 3D Virtual Story Environment System (3DVSE) by adding a real-time animation with voice synthesis. The new system offers a flexible and easy way to generate an interactive 3D virtual Environment (3DVE) as compared to traditional 3D packages. It enables the user to control and interact with the virtual characters via speech instructions so that the characters can respond to the commands in real time. This system has the potential, if combined with artificial intelligence, to act as a dialogue interface for believable agents that have many applications such as computer games, and intelligent multimedia applications. In this system, the agent can talk and listen to fellow agents and human users.
    • An investigation into the concept of mind mapping and the use of mind mapping software to support and improve student academic performance.

      Holland, Brian; Holland, Lynda; Davies, Jenny (University of Wolverhampton, 2004)
      This project set out to investigate if the technique of mind mapping could be used to improve the study and planning skills of second year Digital Media students from the School of Art and Design (SAD) and first year students on the History of Computing module from the School of Computing and Information Technology (SCIT). Both sets of students were shown how mind mapping could be used to plan the different types of work that they needed to undertake for their modules. MindManager software was installed in selected computer labs and the students were given tuition on how to use the software.
    • An analysis of undergraduate motivations, perceptions of value and concerns in pursuing higher popular music performance education

      Hall, Rich (SAGE, 2019-04-11)
      The popular music performance undergraduate degree is a growing area within UK higher education. These courses carry a vocational emphasis and are popular with students looking to establish professional performing careers. As such, they are often marketed as an intermediary step towards this aspiration but, despite their popularity, there has been little critical review into their effectiveness. This article, based on doctoral research conducted by the author, draws on semi-structured interviews conducted with 12 second- and third-year undergraduates studying popular music performance-based courses. The article presents data and analysis concerning the motivations for study, perceptions of vocational value and the concerns around establishing professional careers. Concerns across four key areas are identified: (a) issues of negative public perception; (b) problematic conceptions of the popular music industries (PMI); (c) the value of practical experience over and above qualifications; and (d) negative narratives concerning developments in digital technologies and their effect on career opportunities. Implications from the article include the need for higher education providers (HEPs) to challenge students’ misconceptions concerning professional careers in the new popular music industries.
    • And Millions and Millions

      Böhm, Kathrin (2004)
      "And Millions and Millions" is a large-scale collage-installation that is manipulated and created by the participating gallery audience; by fixing sheets of paper with recurring geometric designs to the walls of the gallery. The work sets out to explore how an abstract visual language that derives from painting and ideas from site-specific work can be used to facilitate and demonstrate the ad hoc appropriation of a given physical space. The work questions the idea of art works in museums and galleries being static objects, and places the audience in the position of producer. By challenging the idea of solo authorship, technical skill, formal originality and inviting the viewer to add further elements to the installation, the work relates to theories explored in Nicolas Bourriaud’s books “Post-Production” and “Relational Aesthetics”. The material (printed paper) and facilities to do this are an integral part of the installation. The work is intended to proliferate into chaos over the duration of the exhibition and is never resolved.
    • Angles of Projection

      Kossoff, Adam (2006)
      “Angles of Projection” was a group show of artists’ film and video curated by Kossof. The show is a response to the predominance of narrative based work in the gallery. Challenging the ubiquitous ‘black cube’ of recent times, it promotes moving-image work that is site-related, investigating how the moving image positions the spectator in the gallery and in the cinema, and where there are overlaps or differences.
    • Animal Architecture

      Kossoff, Adam (2016-10-06)
      Animal Architecture tells the story of Dudley Zoo and the restoration of its unique animal enclosures, designed in 1937 by the modernist architect, Bernard Lubetkin. The film explores our ambivalent relationship to zoos and how humans define themselves in relation to the animal. Capturing the everyday, poetic feel of the zoo, the film, shot on 16m film, emulates the black and white documentary film style of the 1950's 'Free Cinema' movement.
    • Animated images and animated objects in the Toy Story franchise: Reflexively and intertextually transgressive mimesis

      Geal, Robert; University of Wolverhampton, UK (Sage, 2018-03-01)
      This article explores how animation can manipulate a reflexive intertextual framework which relates to religious prohibitions on artistic mimesis that might replicate and threaten God’s creative act. Animated films are most intertextually reflexive, in these terms, when they narrativize the movement of diegetic objects from another medium which also transgresses God’s prohibition: sculpture. In the media of both sculpture and animation, the act of mimesis is transgressive in fundamentally ontological terms, staging the illusion of creation by either replicating the form of living creatures in three-dimensional sculpture, or by giving the impression of animating the inanimate in two-dimensional film. Both media can generate artworks that directly comment on these processes by using narratives about the creative act which not only produce the illusion of life, but which produce diegetically real life itself. Such artworks are intensely reflexive, and engage with one another in an intertextual manner. The article traces this process from the pre-historic and early historic religious, mythic and philosophical meditations which structure ideas about mimetic representations of life, via Classical and Early Modern sculpture, through a radical proto-feminist revision crystallizing around the monstrous consequences of the transgression in Mary Shelley’s Frankenstein, and finally into film and more specifically animation. The article culminates with a relatively detailed account of these processes in the Toy Story franchise, which is a heightened example of how animation can stage a narrative in which ostensibly inanimate sculpted toys move of their own volition, and of how this double form of animation does this reflexively, by ontologically performing the toys’ animating act. The animated films analysed also engage with the transgressive and monstrous consequences of this double form of animation, which derive from the intertextual life of those narratives that challenge God’s prohibition on mimesis.
    • Anomalous foreknowledge and cognitive impenetrability in Gnomeo and Juliet

      Geal, Robert (Oxford University Press, 2017-05-27)
      This essay locates film adaptations of well-known originals within the context of two interrelated perceptual processes. The first of these is Richard Gerrig’s notion of anomalous suspense, in which audiences experience suspense even if they know the outcome of a film through repeat viewings. The second of these is Jerry Fodor’s concept of cognitive impenetrability, in which the human brain can have multiple responses to the same visual information. Lower level non-conscious brain functions can respond to visual stimuli in automated ways even if higher level conscious brain functions understand that the automated responses are being deceived. The essay explores how a loose film adaptation of a canonical ‘original’, Gnomeo and Juliet, manipulates these perceptual anomalies at the aesthetic and narrative levels. The film has two interrelated reflexive bundlings of anomalous suspense and cognitive impenetrability. The first is foreknowledge about certain well-known elements of the adapted narrative which characters comment on, and which are eventually transcended. The second is the film’s link between animation’s ontological perceptual illusion which makes the inanimate become animated, and the diegetic status of the supposedly inanimate garden gnomes being able to move of their own volition. Both of these elements exploit the brain’s modular distinctions between automated and conscious perceptual responses.
    • Another Country

      Timberlake, John (2002)
      Solo exhibition of C-type prints, examining our visual and cultural relationship to the atom bomb.The interrelationship between constructions of landscape, constructions of history and the politics of landscape are explored through the legacies and tropes of the nuclear test photograph from the archives of the Imperial War Museum, English landscape painting and forms reflective of the popular imaginary. Through a process of juxtaposition and construction the work examines conceptions of truth; how they were to be derived, positively or negatively, from painting, model-making and photography. The series therefore comprised photographs of constructed dioramas, model figures and a painted backdrop depicting Romantic landscapes and nuclear clouds.
    • Anti-Castism and Misplaced Nativism: Mapping caste as an aspect of race

      Dhanda, Meena (Radical Philosophy Group, 2015-07-31)
      From September 2013 to February 2014 I led a project on ‘Caste in Britain’ for the UK Equality and Human Rights Commission (EHRC). [*] It culminated in two research reports. [1] The remit of the project was, first, to review existing socio-legal research on British equality law and caste, and, second, to conduct two supporting events with the aim of bringing together interdisciplinary expertise and a range of stakeholder views on caste, and discrimination on the basis of caste, in the UK. In April 2013, MPs and peers had voted in both Houses of Parliament to enact the Enterprise and Regulatory Reform Bill, Section 97 of which requires government to introduce a statutory prohibition of caste discrimination into British equality law by making caste an aspect of the protected characteristic of race in the Equality Act 2010 (EA 2010). [2] Following direction by the government, the EHRC contracted a team of academics from different universities, led by me, to carry out an independent study on caste in Britain. We set out to identify concerns and common ground in relation to the implementation of the statuary prohibition on caste discrimination in advance of and in anticipation of the required secondary legislation that will make caste ‘an aspect of race’ in the EA 2010.