• 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.
    • Designing a sensibility for sustainable clothing

      Hackney, Fiona; Saunders, Clare; Willett, Joanie; West, Jodie; Hill, Katie (Environmental Audit Committee, 2018-10-10)
    • Dress and textiles network: Heritage and design in the West Midlands

      Hackney, Fiona (MUPI: Museum-University Partnership Initiative, 2018-10-10)
    • Althusser and contingency

      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 Drawing on a wealth of published and unpublished material, Stefano Pippa discusses how Althusser's unfaltering commitment to contingency should encourage us to revisit our understanding of his conceptions of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.
    • The Last Ship from Broadway to Newcastle: A feminist political musical for the Brexit era

      Browne, Sarah (Intellect, 2018-12-31)
      Sting’s musical, The Last Ship premiered on Broadway in 2014. Four years later, following a series of workshops at Northern Stage, the musical embarked on its UK tour featuring a number of revisions to its narrative and structure. What emerges from the revised production is a narrative, which places women at the centre through affording them agency and allowing them to occupy powerful, liminal spaces. Whilst The Last Ship remains a tale for the working classes, its UK revisions do well to reposition the central role of the women in this community. Through removing principal characters, which previously served to reinforce a patriarchal hierarchy, the fictional women of Wallsend now drive the plot, allowing for The Last Ship to communicate a morality tale, which echoes the ideologies of a feminist, post-Brexit era.
    • A comparative study on the acoustic behaviour of free-standing curved and flat single panel screens in an open-plan enclosed environment

      Arjunan, Arun; Foteinou, Aglaia (Institute of Noise Control Engineering, 2017-12-07)
      Free-standing flat screen partitions are commonly used in open-plan environments to improve the visual and acoustic privacy of employees and to differentiate individual work spaces. Acoustic behaviour of flat screen single leaf barriers under free-field conditions have been extensively studied over the past years. However, the behaviour of free standing structures in enclosed spaces are not fully investigated and hence any opportunities for geometrical improvements such as damping effect of added curvature has not been considered. Curved structures are known to exhibit different stiffness behaviour compared to flat structures of similar global dimensions. Consequently, this work is an initial attempt to understand the acoustic performance of free-standing curved screens in comparison with flat screens of similar global dimensions simulated in an open-plan but enclosed environment. Vibroacoustic simulation using the Finite Element Method (FEM) is used in this study to predict the acoustic response and to conduct further parametric analysis. The numerical model presented in this study is validated using experimental test at one-third-octave bands for a frequency range of 100 to 3150 Hz. The results of this study provide a better understanding of the acoustic performance of flat and curved free-standing single panel structures in enclosed environments. It is considered that this can help in developing acoustically efficient free-standing partitions for open-plan offices.
    • Demonstrating the SIDSYNTH: an 8-bit synthesizer combining obsolete and open hardware

      Hassell, Rob; Dalgleish, Mat (Coventry University, 2018-10-25)
      After the introduction of programmable sound generator integrated circuits (ICs) in the 8-bit video game hardware of the 1980s, the industry quickly moved on to more sophisticated sound generation methods such as frequency modulation (FM) synthesis and CD-quality audio file playback. Nevertheless, if once largely forgotten, the last decade has seen a significant and sustained revival of interest in the early video game sound technologies, and the rise of a vibrant ‘chiptunes’ community intent on exploring their distinctive musical possibilities. Developed by Rob Hassell between May 2017 and May 2018 as part of the BA (Hons) Music Technology programme at the University of Wolverhampton, SIDsynth is a multi-voice chiptunes synthesizer based around the use of obsolete MOS Technology 6581/8580 Sound Interface Device (SID) chips; a specialised IC originally found in the Commodore 64 computer. Despite the age of the SID chip, the SIDsynth draws heavily on contemporary developments and could arguably not have existed until relatively recently. Online marketplaces enable increasingly scarce and revered second-hand ICs to be sourced from individual sellers worldwide. Dedicated enthusiasts have made crucial but previously rarely accessible technical documentation freely available in online repositories such as SIDmusic and archive6502. Additionally, by using open source and low-cost Arduino microcontrollers to interface otherwise disparate elements (three SID ICs, contemporary computer hardware and a physical user interface), the project has been able to benefit from the Arduino platform’s extensive documentation and community expertise.
    • ‘Seeing’ my beloved: Darsan and the Sikhi perspective

      Takhar, Opinderjit Kaur (Equinox, 2018-09-01)
      Book: Sensual Religion demonstrates the value of paying attention to the senses and materials in lived religion and also leads the way for improved studies of religion as sensuality. Each of the five senses - vision, hearing, taste, touch and smell - will be covered by two chapters, the first historical and the second contemporary. The historical discussions focus on the sensuality of religion in ancient Greece, Samaria, Rome and Byzantium - including reflections on their value for understanding other historical and contemporary contexts. Chapters with a contemporary focus engage with Chinese, African-Brazilian, Sikh, First Nations and Metis, and Spanish Catholic religious lives and activities. Beyond the rich case studies, each chapter offers perspectives and arguments about better ways of approaching lived, material and performative religion - or sensual religion. Historical and ethnographic critical and methodological expertise is presented in ways that will inspire and enable readers to apply, refine and improve on their practice of the study of religions. In particular, our intention is to foreground the senses and sensuality as a critical issue in understanding religion and to radically improve multi- and inter-disciplinary research and teaching about the lived realities of religious people in this sensual world.
    • Embracing openness: music technology pedagogy and curricula after the decline of the studio

      Dalgleish, Mat; Bellingham, Matt (Coventry University, 2018-10-25)
    • Design Probes for People with Dementia

      Garde, Julia Anne; Van Der Voort, Mascha Cécile; Niedderer, Kristina (Design Research Society, 2018-06-25)
      In order to include persons with dementia in the MinD project actively, design probes were developed to provide insight into their perspectives. We applied probes due to their exploratory character and participation through self-documentation. The aim of this paper is to reflect on the design of the probes in relation to the outcomes as a source of inspiration for designers. More specifically, we investigate the openness and tangibility of the probes, and their content relating to the past, the current or the future. The five participants completed the probes to a large extent. The openness of assignments influenced their completion and the resulting value for empathizing and inspiration for designers: More defined assignments led to more sharing of personal and sensitive information than very open ones. While crafty, tangible assignments were filled in more extensively than less tangible ones, the classical writing assignments resulted more often in more introspective and reflective information from participants. Furthermore, participants filled in assignments about past memories more extensively than those relating to future goals.
    • Topographies of the Obsolete - Site Reflections

      Heeney, Gwen (WABA exhibition Korea, 2015-01-01)
      Topographies of the Obsolete: Exploring the Site Specific and Associated Histories of Post-Industry Topographies of the Obsolete is an artistic research project initiated by Neil Brownsword and Anne Helen Mydland at Bergen Academy of Art and Design (KHiB) in collaboration with partner universities/institutions in Denmark, Germany and the UK. In 2012 the British Ceramics Biennial invited KHiB to develop a site-specific artistic response to the former Spode Factory in Stoke-on-Trent as a key element of their 2013 exhibition programme. The project explores the landscape and associated histories of post-industry, with an initial emphasis on Stoke-on-Trent, a world-renowned ceramics capital that bears evidence of fluctuations in global fortunes. The original Spode Factory, situated in the heart of Stoke-on-Trent, was once a keystone of the city’s industrial heritage, which operated upon its original site for over 230 years. Amongst Spode’s contributions to ceramic history are the perfection of under-glaze blue printing and fine bone china. In 2008 Spode’s Church Street site closed, with most of its production infrastructure and contents left intact. The site and its remnants has been the point of departure for the interdisciplinary artistic research of over 50 participating artists, historians and theoreticians over six residencies. Topographies is a framework, formulating topics and research strands which are treated as questions and approaches that are addressed through artistic practice. By honing in on the particular history and the singularity of this site, Topographies questions what is, and how can ceramic and clay be understood as both material and subject in contemporary art practice. How can we perceive the material (clay/ceramics) to be or constitute a site? Moreover, how do ceramics and clay form and construct our understanding of the site? This publication is the third in a series which documents responses and reflections to the original Spode site from both artists and theorists connected to the project.
    • Heygate Estate Sketches (Drawing)

      Read, Howard (UCL, Urban Laboratory, 2013-11)
    • Public Relations and Discourses of Professionalisation

      Williams, Sarah; Apperley, Alan (Tritonic, 2009-11-01)
    • The Konvas Autovat, The Toxic Camera (2012)

      Wilson, Jane; Wilson, Louise (Seoul Museum, 2016-09-01)
    • Azeville (2006)

      Wilson, Jane; Wilson, Louise (Tate Britain, 2014-03-04)
      Ruin Lust, an exhibition at Tate Britain from 4 March 2014, offers a guide to the mournful, thrilling, comic and perverse uses of ruins in art from the seventeenth century to the present day. Ruin Lust will include work provoked by the wars of the twentieth century, including Graham Sutherland’s Devastation series 1940–1, which depicts the aftermath of the Blitz and Jane and Louise Wilson’s 2006 photographs of the Nazis’ defensive Atlantic Wall. Paul Nash’s photographs of surreal fragments in the 1930s and 40s, or Jon Savage’s images of a desolate London in the late 1970s show how artists also view ruins as zones of pure potential, where the world must be rebuilt or reimagined.
    • Mind The Gap: Developing Contexts for Practice

      Ayliffe, Maggie; Harris, Simon J.; Onions, Laura (Taylor & Francis, 2018)