• Abject visions: Powers of horror in art and visual culture

      Arya, Rina; Chare, Nicholas (Manchester University Press, 2016-05)
    • Acoustic Heritage and Audio Creativity: the Creative Application of Sound in the Representation, Understanding and Experience of Past Environments

      Murphy, Damian; Shelley, Simon; Foteinou, Aglaia; Brereton, Jude; Daffern, Helena (Council for British Archaeology, 2017-06-05)
      Acoustic Heritage is one aspect of archaeoacoustics, and refers more specifically to the quantifiable acoustic properties of buildings, sites and landscapes from our architectural and archaeological past, forming an important aspect of our intangible cultural heritage. Auralisation, the audio equivalent of 3D visualization, enables these acoustic properties, captured via the process of measurement and survey, or computer based modelling, to form the basis of an audio reconstruction and presentation of the studied space. This paper examines the application of auralisation and audio creativity as a means to explore our acoustic heritage, thereby diversifying and enhancing the toolset available to the digital heritage or humanities researcher. The Open Acoustic Impulse Response (OpenAIR) library is an online repository for acoustic impulse response and auralisation data, with a significant part having been gathered from a broad range of heritage sites. The methodology used to gather this acoustic data is discussed, together with the processes used in generating and calibrating a comparable computer model, and how the data generated might be analysed and presented. The creative use of this acoustic data is also considered, in the context of music production, mixed media artwork and audio for gaming. More specifically to digital heritage is how these data can be used to create new experiences of past environments, as information, interpretation, guide or artwork and ultimately help to articulate new research questions and explorations of our acoustic heritage.
    • Afterword: Confidence in art evidence

      Prior, Ross W.; Reason, Matthew.; Rowe, Nick. (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.
    • 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.
    • Animated Images and Animated Objects in the Toy Story Franchise: Reflexively and Intertextually Transgressive Mimesis

      Geal, Robert; University of Wolverhampton, UK (Sage, 2018-03-12)
      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.
    • The Arena Concert: Music, Media and Mass Entertainment

      Halligan, Benjamin; Fairclough-Isaacs, Kirsty; Edgar, Robert; Spelman, Nicola (Bloomsbury Academic. New York and London, 2015-11)
      The Arena Concert: Music, Media and Mass Entertainment is the first sustained engagement with what might said to be - in its melding of concert and gathering, in its evolving relationship with digital and social media, in its delivery of event, experience, technology and star - the art form of the 21st century. This volume offers interviews with key designers, discussions of the practicalities of mounting arena concerts, mixing and performing live to a mass audience, recollections of the giants of late twentieth century music in performance, and critiques of latter-day pretenders to the throne. The authors track the evolution of the arena concert, consider design and architecture, celebrity and fashion, and turn to feminism, ethnographic research, and ideas of humour, liveness and authenticity, in order to explore and frame the arena concert. The arena concert becomes the “real time” centre of a global digital network, and the gig-goer pays not only for an immersion in (and, indeed, role in) its spectacular nature, but also for a close encounter with the performers, in this contained and exalted space. The spectacular nature of the arena concert raises challenges that have yet to be fully technologically overcome, and has given rise to a reinvention of what live music actually means. Love it or loathe it, the arena concert is a major presence in the cultural landscape of the 21st century. This volume finds out why. - See more at: http://www.bloomsbury.com/uk/the-arena-concert-9781628925562/#sthash.ZV3ol8WR.dpuf
    • as logical as possible

      Harrison, Paul; Wood, John (Kunstverein Arnsberg, Germany, 2017-02)
    • Audience as Community: Corporeal Knowledge and Empathetic Viewing

      Wood, Karen (2015-03-29)
      This essay focuses on community in the form of audiences, and in particular, screendance audiences. A specific focus is given to a collection of screendance experiences from viewing a selection of contemporary dance films. The term screendance is used in this research as suggested by Douglas Rosenberg as "stories told by the body" and "not told by the body." What follows, for this essay, are theories borrowed from the discipline of audience and reception research detailing what we may perceive audiences to be and how the idea of 'audience' as a community may influence the way filmmakers approach the very audiences they hope to reach. Kinesthetic empathy will be used as a framework to understand the pleasures and displeasures that are experienced by the viewer from an embodied perspective. While considering kinesthetic empathy with audience and reception research, the main focus for this essay is nuancing the idea of audiences as a community that is enriched with corporeal knowledge. This knowledge reveals itself as empathetic and sympathetic viewing of the media.
    • 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.
    • Bacon and Bergson on Time and Motion

      Arya, Rina (Taylor & Francis, 2015-02-17)
      he bearing of Bergsonian thought on Bacon’s paintings has become apparent as a result of Deleuze’s study, Francis Bacon: Logique de la sensation (1981). But aside from Deleuze’s application, there is a lot to recommend constructing a parallel between Bacon and Bergson as figures in their own right. This article explores Bergson’s approaches to temporality and the idea of immediate experience, and applies these to Bacon’s oeuvre, especially with respect to the artist’s antithetical views about an interpretation of narrative, the violence in his work and the phenomenology of the body.
    • BBC News – creating audience in the digital era

      Fox, Andy; Mitu, Bianca (Intellect, 2016-03-01)
      This article will examine how a public service broadcaster, specifically the BBC, delivers news content to its audience across multiple media platforms. Rather than looking at how the audience responds to media texts, this article will take the opposite standpoint by addressing the following question: How does the BBC build its audience on a platform-by-platform basis? To answer this key question we compared news outputs on the three platforms offered by the BBC: web, television and radio. A sample was compiled based on the top stories that appeared at a specific time of day over a month in early 2015. The results suggest that there is no significant difference in establishing news agendas through a digitally converged media landscape. In fact the three platforms analysed do not take media convergence into account when delivering news content.
    • Being Maker-Centric: Making as Method for Self-Organising and Achieving Craft Impact in Local Communities and Economies

      Hackney, Fiona; Figueiredo, Deirdre; Onions, Laura; Rogers, Gavin; Milovanovic, Jana (Routledge, 2018)
    • The Biopolitics of the Soviet Avant-Garde

      Penzin, Alexei (Marsilio, 2015)
      It would be no exaggeration to say that rather formalistic approaches to the art and culture of the first Soviet decade still dominate in post-Soviet academia. However, these approaches are substantially prescribed by later ideological concepts of “totalitarianism” and a radically negative view of the Soviet experience. The period’s artistic practices and achievements are seen outside the political and social experience of the victorious revolution, and the powerful impulses for transforming collective life that emanated from it. They are treated as discrete formal manifestations of the local modernist tradition, as acts of individual resistance, cunning maneuvers or forced compromises on the part of outstanding "lone creators” vis-à-vis the cultural policy of the Bolsheviks after they had come to power.
    • Book Review of "The Happiness Industry: How the Government and Big Business Sold Us Well-Being"

      Platt, Tracey; Ruch, Willibald (The International Society of Humor Studies, 2017-12)
      One may believe that reviewing a book on the “happiness industry” for the International Society for Humor Studies shows that humor is starting to embrace its natural bedfellow, positive psychology. However, before we all rush to jump on this new focus of interest, it might be worth considering the critiques offered by the author, William Davies. In his book Davies explores how and why there has been a shift in how we pursue happiness. He argues that happiness has moved away from being a personal goal to one that is used and controlled by a myriad of public entities, exploited by corporations to increase productivity, and even appearing on government agendas. Going beyond his own political and economic expertise, Davies also builds arguments that encompass practices within neuroscience and the science of psychology

      World Book Night Artist Collective (CFPR UWE : Bristol UK, 2017)
    • Case study of a performance-active changing trans* male singing voice

      Constansis, Alexandros N.; Foteinou, Aglaia; Independent Scholar, York, UK; University of Wolverhampton, Wolverhampton, UK (Taylor & Francis, 2017-10-11)
      A professional classical singer of more than 25 years (AZ) in his early 50s requested this voice researcher’s consultation and assistance in early 2014. He was about to start living full time as a trans* man. Despite his intention to be included in the low start/gradual increase testosterone option of the Trans* Male (previously, “FTM”) Singing Voice Program, the request contained a rather unconventional aspect: AZ would continue to sing while his voice was changing. The above request was integral with his singing history. After the introduction of safeguards and his informed consent, AZ was accepted onto the Program. Due to the highly individual circumstances, his participation was recorded as a case study. The study has aimed to replicate the particulars of the slow hormonal changes and continuing singing ability found in certain cisgender male adolescent voices. Despite dealing with an adult trans* male individual, the progress has been comparable. This has been achieved by carefully monitoring AZ’s low start/gradual increase testosterone administration in communication with the medical practitioner. The participant’s vocal health remained safeguarded and promoted by carefully individualized vocal tuition. This article will discuss the collective results of the case study, including the recordings and the data analysis.
    • Christian Mieves interviews Dana Schutz

      Mieves, Christian (Turps Banana, 2014)