• A tale of two poppets

      Fenton, Louise (Museum of Witchcraft and Magic, 2020-04-30)
      On a visit to the Museum of Witchcraft and Magic in 2009, a chance meeting between myself, Louise Fenton, and Graham King, the then owner of the Museum, led to the start of years of research and fascination with the stories behind the curses in the collection (to be included in a forthcoming publication with Troy Books). It began with an introduction to two curious clay dolls, wrapped in brown paper, black tissue paper and ‘Boots the Chemist’ ribbon, that lay in the cabinet of curses along with other poppets. The dolls on display were all intended to harm, yet their histories were relatively unknown. These two poppets were to be the focus of the initial research. This is their story…
    • Tales of migration from the global south. The civilized and uncivilized migrant in the narratives of La Tercera and El Mercurio

      Urbina, Maria L; Balica, E.; Marinescu, V. (Springer International Publishing, 2018-10-24)
      Migration is not a new phenomenon in Chile as the country has long seen migrants coming from Europe, the Middle East and Asia. Colonial views about race and ethnicity adopted by Latin Americans as part of their class structure (Quijano 2000) established an early differentiation between the “civilized migrant” and the “uncivilized migrant” among groups that arrived on Latin America shores. Chilean news media has echoes of this binary vision between the “civilized = good” migrant and the “uncivilized = bad” migrant. The chapter aims to uncover the narratives of the civilized and uncivilized migrant within the printed news media, particularly in the two major newspapers El Mercurio and La Tercera, by focusing on how these ideas frame the way in which they cover migration.
    • Talking textiles, making value: Catalysing fashion, dress, and textiles heritage in the Midlands

      Hackney, Fiona; Bloodworth, Jo; Baines, Emily; Howard, Catherine; Anderson, Claire (Taylor & Francis, 2019-11-11)
      There are hundreds of small museums, archives, and collections in the English Midlands, United Kingdom (UK), many of which are the legacy of the region’s rich industrial heritage. A surprising number of these include dress and textiles in various forms, from the costume collection of Charles Paget-Wade at Berrington Hall (Leominster) to intricately stitched smocks made by local needlewomen in Herefordshire, and the wealth of manufacturers’ samples that comprise the silk ribbon trade archive at the Herbert Museum, Coventry. These are challenging times for many such organisations as they face cutbacks in staff and local authority funding. Yet they offer a unique and largely unexploited resource for staff, students, and researchers in art and design higher education (HE), not only for primary research but also as a catalyst for design innovation. The discussion here, which takes the format of group research practitioner interview, builds on a Knowledge Exchange event that was held December 2017 at the Fashion Lab, University of Wolverhampton (UoW). The event brought together a diverse group of fashion and textiles professionals to talk, exchange ideas, take part in object handling sessions, mind-map, and brain-storm how to catalyse connections between heritage collections and higher education and build value. With seed funding from the Museum-University Partnership Initiative (MUPI) (see National Co-ordinating Centre for Public Engagement - NCCPE 2019), the day built on a series of scoping visits to collections in the region undertaken by Professor Fiona Hackney and Dr Emily Baines. The group involved staff, students and museum professionals including those from UoW, De Montfort University (DMU), Hereford College of Arts (HCA), Nottingham Trent University (NTU), artist Ruth Singer who leads the Arts Council-funded Criminal Quilts project in association with Staffordshire Record Office (Singer 2019), and representatives from Herefordshire Museum Service, the Herbert Gallery (Coventry), Walsall Museums Service, the Lace Guild Stourbridge, and Ironbridge Gorge Museum Trust. The following conversation reflects themes that emerged in the project including: the need to embed archival work and primary research in fashion and textiles curricula at all levels, the development of hubs to connect university research with museum practice, the added value of artist-led projects, and the significance of place-based textiles heritage as a catalyst for new business and sustainable design practice.
    • Technological Tools: the need to situate software skills in the implementation of design concepts

      Marshall, Lindsey (Institute of Electrical and Electronics Engineers (IEEE), 2004)
      As a consequence of the rapid development of new technology, and new areas such as multimedia in the graphic design industry, education is faced with the problem of incorporating the software skills associated with visual communication within the existing curriculum. The software is complex and is required by many areas of the industry resulting in students expecting software training as part of their course. Computer software skills should be situated in the subject they are being used for; learning software is not an end in itself — the software is only used in relation to the subject. Methods of learning software, such as training programmes, manuals are not sufficient by themselves; people learn from each other and in relation to the job in hand. The students’ understanding of software is situated in the process of generating solutions to problems and in implementing design concepts. Treating software skills as abstract, unrelated to subject specific knowledge, either through training courses or the use of training manuals, does not take into account the discipline that the software application is to be used for.
    • Text, image, audience: Adaptation and reception of Andrea Newman's Bouquet of Barbed Wire

      Pheasant-Kelly, Fran (Edinburgh University Press, 2016-01)
      Andrea Newman’s 1969 novel, A Bouquet of Barbed Wire has been adapted twice for television: first in 1976, and later in 2010. Controversially, the novel and its adaptations inferred father – daughter incest, a subject that was considered taboo during the 1970s. Arguably, though partly arising as a result of available technologies at that time, the repressed nature of incest is reflected in the claustrophobic aesthetics of the 1976 television version. In contrast, the more diverse cinematography, panoramic settings and less populated frames of Ashley Pearce’s 2010 version correspond with an increasingly transparent approach to incest and child abuse, consistent with the contemporary zeitgeist, which fosters openness across all social and cultural structures. In particular, the changed climate involves a mounting preoccupation with, and sensitivity to, child welfare and legislation, arising as a result of national and international media revelations of child abuse in both domestic and institutional scenarios. Engaging theoretically with Raymond Williams’ concept of a ‘structure of feeling’, as well as referring to Freud’s seduction theory, and television theorists including Karen Lury and John Ellis, this article locates parallels between the way that incest is represented and the socio-political and cultural contexts of the respective television adaptations of Newman’s novel.
    • The 4th World Ceramic Biennale 2007, South Korea

      Shaw, Vicky (2007)
      The 4th World Ceramic Biennale 2007 Korea was an international competition. Shaw entered, and was selected for the category of ‘ceramics for use’ as one of twelve artists representing the UK. Three bowls made in black basalt clay were exhibited. Although ‘the bowl’ has been the essential form in her work for twenty years, this was the first time she had considered it within the category of ‘ceramics for use’. The question therefore was how to translate her established canon of form and colour to suit this category. Interpreting utility in a broad sense, Shaw chose black basalt clay as the base material and the form of three nested bowls as the basic form for this inquiry. In search of a formal-aesthetic translation, Shaw developed linear and block colour patterns, which interact across the three forms to create a relational composition that works as a group as well as individual bowls.
    • The Anarchist Rabbi

      Kossoff, Adam (Lux.org, 2014)
    • The Arena Concert: Music, Media and Mass Entertainment

      Halligan, Benjamin; Fairclough, 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
    • The Biopolitics of the Soviet Avant-Garde

      Penzin, Alexei; Budraitskis, Ilya; Zhilyaev, Arseniy (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.
    • The Cholmondely Ladies and Rhythms of the Visible

      Kossoff, Adam (Cardiff: Ffotogallery, 2006)
      Kossoff’s four thousand word essay, “The Cholmondely Ladies” and “Rhythms of the Visible,” looks at how the video work of Harrison and Wood addresses ideas around the frame as a form of representation, and analyzes how this relates to early cinema. Kossoff uses the painting of “The Cholmondely Ladies” (1600-01) to begin the discussion of the frame, both an opening and a closure, in the video art practice of Harrison and Wood. He also maps out a recent development in Harrison and Wood’s work from the static camera to the moving one, which acts as commentary on the course of film evolution and reflects the development of video art in general.
    • The Colour of Memory (2006), Essex Flâneur (2006) and 3 Days (50 Years)

      Kossoff, Adam (2006)
      “Moving Frame” is an experimental film and video project, allowing artists and theorists to produce work and participate in seminars, forums and screenings on an ongoing basis. Kossoff made three works for the project: “The Colour of Memory” (2006), “Essex Flâneur” (2006) and “3 Days (50 Years).” Kossoff’s work focuses on the differences and overlaps between film and digital video; how the perception of time and space can change through the manipulation of moving image material. Through the central issue of film as a sequence of photograms, the work interrogates how perceptions of the moving image are evolving and how the digital has now re-defined the idea of the photogram and the frame. “3 Days (50 Years)” uses the digital camera’s single frame button, capturing the disruption of history in a work about Poland. Through repetitious cutting, “Essex Flâneur” mechanically captures the rhythms of space. Re-colouring and reframing family footage, “The Colour of Memory” shows video as a memorial to time. Kossoff’s essay investigated the moving image as a desiring machine, which is fragmented under interrogation.
    • The Creative Potential of the Post Industrial Landscape

      Jones, David; Heeney, Gwen (Cambridge Scholars Publishing, 2017-07-01)
    • The Czech-Speaking Lands, their peoples and contact communities: titles, names and ethnonyms

      Tom Dickins (2011)
      This article provides a detailed overview of the official and unofficial names applied to the Czech-speaking lands, their peoples and their language(s), and of the terms used by Czechs for contact communities and their territories. Particular attention is paid to the ethnolinguistic and semantic implications of the descriptors employed, and to the debates which they have stimulated. It is argued that the Czech lexicon continues to reflect traditional, relatively prescriptive perceptions of belonging, based on historical territorial claims and shared linguistic and cultural norms, which have symbolically marginalized outsiders and reinforced Czech solidarity. While erstwhile enmities have now largely given way to cooperative coexistence, critical attitudes to ‘problematic’ foreigners prevail, as confirmed, inter alia, by opinion surveys, and as exemplified by new pejorative designations for non-Western immigrants.
    • The discipline that never was: current developments in music technology in higher education in Britain

      Boehm, Carola (Intellect, 2007)
      This article discusses current issues around the provision of music technology in British universities. The discussion is based on the most current results from the project ‘Betweening’, funded by Palatine (Higher Education Academy). The aim of the project was to explore the educational landscape of music technology in HE and to provide an oversight of the different models used. The way a particular discipline – music technology – becomes established and how it evolves has as much to do with institutional and governmental politics, social constructs and pedagogical methodologies, as it does with the discipline itself. As well as an overview of the findings from quantitative studies (published in detail in Boehm 2006), this article discusses the findings from the qualitative information gathered from the Betweening project in order to provide an overview of the educational landscape of music technology in higher education in Britain today.
    • The Ends of Art (Sculpture)

      Altintzoglou, Evripidis (Vidéo Capitale 2016, Champlitte, France, 2016-02)
      This installation consists of a series of video works documenting the stages of the industrial processing of marble into tiles. The videos are shot in a straight conceptualist manner and have not been aestheticized neither during the shoot- ing nor the editing stages. Likewise, the sound elements of the work have been left unaltered in order to evoke the original atmosphere of the factory. The clinical portrayal of the commer- cialization of an otherwise historically traditional material for sculpture (marble) through an in- dustrial repetitive process underlines the recent methodological transitions in sculpture after the readymade: the substitution of the unique hand- made artifact by a massively reproduced object. In other words, it is a ‘behind the scenes’ docu- mentation of the process that produces a would- be-readymade while at the same time the mate- rial (marble) by which this object is produced is considered to be an important constituent of sculpture’s history and tradition. Likewise, due to the fact that this work problematizes the promise of a ‘new sculpture’ offered by the historic transi- tion towards interdisciplinarity it demands an approach that is foreign to the conventional aes- thetic means and phenomenological con nes of traditional sculpture; hence, the choice of video. Despite the radicality of Duchamp’s Fountain it persists as a sculptural form; regardless of how much it expanded the methodological eld of sculpture and by extension the de nition of art it remains an object.
    • The evaluation of a group Business English role-play delivered via a computer mediated environment (WOLF)

      Shannon-Little, Tony; Brett, Paul (University of Wolverhampton, 2001)
      Between 90 and 110 Direct Entrant students arrive from overseas partner institutions each year and undertake the English as a Foreign Language (EFL) Business Language Programme. The overall aim of the modules is to increase students’ command of English and communicative skills in order in the short term to allow them to cope well with undergraduate Business Studies, and in the longer term to enhance their communicative capabilities in an international professional environment (Assiter 1995, Ramsden 1992). In addition to the traditional communication skills of oral presentations, meetings, and report writing, today’s graduates will need to develop a familiarity with virtual written interaction—e-mail computer conferencing and document exchange—(Gruba & Lynch 1997), which will involve a recombination of a variety of skills for this new medium, including an ability to develop an appropriate range of professional relationships using the spectrum of formality styles, balanced with an unambiguous and explicit method of signalling intentions and requirements (Chapelle 1998), and an understanding of the advantages and disadvantages of virtual interaction in terms of time management, all with interlocutors who are anonymous in the sense that little or no face-to-face contact has taken place. It was assumed that the sensitivity required to perform this type of interaction effectively could be fostered through a virtual, asynchronous, anonymous simulation task (Warschauer et al 1996), which recent research suggests could at the same time increase the motivation, time on task, and development of linguistic accuracy of students (Freeman & Capper 1999, Gibbs 1999, Harper & Hedberg 1997, Li 2000, Liaw 1998).
    • The Graphic Design Exercise Book: Creative Briefs to Enhance Your Skills and Develop Your Portfolio

      Glaser, Jessica; Glaser, Jessica (Frances Lincoln, 2014)
      The Graphic Design Exercise Book provides a series of challenging design briefs that reignite a designer’ s creativity while also imparting new skills. Whatever their age or experience, graphic designers like to be creatively challenged, and may also want to broaden their skill-base in order to break into new and lucrative areas of the design industry. A range of industry insiders share their specialist knowledge by way of briefs that stretch the imagination and encourage the development of new skills across a range of genres, including logos, packaging, branding, identity, promotion, publication design, music graphics, and web design. Organized much like a recipe book, each brief lists the required materials and equipment so that designers can pick and choose. Interviews and in-progress work is included, while a number of fully realized projects illustrate the possible outcomes.
    • The Graphic Design Exercise Book: Creative Briefs to Enhance Your Skills and Develop Your Portfolio

      Glaser, Jessica (HOW Books, 2014)
      The book provides beginner, intermediate and advanced challenges in the areas of branding, packaging, page layout and more. Each challenge, constructed like a recipe, also includes possible solutions from professional designers. The book functions as a series of exercises, an introduction to different design disciplines and a collection of inspiring solutions.
    • The Graphic Designer's Guide to Effective Visual Communication: Creating Hierarchies with Type Image and Colour

      Glaser, Jessica; Knight, Carolyn (Switzerland: Rotovision SA, 2005)
      The researchers investigate how graphic designers employ changes of scale, composition, colour, and tone to influence the sequencing of information. They are also interested in how designers select the style and content of imagery, as well as how they use language to affect audience perception. This research emerges from anecdotal evidence of concerns amongst colleagues and the observation of need at numerous design institutions. The book discusses and juxtaposes typography driven and image driven aspects of visual hierarchy, in a manner not previously undertaken within the area of visual communication. Findings are illustrated not only by the work of international designers, but also with the aid of examples that have been specifically created by the researchers. The book is both written and designed by the authors to ensure control over verbal and visual interpretation. Glaser’s primary focus is on the visual aspects, while Knight’s is upon linguistic content.