The American writer Ray Bradbury has a long association with BBC radio. His works have been dramatised many times, often by others, but occasionally by himself. Drawing on research in the BBC Written Archives, this paper gives an account of Bradbury's treatment by the BBC, focusing on the period 1951–1970, and shows how a key work (the little known Leviathan 99) unites much of Bradbury's canon.
Dale, Crispin; McCarthy, Pat (University of Wolverhampton, 2004)
The aim of the research was to investigate the different learning styles of leisure, tourism and hospitality (LTH) students who were studying generic modules. Anecdotal experience of the research team has shown that students on LTH courses have a range of learning styles that influence their overall performance.
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.
McCoy, Tracy J. (University of Wolverhampton, 2004)
The motivation for this project grew from discussions between a group of lecturers from the university during and post delivery of subject specific bridging courses at North East Normal University in Changchun, China during March 2003. Anecdotal and experiential evidence suggested that there was a common need for study skills development among our prospective Chinese students, inorder to better prepare them for the more open and self-directed style of learning expected of students at the University of Wolverhampton. Prospective students attending the bridging course presented a significant demand for more detailed information about the university and it's teaching methods as well as information about the local area, living expenses etc. The main aim of the project was to investigate the learning styles, experiences and needs of prospective Chinese undergraduates to direct entry at Level 3 of a variety of study programmes and in response to the findings, develop some inter-school learning materials to support Chinese students. Thus it was hoped to avoid unnecessary duplication and the need for large teaching teams to to travel yearly to China to deliver bridging courses.
“Embryonic” was the first of a series of collaborative works with video artist Heald. The result was a collaborative installation utilising translucency and transparency in both film and kiln formed glass. Two years ago both artists identified a common interest and focus in each other’s work concerning light and movement. Heald was developing projections of her film works onto objects; Bird-Jones was experimenting with moving image in glass. The ensuing collaboration set out to explore how joining both media could enhance the effect of the ephemeral qualities common to both film and glass. These qualities were taken to be: translucency and transparency; and the static quality of glass created from liquid and the dynamic form of video film based on static script or code. Several glass samples were produced and experimented with by the collaborators in the studio. They experimented with Bullseye and Float glass, tack fusing crushed base glass seeking an appropriate and evocative surface to receive the projected film. Material and visual research was conducted concerning scale, size, fixings and juxtaposition of material.
This article examines notation, music representation and the representation of time. It builds on Boehm’s experience designing and implementing large-scale time-based information systems. In this article she focuses upon methodologies used for designing systems and data structures for time-based media. This submission looks specifically at issues around notation, control and the resulting requirements for digital representation of music and time-based information.
Callery, Dymphna; Hale, Kate (University of Wolverhampton, 2002)
The idea of introducing vive voce assessments emerged during a review of the assessment profile of the Drama Department. Despite the practical orientation of the programme, assessments were dominated by 60% Practical Project , 40% Essay weightings. Good practical marks were frequently undermined by weaker grades for written work, despite students’ evident development of understanding through practice, and written evaluations were generally of poor quality. In addition, staff had reported an unhealthy split in the focus of practical modules where written course-work was a requirement. In the drama professions it is more necessary to be able to explain ideas and creative concepts orally and pursue them somatically: the process of making work is physically and vocally-based; critical reflection comes orally too in the form of direction, post-show discussions and de-briefings. Teaching strategies for practical work embrace this, applying theoretical concepts in concrete praxis. Students’ development on such courses requires them to invest in sensory and experiential learning and a progressively intensive approach to practice. Presenting work to tutors and peers for critical feedback is the major teaching and learning mode. Having to change tack and focus on conceptualising theory, rather than exploring through creativity, and essay writing rather than practical skills, constrained tutors and students. The introduction of an oral examination – a viva voce – to assess students’ ability to critically reflect on and evaluate their practice could provide a viable alternative. Viva voces would both acknowledge and play to the strengths of students’ oral communication skills and offer them the chance to develop more formal interview techniques, as well as acknowledging the vocal and oral nature of the discipline. The aim of the project was to introduce viva voce exams as a method of assessing critical reflection on practical work in order primarily to improve the range of asessments, but in addition to give students an opportunity to sustain their achievement on practical modules. The focus was on finding and implementing strategies that would promote good practice in assessment.
The work developed from Sherwin’s successful AHRB application of 2003/4 to investigate if 16mm film can be successfully adapted for presentation in the gallery. “bdpq” questions the practical and aesthetic considerations of using a printing machine as projector within a gallery space, and asks if these indicators of geometry can be viewed as the aesthetic core of the artwork. “Vowels & Consonants” asks: what is the character of optical sound that can be generated directly from the physical shapes of letters? How does that sound relate to the sounds we associate with those letterforms? The work investigates chance at many levels. The letterforms b,d,p,q, were generated on a computer and printed onto raw 16mm film without a camera. Looped projection enabled an improvisatory form of projection facilitating live interaction with musicians. Effectively turn the process of film projection into an audio / visual art-form that can interact effectively with live music performance.
This book develops a genealogical critique of the cultural concept of the “everyday” from Freud and the Russian revolution (where it became crucial to notions of revolutionary cultural change) through Lukács, Benjamin and Lefebvre to Barthes, the Situationists and de Certeau.
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.
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