Harris, Simon J. (Oxford University Press, 2014-02-27)
This chapter discusses and progresses through an aesthetic enquiry into a relationship between the virtual and the actual surface of painting. It is through the inherent temporality of both painting and cinema that the notion of a dynamic duration is interrogated. At the core of this investigative methodology the philosophies of both Henri Bergson and Gilles Deleuze are employed to examine how duration in painting can be experienced outside of the static recollection. Fundamentally this follows Deleuze’s seminal writing about the cinematic and the function of the image in relation to time. The author accepts Deleuze’s invitation to employ his concepts as a toolbox for dynamism. Thus a model is assembled in which the notion of the “recollection-image” and its relationship to the temporality of the “movement-image” is developed through the potential of the figural as a space between the figurative and the abstract in painting.
Harrison, Dew (CHArt (Computers and the History of Art), 2005)
The paper explores the activity of archiving within the field of fine art and museum studies with particular emphasis on the digital archive and new media database. Harrison identifies and develops new forms of digital archiving within curatorial projects, art-based collaborations, and Conceptual Art works. These archival forms are not constructed by information scientists or museum professionals, but by artists.
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.
Aimed at those who have a responsibility for policy and practice in relation to
education, health improvement and community, this position paper explores how
the corporatization of the modern university has arguably shifted how students see
themselves – and how academics see students and how students see academics.
Increasingly, education is being economized in an age of neo-liberalist ideology.
Universities spend considerable resources on recruiting students, promoting why
students should attend university but arguably spend far less on how they enable
students to be effective learners. The author argues that it is time to pay attention
to two key responsibilities in higher education: well-doing and well-being.
However, it is argued in this paper that universities are far too focused on
behavioural well-doing agendas and not sufficiently focused on experiential wellbeing of staff and students. This paper concludes that there is an urgent case for
realigning higher education through acknowledging the fundamental importance
of communitas – defined as “inspired fellowship” to enable human, personal,
spiritual and social well-being. It is argued that universities must take seriously the
mental health of their staff and students, and in so doing, the role of the arts may
provide plausible answers in realigning the culture of higher education.
On 28 March 2013, a small group of British female academics submitted written evidence of their findings to a Commons Select Committee concerning the dearth of British women film and television directors within the industry. Entitled Women in the Workplace (Conley et al. 2013), part of that report contained evidence from Directors UK, an organization formed in 2008 that calls itself ‘the voice of British film and television directors’ (Conley et al. 2013). A professional association with over 4,500 members, Directors UK explicitly expressed concern over the paucity of female film and television directors within the British media industry, although the period from 2000 to 2010 saw a rise in female film directors, reaching a peak in 2009, when they accounted for 17.2 per cent of British film directors overall. The increase coincides with the initiation of the UK Film Council (UKFC) and its changing policies concerning the encouragement of greater diversity and equal opportunities within the film industry. Within a historical context and in light of funding and UKFC policy, this article analyses its impact on women film directors in British cinema post-millennium.
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