2010-09-02T14:54:39Zhttp://repository.uwic.ac.uk/dspace-oai/request
oai:http://repository.uwic.ac.uk:10369/882008-12-02T08:51:30Zhdl_10369_57hdl_10369_662authorKeay-Bright, Wendy2008-10-14T12:28:30Z2008-10-14T12:28:30Z2006-092006, Vol. 17, No. 3, pp. 149–1561462-6268/06/1703-0149DOI: 10.1080/146262600882414http://hdl.handle.net/10369/88Authors post-print. Publisher's copy available from http://www.informaworld.com/smpp/title~content=g749258800~db=allReActivities© are digital play sequences which encourage the integration of social, emotional and cognitive development in children on the autistic spectrum.
Funding from the National Endowment for Science, Technology and the Arts (NESTA), Learning Programme, has enabled a collaborative approach to the development of the ReActivities© software. As a result of working directly with children on the autistic spectrum and those who support them, an organic design process has emerged which embraces their distinct needs and characteristics.
Discovering how autistic children play has been revelatory. Something which normally developing children experience so naturally is often profoundly missing in autistic children for whom high levels of anxiety can inhibit playful experiences and increase the rigid, stereotypical and challenging behaviours which have a negative effect in social situations.
Interactions with objects that offer repetition, pattern and similarity combined with colour and rhythm are regularly used by autistic children as methods to reduce anxiety, however little has been done to interpret these sensations in digital environments.
Thus the aim of ReActivities© has been to offer a rich physical and cognitive experience which simulates the perceptible characteristics of phenomena such as elasticity, velocity, gravity and inertia.
This is an advanced form of cause and effect that promises a unique form of expression in response to exploration with computer technology.
There are numerous thoughtful and engaging websites designed and maintained by autistic people which are testimony to the theory that computers, and particularly electronic networks, offer enormous possibilities for creativity, communication and fun, which are so often suppressed by the tensions and anxieties of daily life.
In response to this the project is utilising open source technology to enable autistic users, many of whom are already conversant with programming languages, to adapt and re-generate the software.
Fostering a community approach to development affords further opportunities to explore an innovative, inclusive design method that, should it prove successful, could provide a model for other marginalised groups.Submitted by Debbie Savage (dsavage@uwic.ac.uk) on 2008-10-14T11:59:20Z
No. of bitstreams: 1
Digital Creativity WKB final.pdf: 53538 bytes, checksum: 1d1888125c266b2df4c9cbc376031d4c (MD5)Approved for entry into archive by Debbie Savage(dsavage@uwic.ac.uk) on 2008-10-14T12:28:30Z (GMT) No. of bitstreams: 1
Digital Creativity WKB final.pdf: 53538 bytes, checksum: 1d1888125c266b2df4c9cbc376031d4c (MD5)Made available in DSpace on 2008-10-14T12:28:30Z (GMT). No. of bitstreams: 1
Digital Creativity WKB final.pdf: 53538 bytes, checksum: 1d1888125c266b2df4c9cbc376031d4c (MD5)
Previous issue date: 2006-09National Endowment for Science, Technology and the Arts (NESTA)enRoutledgeAutism Spectrum DifferencesCollaborative DesignDigital EnvironmentsInteractionASDsSensory SoftwareDesign Enhanced Human FuturesDigital TechnologiesParticipatory DesignPlayReactivites©: Autism and PlayArticle
oai:http://repository.uwic.ac.uk:10369/1072008-10-17T11:16:38Zhdl_10369_57authorRichard BibbauthorHughes, CWauthorPage, KauthorTaylor, J2008-10-17T11:16:38Z2008-10-17T11:16:38Z2003-02-0141(1), pp.50-530266-4356http://hdl.handle.net/10369/107This research was part of the work carried out by the Medical Applications Group of PDR into the application of advanced design techniques in reconstructive surgery, in particular the use of computer-aided design and rapid prototyping techniques in head and neck surgery.
This article reported on collaborative research undertaken between Frenchay Hospital and PDR-MAG in the application of advanced design techniques in medicine.
This research involved exploiting product design techniques to repairing fractures to the bones that support the eyes, which requires precision if eyesight is to be restored perfectly. The techniques developed and described in this paper show how appropriate use of design technologies can aid in the design and manufacture of an artificial implant that will fit the individual patient precisely and restore function and vision with an operation that has reduced risks and is quicker to undertake.
PDR-MAG’s contribution to this research first involved using specialist computer-aided design software to evaluate a number of different sets of Computed Tomography (CT) scan data to see which CT parameters led to the optimum three-dimensional reconstruction from the data. Secondly, the methods of transferring this data and utilising it in order to produce the best possible physical model by stereolithography were explored. This led to a better understanding of the utilisation of these design technologies for the reconstruction of the orbital anatomy. This understanding has subsequently been applied to many cases of orbital floor reconstruction resulting in better outcomes and better recommendations for radiographers and surgeons.
PDR-MAG has continued to collaborate on challenging cases with Frenchay Hospital.
Bibb contributed the research undertaken by PDR-MAG. The Surgery was conducted by Hughes and Revington. Page made the implant and the CT scans were undertaken by Taylor. This article was double blind peer-reviewed by multiple reviewers.Made available in DSpace on 2008-10-17T11:16:38Z (GMT). No. of bitstreams: 0
Previous issue date: 2003-02-01British Journal of Oral & Maxiofacial SurgeryThe custom-made titanium orbital floor prosthesis in reconstruction for orbital floor fractures
oai:http://repository.uwic.ac.uk:10369/1082008-10-17T11:16:39Zhdl_10369_57authorRichard BibbauthorMorris, CauthorParkhouse, JauthorSugar, A2008-10-17T11:16:39Z2008-10-17T11:16:39Z2004-08-0142(4), pp.323-3300266-4356http://hdl.handle.net/10369/108This research was part of the work carried out by the Medical Applications Group of PDR into the application of advanced design techniques in reconstructive surgery, in particular the use of computer-aided design and rapid prototyping techniques in head and neck surgery.
This article reported on one particular aspect of the collaborative research work undertaken between the Maxillofacial Unit of Morriston Hospital and PDR-MAG in the application of advanced design techniques in medicine.
Initially, the research work being carried out in this collaboration met many practical and technological obstacles. This article describes the research that was undertaken to address these obstacles. This research required a thorough understanding of the design technology capabilities and networking techniques combined with an appreciation of clinical and ethical considerations. The work involved close collaboration and much experimentation with design technologies and procedural practices in order to achieve an efficient solution. The results of this particular piece of research enabled further applied research of the collaboration to be undertaken rapidly, efficiently and with greatly reduced possibility of communication errors. The procedures put in place have proved to be successful and continue to support the research collaboration between Morriston Hospital and PDR-MAG.
This paper represented the world’s first reported practical and effective investigation and solution to the dedicated collaboration between a hospital unit and an advanced design research department. The original, significant and valuable findings have provided a model for collaborative activity between other groups in this field. Bibb and Sugar conducted the research reported in this article for their respective organisations. Parkhouse and Morris contributed to the technical solution at Morriston Hospital. The collaboration has since been formalised to found the Centre for Advanced Reconstructive Technologies in Surgery (CARTIS - www.cartis.org). This article was double blind peer-reviewed by multiple reviewers.Made available in DSpace on 2008-10-17T11:16:39Z (GMT). No. of bitstreams: 0
Previous issue date: 2004-08-01British Journal of Oral & Maxillofacial SurgeryThe development of a collaborative medical modelling service: organisational and technical considerations
oai:http://repository.uwic.ac.uk:10369/1092008-10-17T11:16:39Zhdl_10369_57authorRichard BibbauthorWinder, RJ2008-10-17T11:16:39Z2008-10-17T11:16:39Z2005-07-0163 (7), pp.1006-1502782391http://hdl.handle.net/10369/109This paper was based on research work carried out by the Medical Applications Group of PDR into the application of advanced design techniques, in particular the use of computer-aided design and rapid prototyping techniques, in head and neck surgery.
This article reported on an analysis of the research of two authors at different institutes who had both undertaken a large body of work in the application of advanced design technologies in medicine. It was a collaboration between PDR-MAG and the School of Applied Medical Sciences & Sports Studies at the University of Ulster.
This article addressed the success factors required in the application of design technologies in the production of exact physical models of patient anatomy. Such models are used by surgeons and prosthetists to plan surgery and prefabricate implants and surgical guides. The use of these models enhances accuracy and confidence, whilst significantly reducing the duration of operations.
The analysis was based on the findings of a combined 17 years of research experience in this field. These findings have enabled researchers around the world to eliminate common errors and avoid techniques that the research had demonstrated as inappropriate or unsuccessful. The decision to report in collaboration produced a paper of broader scope and enabled a more thorough analysis than would have been possible individually.
Previous work in this area had focused on single case studies. In contrast, this paper was based on a large sample of cases using a wide range of techniques and technologies increasing its significance and value. In addition, the reporting of common errors and, more importantly, methods to avoid them was original and had not been widely reported previously. The authors contributed equally to the work and continue to share experience and knowledge. This article was double blind peer-reviewed by multiple reviewers.Made available in DSpace on 2008-10-17T11:16:39Z (GMT). No. of bitstreams: 0
Previous issue date: 2005-07-01Journal of Oral and Maxillofacial SurgeryMedical Rapid Prototyping Technologies: State of the Art and Current Limitations for Application in Oral and Maxillofacial Surgery
oai:http://repository.uwic.ac.uk:10369/1102008-10-17T11:16:39Zhdl_10369_57authorRichard BibbauthorEggbeer, DauthorWilliams, R2008-10-17T11:16:39Z2008-10-17T11:16:39Z2006-04-0112 (2), pp.95-913552546http://hdl.handle.net/10369/110This work was part of a long-term research project undertaken by the Medical Applications Group of PDR into the application of advanced design techniques to the needs of the dental technology industry, in particular the design and manufacture of Removable Partial Denture Frameworks (RPDs).
These frameworks are traditionally made in wax by hand in a highly-skilled, laborious and time consuming process. Previous research carried out by MAG had established that advanced design techniques including three-dimensional scanning and computer-aided design (CAD) could be used to develop accurate designs for custom-fitting RPD devices (see Williams outputs). This research suggested that digital processes could yield benefits in productivity and repeatability. However, the multiple steps required to produce sacrificial patterns and castings did not fully exploit the potential advantages of computer-aided manufacture.
This article reported on the exploitation of a new layer-additive manufacturing technique called Selective Laser Melting (SLM). SLM manufactures metal parts of almost any shape directly from computer designs. This research required experimentation to establish design parameters for the successful manufacture of RPD frameworks using SLM, including design considerations, build strategies, optimum orientation and support generation. Assessment of the RPD frameworks produced by SLM in both Cobalt-Chrome alloy and 316L Stainless Steel demonstrated that the finished items were fit for purpose and compared favourably to frameworks made by traditional techniques. Subsequent research has demonstrated that the devices produced fit patients as required and further work is being undertaken to enable commercial and technical benefits to be realised (see Williams output 4).
This work reports the world’s first successful production of an RPD framework using a computer-aided design and direct layer-additive manufacturing process. Bibb conducted this research with dental technology guidance from Williams. The computer-aided design aspects were undertaken by Eggbeer. This journal paper was double blind peer-reviewed by multiple reviewers.Made available in DSpace on 2008-10-17T11:16:39Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-04-01Rapid Prototyping JournalRapid manufacture of removable partial denture frameworks
oai:http://repository.uwic.ac.uk:10369/1112008-10-17T11:16:39Zhdl_10369_57authorStuart Cole2008-10-17T11:16:39Z2008-10-17T11:16:39Z2003-11-01, pp.http://hdl.handle.net/10369/111Design for Competition
Client: DSM Somos has been actively involved in developing rapid prototyping materials since the 1980’s, and introduced the first commercial stereolithography (SLA) resin.
Aim: An international competition was held for professional designers and students under the theme ‘Safety in Travel’. The competition aimed to better utilise available rapid prototyping (RP) technologies and explore the design freedom permitted from such technologies. The competition was sponsored by DSM Somos, the magazine New Design, and Time Compression Technologies (TCT).
Using the theme ‘Safety in Travel’ PDR focussed on the 2003 Government report ‘Advice on Travel-Related Deep Vein Thrombosis’, which stated: ‘All air passengers, even those at greatest risk can reduce the chances of getting DVT by doing…simple exercises’. The design team at PDR developed a product that would assist individuals complete such exercises.
Designed to alleviate the risk of Deep Vein Thrombosis (DVT) for long distance travel, PDR's entry ‘U.F.O 3’ demonstrated the functional and creative freedom made possible by advanced materials technologies. Using a DSM Somos optically clear and humidity resistant resin, PDR developed a single component exercise device that incorporated sockets with rotating spheres, unsupported sections and articulation between the base and the top, allowing flexibility when pressure is applied. The final design could only be made in one part by utilising the SLA process. Lessons learned through this research have facilitated subsequent research into design for direct manufacture using layer additive technologies.
The competition was judged on: a) relevance to the theme b) visual interest and impact c) originality, functionality and complexity d) interesting use of RP technologies in comparison to traditional manufacturing processes.
PDR's entry ‘U.F.O 3’ won the International Design Competition Grand Prize: Professional Category.Made available in DSpace on 2008-10-17T11:16:39Z (GMT). No. of bitstreams: 0
Previous issue date: 2003-11-01DSM Somos: "UFO 3"
oai:http://repository.uwic.ac.uk:10369/1122008-10-17T11:16:39Zhdl_10369_57authorStuart Cole2008-10-17T11:16:39Z2008-10-17T11:16:39Z2005-10-01, pp.http://hdl.handle.net/10369/112Product Design for Manufacture
Client: Offers waste disposal solutions to the healthcare industry via incineration of sharps waste.
Aim: To design, develop and manufacture the World's first re-usable sharps bin. Prior to 'Smart Sharps' all sharps bins were incinerated after a single use. PDR successfully designed, developed and manufactured a re-usable sharps bin, thus transforming the disposal of medical waste. ‘Smart Sharps’ offers substantial cost benefits to health authorities due to the cyclical nature of collect, dispose, clean and re-use; not to mention he environmental benefits of zero polymer incineration. The 'Smart Sharps' product has several unique features, including: a) a non-traditional triangular shape, providing a stiffer and stronger bin compared to traditional shaped sharps bins of the same capacity b) Poly-Alpha BN (anti-bacterial and anti fungal agents) moulded into the base material that fights the spread of superbugs such as MRSA, Ecoli, etc.
The 'Smart Sharps' bin has been accredited by the British Standards Institute. The significance of this highly innovative and inventive design was such that the British Standards Institute subsequently rewrote the corresponding standard in order to recognise triangular sharps bins.
The product is currently in trial within the NHS, Scotland.
Waste Solutions Co has been bought out by Stericycle as a result of the new sharps bin.
Recognition:
Won 2006: ‘iF’ Product Design Award
Won 2006: 'red dot' Product Design AwardMade available in DSpace on 2008-10-17T11:16:39Z (GMT). No. of bitstreams: 0
Previous issue date: 2005-10-01Smart Sharps: Re-usable sharps bin for the medical profession
oai:http://repository.uwic.ac.uk:10369/1132008-10-17T11:16:40Zhdl_10369_57authorStuart Cole2008-10-17T11:16:40Z2008-10-17T11:16:40Z2006-03-01, pp.http://hdl.handle.net/10369/113Design for Competition
Client: The Toshiba competition’s aim was to develop a possible product utilising the World's smallest hard drive (manufactured by Toshiba) as the key component. The competition was judged on aesthetics and final marketability.
Aim: PDR's aim was to develop a product concept for a versatile, easy to use, functional and cost effective hard drive digital camera that would utilise the World's smallest hard drive. PDR designed a digital camera with two key elements. Firstly, a fabricated aluminium chassis to carry and protect the internal components, designed in aluminium in an anodized finish to offer a range of colours and textures. The second element was the construction of the camera body in a variety of materials (wood, leather, fabrics, etc.) which are not traditionally used in consumer electronics products. This approach offered the user a more diverse range of tactile experiences. The materials were selected for their aesthetic properties and their ability to improve and enhance with age, again a unique feature for a product such as this. The intention was that the camera would become more personalised as it aged with the user thus developing unique characteristics and patina enhancing the perceived value to the user.
The overall concept was to break away from simple mono colour plastic injection moulded cases, to cases that are personal to the user and evolve with use, thus giving the user memories beyond the images that the camera captures.
Recognition:
PDR’s Design was 'Highly Commended' by Toshiba (350 entries from 31 Countries).Made available in DSpace on 2008-10-17T11:16:40Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-03-01Absorb: digital camera concept for Toshiba competition
oai:http://repository.uwic.ac.uk:10369/1142008-10-17T11:16:40Zhdl_10369_57authorStuart Cole2008-10-17T11:16:40Z2008-10-17T11:16:40Z2007-03-01, pp.http://hdl.handle.net/10369/114Product Design for Manufacture.
Client: Develops and manufactures nasal and sinus care products for the treatment of sinonasal symptoms. The company is the sole distributor of the Nasal Spa® nasal douche, supplying pharmacies and hospitals.
Aim: To research, design and develop a new nasal douche product capable of being launched into the consumer market. PDR researched existing markets, and the products, to develop a design brief that achieved two things: a radical redesign of the product to appeal to a wide range of consumers; and, a dramatic reduction in product cost. PDR developed the concept, detailed design and is assisting in implementing the product into manufacture.
PDR designed and developed an ergonomic bottle with an intuitively correct grip and a pump action to release the nasal cleansing solution. The bottle's aesthetics were designed to look less function and medicinal in order to appeal to a wider customer base, in line the expanding personal grooming care market. The product cost was reduced by 66% (through part reduction and optimisation of design for manufacture) making the product more attractive and feasible in the consumer market.
The developed product is an easy to use and maintain product that has enabled the business to expand and gain market share. Nasal Spa® has increased the company's product portfolio and diversified the company’s customer base to include the medical market and the personal grooming market, thus increasing the potential customer base.
Recognition:
Won 2007: 'iF' Product Design AwardMade available in DSpace on 2008-10-17T11:16:40Z (GMT). No. of bitstreams: 0
Previous issue date: 2007-03-01Nasal Spa®: Nasal douche bottle for cleansing the nasal cavity
oai:http://repository.uwic.ac.uk:10369/1152008-10-17T11:16:40Zhdl_10369_57authorDominic EggbeerauthorBibb, RauthorEvans, P2008-10-17T11:16:40Z2008-10-17T11:16:40Z2004-09-017, pp.11-151366-4697http://hdl.handle.net/10369/115This research explored the application of advanced, digital methods of designing facial prosthesis patterns and evaluated them though a clinical case study. The work was undertaken by PDR Medical Applications groups in a long-term collaboration with Morriston Hospital.
Digital design techniques remain relatively underexploited in maxillofacial prosthetics due to technical and economic challenges faced by this small, specialist profession. Conventional methods rely upon laborious, handcrafting techniques and the need to embrace technological innovation is recognised within the profession. This research evaluates new technological methods that might provide clinically viable solutions.
A suitable orbital prosthesis patient case was selected by the maxillofacial unit at Morriston Hospital, Swansea. Medical CT scan data acquired for implant planning was used to obtain the soft tissue topography. A new 3D computer-aided design and sculpting package, FreeForm, was used to design an orbital prosthesis pattern based upon the mirroring and manipulation of the unaffected eye. Once judged clinically acceptable, ThermoJet wax printing was used to produce a physical pattern that could be incorporated into the conventional prosthesis manufacturing process. A clinically acceptable prosthesis was provided to the patient.
This research demonstrated how appropriate digital methods might be successfully incorporated into conventional prosthesis construction and that this can help reduce overall construction time. This was one of the World's first reported cases of a digitally designed and fabricated facial prosthesis. These research findings indicated advantages over traditional practice and provided a foundation that guided subsequent case studies as part of an overall aim to establish the current capabilities of digital technologies in facial prosthetics.
The research was conducted by Eggbeer, the clinical aspects were conducted by Evans and Bibb contributed design and rapid prototyping expertise. The paper was published in this journal to achieve maximum impact into prosthetics practice.Made available in DSpace on 2008-10-17T11:16:40Z (GMT). No. of bitstreams: 0
Previous issue date: 2004-09-01The Journal of Maxillofacial Prosthetics & TechnologyOrbital prosthesis wax pattern production using computer aided design and rapid prototyping techniques
oai:http://repository.uwic.ac.uk:10369/1162008-10-17T11:16:40Zhdl_10369_57authorDominic EggbeerauthorBibb, RauthorEvans, P2008-10-17T11:16:40Z2008-10-17T11:16:40Z2006-06-0119(3), pp.258-2630893-2174http://hdl.handle.net/10369/116This research forms part of an ongoing investigation that aims to identify the specification requirements for advanced digital design and development technologies that may be used to design and fabricate complex, soft tissue facial prostheses. The work was conducted as part of a long-term collaboration with Morriston Hospital.
Following a review of previously reported techniques, appropriate currently available design and development technologies were selected and applied to a case study. This study used a range of 3D optical surface scanning, computed tomography, 3D computer-aided design (CAD) and rapid prototyping (RP) technologies to capture, design and fabricate a bone-anchored auricular (ear) prosthesis including the retention components. This was the World's first published report of direct digital design and RP fabrication of retention components for extra-oral, facial prostheses. The techniques were assessed in terms of their effectiveness and the results used to identify future research and specification requirements in order to direct future technological developments.
The case study identified that whilst digital technologies may be used to design implant retained facial prostheses successfully; many limitations need to be addressed to make the techniques clinically viable. It also identified the need to develop a more robust specification that covers areas such as resolution, accuracy, materials and design, against which potential design technologies may be assessed. Subsequent work has built upon this to develop a full specification, which has since been submitted for publication.
The research closely involved those that provide a prosthetic rehabilitation service within the health service in order to ensure clinical and technological relevance.
The research was conducted by Eggbeer, the clinical aspects were conducted by Evans and Bibb contributed design and rapid prototyping expertise. The paper was double blind, peer-reviewed and published in this journal to ensure the widest possible impact in the field.Made available in DSpace on 2008-10-17T11:16:40Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-06-01International Journal of ProsthodonticsTowards identifying specification requirements for digital bone anchored prosthesis design incorporating substructure fabrication: a pilot study
oai:http://repository.uwic.ac.uk:10369/1172008-10-17T11:16:40Zhdl_10369_57authorDominic EggbeerauthorBibb, RauthorEvans, P2008-10-17T11:16:40Z2008-10-17T11:16:40Z2006-12-019, pp.1-41366-4697http://hdl.handle.net/10369/117Previous research into the application of digital technologies in maxillofacial prosthetics has focussed on the creation of overall shape, but very little research had explored the incorporation of implant retention mechanisms. Given that implant retention is considered as state of the art, the author identified the need to evaluate and develop the capability of digital technologies to design and manufacture implant retained prostheses. Furthermore, past research had not sought in-depth analysis of digital techniques compared to conventional methods. This research evaluated the results of a case study, and further discussed and attempted to quantify the quality, economic and clinical impact of the techniques.
A suitable auricular prosthesis case was identified by the Maxillofacial Unit at Morriston Hospital, Swansea and suitable technologies selected by the author. Magnets that would retain the prosthesis were placed on to a replica of the patient’s defect site and optical scanning technologies were used to digitise this and the contra-lateral (opposite) ear. Combinations of new and established techniques were used to generate a prosthesis pattern that incorporated the magnets. Conventional production methods were then used to complete the final prosthesis, which was provided to the patient. This research built on a previous implant retained case study (Eggbeer output 2) whilst utilising different techniques and addressing magnetic retention.
Conclusions on future research directions were made and these informed subsequent research in this field.
To maximise impact in the profession this research was published in a journal specifically aimed at practicing prosthetists who would be likely to apply the techniques reported.
The research was conducted by Eggbeer, the clinical aspects were conducted by Evans and Bibb contributed design and rapid prototyping expertise.Made available in DSpace on 2008-10-17T11:16:40Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-12-01The Journal of Maxillofacial Prosthetics & TechnologyAssessment of digital technologies in the design of a magnetic retained auricular prosthesis
oai:http://repository.uwic.ac.uk:10369/1182008-10-17T11:16:40Zhdl_10369_57authorDominic EggbeerauthorBibb, RauthorEvans, P2008-10-17T11:16:40Z2008-10-17T11:16:40Z2006-08-01220 (6), pp.705-71409544119http://hdl.handle.net/10369/118This research identified and assessed suitable technologies that may be used to capture, create and produce fine textures and wrinkles that may be incorporated into computer aided prosthesis design and production techniques. This work was part of a long-term study into digital design techniques in facial prostheses conducted with Morriston Hospital.
The application of texture in digital prosthesis design was previously unexplored and the author identified the need to develop and evaluate the techniques and direct future research.
An understanding of the technological and clinical requirements was required to achieve the research objectives, which were to define suitable levels of skin texture, identify methods of digitally re-creating and capturing texture, apply and evaluate the selected methods through case studies. Following a cross-discipline review of skin wrinkling and micro-relief, a range of suitable technologies were identified, and two methods that may be used in different prosthetic rehabilitation situations were assessed: The creation of three-dimensional relief in a computer aided design environment and the capture of facial anatomy and texture using 3D fringe projection surface scanning. Suitable Rapid Prototyping methods were evaluated and an optimum process identified. Wax patterns were produced using the RP process and these were assessed by a qualified and experienced prosthetist to assist in identifying the clinical relevance.
The findings from this original study have been used to inform subsequent research by the author and others in the field and have produced a significant advance in the digital design and manufacture of facial prostheses.
The research was conducted by Eggbeer, the clinical aspects were conducted by Evans and Bibb contributed design and rapid prototyping expertise. The paper was subject to blind peer-review and was targeted at a journal that would provide maximum impact in both technical and clinical fields.Made available in DSpace on 2008-10-17T11:16:40Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-08-01Proceedings of the Institution of Mechanical Engineers Part H Journal of Engineering in MedicineA pilot study in the application of texture relief for digitally designed facial prostheses
oai:http://repository.uwic.ac.uk:10369/1192008-10-17T11:16:41Zhdl_10369_57author2008-10-17T11:16:41Z2008-10-17T11:16:41Z2003-11-12, pp.http://hdl.handle.net/10369/119Commissioned to research and direct this film by BBC Manchester and Discovery Health in the USA for the EVERYMAN series.
The film follows a world wide experiment run by a leading American heart surgeon to test the 'power of prayer'. It took 3 years to complete. 700 heart patients were randomly assigned to prayer (or not) – then prayer groups around the world prayed for them. The welfare of the 700 was monitored for 3 years. The results of the prayer experiment were published in the Lancet and found to be negative.
The process of making this film allowed me to explore my research interests in the tension and boundaries between storytelling for documentary and fiction. The finished film was to a great extent a fabrication since the elements of the film (prayer groups/operations) were happening simultaneously in differing parts of the world. Some elements were shot ‘as real’ many months later. Through editing, I was able to bring disparate elements, together for the first time to create a new reality. I began to experiment and push the possibilities of the documentary form and test my reaction to the boundaries I crossed. The resulting film is an attempt to test Werner Herzog’s idea’s of an ‘ecstatic truth’ (Herzog on Herzog. Faber 2002). An attempt to grasp a greater truth rather than ‘mere’ fact - the ‘truth of accountants’. The Sunday Times stated that testing prayer was akin to ‘nailing down Blancmange’. I agree but the film was a chance to test the boundaries of a concept widely used, but little acknowledged in TV – namely, the wafer thin boundary between ‘reality’ and the constructed ‘realities’ of the documentary form. This film led me to a self-imposed three-year break from television to research the inherent dilemmas of the documentary filmmaker.Made available in DSpace on 2008-10-17T11:16:41Z (GMT). No. of bitstreams: 0
Previous issue date: 2003-11-12Does Prayer Work?
oai:http://repository.uwic.ac.uk:10369/1202009-12-17T12:13:52Zhdl_10369_57hdl_10369_623authorGill, Steve2008-10-17T11:16:41Z2008-10-17T11:16:41Z2003-07-01Gill, Steve (2003). Personal and Ubiquitous Computing 7 (3-4), pp.159-16216174917http://hdl.handle.net/10369/120This paper analyses the issues facing design teams in developing information appliances in the age of ubiquitous computing. Specifically it examines the potential of rapid design and prototyping techniques developed by the author as part of the Programme for Advanced Interactive Prototype Research (PAIPR).
Product designers generally use low-tech methods because technical solutions requiring in-depth programming or electronics knowledge largely precluded them via a skills gap and lack of complementarity with standard process. The Information Ergonomics (IE) System on the other hand is designed to blend hardware and software-based solutions with other techniques in order to create a method sympathetic to the designer’s mode of operation.
The significance of the work lies in its identification of a gap in the product development process, where design and development issues currently fall between two professions. Subsequent collaboration with the UK design industry revealed the detrimental effects of this gap and the lack of coordinated, multi-disciplinary approach to tackling the problems behind it. In this paper Gill advocated a product designer-focused “systems” approach that is a mixture of hardware, software and pen & paper techniques. Other attempts have either concentrated on solving technical issues (Smart-Its, Phidgets, Buck) or low tech systems techniques (Wizard of Oz, Experience Prototyping, Paper Prototyping). Since this paper was published the field has progressed. Stanford’s DTools addresses some issues and the PAIPR team themselves, in conjunction with Lancaster University are developing faster more flexible systems based on ad hoc networking systems. In 2003 however, the work broke new ground eventually leading to the development of a team of funded research students.Made available in DSpace on 2008-10-17T11:16:41Z (GMT). No. of bitstreams: 0
Previous issue date: 2003-07-01SpringerPersonal and Ubiquitous ComputingDeveloping information appliance design tools for designers
oai:http://repository.uwic.ac.uk:10369/1212008-10-17T11:16:41Zhdl_10369_57author2008-10-17T11:16:41Z2008-10-17T11:16:41Z2006-10-21, pp.http://hdl.handle.net/10369/121A 60 minute documentary film about Internationally acclaimed American artist Shimon Attie. During 2006 he worked with the people of Aberfan, to create an artwork to mark the 40th anniversary of the Aberfan mining disaster. The producer and I knew the anniversary would be a media frenzy, so we began visiting the village in 2003, listening to their concerns about the approaching anniversary and trying to devise a film that would both satisfy the villagers and the needs of a television company/television audience. We tailored our film to match the requests of the villagers. Firstly they requested that the film contain no archive images of the actual disaster. The 17 other crews who filmed during 2006 all used the archive which so damages the village community. Secondly they wanted to ‘create’ something to mark the occasion, and so we introduced them to the artist Shimon Attie. Thus Shimon’s central role in this film as ‘the artist’ working with the villagers is manufactured. In the finished film I concealed this fact – this was a film that managed to balance the ethical dilemmas of truth within documentary. Once again I was influenced by Werner Herzog’s (Herzog on Herzog. Faber 2002) ideas of creating ‘ecstatic truths’ rather than ‘literal truths’ in film.
The project addresses issues of representation, media responsibility and the exploitation of tragedy. The film also explores (with Shimon Attie) the tension and interplay between 'collective memory’, history and storytelling. The impact on the community of Aberfan has been huge – it acts as a mirror to their grief and casts new light.
The connection with Shimon Attie will be further explored in a cinema feature documentary film about the disputed claims over Temple Mount in Jerusalem.Made available in DSpace on 2008-10-17T11:16:41Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-10-21An American in Aberfan
oai:http://repository.uwic.ac.uk:10369/1222008-10-17T11:16:41Zhdl_10369_57author2008-10-17T11:16:41Z2008-10-17T11:16:41Z2008-10-17T11:16:41Z, pp.1573929638630http://hdl.handle.net/10369/122The quoted output refers to one of a series of authored works, all of which are submitted as evidence to support the submission.
Medium-sized design agencies do not get the published attention that is available for larger groups (such as Pentagram or Imagination, to use UK examples) or for individual ‘star’ designers such as Zaha Hadid, Ross Lovegrove or Philippe Starck. This series, which I edit and write, was initiated in 2002 to address this gap. Nine volumes have been published to date. The tenth is due for Christmas 2007.
The series is intended for design professionals and design students, and shows its audience the range of work produced by the selected designers and the different approaches to design used by apparently similar groups.
The opportunity to me is, in individual volumes, to research and promote interesting work or good design practice. In the series as a whole I can develop a different approach to writing a design monograph in each case, as appropriate to the design philosophy and practice of the chosen design agency. Developing such different approaches is a contribution to the field of design writing in general.
The books are researched through interviews with and presentations by the selected design agencies and contextualised in contemporary design thinking. This research also informs other projects (i.e. a forthcoming Design Management book with China Youth Press.)
Titles to date:
Atelier Bruckner (Stuttgart)
Root (London)
KMS Team (Munich)
Mauk Design (San Francisco)
Triad (Berlin)
Markgraph (Frankfurt on Main)
Navyblue (Edinburgh)
D’Art Gruppe (Cologne)
Totems (Amsterdam, Stuttgart)Made available in DSpace on 2008-10-17T11:16:41Z (GMT). No. of bitstreams: 0avedition, LudwigsburgRockets (Atelier Brückner >>form follows content<<)
oai:http://repository.uwic.ac.uk:10369/1232008-10-17T11:16:41Zhdl_10369_57author2008-10-17T11:16:41Z2008-10-17T11:16:41Z2008-10-17T11:16:41Z, pp.2240789306476http://hdl.handle.net/10369/123Marc Newson is an Australian-born product designer who now works mainly in Paris and London. His reputation has increased considerably in recent years, but it was already clear at the time the book was commissioned that he was a rising star in the design world, a dozen years younger than Philippe Starck and his generation. The book was forms part of a series acting as an introduction to the designer or architect and his or her work. I had already written two other titles in the series, on Jean Nouvel (1999) and Philippe Starck (2000).
A conventional monograph contains an opening essay followed by a chronology of the work. My feeling was that this would not engage the student market, and so the book is more linked by theme, looking at groups of work. It also relies heavily on the use of illustration.
There are two challenges in this kind of writing: one is around the subject, the other around the reader. The problem with the subject is that famous designers have been interviewed often, and have most of their answers off pat: while such a book as this is not a study of the “real” Newson, it is necessary to find a technique for discussing the subject that is less superficial than a magazine interview. This was attempted by looking in particular at the cultural differences in Newson’s background as compared to his European contemporaries. The problem with the eventual reader is that in a highly illustrated book the author needs also to be the art director, planning and placing the illustrations at the same time as developing the text.
This book (and earlier ones in the series) was an opportunity to revisit the format of a classical monograph, and to reconsider it in terms of a specific audience.Made available in DSpace on 2008-10-17T11:16:41Z (GMT). No. of bitstreams: 0Universe Publishing, New YorkMarc Newson
oai:http://repository.uwic.ac.uk:10369/1242008-10-17T11:16:41Zhdl_10369_57author2008-10-17T11:16:41Z2008-10-17T11:16:41Z2008-10-17T11:16:41Z, pp.152095428139Xhttp://hdl.handle.net/10369/124The exhibition A Gentle Madness was the first major retrospective of Tony Ray-Jones’ work, and looked to re-appraise his contribution to photography in Britain. Ray-Jones is recognized as important for several reasons, including his influence on the rise of independent art photography in Britain during the 70s, and an emerging generation of photographers including Martin Parr and Daniel Meadows, with his acerbic account of Englishness (A Day Off, 1974). It sought to contextualise Ray-Jones’ best-known work with lesser-known and unseen photographs along with diaries, notebooks and correspondence.
The exhibition and book looked at the traffic in documentary styles between Europe and the US, and the influence of Surrealism and popular cinema in developing Ray-Jones’ approach to identity and place. For English and Dutch venues, an additional section was included that located Ray-Jones in terms of legacy, influences and polemics on questions of nationhood. It included the work of Friedlander, Frank, Winogrand, Cartier-Bresson, Parr, Stone, Reas, Steele-Perkins, Billingham and Killip amongst others.
The exhibition had its premier at the Les Rencontres Internationales de la Photographie at Arles (France). As part of Arles, it was reviewed in over 50 publications and was featured on several Continental European television stations. In the UK the BBC, Guardian and Eye Magazine covered the exhibition; it was also the starting point for a series of Arts Council conferences ‘What Happened Here? Photography in Britain Since 1968’.
The book developed themes of the exhibition and is part biography and cultural history, with emphasis on Ray-Jones’ experiences in the US, and susbequent portrayal of English customs as sites of resistance to America and globalization. The book includes a fascinating interview between Bill Jay, editor of Creative Camera and Album in the 60s and 70s, and photographer Martin Parr.Made available in DSpace on 2008-10-17T11:16:41Z (GMT). No. of bitstreams: 0Chris Boot / National Museum of Photography, Film and TelevisionTony Ray Jones
oai:http://repository.uwic.ac.uk:10369/1252008-10-17T11:16:41Zhdl_10369_57author2008-10-17T11:16:41Z2008-10-17T11:16:41Z2008-10-17T11:16:41ZCentre of the Creative Universe: Liverpool and the Avant-Garde, pp.56-819781846310898http://hdl.handle.net/10369/125'Centre of the Creative Universe' was a major exhibition that offered a unique account of Liverpool’s art scene over the past fifty years. Moving from the immediate post-war period to the present, the exhibition explored how the city has inspired nationally and internationally renowned artists to create an external view of Liverpool and its people. Liverpool is considered as a world city with an enduring capacity to inspire creative acts. Alongside artworks that chart the city’s rise as a centre of the 1960s global pop revolution, the exhibition explores how Liverpool has also inspired documentary photography, politically motivated art and hosted avant-garde movements from Pop to Conceptual Art and beyond.
‘In Camera: Stories from the City’ is the essay for the book that accompanied the exhibition. It reflected on selective uses of photography as art, science, documentary, photojournalism and advertising, to reveal the range of photographic cultures in the city and links between the historical and contemporary. For example, connections between early uses of photography in publishing as part of critiques of industrialization were made with more recent art commentaries on the alienating effects of the modern work place; advertising, studio and vernacular portraiture considered in relation to picturing strategies of contemporary artists working photography. The essay selectively situated the work of recent artists and documentary photographers as part of the diverse fabric of photographic cultures that operated within the city from the 1840s to date.
The essay is connected with other published work exploring the aesthetics of the document, documentary aesthetics and urban space. For example, the essay ‘A Matter of Fact: The Rhetoric of Documentary ‘Style’, for the book ‘FABULA’, (ISBN 0 948489 22 7), and ‘On Being a Tourist’, for ‘Up in the Air, Liverpool’: LHAT & Year of the Artist, 2000.Made available in DSpace on 2008-10-17T11:16:41Z (GMT). No. of bitstreams: 0Liverpool University Press & Tate LiverpoolIn Camera: Stories from the City
oai:http://repository.uwic.ac.uk:10369/1262008-10-17T11:16:41Zhdl_10369_57author2008-10-17T11:16:41Z2008-10-17T11:16:41Z2008-10-17T11:16:41ZFabula, pp.15-280948489227http://hdl.handle.net/10369/126This book accompanies ‘Fabula’, an exhibition of contemporary photography and video art at the NMPFT. In ‘Fabula’, a new generation of international artists explored the conventions and ideas associated with the familiar world of the documentary image. The exhibition introduced a host of rogue elements to question the limitations of the document and how alternative conceptions of documentary within the visual arts can contribute to expanding documentary modes. ‘Fabula’, meaning ‘story’ or ‘fable’ in Latin, suggests that the fabulous qualities of storytelling are always at work, even in the supposedly factual realm of the documentary.
The essay ‘A Matter of Fact…’ looked at the development of a rhetoric documentary ‘style’ in photography that was historical and linked to modernism through the photographs of Eugene Atget, Walker Evans and Mass-Observation, and not solely part of postmodern turn in photography. It looked at how re-construction, subjectivity, reflexivity and irony were knowingly present in the formative decades of documentary. Questions were raised about how contemporary exploration of documentary ‘style’ needed to be mindful of its playfulness if considered in relation to what were already expanded ideas of documentary in the 1930s in particular. Contemporary contrast was made with the work of Susan Meiselas with ‘Kurdistan: In the Shadow of History’ (1997) as an example of meaningful intervention that expanded documentary field through exhibition, the book and the Web.
Artists included in FABULA: Todd Hido, Jenny Gage, Sharon Yaari, Matt Hulse, Jeanne Faust, Laure Provost and Christopher Stewart.Made available in DSpace on 2008-10-17T11:16:41Z (GMT). No. of bitstreams: 0National Museum of Photography, Film and Television, BradfordA Matter of Fact: The Rhetoric of Documentary 'Style'
oai:http://repository.uwic.ac.uk:10369/1272008-10-17T11:16:42Zhdl_10369_57authorauthorKochhar, R2008-10-17T11:16:42Z2008-10-17T11:16:42Z2002-11-0116 (4), pp.350-36514355655http://hdl.handle.net/10369/127This peer-reviewed article describes outcomes of a research project originally supported by AHRB and the European Commission. The article was a collaboration with Rajesh Kochhar, then Director of the Indian National Institute for Science, Technology and Development Studies (NISTADS), describing an ethnographic study of the traditional brass founders of Bankura District, West Bengal. The research built on anthropological work carried out in the 1960s investigating practices of a dwindling group of traditional craftspeople, and their responses to contemporary pressures in the rapidly changing economic environment of India. The focus of the study was the impact of technological innovation, in the form of a new furnace developed on their behalf by NISTADS. The research showed that the economic liberation of access to the new furnace technology led to creative liberation.
The study not only produced a definitive digital archive of images and video recordings of practices, but led to the development of an on-line database and research resource: http://www,bankurahorse.com (live until January 2006 and subsequently off-line).
A version of the formal report was published as Smith DJ & Kochhar R (2002) The Dhokra Artisans of Bankura, in Brandt D (ed) Navigating Innovations: Indo-European Cross-Cultural Experiences vol 1, Entrepreneurial Case Studies (ISBN 8-18835-315-9)
Related work was presented as Brandt D, Cernetic J, Hartmann E, Kochhar R, Mayer F, Nemec B, Scherer E, Smith DJ and Stapleton L (2003); Technology fostering individual, organisational and regional development: An international Perspective. In Rosenthiel L (ed) Kompetenzentwicklung 2003. Waxmann Münster, München.
A conference paper on aspects of the topic was given as Smith DJ (2003) Communicating Tacit Knowledge: case studies of the use of multimedia archiving in modern and traditional craft practices, IVSA Conference, Southampton, July 2003.
The paper has been anthologised in Gill, S P (ed) 2007 Cognition, Communication and Interaction, London, Springer, (ISBN 978-1-84628-926-2)Made available in DSpace on 2008-10-17T11:16:42Z (GMT). No. of bitstreams: 0
Previous issue date: 2002-11-01AI & SocietyMultimedia Archiving of Technological Change in a Traditional Creative Industry: A Case Study of the Dhokra Artisans of Bankra, West Bengal
oai:http://repository.uwic.ac.uk:10369/1282008-10-17T11:16:42Zhdl_10369_57author2008-10-17T11:16:42Z2008-10-17T11:16:42Z2008-10-17T11:16:42ZYearbook of the Artificial: Nature, Culture and Technology Volume 3, pp.203-2143039106902http://hdl.handle.net/10369/128A discussion of research carried out in Wales introducing young (KS2) children to a virtual reality based artwork and educational experience, and discussion of its ontological implications. The book in which the chapter appears was based on an Invitational Symposium held at Ascona, Switzerland in April 2004 and focussed around the “Culture of the Artificial”. The chapter describes investigations into children’s creative responses to the challenge of issues regarding representation and reality. The children and their teachers experienced a view of the world mediated as “seen” by a virtual reality dragonfly and then worked with digital photography to investigate the ways in which perceptions might be manipulated and influenced.Made available in DSpace on 2008-10-17T11:16:42Z (GMT). No. of bitstreams: 0Peter LangFly's Eye View: an investigation of the impact of the experience of using a VR system on young children's understanding of representation and reality
oai:http://repository.uwic.ac.uk:10369/1292008-10-17T11:16:42Zhdl_10369_57author2008-10-17T11:16:42Z2008-10-17T11:16:42Z2003-05-0117 (1), pp.1-1114355655http://hdl.handle.net/10369/129The article relates to an invited contribution the author made to the Council of Europe’s deliberations towards a policy for the support of “cultural work in the age of convergence”. The article challenges the Council’s failure to consider the convergence of art and technology. Using the Newport art school as a case study, the article shows how contemporary art education was attempting to bridge between new developments in technology and aspects of traditional creative culture. It argues against the view that Higher Education can be entirely delivered on-line, but questions the ability of conventional universities to respond quickly enough to contemporary challenges.
The material in the article was extended and developed from an earlier presentation reported in Council of Europe: Proceedings of the Council of Europe Conference on Cultural Work in the Information Society. Strasbourg, Council of Europe.Made available in DSpace on 2008-10-17T11:16:42Z (GMT). No. of bitstreams: 0
Previous issue date: 2003-05-01AI & SocietyConvergence, the university of the future and the future of the university
oai:http://repository.uwic.ac.uk:10369/1302008-10-17T11:16:42Zhdl_10369_57author2008-10-17T11:16:42Z2008-10-17T11:16:42Z2007-06-0121 (4), pp.421-42814355655http://hdl.handle.net/10369/130This peer-reviewed article was invited as a contribution to the 21st anniversary issue of the Journal AI & Society. It introduced work currently in progress on the epistemology of intangible cultural heritage and discusses some general issues arising from this. The paper is developed from work in India and the UK on the role of tacit knowledge in social design. Part of the work, in relation to the “bottom-up” design of eGovernment environments have been presented as Smith, DJ, World Heritage Knowledge: Knowledge Networking and E-Government: lessons from India. (International conference on “Building and Bridging Community Networks”, Brighton, 2004). In addition, other aspects of this research have been discussed in Smith DJ (2004) Waiting for the Internet dhaba: technology access and e-government in India. In Kopacek P & Stapleton L (eds) Technology and International Stability (IPV - IFAC Proceedings, Elsevier, Amsterdam ISBN 978-0080442907)Made available in DSpace on 2008-10-17T11:16:42Z (GMT). No. of bitstreams: 0
Previous issue date: 2007-06-01AI & SocietyNetworking real-world knowledge
oai:http://repository.uwic.ac.uk:10369/1312008-10-17T11:16:42Zhdl_10369_57author2008-10-17T11:16:42Z2008-10-17T11:16:42Z2008-10-17T11:16:42Z, pp.3808480269898http://hdl.handle.net/10369/131This book was based on a developed and recontextualised version of the bicentenary exhibition Specimens & Marvels curated for the National Museum of Photography, Film & Television in 2000, specifically for MNARS in Madrid; the exhibition formed a central part of PhotoEspana’s international festival of photography.
As the most extensive exhibition of Talbot’s pioneering experiments with photography to date, the exhibition presented a rigorous encounter with this imaginative and overlooked period of photographic production. It took Talbot’s seminal book ‘The Pencil of Nature’ (1844-46) as the conceptual framework for the show to reveal the diversity of his thinking through photography. The point being to draw out how Talbot’s pictorial aesthetic was intertwined with research into ancient languages, optics, natural philosophy and interests in painting and literature. Here ideas of reproducibility and the copy were explored in specific historical terms but informed by references to postmodernism. Talbot’s work was also contextualized alongside Niépce and Daguerre to reflect on investments in photography as art, science and industry.
The exhibition was reviewed internationally, including an extensive review in Le Monde and journal reviews including Etude Photographique and Afterimage. The accompanying bilingual book contained essays with chapters by Russell Roberts, with additional essays by Geoffrey Batchen, Catherine Coleman, Michael Gray, Gerardo F Kurtz, Larry J Schaaf and Mike Ware. As the curator and main contributor to the book, pages 77-315 are given over to the exhibition and its wider cultural contexts.
The research included organizing an international conference ‘Retracing the Image: The Emergence of Photography in the 19th Century’ (2000); papers published in History of Photography (2001/2); a related essay ‘Images and Artefacts: William Henry Fox Talbot and The Museum’ for Presenting Pictures, (Artefact, Volume IV 2004, and was reviewed in Journal of Design History, No. 3, 2005.Made available in DSpace on 2008-10-17T11:16:42Z (GMT). No. of bitstreams: 0Museo Nacional, Centro de Arte Reina SofiaHuellas de Luz: El Arte y los Experimentos de William Henry Fox Talbot / Traces of Light: The Art and Experiments of William Henry Fox Talbot
oai:http://repository.uwic.ac.uk:10369/1322009-01-05T14:57:14Zhdl_10369_57hdl_10369_661authorTreadaway, Cathy2008-10-17T11:16:42Z2008-10-17T11:16:42Z2007-06-07Proceedings of the 6th Creativity and cognition Conference: Seeding Creativity: tools media and environments, Washington DC., pp.10http://hdl.handle.net/10369/132This paper presents examples of collaborative practical investigations undertaken with a textile artist and textile designer. The findings are interwoven and supported with references from current literature on creativity from the fields of neuroscience, psychology and human computer interaction. The paper contends that collaborative investigations can be used as an appropriate research tool for empathically engaging with issues directly arising from related case study research.
The investigation as a whole examined the ways in which digital imaging technology influences creative cognition, its impact on practice and the created artefact. Collaborative practical investigations were used to acquire data to illuminate the creative process and highlight significant issues concerning the use and future development of technology.
The research was presented to a wider interdisciplinary audience through this paper, including computer science, HCI and psychology. The paper was internationally peer reviewed under a selection process in which 23% were accepted, and published in a conference proceedings volume (June 2007). It was one of the 6 papers selected from the 24 presented at the conference for publication in a special issue on creativity for the journal Leonardo (to be published in 2008).Made available in DSpace on 2008-10-17T11:16:42Z (GMT). No. of bitstreams: 0
Previous issue date: 2007-06-07Using empathy to research creativity: collaborative investigations into distributed digital textile art and design practice.
oai:http://repository.uwic.ac.uk:10369/1332008-10-17T11:16:42Zhdl_10369_57authorauthorFacer, KauthorFurlong, JauthorSutherland, R2008-10-17T11:16:42Z2008-10-17T11:16:42Z2008-10-17T11:16:42Z, pp.2620415298431http://hdl.handle.net/10369/133This book was developed from an ESRC funded research project (1998-2000) entitled ‘ScreenPlay’ conducted by researchers from Bristol, Cardiff and University of Wales Newport universities. The Directors of this project were Prof. R. Sutherland, Prof. J. Furlong and myself.
Keri Facer was the Researcher on this project. The book was co-researched and written by this team using quantitative (questionnaire) and qualitative (case studies) methodologies in schools and in domestic settings.
The interdisciplinary team drew from research perspectives including Psychology (Sutherland), Sociology and Education (Facer, Furlong, J., Furlong, R. and Sutherland) and Media and Cultural studies (Facer and Furlong, R.). The book set out to question the assumption that we are straightforwardly experiencing a ‘techno-revolution’ or living in a ‘cybersociety’ or that young people in countries like ours constitute a new ‘digital generation’.
The research set out to answer five questions:
• Who has access to what screen-based technologies (home, school, other contexts)
• Under what social/physical circumstances do young people engage with these technologies
• What is the significance of screen-based technologies in young people’s lives as a whole?
• How do young people learn to use computer technologies?
• In what ways do computer technologies enhance and transform children’s capabilities?
ScreenPlay has led to debates at local, national and international levels in academic, popular and industry-linked venues about important issues concerning how we learn with the computer. It has explored how children may be disadvantaged if they own a computer but are unable to acquire the cultural capital to fully engage with it. Debates have also focussed on a re-evaluation of the role of educators and government role in relation to ICT. Finally how can young people be best helped to understand and benefit from modern communication systems?Made available in DSpace on 2008-10-17T11:16:42Z (GMT). No. of bitstreams: 0RoutledgeFalmer, LondonScreenPlay: Children and Computing in the Home
oai:http://repository.uwic.ac.uk:10369/1342008-10-17T11:16:43Zhdl_10369_57authorauthorFacer, KauthorFurlong, JauthorSutherland, R2008-10-17T11:16:43Z2008-10-17T11:16:43Z2001-03-0122 (1), pp.91-10814653346http://hdl.handle.net/10369/134This article was developed from an ESRC funded research project (1998-2000) entitled ‘ScreenPlay’ conducted by researchers from Bristol, Cardiff and University of Wales Newport universities.
The work acknowledges that access to new technologies in the area of information and communication (ICT) is of great concern to the British government but challenges the stereotype that all young people are vanguards of a ‘digital revolution’. Based on research with children and their families, the work explores how the use of the computer is actually negotiated within the home and explores what implications this may have for educational policy and practice. The authors suggest that, rather than e-learners approaching technologies like the computer facing a body of ICT knowledge which they need to engage with it might be more conducive to ICT learning to start with the user and his or her creative use of the computer and challenge distinctions such as ‘work’ ‘home’ or ‘play’ in relation to this technology. The work has informed debates concerning access and equality in relation to ICT not just in education but also in relation to economics and citizenship. The work is heavily cited, for example in: The ‘Digital Divide’: A Discussion Paper prepared for the DfES (UK Government Department of Education and Skills) by the Evidence Team, Becta (British Educational Communications and Technology Agency, April 2001). It is hoped therefore that this article may have contributed to debates in relation to the Government’s strategies and developments in relation to ICT and e-learning.Made available in DSpace on 2008-10-17T11:16:43Z (GMT). No. of bitstreams: 0
Previous issue date: 2001-03-01British Journal of Sociology of EducationConstructing the Child Computer User: from public policy to private practices
oai:http://repository.uwic.ac.uk:10369/1352008-12-11T14:03:34Zhdl_10369_57authorFacer, KauthorFurlong, JauthorSutherland, R2008-10-17T11:16:43Z2008-10-17T11:16:43Z2001-06-01New Media and Society, 3 (2), pp.199-21914614448http://hdl.handle.net/10369/135This article was developed from an ESRC funded research project (1998-2000) entitled ‘ScreenPlay’ conducted by researchers from Bristol, Cardiff and University of Wales Newport universities.
There has been relatively little research on how young people make sense of ‘the computer’. For those who have it, how does it come to be part of the everyday life of the home and what use do young people think it offers in relation to future opportunities and careers. This article draws on a survey of 855 children and 16 detailed case studies of their use of computer in the home and suggests that we need to understand the diversity of learning practices (formal and informal) which young people are engaged in relation to ICT if technologies like the computer are to become technologies offering social inclusion in the workplace rather than social exclusion.
This work has therefore influenced those working in research on human-computer interaction in particular exploring a more ‘multi-modal’ approach to acquiring knowledge, for example through diverse semiotic systems such as image, sound, gesture and the body. The work inspired, for example, a paper presented to the IFIP Conference, Manchester July 2002 ‘Beyond Language: exploring the potential of multi-modal research’ by Keri Facer, Futurelab (IFIP is the International Federation for Information Processing, an umbrella organisation for research in information technology).
The work has also influenced those working in Youth and Adult Development Programmes exploring how life-chances of disadvantaged and low income groups might be enhanced through the creative use of the computer for example (Bridging the Digital Divide: An Evaluation of a Train-the Trainer, Community Computer Education Program for Low-Income Youth and Adults, Journal of Extension June 2006 Volume 44 No. 3 Article Number 3FEA2, University of Connecticut.)Made available in DSpace on 2008-10-17T11:16:43Z (GMT). No. of bitstreams: 0
Previous issue date: 2001-06-01Sage Publications Ltd.New Media and SocietyWhat's the point of using computers? The development of young people's computer expertise in the home
oai:http://repository.uwic.ac.uk:10369/1362008-10-17T11:16:43Zhdl_10369_57authorauthorFacer, KauthorFurlong, JauthorSutherland, R2008-10-17T11:16:43Z2008-10-17T11:16:43Z2008-10-17T11:16:43ZChildren, Technology and Culture: The Impacts of Technologiesin Childrens Everyday Lives, pp.13-270415236347http://hdl.handle.net/10369/136This article was developed from an ESRC funded research project (1998-2000) entitled ‘ScreenPlay’ conducted by researchers from Bristol, Cardiff and University of Wales Newport universities.
This opening chapter to the book explores the literal placing of the computer within the home and the implications of this for its use as a resource by young people. Similar studies have been conducted, historically, concerning the entry of the radio and the television into the domestic space, but where is the computer located? This question is explored by research involving questionnaire (855 children) and case study research with sixteen families. This machine is in fact still a relatively recent arrival to the British domestic scene. The authors found that the computer as an object meant many things: an expensive investment by parents, a perceived educational tool and a policing device (‘better the young people are in than out’). The computer had no ideal resting place as does the television and was located, for example, in makeshift ‘studies’ under the stairs, in bedrooms or on the kitchen table. Furthermore it is often a shared resource with all the tensions surrounding this. It also offers access to the outside world.
What the article points out is that the material nature of the computer affects its use. Ownership of hardware and software is affected by socio-economic factors (low income families had less access to computers for example). Furthermore, far from the nation producing a generation of ‘cyberkids’ young people’s access to computers in the home involves complex negotiations in terms of space and place in the domestic interior. In the conclusion to this chapter, the authors suggest we need to search for new methodologies to understand the role of the computer in the shaping of youth identity.Made available in DSpace on 2008-10-17T11:16:43Z (GMT). No. of bitstreams: 0RoutledgeFalmer, LondonHome is where the hardware is: Young people, the domestic environment, and 'access' to new technologies
oai:http://repository.uwic.ac.uk:10369/1372008-10-17T11:16:43Zhdl_10369_57authorauthorLonginotto, K2008-10-17T11:16:43Z2008-10-17T11:16:43Z2005-03-09, pp.http://hdl.handle.net/10369/137My documentary film practice is situated within the broader context and conceptual framework of counter cinematic narratives and ideas about Africa, in particular, the representation of women. My agenda and thematic concerns in the process of using the documentary film as a mode of inquiry is to engage with and explore ‘other’ realities in Africa and how these manifest in visual representations; what kind of knowledge is borne out of these new ways of imagining different aspects of daily life in Africa from an African perspective? In my research and production of documentary films, I attempt to engage with ideas, issues and questions that construct and present alternative images, especially ideas and images of women.
Sisters in Law is a feature-length documentary film portraying aspects of women’s lives and work in the judicial system in Cameroon, West Africa. The film centres around four cases involving violence against women. It shows women seeking justice and effecting change on [universal] human interests issues. It also shows strong and positive images of women and children in Cameroon.
Sisters In Law has been screened in over 120 film festivals around the world, and also in Art House cinemas in Europe and USA. It has won many film awards including the prestigious PRIX ART ET ESSAI at the Cannes film festival in May 2005, Best Documentary Film at Hawaii International Film Festival, Audience Award at International Documentary Festival, Amsterdam (IDFA), Best Documentary on a Contemporary issue, Grierson Award, Social Justice Award for Documentary Film at Santa Barbara International Film Festival, Best International Documentary at Real Life on Film Festival, Melbourne and Best Single Documentary, Royal Television society.
It has been screened several times on both terrestrial and digital television in Britain (More4, Channel 4), and Canal+ in France.Made available in DSpace on 2008-10-17T11:16:43Z (GMT). No. of bitstreams: 0
Previous issue date: 2005-03-09Sisters in Law: Stories from a Cameroon Court
oai:http://repository.uwic.ac.uk:10369/1382008-10-17T11:16:43Zhdl_10369_57author2008-10-17T11:16:43Z2008-10-17T11:16:43Z2005-03-08, pp.http://hdl.handle.net/10369/138In January 2005, the Valley and Vale Community Arts in Wales invited ten women to produce and present short films exploring the relationship and differences between their lives and that of mothers. The project then evolved to include some of the ideas and questions that I have been interested in exploring through my film practice.
This project gave me the chance to explore the new possibilities offered by new technology where the technical aspects of filmmaking no longer present an overwhelming threat in making moving images. I found this project as a challenge in the process of documenting and producing [counter] images from a personal point of view as opposed to having someone else dictate the agenda for a film about my mother and me. Central to this process was the notion of representing and narrating the ‘self’.
My personal memories and my mother’s photos are all I have left; I wanted to use these to explore the notion of self-representation and personal storytelling within the context and broader theme of auto-video narratives. In the process of narrating myself in relation to my memories of my late mother, I became anxious about what to reveal. I wanted to find a way to vocalise and document these memories, the pain of not being present at her funeral and questions and issues surrounding her life and death.
I also wanted to explore the notion of identity construction, subjectivity and objectivity, and memory in the ‘First person film’ in the process of narrating aspects of the ‘private self’ for the ‘public’.
Public Screenings:
NATIONAL MUSEUM AND GALLERIES OF WALES, CARDIFF, MARCH 2005
REAL LIFE DOCUMENTARY FILM FESTIVAL GHANA, June 2007.Made available in DSpace on 2008-10-17T11:16:43Z (GMT). No. of bitstreams: 0
Previous issue date: 2005-03-08My Mother: Isange
oai:http://repository.uwic.ac.uk:10369/1392008-10-17T11:16:43Zhdl_10369_57author2008-10-17T11:16:43Z2008-10-17T11:16:43Z2007-02-03, pp.http://hdl.handle.net/10369/139This film documents the lives and football activities of Women Fighters, a team of predominantly Muslim women in Zanzibar. It presents a community of strong-willed women determined to better their lives and define new identities through playing soccer. Their involvement with soccer goes beyond the pitch; they travel, party on the beach, and play soccer with men. This film presents a rare and fresh look at the lives of women in Africa, with challenging viewpoints from women determined to achieve personal goals beyond their prescribed traditional roles and expectations.
The very concept of Muslim women playing football is not only a novel idea, but it also challenges widely held negative perceptions about the role, image and status of women in Muslim countries where women have many restrictions such as concealing their bodies and not being in public with men who are not their relatives. What motivates these women to play football? How do they deal with society’s attitude towards their love for the game? These, amongst others, are the questions that I was hoping to explore in the process of making the film.
The process of researching and defining the content and structure of the film used a variety of documentary techniques such as in-depth personal interviews, conversations and also observing and filming events as they happened. Through the individual interviews, the women speak for themselves rather than just being observed and spoken for; an insider’s view about what it’s like to be African
Zanzibar Soccer Queens has been selected and screened at:
WORLD PREMIERE AT THE GOTEBORG INTERNATIONAL FILM FESTIVAL (FEBRUARY 2007);
REAL LIFE DOCUMENTARY FILM FESTIVAL IN GHANA (JUNE 2007);
SPECIAL INVITATION TO 10TH ZANZIBAR INTERNATIONAL FILM FESTIVAL, ZIFF, (JULY 2007);
SPECIAL INVITATION TO WOMEN MAKE WAVES FILM FESTIVAL IN TAIWAN, (OCTOBER 2007)Made available in DSpace on 2008-10-17T11:16:43Z (GMT). No. of bitstreams: 0
Previous issue date: 2007-02-03Zanzibar Soccer Queens
oai:http://repository.uwic.ac.uk:10369/1402008-10-17T11:16:43Zhdl_10369_57author2008-10-17T11:16:43Z2008-10-17T11:16:43Z2007-10-09, pp.http://hdl.handle.net/10369/140Our World in Zanzibar presents a group of women from Europe, North and South America telling what it’s like living in Zanzibar, East Africa. The women share stories of their migrations to Zanzibar during a 4-day period, in different workshop settings. They spoke frankly about why and how they migrated, the painful past experiences and their aspirations and reality of living in a different culture.
I saw this project as a unique opportunity to further develop and expand on the scope and the discourse of [auto] video ethnography and ‘First Person’ film practices where [ordinary] people are given opportunities to construct and tell their personal stories through moving images and sounds. The film explores and provides material for discussing the relationship between memory and the present, the private and public in the process of self-expression, and the anxieties of revealing the ‘private’ in ‘public’ space. I was interested to look at the empowering function of constructing and representing autobiographical materials [using video] in a range of performance contexts.
Another important issue that the film highlights through the women’s personal stories is a new outlook on Africa. This project provides an added dimension and a chance to explore and present new and alternative images and ideas about Africa through the women’s experiences. It explores the notion of ‘Reverse Migration’; people migrating from richer and wealthier countries to Africa, a continent consistently represented as a place of despair, misery and poverty. Their stories and experiences present Africa as a place of safety and peace, where dreams can be realized and an environment that allows an individual to flourish and be creative.Made available in DSpace on 2008-10-17T11:16:43Z (GMT). No. of bitstreams: 0
Previous issue date: 2007-10-09Our World in Zanzibar: Women's Migration Stories
oai:http://repository.uwic.ac.uk:10369/1412009-12-17T12:08:49Zhdl_10369_57hdl_10369_661authorTreadaway, Cathy2008-10-17T11:16:43Z2008-10-17T11:16:43Z2004-06-01Treadaway, Cathy (2004). The Design Journal 7 (2), pp.3-170-7546-4107-4http://hdl.handle.net/10369/141This paper investigates the impact of digital imaging technology on creative printed textile practice. Qualitative ethnographic research methods, including the use of a case study, are described. Findings are presented that reveal the connections between hand making, craft and creative cognition and its impact on the digital process. Data from the research identify how practitioners integrate textile techniques, such as hand painting and embroidery, in the digital process in order to extend their creative practice. The paper was internationally peer reviewed and selected for presentation at the Pixel Raiders2 conference at Sheffield Hallam University in April 2004. It was one of only five papers selected from a large number and wide variety of submissions, from different digital disciplines presented at the conference, for publication in a special digital issue of the Design Journal.Made available in DSpace on 2008-10-17T11:16:43Z (GMT). No. of bitstreams: 0
Previous issue date: 2004-06-01BergDigital reflection: the integration of digital imaging technology into the creative practice of printed surface pattern and textile design
oai:http://repository.uwic.ac.uk:10369/1422009-01-05T14:56:04Zhdl_10369_57hdl_10369_661authorTreadaway, Cathy2008-10-17T11:16:43Z2008-10-17T11:16:43Z2004-11-012 (3), pp.256-273185973764-1http://hdl.handle.net/10369/142This journal article investigates further the impact of digital imaging technology on the creative practice of printed textile practitioners. It develops the ideas from my earlier Design Journal paper 'Digital Reflection' (Output 1) by examining how digital technology supports imaginative thought. Findings from the research discussed in this paper reveal how digital technology can be used as a creative medium, facilitating an evolving visual language, hybrid craft practices and the opportunity for creative collaboration through the sharing of visual concepts. The paper was peer reviewed by an international panel and selected for its significance and appropriateness in a special edition of the journal that focused on papers on digital technology.Made available in DSpace on 2008-10-17T11:16:43Z (GMT). No. of bitstreams: 0
Previous issue date: 2004-11-01Textile, the Journal of Cloth and CultureDigital Imagination: the impact of digital imaging on printed textiles
oai:http://repository.uwic.ac.uk:10369/1582010-08-16T15:37:05Zhdl_10369_57hdl_10369_662authorKeay-Bright, Wendy2008-10-17T11:16:46Z2008-10-17T11:16:46Z2007-01-04Design Principles and Practices Conference, Imperial Collage London / Design Principles and Practices, An Internet Journal, pp.13http://hdl.handle.net/10369/158This paper extends my research interest (from Output 1) in the experiential capacity of computation and, in particular, the contribution made by end-users to the process of software design. I focus on the tensions in the collaborative design process which occur as a result of competing disciplinary perspectives. While empirical and speculative research methods can be opposed or contradictory, I argue for the need to maintain a balance between empirical and speculative research methods. In particular, I stress the significance to the design process of understanding the idiosyncratic behavioural patterns of individuals.
This claim is discussed in the context of my work on tangible interfaces for embodied play. I present outcomes which emerge from speculative research methods, outcomes which cannot be obtained from orthodox empirical approaches. Their research significance lies in the fact that autistic children are shown playing in an environment and claiming it as their own in ways which directly inform the design process.
The paper was selected as the winner of the 'International Award for Excellence' in the design field by the editors and the International Advisory Board of the journal Design Principles and Practices. As the winning author, I have been invited to present at the Second International Conference on Design Principles and Practices at the University of Miami in January 2008.Made available in DSpace on 2008-10-17T11:16:46Z (GMT). No. of bitstreams: 0
Previous issue date: 2007-01-04The Reactive Colours Project: Demonstrating Participatory and Collaborative Design Methods for the Creation of Software for Autistic Children
oai:http://repository.uwic.ac.uk:10369/1592009-02-05T15:55:50Zhdl_10369_57hdl_10369_662authorKeay-Bright, Wendy2008-10-17T11:16:46Z2008-10-17T11:16:46Z2007-04-11EAD 07 7th Design Conference - Dancing with Disorder; Design, Discourse and Disaster, , pp.13http://hdl.handle.net/10369/159This paper continues my research interest in the experiential capacity of computation (see Outputs 1 and 2) and moves the focus to the capacity of digital media to encourage greater bodily awareness in autistic children. This paper documents part of the Reactive Colours design research project which, with the support of National Endowment for Science, Technology and the Arts awards totalling £182,000, has been developing customisable software, called ReacTickles©, to engage the unique sensory interests of children on the autistic spectrum. It focuses upon how the ReacTickles© software is being used on interactive whiteboards with young autistic children in a number of UK schools.
Whereas the conventional view maintains that educational technology should be interactive in a functional sense, requiring the user to complete pre-defined tasks, ReacTickles© offers tangible interfaces as an embodied play activity. The benefit of this approach, I argue, is that it elicits outward expression of inner sensation. The interactive whiteboard removes the necessity to manage motor control in a confined space and, in so doing, reduces the impediment to bodily expression created by the limited spaces of traditional interfaces. The importance of this embodied interactivity is that it encourages greater bodily awareness in autistic children who experience distorted or even disconnected relationship with their body due to proprioceptive and vestibular sensory disorders.
The paper was peer-reviewed for publication in the conference proceedings.Made available in DSpace on 2008-10-17T11:16:46Z (GMT). No. of bitstreams: 0
Previous issue date: 2007-04-11Designing playful sensory experiences with interactive whiteboard technology: the implications for children on the autistic spectrum
oai:http://repository.uwic.ac.uk:10369/1652008-10-17T11:16:46Zhdl_10369_57authorJeff Jones2008-10-17T11:16:46Z2008-10-17T11:16:46Z2008-10-17T11:16:46Z, pp.2569-780713-670134http://hdl.handle.net/10369/165The book provides a major survey of the studio pottery movement which began in the early twentieth century and which still claims the attention of large numbers of people. Existing publications in the field are mainly descriptive in nature and surprisingly little primary research has so far been conducted, with correspondingly few books which focus specifically on this area of practice. This is the first book to evaluate the social, cultural, ideological and wider visual contexts in which studio potters have operated, and continue to operate. The research reveals a large amount of relatively raw, untapped archival material (both in public collections and in private hands). Interrogation of this material is complemented by interviews conducted with makers and surviving family members. The book brings attention to a series of unexamined, or in some cases untold, stories and foremost amongst these is the development of the notion of ‘independence’, which potters continue to negotiate both conceptually and in their studio practice. A detailed account of the potters and their work is offered, emphasizing the ideas that have driven the movement forward and the diverse range of artefacts that have been produced under the ‘studio pottery’ banner.Made available in DSpace on 2008-10-17T11:16:46Z (GMT). No. of bitstreams: 0A&C BlackStudio Pottery in Britain 1900-2005
oai:http://repository.uwic.ac.uk:10369/1682008-10-27T17:03:23Zhdl_10369_57authorJones, Jeffrey2008-10-17T11:16:47Z2008-10-17T11:16:47Z2004-01-0158, pp.34-371035-1841http://hdl.handle.net/10369/168I contribute to the research within Fine Art & Ceramics through my studies of the history and theory of ceramics in Britain, and my editorship of the electronic journal “Interpreting Ceramics”.
This article focuses on the work of Meri Wells, a maker of figurative ceramics and discusses her work within the context of the place of its production. This place is a remote valley in North Wales and the sense or spirit of that place – its genius loci – is identified as a key aspect of the meaning of the work, both for the maker and viewer. The artworks are examined from the point of view of their status as ‘figures’; an ambiguous status in that the artworks are neither human nor animal representations, but exist as hybrid forms which do not quite belong either to the human or natural worlds. The article asks questions of how such figures – the product of an isolated life – can find a place within a contemporary art context. Although they are difficult to categorise, and therefore to exhibit, the conclusion is reached that they can have relevance as ‘mythic’ figures, crossing the boundary between the natural world, the human world and the world of the imagination.
The research value of this article lies in its documentation of contemporary ceramics figurative practice and in its demonstration of how an artist’s relationship to place can be assessed through the concepts of natural world, human world and imagination. In making this assessment the article drew on over eight years of ceramics archive material collected by the author, for example, exhibition catalogues, promotional material and artists’ personal letters. This material is now part of a larger Ceramics Archive held by the Wales Institute of Research in Art & Design.Made available in DSpace on 2008-10-17T11:16:47Z (GMT). No. of bitstreams: 0
Previous issue date: 2004-01-01Ceramics: Art and PerceptionA Kind of Belonging, The Ceramics of Meri Wells
oai:http://repository.uwic.ac.uk:10369/1692008-12-02T11:46:40Zhdl_10369_57hdl_10369_661authorPhilip O'Reilly2008-10-17T11:16:47Z2008-10-17T11:16:47Z2003-09-18Museo del Tessuto, Prato, Italy, pp.1http://hdl.handle.net/10369/169This was the first exhibition within the Museo de Tessuto (Museum of Textiles) to explore how new or extra-textile technology is being applied to art textiles. The work included in the exhibition was selected by a jury made up of textile researchers from the London University of the Arts, the European Textiles Network, and from the museum itself.
My research examines the relation between painting and felt-making. I explore the various ways in which the unconventional application of industrial textile technologies can achieve 'palettes' of textures and surface qualities not normally available to the artist felt-maker. In producing the artwork, I created a textile by applying surface colourant made from wool-tops (or skeins) to a recycled woolen substrate using an industrial needle-loom. The research content of the work came from using the loom in an unconventionally reiterative manner. The reiteration here involved cutting the textile and reapplying it to itself so as to increase what is possible within the textile's patina or surface aspect. The novel aesthetic arising from this process was the creation of a dense texture alongside a sharply focused image, thereby allowing the viewer to enjoy the uncertainty of not knowing whether they were viewing a painting or a textile.
A catalogue was produced by the Museo del Tessuto to coincide with the exhibition, titled Artist at Work - New Technology in Textile and Fibre Art, ISBN 88-7781-531-0.Made available in DSpace on 2008-10-17T11:16:47Z (GMT). No. of bitstreams: 0
Previous issue date: 2003-09-18'Colour and Interstices' in group exhibition, 'Artist at Work - New Technology in Textile and Fibre Art'
oai:http://repository.uwic.ac.uk:10369/1702008-12-11T14:06:00Zhdl_10369_57hdl_10369_661authorO'Reilly, Philip2008-10-17T11:16:47Z2008-10-17T11:16:47Z2006-01-14Collins Gallery, University of Strathclyde, Glasgow, pp.4http://hdl.handle.net/10369/170My contribution was five exhibited works and a conference paper entitled 'The Digital Hub'. The two main artworks exhibited were entitled: Portal - glass, and Portal - felt.
The exhibition was curated by Laura Hamilton of the Collins Gallery, University of Strathclyde. The exhibition featured the work of seven textile artists exploring the impact which digital technology has had on their practice. I aimed to show how digital imaging technology allowed for the manipulation of an image and its reproducibility onto different substrates. Digital imaging was used to transfer an image, scanned from my original miniature watercolour, onto two different substrates, e.g. felt and glass. (Other works included digital prints on silk, canvas and paper.) Once scanned, the colours were made brighter, given more contrast, and the image was formatted into a 9 x 9 grid pattern of my design. Then, using ‘dye-sublimation’, a heat-transfer print technology, the grid design was transferred onto the felt and glass substrates. The resultant felt and glass pieces did not appear the same, due to the substrates requiring different RIP (rasterized image process) profiles, profiles that encode the receptivity of the substrate to the properties of the dye-stuffs necessary for printing.
In my conference paper, I argued that digital media have properties of their own – for example, image enhancement and formatting, and RIP profiles of substrates – which can be manipulated as if they were physical materials in their own right. The value of this research is that digital media are shown to have a materiality which can lend itself craft status, over and above simply being a means to an end.
A catalogue of the exhibition was published by Collins Gallery, University of Strathclyde, with an introductory essay by Sarah E. Braddock Clarke, ISBN 0 947649 47 6.Made available in DSpace on 2008-10-17T11:16:47Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-01-14'GGG', 'Katmanlidaha', 'B8 Portal' and 'New Grid Cmyk' in Digital Perceptions (exhibition and conference).
oai:http://repository.uwic.ac.uk:10369/1742008-12-12T14:42:52Zhdl_10369_57hdl_10369_660authorCurneen, Claire2008-10-17T11:16:48Z2008-10-17T11:16:48Z2004-01-23Ruthin Craft Centre, Leicester City Gallery, Mission Gallery, Swansea, Harley Gallery, Nottinghamshirehttp://hdl.handle.net/10369/174Succour was a solo touring exhibition commissioned by Ruthin Craft Centre in North Wales. The work produced for the show continued my interest in the figure as an embodiment of emotional tension or uncertainty, with reference to Christian themes and imagery. It was also the result of a period of experimentation with different production methods, in particular, the application to the human figure of decorative motifs and forms. My interest here was in how the application of decorative motifs to the figure created a metaphorical relation between the two, promoting the cross-fertilization of associations between them. For example, with ‘Falling Slowly’, the mood of the figure is affected by the fact that the traditional blue and white ceramic decal flower print runs across the torso, the arms and the plinth, creating a feeling of movement away from the body. A sense of loss results: a loss of the body to the plinth, the submission of form to surface, with the sense of movement reinforced by the surrendering form of the hand.
An accompanying catalogue was produced by Ruthin Craft Centre, containing essays by Amanda Fielding, curator of the Crafts Council Collection, and by the writer and curator Timothy Wilcox. It was on the strength of this exhibition that Alex McErlain, at Manchester Metropolitan University, approached me to make a documentary on my work. The resulting DVD was short-listed for the 5th International Film Festival on Clay and Glass, France 2006 (www.fifav.fr).
After the Ruthin Craft Centre, the exhibition moved on to Leicester City Gallery, the Mission Gallery Swansea, and the Harley Gallery, Welbeck, Nottinghamshire.Made available in DSpace on 2008-10-17T11:16:48Z (GMT). No. of bitstreams: 0
Previous issue date: 2004-01-23CeramicsExhibitionFigurative ceramicsMaterial ArtsChristianitySuccour
oai:http://repository.uwic.ac.uk:10369/1792008-11-22T02:00:06Zhdl_10369_619hdl_10369_57authorCoward, Tim2008-10-17T11:16:48Z2008-10-17T11:16:48Z2002-09-01Design History Society Conference 2002 - Situated Knowledges: Consumption, Production and Identity in a Global Context, pp.16http://hdl.handle.net/10369/179Author's post-printThis paper makes the case that design, particularly in the context of non-western, developing, countries requires a different framework for both execution and evaluation from those frameworks that have become standard in western economies and cultures. The paper examines the central proposition that design in this context should be more appropriately regarded and understood as process, rather than as residing in the formal qualities and the cultural, social and economic symbolism of the resulting objects.
To do this it makes reference to two recent design-led projects and other material from within the research group of which the author is a member, in order to examine issues related to intention, measures of success and of sustainability, benefits, indigenous skills, timescales, education and training, markets and distribution, local and “global” influences and the people involved throughout.
The paper highlights the need for increased understanding of the context and greater acknowledgement, on the part of western designers, educators and historians of, amongst other factors, traditional/indigenous knowledge, experience and skills, which appear to be crucial to success in this, and possibly other, aspects of design.Made available in DSpace on 2008-10-17T11:16:48Z (GMT). No. of bitstreams: 0
Previous issue date: 2002-09-01DesignDevelopmentSustainabilityProcess Precedes Product: a developing paradigm
oai:http://repository.uwic.ac.uk:10369/1802008-10-29T02:00:07Zhdl_10369_619hdl_10369_57authorCoward, TimauthorFathers, James2008-10-17T11:16:48Z2008-10-17T11:16:48Z2005-06-01Development in Practice 15 (3&4), pp.451-4620961-4524http://hdl.handle.net/10369/180This paper, by two founder members of The Cardiff Group, addresses the research problem of design methodologies appropriate to the development context; a key issue identified by the first Design and Development seminar in July 2001. The paper also moves the examination of the role of design in development into the wider intellectual territory of development studies, and presents and discusses findings from recent doctoral research within the Cardiff Group that examines evidence for appropriate models for design within private-sector activity in the field of development.
The paper concludes that there is no significant published or circumstantial evidence of appropriate models for design in development from the activities of large, corporate and global enterprises, but that there is an emerging body of evidence of the use of appropriate methodologies in this field by small and medium-sized enterprises.
Research findings are that: these enterprises are either led by, or include in prominent positions, design-educated individuals, whose approaches to design in this context are research-led, with an emphasis on the process of design; are participatory in nature, employing indigenous skills and knowledge, and supportive of local markets and cultures.Made available in DSpace on 2008-10-17T11:16:48Z (GMT). No. of bitstreams: 0
Previous issue date: 2005-06-01RoutledgeDesignDevelopmentThe Cardiff GroupA critique of design methodologies appropriate to private-sector activity in development
oai:http://repository.uwic.ac.uk:10369/1852010-01-15T10:44:58Zhdl_10369_57hdl_10369_623authorGill, Steve2008-10-17T11:16:49Z2008-10-17T11:16:49Z2005-06-01The Proceedings of the 6th International Conference on Computer-Aided Industrial Design & Conceptual Design, pp.6http://hdl.handle.net/10369/185One of two papers in this submission (see Output 2) resulting from an exercise set by the Audi Design Foundation, which required an information appliance to be produced from brief to prototype in 24 hours. Although this paper was published second, it was written first, and contextualises the author’s techniques with others. It describes some of the most common development methods for information appliances before describing the 24-hour project in which the Information Ergonomics (IE) System (see Output 1) was tested. The paper critically evaluates the results of the case study with a view to directing further work in the area.
Designing and prototyping an information appliance in 24 hours was an extreme trial of the IE System, which was integrated into the design process and implemented in the conceptualisation, development, production and client presentation phases. The exercise proved that the system worked, and, critically, that it could be integrated into the design process at all stages and levels of fidelity. The importance of this is that there is a major differentiator between this method and other technology-based research, which tends to be more isolationist and less designer-oriented.
A critical impact was that it played an important part in persuading Sony-Ericsson’s SmartPhone division to implement the IE System in its Medium Term Strategic Development Plan. A key reason for that adoption was the identification of low, medium and high fidelity mock up stages in the design process, which highlighted the importance of low fidelity, a key finding with substantial process ramifications. The work helped to inform (and was informed by) collaborations at the time with Samsung Design Europe and Alloy Product Design who employed the system in practice. Gill wrote the paper. Loudon had some advisory input with other co-authors' contributions being primarily at the event itself.Made available in DSpace on 2008-10-17T11:16:49Z (GMT). No. of bitstreams: 0
Previous issue date: 2005-06-01How to design and prototype an information appliance in 24 hours - Integrating product & interface design processes
oai:http://repository.uwic.ac.uk:10369/1862009-10-15T01:00:04Zhdl_10369_57hdl_10369_623authorGill, SteveauthorEvan, M2008-10-17T11:16:49Z2008-10-17T11:16:49Z2006-05-01International Design Conference. Design 2006. Dubrovnik, Croatia, pp.8http://hdl.handle.net/10369/186This is a collaborative paper proposing the use of ethnofuturism (a combination of techniques, such as environmental scanning and trend forecasting, to predict future user trends) with rapid information appliance design and development techniques. The authors propose a design development model for information appliances that utilise ethnofuturism as an integral component of the design development process.
In this paper, methods for forecasting trends are discussed, followed by a brief description of the Information Ergonomics (IE) System (see Gill output 1). Empirical results from tests on 48 users are analysed using ANOVA, indicating the value of three-dimensional information appliance prototype development. The paper concludes with proposals for full integration of ethnofuturist methodologies with 3D working prototype development in the design development of information appliances.
The significance of the paper lies mainly in two aspects:
1. Its proposal that research in ethnographic forecasting methods, and research in rapid information appliance design, be applied in tandem.
2. The empirical test results prove that the standard industry method of testing information appliances at the low and medium fidelity stages of development is severely flawed. The results clearly demonstrate that screen-based prototypes of three-dimensional appliances give consistently misleading results.
In proving a key component of the IE System’s claims, these results also point towards further research (so far unpublished) with even more dramatic results, demonstrating that a very low fidelity 3D prototype can give radically faster, better, cheaper results than a high fidelity screen based prototype. This confirmed earlier live trial observations made by Sony-Ericsson’s Smartphone interface design team, a key collaborator. The results also directly contributed to PAIPR winning of a research student bursary and a research council funded study of physicality.
Gill's contribution was focussed primarily on 2 above. Each author contributed equally to this research.Made available in DSpace on 2008-10-17T11:16:49Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-05-01Rapid development of information appliances: Future approaches for designers
oai:http://repository.uwic.ac.uk:10369/1872008-10-17T11:16:49Zhdl_10369_57authorJason Hester2008-10-17T11:16:49Z2008-10-17T11:16:49Z2003-11-01, pp.http://hdl.handle.net/10369/187Product Design for Manufacture
Client: Manufacturer and Supplier of electronically controlled hospital beds.
Aim: Care of bariatric (obese) patients has become a major issue in health care. Existing bariatric beds were expensive, had poor performance, high failure rates and poor aesthetics. The client approached PDR to re-design their pressure area care profiling beds. Objectives: Design and implement a bariatric care bed that would a) Assist nursing staff in giving superior care to patients weighing up to 350kg, b) Meet stringent regulations c) Visually acceptable d) Maintenance friendly e) Reduce manual handling injury claims from nurses.
PDR designed a bed for patients weighing up to 350kg (safe working load 700kg). The bed has an innovative internal frame allowing for an extra wide mattress with extra sleep space, and longer length for taller patients whilst taking up no more space than a standard hospital bed, fitting into a standard hospital bay. The bed also uses an innovative, ergonomic ‘free floating’ mattress platform that profiles to match the contours of the patient, thus reducing friction on patient’s skin and reducing pressure sores.
The bed has reduced assembly times by 63%, reduced manufacturing costs by 20%, and reduced maintenance time by 30%, resulting in significant increases in profit margin due to reduced cost (20%) and price increase (30%). Leasing the bed for six weeks covers its manufacturing costs.
Sales have increased by 287%, bringing the company from a loss of $400,000 to a profit of $390,000 by 2006.
The impact of this design has been shown by the fact that it has been adopted by the largest global hospital bed manufacturer Hill-Rom as their standard bariatric product and will be distributed on a world-wide basis. The bed has also been accepted into the NHS Purchase and Supply Authority (PASA).Made available in DSpace on 2008-10-17T11:16:49Z (GMT). No. of bitstreams: 0
Previous issue date: 2003-11-01Pro Axis Care Bed - Bariatric (obese patient) care bed
oai:http://repository.uwic.ac.uk:10369/1882008-10-17T11:16:49Zhdl_10369_57authorJason Hester2008-10-17T11:16:49Z2008-10-17T11:16:49Z2005-04-01, pp.http://hdl.handle.net/10369/188Product Design for Manufacture
Client: Cabvision, suppliers of taxis and advertising solutions, collaborated with Trident Displays, a multinational electronics manufacturer, to develop an in-car advertising and entertainment display system.
Aim: Trident Displays Ltd contacted and commissioned PDR to design, prototype, tool, and implement an in-cab advertising and entertainment display system that would comply with stringent safety requirements of the Hackney Carriage Board Inspection. The aim was to retrofit a high quality 12” TFT display system into two variants of London black cabs.
PDR designed, tooled and implemented the Trident in-car entertainment system; including, the electronic shield cans for low electronic emissions for car occupants, cosmetic interface panels, vibration proof fixing methods, installation jigs and securing parts. As no CAD data existed for the trim panels, PDR reverse engineered the cab interiors by utilising non-contact 3D scanning software. Using this data PDR evaluated whether it needed one or two fascia mouldings to suit each cab variation. Facia panel parts were textured to match existing vehicle interior components. Materials were selected to avoid vandalism, survive the rigours of high usage transportation and in car environmental conditions, and pass vehicle legislation. PDR supported initial builds to allow rapid response to build issues.
Trident represents the first GPRS linked advertising/entertainment system for public transport. Trident also represents a first for utilising rapid manufacturing to produce robust, multi-functional drilling marking out and trimming jigs for dressing the blank interior panels to accept the display assembly.
In April 2005, 2000 London taxis were fitted with the Trident display system. Since completion Trident have received enquiries for placing the system into the latest cab model (TX4), and were recently asked to the U.S. to discuss implementing the system into New York taxi cabs.
http://www.cabvision.com/Made available in DSpace on 2008-10-17T11:16:49Z (GMT). No. of bitstreams: 0
Previous issue date: 2005-04-01Trident Displays
oai:http://repository.uwic.ac.uk:10369/1892008-10-17T11:16:50Zhdl_10369_57authorJason Hester2008-10-17T11:16:50Z2008-10-17T11:16:50Z2006-10-01, pp.http://hdl.handle.net/10369/189Product Design for Manufacture
Aim: PDR was initially commissioned to design and manufacture prototype mechanisms to be attached to existing fibreglass boards for testing the Ski Rider concept on a ski slope. Following successful evaluation, PDR were asked to aesthetically enhance the design and produce graphical treatments for the Ski Rider brand. Following acceptance of these designs, the client commissioned PDR to produce the parts necessary to build 10 Ski Riders.
Ski Rider is an innovative piece of sports equipment designed for winter sports, resembling a foldable ski-scooter/snowboard with a steering facility created by a secondary smaller front ski. It has built in suspension and adjustability for various height individuals, and a disengagement feature enabling it to be folded flat for transportation.
The innovative feature of Ski-Rider is its inclusive design, in particular the design significantly reduces impact on the user's joints (especially knees and hips) compared to traditional ski and snow-boarding equipment. This opens new markets by allowing people with minor joint problems to enjoy winter sports.
Ski Rider gained industry certification, with the product being approved by the Whistler resort in Canada, which is renowned as having the highest safety standards in the world.
Recognition
Ski Rider featured on ‘The Big Idea’, a television programme screened on ‘Sky One’, aimed at discovering the next great British invention. Ski Rider was selected to partake from a series of regional competitions, winning the programme’s third episode and progressing to the final. Ski Rider, as specified by one of the judges on The Big Idea ‘changes the market place for sports equipment’ and came runner up overall. The product had significant impact in the media and was featured in BBC News (http://news.bbc.co.uk/1/hi/wales/south_east/3981585.stm)
Ski Rider is the only new product to be approved by the Whistler resort, Canada.Made available in DSpace on 2008-10-17T11:16:50Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-10-01Ski Rider
oai:http://repository.uwic.ac.uk:10369/1902008-10-17T11:16:50Zhdl_10369_57authorJason Hester2008-10-17T11:16:50Z2008-10-17T11:16:50Z2006-06-01, pp.http://hdl.handle.net/10369/190Product Design for Manufacture
Client: The client designs and manufactures electronics for fire detection systems which are mounted in purchased 'off the shelf' cabinets. The client has a history of electronic innovation, having developed the first piezo fire alarm sounder that is now the industry standard. The client wanted a flagship enclosure for their new product.
Aim: The client required a highly aesthetic control panel to house pioneering fire detection technology employed in large installations such as hospitals, hotels and prestige office blocks. Traditionally, large fire protection panels have had an unappealing appearance and are therefore placed out of sight so as not to detract from the visual appearance of a particular space. PDR was required to design a control panel that was easy to use, able to withstand heavy installation abuse and have the highest aesthetic values. PDR designed and developed a high-end appearance control panel with interchangeable panels that would enable architects to incorporate the product into a building's visual schemata. The new product, Quadnet, was designed in a range of aesthetic finishes with high cosmetic standards, including exotic woods, marbles, steels, etc. The modular design of Quadnet allows for visual variation, quick disassembly and separation of materials for ease of recycling. The design of a fire control panel that was in itself aesthetic and did not either detract from its environment or require hiding was an original concept and the resulting design has made a significant impact in the sector as shown by international design award.
Recognition
Won 2006: 'Red Dot’ Product Design Award.Made available in DSpace on 2008-10-17T11:16:50Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-06-01Quadnet: Fire Control Panel
oai:http://repository.uwic.ac.uk:10369/1912008-10-17T11:16:50Zhdl_10369_57author2008-10-17T11:16:50Z2008-10-17T11:16:50Z2007-11-012 (3), pp.273-28217468477http://hdl.handle.net/10369/191Until relatively recently, games have not been taken seriously as cultural artefacts, and this has impacted on the perceived legitimacy of committed research into their culture, form and development. Cracks in the edifice of distinctions between high and low culture have meant a variety of scholarly work has emerged, in the past decade in particular, around the discordant mix of pop-cultural forms that circulate in mass-mediatized society. As the readers of periodicals like animation: an interdisciplinary journal will recognize, those championing the specificity of animation have carved out a suitably eccentric and fractious space from within the established research fields of film, media and cultural studies. Importantly, research is not limited to those dominant fields; issues of animation arising in medical, scientific and technical contexts offer profound insights into animation (for example, Mori, 1970). This diversity of applications gives research into ‘ubiquitous’ media such as animation and games its defining interdisciplinarity.
Game scholarship is of considerable importance to animation studies for a number of reasons arising from their contiguity as disciplines. Both share from the established pool of critical and cultural theory generated in and around the departments of film, literary and cultural studies that achieved substantial prominence in the 70s and 80s. Beginning with practice, the contemporary method of commercial animation production differs little from that of videogames, with PC workstation hardware and production software for the creation of art assets being completely the same. Likewise, if we look to the movement of the essential human resource of skilled individuals, there is a fluidity of workforce – animators, illustrators, background artists, programmers – between the animation and games industries. The means through which so much contemporary animation is archived and distributed is indebted to the culture of games, interaction and new media.Made available in DSpace on 2008-10-17T11:16:50Z (GMT). No. of bitstreams: 0
Previous issue date: 2007-11-01AnimationBritish Game Studies? An Extended Review of Two New Publications
oai:http://repository.uwic.ac.uk:10369/1922008-10-17T11:16:50Zhdl_10369_57author2008-10-17T11:16:50Z2008-10-17T11:16:50Z2008-10-17T11:16:50ZVideogame, player, text, pp.204-2219780719074004http://hdl.handle.net/10369/192In this essay, my thoughts are focused on fighting simulation videogames, hereafter referred to as the ‘beat-‘em-up’ genre. Importantly, I want to present an account of spectacle as an essential aspect of the player’s experience. Geoff King and Tanya Krzywinska have identified that ‘[s]pectacle is offered at the relative (in game terms) level of detail or consistency’ (King and Krzywinska, 2006, p. 153). Rather, relative in the differing spectacles within a single game, but also in the intertextuality of spectacle across a variety of titles. As such, in comparison to a reasonably unspectacular game like The Sims (EA, 2000), Street Fighter might seem to be largely comprised of inter-related spectacles and excesses, like Hollywood’s contemporary action blockbusters, Indian Bollywood cinema, and contemporary music video. However within the topsy-turvy logic of its gameworld, Street Fighter presents degrees of spectacular representation and play, which continually act as foil to one another, oscillating between a harmony and cacophony of spectacle.
The larger anthology "Videogame, Player, Text" examines the playing and playful subject through a series of analytical essays focused on particular videogames and playing experiences. With essays from a range of internationally renowned game scholars, the major aim of this collection is to show how it is that videogames communicate their meanings and provide their pleasures. Each essay focuses on specific examples of gameplay dynamics to tease out the specificities of videogames as a new form of interaction between text and digital technology for the purposes of entertainment. That modes of engagement with the videogame text are many and varied, and construct the playing subject in different ways, provides the central theme of "Videogame, Player, Text".Made available in DSpace on 2008-10-17T11:16:50Z (GMT). No. of bitstreams: 0Manchester University PressPleasure, Spectacle and Reward in Capcom's Street Fighter Series
oai:http://repository.uwic.ac.uk:10369/1932008-10-17T11:16:50Zhdl_10369_57author2008-10-17T11:16:50Z2008-10-17T11:16:50Z2008-10-17T11:16:50ZAnimated Worlds, pp.153-1720861966619http://hdl.handle.net/10369/193Gameworlds are the expression of a complex cultural and textual interaction, in which the foundational structures of the videogame solicit investment and belief from the player. Style arbitrates this solicitation, causing all aspects of the gameworld to conform to a common aesthetic line. This process is rarely so efficient however, and contemporary videogames such as Fable demonstrate the messiness of this ideological contract between the ambiguous roles of producers and consumers of videogames.
Of particular interest to me are the textual strategies through which games developers rationalise both the material and imaginary limits of the worlds they create. While a videogame may suggest a spatial and temporal infinity in its worldview, nonetheless those edges are eventually encountered. While we can see the distant hilltop horizon or gaze out to sea in Fable, the restricted exploratory potential means that we can never reach that place. The imaginary investments of gamers overcome this material limitation, extending both positively and negatively beyond the limits of play, either to praise or criticise the potential gameworld.
Elements of this research had previously appeared as:
• Surman, D. (2005) "Style, Consistency and Plausibility in the Fable Gameworld" Creative Gamers Symposium, Tampere, Finland. 11th - 12th January.
• Surman, D. (2004) "From Realism to Reality Effect and Affect: Epistemological Issues in Realist Theories of Animation" Society for Animation Studies Annual Conference, University of Illinois at Urbana-Champaign. 11th - 13th October.Made available in DSpace on 2008-10-17T11:16:50Z (GMT). No. of bitstreams: 0John LibbeyStyle, Consistency and Plausibility in the Fable Gameworld
oai:http://repository.uwic.ac.uk:10369/1942008-10-17T11:16:50Zhdl_10369_57author2008-10-17T11:16:50Z2008-10-17T11:16:50Z2008-10-17T11:16:50ZSwanQuake: The User Manual, pp.2.4 1-109781841021720http://hdl.handle.net/10369/194SwanQuake creates a games world where creatures and characters are motion-captured actors and dancers engaged in creating a new choreographic work. The User Manual opens the project to discursive reflection and expansion through its selection of articles and essays.
Videogames are often historicised in terms of their graphics, and more precisely the apparent verisimilitude of the final real-time render. This graphic realism announces the modernity of games technology, while at the same time deepening our reliance on such immediate markers. As a consequence of this fundamental realism the representation of the human figure acquires a special resonance across the various sectors of production, an agreed locus to which the various disciplines converge in the creation of uncanny lifelikeness.
Immanent to this uncanny quality of lifelike modelling and animation is a sudden moment of displeasure, as rising fascination gives way to plunging anxiety. Since the synthetic figure then exceeds the familiar categories of animation, caricature and so on, it confronts the viewer with fundamental questions about the sovereignty of the human subject.
In videogames culture, the leading character of franchises has become this contested realistic figure, occupying the peculiar space between celebrity and fictional space. Lara Croft in particular has come to define this new brand of extraterrestrial identity, featuring on the cover of lifestyle magazines as much as in videogame worlds. The author brings to bear a historical account of the development of uncanny realism through technological development, arriving at and challenging the assumptions that are made about the apparent puerile simplicity of videogame avatar aesthetics.Made available in DSpace on 2008-10-17T11:16:50Z (GMT). No. of bitstreams: 0Liquid Press/ i-DAT (Plymouth University)Gaming, Uncanny Realism & Technical Demonstration
oai:http://repository.uwic.ac.uk:10369/1992008-10-17T11:16:51Zhdl_10369_57author2008-10-17T11:16:51Z2008-10-17T11:16:51Z2006-04-011 (2), pp.127-14015554120http://hdl.handle.net/10369/199Single author peer reviewed journal article, “What Are We Really Looking At?: The Future-Orientation of Videogame Play” in Games and Culture: A Journal of Interactive Media, 1.2 (2006), pp. 127-140. As an examination of games as a primarily visual media form, this peer reviewed journal article is part of a wider research project concerned with videogame form and aesthetics that has also seen expression during the period of this RAE audit in the following publications:
Atkins, Barry, "Ort und Zeite für Spiele" in Kunstforum 176 (2005), pp. 116-21. [Peer reviewed journal article]
Atkins, Barry, “Gioie e dolori della critica videoludica: Ripetizione, iterazione ed estetiche dei videogiochi” (2006) in Gli Strumenti del Videogiocare: Logiche, Estetiche e (V)ideologie, ed. and trans. Matteo Bittanti, Milan: Costa Nolan, pp. 171-88 [Chapter in edited collection]Made available in DSpace on 2008-10-17T11:16:51Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-04-01Games and CultureWhat are We really Looking at?: The Future-Orientation of Video Game Play
oai:http://repository.uwic.ac.uk:10369/2002008-10-17T11:16:51Zhdl_10369_57author2008-10-17T11:16:51Z2008-10-17T11:16:51Z2008-10-17T11:16:51Z, pp.1700719063655http://hdl.handle.net/10369/200This was the first academic monograph to examine specific examples of computer games at any length and in any detail. It is interdisciplinary in drawing on a wide range of theoretical models from visual culture and narrative studies, and sets out a methodology for examining digital games that informs the wider research and practice outcomes of the Synergy Research Group at the University of Wales, Newport.
More than a game was the subject of a feature piece on BBC Radio 4’s Open Book programme on the 14th May 2003, and has been reviewed in Tekka, Media International Australia, Discourse, The European Legacy, Game-Research.com and Edge.
Chapter One of More than a game was translated into Italian and republished as “Amministrare il reale: per una letura di SimCity” in SimCity: Mappando le città virtuali, ed. and trans. Matteo Bittanti, Milan: Unicopli, 2004,156-73. [Chapter in edited collection]Made available in DSpace on 2008-10-17T11:16:51Z (GMT). No. of bitstreams: 0Manchester University PressMore than a game: the computer game as fictional form
oai:http://repository.uwic.ac.uk:10369/2012008-10-17T11:16:51Zhdl_10369_57authorauthorKrzywinska, T.2008-10-17T11:16:51Z2008-10-17T11:16:51Z2008-10-17T11:16:51Z, pp.2569780719074001http://hdl.handle.net/10369/201Includes single author essay by Atkins, “Killing Time: Time Past, Time Present, Time Future in Prince of Persia: The Sands of Time” (pp. 237-253) and a co-authored (with Krzywinska) introductory essay (pp. 1-7). This essay, and the collection as a whole, continues the project of close critical analysis of specific examples that was begun in the 2003 monograph More than a game: The computer game as fictional form and which also saw expression in the following outputs during this period of RAE audit:
Atkins, Barry, “La Storia é un’assurdità: Civilization come esempio di barbarie storiografica?” in Civilization: Storie Virtuali, Fantasie Reali, ed. Matteo Bittanti, trans. Valentina Paggiarin, Milan: Costa Nolan, pp. 65-81. [Chapter in edited collection]
Atkins, Barry, “Presagi di Doom III: Tra le Viscere delle Prime Schermete” in Doom: Giocare in Prima Persona, ed. Sue Morris and Matteo Bittanti, trans. Paolo Ruffino, Milan: Costa Nolan, pp. 95-105. [Chapter in edited collection]
Videogame, Player, Text was an equal collaboration between Dr Atkins and Professor Krzywinska, with equal engagement in commissioning, editing and preparing the work of fourteen scholars from a range of disciplines and geographical locations for publication, as well as equal contribution to the original book proposal and to the writing of the introductory essay.Made available in DSpace on 2008-10-17T11:16:51Z (GMT). No. of bitstreams: 0Manchester University PressVideogame, Player, text
oai:http://repository.uwic.ac.uk:10369/2022008-10-17T11:16:51Zhdl_10369_57author2008-10-17T11:16:51Z2008-10-17T11:16:51Z2008-10-17T11:16:51ZThe Blade Runner Experience: The Legacy of a Science Fiction Classic, pp.79-911904764304http://hdl.handle.net/10369/202“Replicating the Blade Runner” in Will Brooker (ed.) The Blade Runner Experience: The Legacy of a Science Fiction Classic (London: Wallflower, 2005), pp. 79-91. Situating the computer game version of Blade Runner within the current debates surrounding transmediation and remediation, this book chapter is part of a wider research project examining the relationship that computer games and videogames have with other visual and screen media that has also seen expression in the following publications within this period of RAE assessment:
Atkins, Barry, “Games” in Robert Eaglestone (ed.) Reading the Lord of the Rings, London: Continuum, 2006, pp. 151-161. [Chapter in edited collection]
Atkins, Barry, “To Infinity, and Beyond: Dialogue and Critique in Popular Film’s Portrayal of Video Games”, TEXT/Technology (2004) 13.1, pp. 32-51. [Peer reviewed journal article]
“Replicating the Blade Runner” has been subsequently translated and republished in Italian in Matteo Bittanti (trans. and ed.), Schermi interattivi. Videogiochi, cinema, televisione (in press, Milan: Costa Nolan, 2007)Made available in DSpace on 2008-10-17T11:16:51Z (GMT). No. of bitstreams: 0Wallflower PressReplicating the Blade Runner
oai:http://repository.uwic.ac.uk:10369/2032008-10-17T11:16:51Zhdl_10369_57author2008-10-17T11:16:51Z2008-10-17T11:16:51Z2008-10-17T11:16:51Z, pp.2280719062152http://hdl.handle.net/10369/203When the relationship between Surrealism and photography first became a subject of academic attention in the 1980s, the common view was that the core of Surrealist photography lay in staged and manipulated work. What was constantly elided in that account was the crucial relationship between documentary photography and Surrealism. In 1995, I was awarded my Doctorate for my thesis “Paris as the site of Surrealist Photography, 1924-1939."
This research was subsequently developed, focused and disseminated through the publication of City Gorged with Dreams, which has become a key text in the study of Surrealism and photography. It would not now be possible to discuss Surrealist photography without reference to my research.
The book was reviewed in Leonardo, Papers of Surrealism, History of Photography and Source, where Justin Carville wrote: ‘Erudite in its conception and lucid in its execution, City Gorged with Dreams is a major contribution to recent studies which have sought to reinstate the political and cultural significance of realism in the surrealist project’ (Source, no.32, p.63).
In addition, the book has been referenced in a range of academic sites, including books by Mary Ann Caws (Surrealism, 2004), Liz Wells (Photography: a Critical Introduction, 2004), Sarah Greenough (André Kertész, 2005), Michael Richardson (Surrealism and Cinema, 2006) and Julia Kelly (Art, Ethnography and the Life of Objects, 2007). There have also been citations in articles in the Journal of Visual Culture, Papers of Surrealism, MLN and October.
For scholars of Surrealism, the book has connected with an understanding of the importance of the ‘document’ for Surrealism. For writers on photography, the book’s analysis of the potential ambiguity and subversiveness of ‘straight’ photography resonates productively with recent developments in documentary. Moreover, the book has also been cited in a number of other subject areas: ethnography, urban studies and contemporary art.Made available in DSpace on 2008-10-17T11:16:51Z (GMT). No. of bitstreams: 0Manchester University PressCity Gorged with Dreams: Surrealism and Documentary Photography in Interwar Paris
oai:http://repository.uwic.ac.uk:10369/2042008-10-17T11:16:51Zhdl_10369_57author2008-10-17T11:16:51Z2008-10-17T11:16:51Z2006-08-0129 (2), pp.100-11303087298http://hdl.handle.net/10369/204Shortly after the publication of my book City Gorged with Dreams, David Bate of the University of Westminster published a book on Surrealist photography, which took a very different approach. Our work was complementary rather than antagonistic, and made us aware that the field was far from closed.
When we were invited to co-edit a special issue of the international journal History of Photography on ‘Surrealism and Photography’, we took the opportunity to invite a wide range of contributions on different aspects of the subject. The seven essays which were published demonstrated the range of imagery that still rewarded close attention and made a significant contribution to the literature in the area.
The essays in the journal were: 1. Ian Walker (University of Wales, Newport): "Her Eyes of Fern: the Photographic Portrait in Nadja"; 2. Caroline Blinder (Goldsmith’s College): "Looking for Love in all the Wrong Places: Brassaï in André Breton’s Mad Love"; 3. Kirsten A. Hoving (Middlebury College, Vermont): "Man Ray’s Disarming Venuses: Deconstructing the Classical Torso in Surrealist Photography"; 4. Lou Bailey and Lizzie Thynne (University of Sussex): "Beyond Representation: Claude Cahun’s Monstrous Mischief-Making"; 5. Neil Matheson (University of Westminster): "The Phantom of Surrealism: Photography, Cultural Identity and the Reception of Surrealism in England 1936-39”; 6. Krzysztof Fijalkowski (Norwich School of Art): "Objective Poetry: Post-war Czech Surrealist Photography and the Everyday"; 7. David Evans (Art Institute of Bournemouth): "The Situationist Family Album".
My essay ‘Her Eyes of Fern’ was a study of the place of the portrait in André Breton’s seminal book Nadja and had its beginnings in a chapter of my unpublished PhD dissertation. In 2004, a version was delivered at the conference Literature and the Photograph at the University of Manitoba, Winnipeg, Canada, and this was expanded for the History of Photography essay.Made available in DSpace on 2008-10-17T11:16:51Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-08-01History of Photography'Her Eyes of Fern': The Photographic Portrait in Nadja
oai:http://repository.uwic.ac.uk:10369/2052008-10-17T11:16:52Zhdl_10369_57author2008-10-17T11:16:52Z2008-10-17T11:16:52Z2008-10-17T11:16:52ZImage & Imagination, pp.17-250773529691http://hdl.handle.net/10369/205Although I have concentrated on writing about Surrealism and documentary, I have also continued to write more generally about the relationship between the making of photographs and their exhibition and publication (a key relationship that also informs my work with Surrealism).
My essay on Tony Ray-Jones’s photograph ‘Beachy Head Tripper Boat 1967’ (Source, 40, 2004, pp. 16-21) was based on a close analysis of his original contact sheets in the National Museum of Photography, Bradford, while the text on John Kippin’s work Cold War Pastoral (in Ruth Charity ed., Reviews: Artists and Public Space, Black Dog, 2005, pp. 47-51) began with the experience of seeing it exhibited in the place where the images had been made - Greenham Common. Reviews of the work of Lee Friedlander, Diane Arbus, and Benjamin Stone have also contributed to my exploration of these themes.
The essay ‘Through the Picture Plane: On Looking into Photographs’ was a broader exploration of these themes, commissioned by the Canadian curator and historian Martha Langford for the book Image and Imagination, published in English and French to coincide with the 2005 Mois de la Photo in Montreal. The essay was the first text in the book which otherwise featured essays by Geoffrey Batchen and Martyn Jolly and images by Michael Snow, Martin Parr and Tracey Moffatt, among many others.
As Langford commented in her introduction, ‘Walker draws out the importance of lived experience and first contact with a photographic work of art. His vivid memories are brought freshly to the page, animated by a researcher’s distrust of simulacra and a traveller’s affection for the souvenirs of exhibitions seen. Perception, memory and imagination intertwine as Walker ruminates, testing his mental images against photographic objects, putting the thoughts of other scholars to the same test’ (Image and Imagination, p.10).Made available in DSpace on 2008-10-17T11:16:52Z (GMT). No. of bitstreams: 0McGill-Queen's University PressThrough the Picture Plane: On Looking into Photographs
oai:http://repository.uwic.ac.uk:10369/2062008-10-17T11:16:52Zhdl_10369_57author2008-10-17T11:16:52Z2008-10-17T11:16:52Z2008-10-17T11:16:52Z, pp.2059780719073403http://hdl.handle.net/10369/206My book City Gorged with Dreams focussed on work made in Paris, but I was aware that there had also been a great deal of Surrealist photography made elsewhere.
Consequently, I wrote about Czech Surrealist photography for Third Text and Papers of Surrealism, but my central concern was to develop a second book, which would for the first time examine at length the relationship between Surrealism and documentary photography in England. In 2005-6, I was awarded an AHRC Research Leave grant to complete the writing of the text. The book was published in November 2007 by Manchester University Press.
Individual chapters examine the landscape photography of Paul Nash and Eileen Agar, Roland Penrose’s ‘image-diary’ of his trip across the Balkans with Lee Miller and the mix of poetry and ethnography in Mass-Observation. These studies are followed by an account of the merging of Surrealism and documentary during the London Blitz. A final chapter explores the work of post-war artists such as Nigel Henderson, Tony Ray-Jones, Ian Breakwell, Susan Hiller, Patrick Keiller and Martin Parr.
Two sections of the text were delivered as conference papers: “The Comic Sublime: Eileen Agar at Ploumanac’h” at the International Symposium on Surrealism, West Dean, Sussex (May, 2005) and “Humphrey Jennings and Mass-Observation” at the Mass-Observation Symposium, Manchester University (November 2005). The paper on Agar was published as an extended essay in Tate Papers online journal in November 2006.
I have subsequently been invited to contribute further essays to two books: one on Lee Miller edited by Annalisa Zox-Weaver for the University of California Press and one on Bill Brandt’s photographs for the Research Centre for the Archive at London College of Communication. The paper on Miller is being delivered at a symposium at the Victoria and Albert Museum in December, 2007.Made available in DSpace on 2008-10-17T11:16:52Z (GMT). No. of bitstreams: 0Manchester University PressSo Exotic, So Homemade: Surrealism, Englishness and Documentary Photography
oai:http://repository.uwic.ac.uk:10369/2072008-10-17T11:16:52Zhdl_10369_57author2008-10-17T11:16:52Z2008-10-17T11:16:52Z2006-10-22Gallery Harmonia Jyvaskyla, Finalnd, pp.18http://hdl.handle.net/10369/207Developed from "Touching Images", research supported by an AHRB award, in which I located myself directly in the landscape as both observer and participant in the image.
This body of work continues ongoing research into relationships between the body and landscape gender and environment and the collapse of a traditional photographic distance between the observer and the observed.
The research develops an approach of a double time of image making, one being the instant of the taking of the photographs, and the other their subsequent reconstruction through touch and the labour of the hand, signalling a return to a more primitive and bodily experience.
The figures and landscapes are taken in different geographic locations and the enmeshing of the two, in the digital space of the computer, explores the possibility of being simultaneously in more than one place at any one time.
The work has evolved from previous explorations of the sublime to an engagement with both the retinal and the digital, where the “hand drawn/erased ” element becomes the interface between the formal clichés of both landscape and portraiture particularly within the northern romantic tradition of painting.
Additional outputs include:
Solo Exhibition: Le Parvis, Tarbes France 2004 (10 large scale photographs output from AHRB award and first work from Inside the View.
Chapter in Book: Work, published by the International Photography Research Network UK 2005 :ISBN 1-873757-75-1. 20 pages of images and text detailing work made on IPRN/Arts Council of England residency selected by the Centre for Creative Photography, Jyvaskyla. Finland.
Feature in Photoworks Journal:
Text by David Campany, 7 pages of images.
Issn: 9-771742-165005
Group Exhibition
Ayermanana: Facultad de Bellas Artes Cuenca Spain
October 2006. Catalogue ISBN: 978-84-690-3522-1 A selection of 4 images from the Finland exhibition form the second edition.Made available in DSpace on 2008-10-17T11:16:52Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-10-22Inside the View
oai:http://repository.uwic.ac.uk:10369/2082008-12-11T13:17:32Zhdl_10369_572008-10-17T11:16:52Z2008-10-17T11:16:52Z2003-11-01The Yard Gallery, Nottingham, pp.16http://hdl.handle.net/10369/208Curated by Jim Waters and commissioned by Clare Van Loenen of the Nottingham Castle and Museum Galleries, Spot consisted of 16 photographs and publication ISBN: 0 905634 62 4 with parallel text by Stuart Cameron.
Wollaton Hall, an Elizabethan Stately home in Nottingham, houses one of the oldest natural history collections in England. Selecting taxidermy specimens from the the British Bird collection, photographing them and reconstructing the images on computer, the work explores the possibility of raising the status of the dead bird to that of “society portrait”. Photography’s relationship with painting through Photoshop is explored in relation to the detail work in the costumes of Nicholas Hilliard. A strategy of occluding the glass eye in the image was an attempt to reposition the power relationship between the observer and the observed, exploring the implications of ownership. In the context of the 19th century diorama, our position of dominance is questioned in relation to the natural world.
The exhibition was reviewed by Martin Herbert in Art Monthly no. 270 (November 2003)
“The key issue is it’s figured illusion that refusing to meet one’s eye is an action on the part of the bird not of the artist. …the work anticipates and teases out a latent nightmare scenario of total alienation from, and non superiority to, nature …and, in doing so, plants a flag at the previously unmapped mid point between Alfred Hitchcock and Mark Dion.”
Three photographs from the exhibition were selected to be part of a group exhibition La Mirada Reflexiva at Espai D’Art Contemporani de Castello, Spain 2005
The same works also formed part of the exhibition Landed at FSM Gallery Florence. Curated by Martino Marangoni.
Spot no.3 was selected as part of the Print Programme at the Museum of Contemporary Photography in Chicago.Made available in DSpace on 2008-10-17T11:16:52Z (GMT). No. of bitstreams: 0
Previous issue date: 2003-11-01Spot
oai:http://repository.uwic.ac.uk:10369/2092008-10-17T11:16:52Zhdl_10369_57author2008-10-17T11:16:52Z2008-10-17T11:16:52Z2003-08-09Impressions Gallery, York, pp.24http://hdl.handle.net/10369/209The touring exhibition Grounded, curated by Anne Mcneill, consisted of 24 large scale pictures from two bodies of work.
The first series of “animal landscapes” were an exploration of the embodied landscape where the photographed backs of taxidermy specimens were collaged in the computer with photographs of skies to produce a seamless landscape. This challenge to our ideas of the picturesque also embodied a key research question running through all my work which is:
How can a territory which might be identified with the feminine be depicted through images of landscape, without the work falling into the essentialist position of woman as landscape?
The second body of work was titled 'Still, A Landscape in Ten Parts' and was featured with the first in Portfolio Magazine 35. (8 Pictures, text by John Slyce ISSN 1354-4446) and also in “Stilled” Contemporary Still Life Photography by Women, edited by Kate Newton and Christine Rolph (2006) ISBN 1 872771 61 0.
The ten images that make up the series 'Still…' are all extracted from one medium-format negative of an alpine diorama shot in the museum of natural history in Darmstadt. Disrupting the consumption of the “whole” scene, tactics have been employed to relocate the viewer and focus on individual dramas and communicative exchanges amongst the different animals. The process of enlarging each fragment to 48x48inches for exhibition resulted in a breaking up or “noise” on the surface of the photograph which served as a potential for the re-animation of the taxidermy specimens.
“The results are scenes alive with activity where multiple acts unfold on a stage that never escapes being haunted by the shadow of a crime.” “Natural’s not in It" John Slyce , Portfolio, 35.
Press: The Guardian :August 21st 2003. “Beauty and the Beast: Alfred HicklingMade available in DSpace on 2008-10-17T11:16:52Z (GMT). No. of bitstreams: 0
Previous issue date: 2003-08-09Grounded
oai:http://repository.uwic.ac.uk:10369/2102008-10-17T11:16:52Zhdl_10369_57author2008-10-17T11:16:52Z2008-10-17T11:16:52Z2008-10-17T11:16:52Z, pp.901899823107http://hdl.handle.net/10369/210Photo Book, with accompanying texts by Liz Kent, Sharon Morris and David Bate. 90 pp. (part funded by Arts Council of England).
This book featured two completed bodies of work “Grounded” and “Twice” which were the continued development of research which formed the solo exhibition “Gone To Earth” at the John Hansard Gallery in 1994. This exhibition had included a series of my first 'animal landscapes’, pre-computer, where the location and perception of the viewer was tested through photographing the animal as landscape and piercing the surface of the image with light emitting diodes. This work led to “Twice…Once”. The title of the book refers both to the process of the double negative technique employed as well as a layering of concepts. It foregrounds two complete major bodies of work “Grounded” and “Twice…Once” made between 1998 and 2002. The construction of the images refers to the relationship between the self and other external and internal, real and imagined. The accompanying texts by David Bate and Sharon Morris respond to the work from the perspective of art/photographic critical theory and psychoanalytical theory-drawing heavily on a Freudian and post-Freudian perspective.
The work Twice…Once formed part of the group exhibition About Face shown at The Hayward Gallery London, Musee de L'Elysee Lausanne and Culturgest Lisbon. Other artists in the exhibition included Cindy Sherman, Diane Arbus, Andy Warhol and Loretta Lux.
The work was featured in “Face, The New Photographic Portrait” published by Thames and Hudson (2007) ISBN: 978-0-500-54321 and the Hayward Gallery (exhibition catalogue ISBN: 1 85332 2431). The 240 page book was edited by William A Ewing with Nathalie Herschdorfer who selected four photographs from the series Twice…Once. Also published in French and Italian.Made available in DSpace on 2008-10-17T11:16:52Z (GMT). No. of bitstreams: 0Zelda Cheatle PressTwice: Photographs by Helen Sear
oai:http://repository.uwic.ac.uk:10369/2112008-10-17T11:16:52Zhdl_10369_57authorauthorKelman, J.2008-10-17T11:16:52Z2008-10-17T11:16:52Z2008-10-17T11:16:52Z, pp.1041899235043http://hdl.handle.net/10369/211A 104 page monograph comprising 47 photographs and accompanying short story by Booker Prize-winning author James Kelman. The book comprised photographic research made in a working-class community in Liverpool over a sustained period. Extending research around the dominant representation of working-class culture and the participant/observer, the work examined notions of the autobiographical, and the colloquial in documentary practice building upon developments within the field by employing diverse narrative structures and the convergence multi-vocal strategies. The work took a position remote from a field dominated by anthropological strategies and argued for the position of more dialectical and vernacular strategies within contemporary documentary study.
As a response to previous representations of working-class communities, the research was an extended enquiry into the notions of underclass, the unmapped communities who –through economic instability and transient work patterns had developed an ability to live outside regular and punctual patterns. The work explored the collaborations between photography and the narrative, and in particular the potential of the short story to create a foil for (and ‘slippage’ between) the absolute and didactic narratives in dominant documentary work, particularly the archived photojournalism and reportage commensurate with Western Media Industries. The work significantly engaged multi-vocal strategies –the photograph, the colloquial, the vernacular text, ultimately exploring the status of image against text, their cohesion and autonomy.
The work, published by Dewi Lewis, was accompanied by an exhibition first shown at Open Eye Gallery, Liverpool. It subsequently toured to venues in Europe and Asia. Galleries include the Gallery of Photography, Dublin; Gallery 64, Chung Ang, Seoul, Korea. Invitations to lecture and lead seminars around the work were accepted at Harvard University, Boston USA and Fotografie am Schifferbauerdamm, Berlin, Germany. Work from the project was collected by the Museum of Modern Art, New York, the National Museum of Canada and private collections.Made available in DSpace on 2008-10-17T11:16:52Z (GMT). No. of bitstreams: 0Dewi Lewis PublishingThe Close Season
oai:http://repository.uwic.ac.uk:10369/2122008-10-17T11:16:52Zhdl_10369_57author2008-10-17T11:16:52Z2008-10-17T11:16:52Z2003-07-01Blue Sky Gallery, Oregon Centre for the Photographic Arts, pp.34http://hdl.handle.net/10369/212A Jury-selected exhibition of images based on a continuing study of Liverpool that progressed research earlier initiated in The Close Season. The work was a study of social relationships and intimacy within a defined working class community in Liverpool. As a continuation of the ongoing investigation into the representation of working class culture in the Northwest of England, the research acknowledged the position of historical filmic appraisals of the region and sought to provide a cohesive study of the vernacular particularities and private domestic spaces throughout a particular district in the City. It also sought to advance representational shortcomings in earlier author’s projects, notably the editorial work of photojournalists such as Bert Hardy, Peter Marlow and others. The research considered the position of young adult men within the district, their social engagement and conduct within peer relationships.
The work was exhibited at Blue Sky Gallery, in a show conceived by the artist Chris Rauchenberg, and was sited ‘in dialogue’ with work made in South of England by the artist Stephen Hughes. The work formed part of the group exhibition, Landed, that was later exhibited at Studio Marangoni, Florence, Italy in March 2007.Made available in DSpace on 2008-10-17T11:16:52Z (GMT). No. of bitstreams: 0
Previous issue date: 2003-07-01Closer
oai:http://repository.uwic.ac.uk:10369/2132008-10-17T11:16:53Zhdl_10369_57author2008-10-17T11:16:53Z2008-10-17T11:16:53Z2008-10-17T11:16:53Z, pp.1791903364299http://hdl.handle.net/10369/213Wim Wenders has attracted a great deal of critical comment, with numerous monographs, articles and volumes of collected essays having appeared over the last two decades. The approach of this volume is to address the shortcomings of previous analyses by seeking not to identify unifying features in his work in order to summarize the contribution Wim Wenders has made to world cinema history, but instead to address possible creative motives behind the weak plots and narratives for which his films are most often criticised in these works.
The study reveals a profound sense in Wenders' personal moral code of an incompatibility that exists between the respective demands of and on the two central components of film – images and story – as lying at the heart of the aesthetic choices he makes. Suspicious of traditional narrative dominance in western cinemas, in particular Hollywood, Wenders has developed a keen interest for the ontology of the image to the extent that he refuses to lend the stories he certainly does tell in his films the authority of truth and knowledge as an information-transmitting device. On the other hand, this study asserts, Wenders values the structure narrative can bring to filmed images.
Closely analysing six of Wenders' films in a separate chapter, this study concludes that Wenders employs a loose, episodic narrative structure, often combined, in his earlier years, with the road movie format, as a strategy to guarantee that story is never allowed to develop into a dominant and determining factor in his films, and in order to assert the very act of recording and showing profilmic events (both visual and audio) as a creative act in its own right.
The book was reviewed in TLS, December 13 2002; in the journal “Film-Philosophy” (2004), and in “SCOPE”, February 2005, amongst others.Made available in DSpace on 2008-10-17T11:16:53Z (GMT). No. of bitstreams: 0Wallflower PressThe Cinema of Wim Wenders: the celluloid highway
oai:http://repository.uwic.ac.uk:10369/2142008-10-17T11:16:53Zhdl_10369_57authorauthorScheunemann, D.2008-10-17T11:16:53Z2008-10-17T11:16:53Z2008-10-17T11:16:53Z, pp.4059789042023055http://hdl.handle.net/10369/214This volume on avant-garde film has emerged as part of a wider reassessment of 20th century avant-garde art, literature and film carried out in the framework of a research project, supported by the AHRC, which ran from 2000 to 2006. The project’s overall objective was the development of a new comprehensive theory of the avant-garde.
It is one of the surprising features of existing theories of the avant-garde that they either wholly neglect avant-garde cinema (Renato Poggioli, The Theory of the Avant-Garde. Harvard UP, 1968) or explicitly exclude it from the construction of the theory (Peter Bürger, Theory of the Avant-Garde. Minneapolis UP, 1984). As a result the prevailing definitions and distinctions of the avant-garde as a whole “do not fit” avant-garde cinema, as Anne Friedberg points out (Anne Friedberg, Window Shopping. Cinema and the Postmodern. University of California Press, 1994, p. 163).
The present volume paves the way for a fresh assessment of avant-garde film and develops its theory as an integral part of a newly defined conception of the avant-garde as a whole, by closing the gap between theoretical approaches towards the avant-garde as defined on the basis of art and literature on the one hand and avant-garde cinema on the other. It gathers contributions by the most esteemed scholars in the field of avant-garde studies relating to the “classical” avant-garde cinema of the 1920s, to new trends emerging in the 1950s and 1960s and to the impact that innovative technologies have recently had on the further development of avant-garde and experimental filmMade available in DSpace on 2008-10-17T11:16:53Z (GMT). No. of bitstreams: 0RodopiAvante-Garde Film
oai:http://repository.uwic.ac.uk:10369/2152008-10-17T11:16:53Zhdl_10369_57author2008-10-17T11:16:53Z2008-10-17T11:16:53Z2008-10-17T11:16:53ZTen Contemporary Views on Mário Peixoto's Limite, pp.87-1049783865822642http://hdl.handle.net/10369/215This chapter investigates an avant-garde film made by Brazilian director Mario Peixoto in 1930, somewhat of an anomaly, since it is one of only three films that could be labelled as having avant-gardistic intentions emerging from Brazil in the historical avant-garde period, and because it was the only film the director made. Furthermore, though having been voted one of the greatest Brazilian films of all time, it never entered commercial distribution, but was only screened sporadically, for instance in 1942, when a special screening was arranged for Orson Welles, who was in South America for the shooting of his unfinished film It’s all true, and for Maria Falconetti, lead actress of Dreyer’s The Passion of Joan of Arc (1928). The film then disappeared altogether from the scene, believed lost by many, until 1972 when a restored version was re-released on the festival circuit. In consequence, there has been next to no academic debate surrounding this film until the publication of this critical volume.
The chapter attempts a close formal and contextual analysis of Limite, identifying influences present of European avant-garde activities, of which Peixoto was keenly aware. It simultaneously contests, however, the classification of the film as an avant-garde work in the classical context due precisely to these influences: quite apart from its aforementioned relative isolation in the Brazilian scene and Peixoto’s mainly literary oeuvre, there are too many European influences taken from too varied an array of sources to allow the identification of a coherent aesthetic concept, such as one witnesses in Surrealist, Constructivist or indeed Expressionist film works of the era. The chapter concludes that avant-garde is perhaps too politically charged an art-historical term to apply to this film and, by implication, to Brazilian cinema of the 1920s and 1930s.Made available in DSpace on 2008-10-17T11:16:53Z (GMT). No. of bitstreams: 0MV WissenschaftSpace and the Materiality of Death - on Mário Peixoto's Limite
oai:http://repository.uwic.ac.uk:10369/2162008-10-17T11:16:53Zhdl_10369_57author2008-10-17T11:16:53Z2008-10-17T11:16:53Z2008-10-17T11:16:53ZAvant-Garde Film, pp.77-919789042023055http://hdl.handle.net/10369/216Originally presented to an international conference on Avant-Garde Cinema at Edinburgh University in 2004, this text investigates montage films of the 1920s in the context of avant-garde theory. The observation that new techniques in avant-garde art such as collage, montage and assemblage emerged in response to and through adopting features of the new technical media of photography and film suggests that the place of “City Symphonies” requires a re-location within the avant-garde cannon. In response to this challenge, the chapter addresses concerns raised by Kracauer in his “Theory of Film” that Ruttmann’s 1928 Berlin – die Sinfonie der Grossstadt displays an unhealthy interest in pure formalism to the detriment of greater social concerns. Apart from countering Kracauer’s argument by highlighting that through montage-juxtaposition alone social contrasts are foregrounded, the chapter also focuses on humanist concerns raised in the film as a factor traditionally disregarded in most – predominantly formalist – avant-garde studies, and asserts humanist interests as an equally important concern of avant-garde art production.
A second work this chapter addresses in detail is Vertov’s 1929 city film Man with a Movie Camera. Both Ruttmann and Vertov stressed the importance of musical dynamics in structuring their films, which raises the question of medium specificity, especially considering that avant-garde arts of the period were mostly concerned with discovering languages proper to the respective media. In the case of film, music was often adopted as a model, providing form and rhythm to editing patterns. Basing his montage aesthetic on a “theory of intervals”, has invited Anglo-Saxon criticism to interpret Vertov’s theory as a concept of montage taking the frame as its basic unit of construction. Through close contextual analysis of the original Russian texts, however, this chapter establishes that the shot, and not the frame, lies at the centre of Vertov’s concept.Made available in DSpace on 2008-10-17T11:16:53Z (GMT). No. of bitstreams: 0RodopiOn the Montage Aesthetic in the 1920's 'City Symphony'
oai:http://repository.uwic.ac.uk:10369/2172009-01-05T14:56:54Zhdl_10369_57hdl_10369_661authorTreadaway, Cathy2008-10-17T11:16:53Z2008-10-17T11:16:53Z2006-03-01Proceedings of D2B First International Design Management Symposium, Shanghai 2006, pp.90-9552338-1-Xhttp://hdl.handle.net/10369/217This paper continues my investigations into the creative possibilities of digital technologies within contemporary textiles practice. It presents an analysis of findings from a collaborative investigation with a New York based textile designer. The paper examines the use of distributed digital working practice using the internet for file transfer and digital ink-jet printing technology as a method of outputting collaborative design work. The findings are informed by analysis of case study data and collaborative practical investigations.
This output presents my research within the context of the design industry and proposes new manufacturing paradigms in which digital working processes and print technology make possible new ways of creating and manufacturing printed textiles. The paper was internationally peer reviewed for selection in the conference and accepted without revision or amendment. Its inclusion in a design management conference made its findings available to inform the design industry, and eventually led to an AHRC funded collaborative project with the London College of Fashion investigating creative practice and the use of digital imaging technology.Made available in DSpace on 2008-10-17T11:16:53Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-03-01Distributed creativity: collaborative digital textile design practice
oai:http://repository.uwic.ac.uk:10369/2182008-10-17T11:16:53Zhdl_10369_57author2008-10-17T11:16:53Z2008-10-17T11:16:53Z2008-10-17T11:16:53ZDesign Research: Methods and Perspectives, pp.129-1320262122634http://hdl.handle.net/10369/218The tools of design research, writes Brenda Laurel, will allow designers "to claim and direct the power of their profession." Often neglected in the various curricula of design schools, the new models of design research described in this book help designers to investigate people, form, and process in ways that can make their work more potent and more delightful.
As a contribution to a core text on design research this book chapter presents a manifesto on game form with the intent of illustrating the potential use of this design frame in a much wider social and cultural context. Game form represents a nexus of design knowledge that can be applied outside the sphere of entertainment in order to celebrate human values and innovate new ideas.
Effective design operates within set constraints; the basic design criteria of digital game form i.e. What is the point of the game? How do you play? How does the game play feel? Etc. provide a framework within which to pose research questions. Games provide a context for a fresh investigation of the meaning of and the relationship between the roles of artist, designer and player.
My ongoing research interests remain centred in the study of game design, and how, as a field of experience design we can more closely understand the seduction inherent in becoming a player.
Related research has been presented at the following conferences:
Westecott, Emma, “The Making of an Art Game”, (Invited paper), Women in Games Conference, University of Teeside, Middlesbrough, 10-11th July 2006. http://www.womeningames.com.
Westecott, Emma, “Games as an Emergent Art Form” (Invited presentation), Ludotopia, Exeter Phoenix, 19th February 2006, Exeter, UK
Westecott, Emma, “The Art of The Game” (Invited presentation), May You Live in Interesting Times Conference http://mayyouliveininterestingtimes.org/conference.html 28th – 29th October 2005, Cardiff, UKMade available in DSpace on 2008-10-17T11:16:53Z (GMT). No. of bitstreams: 0MIT PressGame Forms for New Outcomes
oai:http://repository.uwic.ac.uk:10369/2192008-10-17T11:16:53Zhdl_10369_57author2008-10-17T11:16:53Z2008-10-17T11:16:53Z2003-01-31, pp.http://hdl.handle.net/10369/219Ouroboros is a fully functional digital game and supporting website. Emma Westecott was responsible for inception and delivery of this practice-based research project. This 2-year project adopted a design-research methodology that used iterative prototyping cycles to develop and refine practice-components. The project team comprised 12 people over its duration, who are named in the linked website.
This project is part of an ongoing investigation of experiential, aesthetic and creative perspectives on game design that investigates the space between game and art. A key area of focus is how to build emotional depth within game form. This individual output is part of larger body of work that is focused on an exploration of the artistic potential of contemporary digital game form.
Ouroboros is research project to develop a persistent virtual world for experimentation into new concepts for dramatic and emotive game play. As a game research project, Ouroboros addresses the following research questions:
1. How to develop a profile of the player and play style, and to use this to take the individual player into account in the selection and development of a game character?
2. How to deepen the player's experience of being a character within a virtual world? How can the history of the game play experience evolve the player's game character?
3. How to create game play mechanics that serve enhanced dramatic functions?
Related research has been presented at the following conferences:
“Play as Performance” game design workshop and lecture, Games and Storytelling, 23-27 April 2007, The Hypermedia Lab, University of Tampere, Finland. http://www.gamesandstorytelling.net
"On Characterisation; The Art of Illusion", "The Reign of Catz and Dogz? The Role of Virtual Creatures in a Computerised Society", AISB'07 Artificial and Ambient Intelligence, April 2nd 2007, Newcastle University http://hemswell.lincoln.ac.uk/virtualcreatures/index.htmlMade available in DSpace on 2008-10-17T11:16:53Z (GMT). No. of bitstreams: 0
Previous issue date: 2003-01-31Ouroboros
oai:http://repository.uwic.ac.uk:10369/2202008-10-17T11:16:54Zhdl_10369_57author2008-10-17T11:16:54Z2008-10-17T11:16:54Z2008-10-17T11:16:54ZFamily: Photographers Photograph their Families, pp.50-510714844020http://hdl.handle.net/10369/220‘Family’ is a poetic exploration of the universal theme of family, a subject which has had a long connection with photography since the medium began in the nineteenth century. Curated by Sophie Spencer-Wood, the book is a collection of 175 photographs taken by photographers, famous and lesser known, of their families.
It is an intimate study of the relationships - tender and awkward, knowing and innocent - that take place between adults and children in the family unit. My contribution to this book was a series entitled, ‘Portrait Of An Invisible Man’. A collection of intimate and personal photographs that looked at my troubled relationship with my father.
Featured artists include, beside myself, Robert Adams, Nobuyoshi Araki, David Bailey, Tina Barney, Richard Billingham, Harry Callahan, Julia Margaret Cameron, Raymond Depardon, Lee Friedlander, Nan Goldin, Emmet Gowin, Robin Grierson, Chris Killip, Dorothea Lange, Jacques-Henri Lartigue, Marketa Luskacova, Sally Mann, Roger Mayne, Ralph Eugene Meatyard, Nicholas Nixon, Sophie Ristelhueber, Edward Steichen, Alfred Stieglitz, Paul Strand, Larry Sultan, Juergen Teller, Larry Towell and Edward Weston.Made available in DSpace on 2008-10-17T11:16:54Z (GMT). No. of bitstreams: 0Phaidon PressPortrait of an Invisible Man
oai:http://repository.uwic.ac.uk:10369/2212008-10-17T11:16:54Zhdl_10369_57author2008-10-17T11:16:54Z2008-10-17T11:16:54Z2008-10-17T11:16:54Z, pp.3650521530873http://hdl.handle.net/10369/221This collection of essays deals with the issues that animated Conceptual art in the Anglophone world. It offers readers a wealth of new research on the earliest international exhibitions of Conceptual art, new interpretation of some of its most important practitioners, and a reconsideration of the relationship between conceptual art and the intellectual and social context of the 1960s and 1970s.
Conceptual art was a loose collection of related practices that emerged worldwide during the 1960s
and 1970s. It continues to be relevant to contemporary art and remains a lively topic of debate. The most striking features of conceptual art are its de-emphasis on the importance of the art object and its understanding of the role of language in shaping our knowledge of the world and our conception of art.
Of special note are the contributions focusing on the explicitly social and political aspirations of this influential avant-garde artistic practice and the extensive introductory essays authored by Corris. This publication presents new historical and interpretive research by younger scholars on Conceptual art and provides a special focus on the social dimensions of Anglo-American art. There is a range of illustrative material, some appearing for the first time since the 1960s and 1970s.
This research project was supported by a Small Research Grant from the Arts and Humanities
Research Council; It has attracted several reviews; is considered a definitive source for higher education in art; portions have been reprinted; it has been cited by other researchers in the field; and was the subject of a conference hosted by the Courtauld Institute of Art Research Forum, London (Spring, 2004).Made available in DSpace on 2008-10-17T11:16:54Z (GMT). No. of bitstreams: 0Cambridge University PressConceptual Art: Theory, Myth and Practice
oai:http://repository.uwic.ac.uk:10369/2222008-10-17T11:16:54Zhdl_10369_57author2008-10-17T11:16:54Z2008-10-17T11:16:54Z2008-10-17T11:16:54ZDavid Diao: Works 1969-2005, pp.7-209889868024http://hdl.handle.net/10369/222This study provides the first comprehensive survey of the work of Chinese-American painter, David Diao.
Diao’s work is examined thematically and chronologically, analyzing its position with respect to late-Modernist painting and post-modern art of the 1980s and after. The key research question elaborated is how painting might sustain itself as a form of cultural critique, extending a long-standing and extensive inquiry by Corris.
The question is introduced through an analysis of Diao’s abiding interest in Formalism. It demonstrates how the artist has transformed and undermined aspects of Clement Greenberg’s theory of Modernist painting, using methodologies from semiotics and post-structuralism and imagery from seminal avant-garde practices of the 20th century in painting, architecture and design, as well as significant movements in Western art since 1945, such as Abstract Expressionism and Minimal Art.
Diao’s most recent work is discussed in terms of identity and race, and places his painting in a larger context of visual culture. The text traces how the artist’s novel use of constructed photographic and found imagery derived from the mass cultural representations of Asians, contributes to the discourse of ‘otherness’ and challenges racial stereotypes. The study concludes with a reflection on Diao’s conscious positioning of his practice on the margins of modern and post-modern art.
This publication has accompanied the artist’s most recent international exhibitions: ‘David Diao: Co To Jest Konstruktywizm’, Galeria Arsenal, Bialystok, Poland (2005); 2nd Guangzhou Triennial, China (2005-06); and ‘High Times, Hard Times’, Independent Curators International, New York.
Corris's ongoing research into issues and practices related to painting on the cusp of Modernism and post-Modernism is also evidenced by a monograph on Ad Reinhardt [Reaktion Books, London, forthcoming 2008], a conference paper [Courtauld Institute conference, 2006], and a book chapter [Horrocks, ed., Culture of Colour, Berghahn, Oxford and New York, forthcoming 2008].Made available in DSpace on 2008-10-17T11:16:54Z (GMT). No. of bitstreams: 0Timezone 8 LimitedMedals of Honor and Flags of Convenience: The Paintings of David Diao
oai:http://repository.uwic.ac.uk:10369/2232008-10-17T11:16:54Zhdl_10369_57author2008-10-17T11:16:54Z2008-10-17T11:16:54Z2008-10-17T11:16:54ZNeo-Avant-Garde, pp.301-3109789042021259http://hdl.handle.net/10369/223A critical study of the conversational aesthetic in Conceptual art, exemplified through projects of the 1970s by the Art & Language group.
The text argues that the construction of a new type of spectator, based on Ernst Gombrich’s notion of the ‘beholder’s share’, is literalized through some practices of Conceptual art. Such practices are based on the transformation of the spectator’s position from informed interpreter to active collaborator. The text surveys this transformation within Conceptual art referring to the seminar-based practice of Ian Wilson, the indexing projects of Art & Language (1972-1976), and their demise in the political diaspora of Conceptual art (post-1976). Also discussed is the potential reactivation of this essentially
politicized aesthetic of participation via the use of web-based technologies; in particular, the 2002 reconstruction of an earlier project, Blurting in Art & Language (1973).
This article emerged from earlier research on Conceptual Art (see output 2) and is based on a
presentation at the conference “Mapping the Neo-Avant Garde,” University of Edinburgh/University of Glasgow, September 23-25, 2005; research in progress related directly to this topic has been
presented at numerous academic conferences, research centre's and university seminars
internationally.Made available in DSpace on 2008-10-17T11:16:54Z (GMT). No. of bitstreams: 0Rodolpi PressThe Dialogical Imagination: The Conversational Aesthetic of Conceptual Art
oai:http://repository.uwic.ac.uk:10369/2242008-10-17T11:16:54Zhdl_10369_57author2008-10-17T11:16:54Z2008-10-17T11:16:54Z2002-06-20Fourth North American Conference on Welsh Studies, pp.http://hdl.handle.net/10369/224The paper traced the visual artistic representation of one geographical location, in relation to the changing cultural and sociological changes from the 18th Century to the present.
The Welsh painter Richard Wilson’s (1714 –1782) seminal painting of the North Wales mountain Cader Idris (1765), sparked controversy within the artistic community at the time for breaking away from the classical tradition of Claude Lorraine (1600 – 1682) which was still finding favour among artists and their patrons.
The location subsequently became an icon of landscape representation. The paper traced and discussed many of these images and sought to explain how, with changes in style, technology and audience, one location can maintain and hold interest and viability as a vehicle for the communication of ideas around the landscape. Comparisons were made between the various styles noting how the early photographers made use of the stylistic conventions of the painting tradition then later using the intrinsic qualities of their own medium. By tracing from contemporary images of the mountain, including my own, a timeline of the depiction of Cader Idris and its environs was traced back to Wilson, pinpointing his vision of this one location as a turning point in the representation of the landscape.
The paper was accepted due to its investigation of an aspect of ‘Welsh Culture and Identity’, which is an important theme explored by the North American Association within its research and conferences. It provided evidence that Wales and its landscape, and maybe more importantly, as represented by a Welshman, (Wilson), was a significant event in Welsh culture and history.
In relation to my ongoing visual research through my landscape work, it provided a framework and a rationale for exploring one geographic area to express contemporary visual ideas around the managed landscape by referring to history, culture and archaeology.Made available in DSpace on 2008-10-17T11:16:54Z (GMT). No. of bitstreams: 0
Previous issue date: 2002-06-20The Enigma of Cader Idris
oai:http://repository.uwic.ac.uk:10369/2252008-10-17T11:16:54Zhdl_10369_57author2008-10-17T11:16:54Z2008-10-17T11:16:54Z2001-09-01Museo Genna Maria, Villanaforru, Sardinia, pp.40http://hdl.handle.net/10369/225The work examined the landscape of a particular region, with reference to the history, archaeology and particular topography of the island of Sardinia. Initial research revealed a culture on the fringe of the main country, Italy, and which had its own political, social and cultural history, which was reflected in the indigenous population and how they interacted with their particular landscape.
By focussing on the managed and cultivated landscape, the images revealed much more about the way of life of the people of Barbagia than easy references to their past. To reveal the way the land has been shaped, used, planted, harvested, and the intimate scale of individual images, using large format detail to reveal the minutiae of the information, was able to transmit more information about the place and the population. A strategy was found which towards the end of the work focussed on one motif, represented and revealed in a number of ways that were used as metaphors for the many ideas being expressed.
Invitation to research, photograph and exhibit in Sardinia was made at the request of the Associazione Culturale, Italia-Inghliterra, on the basis of my previous work in Wales. Sardinia has very little in the way of a history of photographic landscape representation, from the 19th century to the present. Latterly, any photographic work in the landscape has been illustrative and descriptive of the unique archaeology, or for tourism. The work in this exhibition and publication explored, almost uniquely the current topography of Sardinia as an expression of the culture, history and existence of the indigenous population. Some work from the exhibition was purchased and retained by both the Museum and the Associazione Culturale.
A catalogue was published with a statement by Pete Davis and an essay by Prof. Alistair Crawford. ISBN 1-899095-18-7Made available in DSpace on 2008-10-17T11:16:54Z (GMT). No. of bitstreams: 0
Previous issue date: 2001-09-01Sardinia
oai:http://repository.uwic.ac.uk:10369/2262008-10-17T11:16:54Zhdl_10369_57author2008-10-17T11:16:54Z2008-10-17T11:16:54Z2002-07-20The Meaning of the Land, Festival Interceltique de Lorient, Bretagne, pp.8http://hdl.handle.net/10369/226Group touring exhibition commissioned by the Festival Interceltique, Brittany. Catalogue ISBN 0 900439 98 X. The exhibition examined how individual artists and bodies of work relate with others on a common theme, (representation of the landscape of Wales), and how various media can shape our understanding of landscape in their particular way.
Artists involved in the exhibition: Pete Davis, Carwyn Evans, Eleri Mills, Tim Pugh, Ivor Davies, Mary Lloyd Jones, Peter Finnemore.
The work was selected on the basis of its depiction of an ancient, managed landscape, referring to the history and culture of a wider geographic location through one motif of the landscape. It was the result of research into many of the ideas surrounding both the physical manifestation of woodlands and the myths, prose and theology that surrounds them. The work explored whether, through the creative artefacts of images that retained an innate sense of beauty to hold a viewer’s gaze, it might persuade them to reflect longer on the apparently prosaic elements of the topography and reveal more about those ‘invisible’, non-visual ideas underpinning the work. The photographic style and strategy used breaks away from almost all previous representations of this motif, and is a direct result of the interrogation of style and approach through practical fieldwork research and reflection.
The themed group exhibition offers many challenges to artists and curators if the ideas being individually expressed can be carried through the installation as an integral piece. Bringing landscape work of a particular region to an audience in another nation can be particularly challenging, and audience response to the images allows for an understanding of the perception of others.
The work was awarded the ‘Wakelin Award’ for Welsh artists, and images from the collection were purchased for the permanent collection of the Glynn Vivian art Gallery, Swansea.Made available in DSpace on 2008-10-17T11:16:54Z (GMT). No. of bitstreams: 0
Previous issue date: 2002-07-20Wildwood
oai:http://repository.uwic.ac.uk:10369/2272008-10-17T11:16:54Zhdl_10369_57author2008-10-17T11:16:54Z2008-10-17T11:16:54Z2004-10-15William Feick Arts Centre, Green Mountain College, Poultney, Vermont, pp.14http://hdl.handle.net/10369/227Exhibition based on practice-based and theoretical research into the history, archaeology, visual representation and social background of ancient forests, to determine whether the detailed photographic examination of one small geographic area and one landscape motif can stand for the many wider aspects of landscape history, social influence and representation.
Ancient forests and trees have been a mainstay of landscape representation for most of the history of art and photography. This work sought to interrogate that history of representation, alongside investigation into the social, political, archaeological and literary history of woodlands. While this is a rich vein and full of diverse works and ideas, many or most of the photographic representations of trees and woodlands explored, tended to deal with single ideas specifically related to the forest, ‘specimen’ trees, pollution, destruction etc. This work seeks to establish whether, using one motif of landscape topography – the tree and forest, it is possible to articulate through this imagery, a broad range of ideas around the landscape that transcends the motif itself. This exhibition afforded the opportunity to experiment with larger scale works that seemed appropriate to encourage the viewer to move beyond the surface of the image, and engage with the representations offered on a different level, which hopefully corresponded to all or part of the intentions behind the work. A solo show allows this focussed approach to take place, and to gauge audience response, not from the point of view of approbation or otherwise, but on the level of communication of ideas and understanding. Careful placement of works, judgements made about themes and ideas wishing to be communicated also play a large part in the research methodology applied to exhibitions of this kind, in addition to the general aesthetic quality one wishes to achieve.Made available in DSpace on 2008-10-17T11:16:54Z (GMT). No. of bitstreams: 0
Previous issue date: 2004-10-15Wild Woods of Wales
oai:http://repository.uwic.ac.uk:10369/2282008-10-17T11:16:55Zhdl_10369_57author2008-10-17T11:16:55Z2008-10-17T11:16:55Z2008-10-17T11:16:55ZThe Routledge Companion to Gothic, pp.251-2590415398436http://hdl.handle.net/10369/228This chapter is part of an international collected edition of introductory essays devoted to the study of the Gothic in literature, film and culture. It explores the way Gothic has been appropriated by comic art and examines the close relationship between gothic forms and the rise of the graphic novel. Exploring case studies and writers such as Alan Moore, Frank Miller and Neil Gaiman, this chapter argues for the importance of the fantasy comic medium as a vital interpretative tool of modern culture, using different Gothic elements to comment upon power, gender and identity.
The invitation to contribute to this collection arose out of a conference presentation to the International Gothic Association at Liverpool Hope in July 2003. This work is part of a wider research in genre, film and popular culture that has conceptual and thematic links with the following publications and conference papers:
These Children That You Spit On’: Horror and Generic Hybridity, Monstrous Adaptations: Generic and Thematic Mutations in Horror Film,
(Edited by Richard J. Hand and Jay McRoy), Manchester University Press, 2007)
This is where you get off: The problem of Ambivalence in early episodes of Buffy the Vampire Slayer, Diagesis Journal of Popular Culture, 7, Summer 2004 (co-authored paper with Lucy Nevitt)
You take it up with Frankie Valli when you talk to him: How Ethnicity became a public issue in HBO’s The Sopranos, Conference Paper, International Conference on Contemporary American Quality Television, Trinity College Dublin, 2004
This is where you get off’: The problem of Ambivalence in early episodes of Buffy the Vampire Slayer, Conference Paper, International Gothic Association Conference, Liverpool Hope, July 2003. (Co-presented with Lucy Nevitt)
Family Blood is always the sweetest: The Gothic Transgressions of Angel/Angelus, Refractory: A Journal of Entertainment Media, 2, March 2003 (co-authored paper with Lucy Nevitt)
http://www.refractory.unimelb.edu.au/journalissues/vol2/nevittsmith.htmlMade available in DSpace on 2008-10-17T11:16:55Z (GMT). No. of bitstreams: 0RoutledgeGothic and the Graphic Novel
oai:http://repository.uwic.ac.uk:10369/2292008-10-17T11:16:55Zhdl_10369_57author2008-10-17T11:16:55Z2008-10-17T11:16:55Z2008-10-17T11:16:55ZMonstrous Adaptations: Generic and Thematic Mutations in Horror Film, pp.82-949780719076039http://hdl.handle.net/10369/229This essay is a chapter for a book that addresses the concept of adaptation in relation to horror cinema. The chapter focuses upon how various cinematic sub-genres can be successfully integrated to produce a new ‘hybrid’ genre of ‘teenage postmodern horror’, containing elements of narrative and structural forms that critique its own generic influences. The chapter explores how the development of horror as a cinematic genre has evolved during the course of the 20th century, creating various sub-genres that respond to political and cultural movements and events. The chapter concludes by examining how Robert Rodriguez’s film The Faculty (1998) combines the tropes and stylistic conventions of teen movies, gothic horror and science fiction to effectively create what the literary critic Thomas Kent has identified as a ‘supergenre’: a process in which the spectator/reader can observe a ‘shift ceaselessly from one set of generic conventions to another’ (Kent, 1986: 22).
The other essays within this volume engage with a range of horror texts, from silent horror films through to contemporary films by David Cronenberg, Abel Ferrara and Guillermo del Toro. The volume includes contributions from international academics in the field of film and cultural studies: Brigid Cherry, Julian Petley, Steffen Hantke, I. Q. Hunter, Mikel J. Koven
and Ruth Goldberg. This was an invited contribution and the chapter arises out of my research interests in genre, film and popular culture (see previous entry) and informs a major part of my teaching at undergraduate and post-graduate level.Made available in DSpace on 2008-10-17T11:16:55Z (GMT). No. of bitstreams: 0Manchester University Press'These Children that you spit on': horror and generic hybridity
oai:http://repository.uwic.ac.uk:10369/2302008-10-17T11:16:55Zhdl_10369_57author2008-10-17T11:16:55Z2008-10-17T11:16:55Z2008-10-17T11:16:55ZTheatre of Catastrophe: New Essays on Howard Barker, pp.38-551840026723http://hdl.handle.net/10369/230This book chapter explores the work of the English playwright Howard Barker and his theatre company The Wrestling School. In particular the chapter examines the political and cultural reception of Barker’s plays and the creation of The Wrestling School as a necessary adjunct to that reception. The chapter argues for a way of reading Barker’s drama that places it in a unique position in contemporary European theatre, offering a combination of poetic text with a visually precise mise-en-scene that creates what Barker has described as ‘a theatre of catastrophe’. This style of theatre is defined principally by the ensemble vision of The Wrestling School, a collection of actors, designers and directors who come together to produce Barker’s plays.
As the artistic director, Barker was able to put into place the conditions that created the type of production values now associated with The Wrestling School: chiaroscuro lighting and a mystification of sound and action. The chapter goes on to explore these effects through Barker’s play Gertrude – The Cry (2000), an adaptation of Shakespeare’s Hamlet that transforms the original characters through the representation of eroticism on stage.
The chapter is part of a wider volume that explores the work of Howard Barker from a range of different perspectives. It is the first major edited volume on Howard Barker, with contributions from British, European and American theatre and drama academics. The chapter is derived from my doctoral thesis on Howard Barker (2005), and aspects from this chapter will be presented at a conference on contemporary British theatre at the University of Portsmouth in September 2007. Plans are also underway to develop a book length study of The Wrestling School, with contributions from Howard Barker and other members of the company.Made available in DSpace on 2008-10-17T11:16:55Z (GMT). No. of bitstreams: 0Oberon Books'I am not what I was' Adaptation and Transformation in the Theatre of Howard Barker and the Wrestling School
oai:http://repository.uwic.ac.uk:10369/2312008-12-11T14:02:04Zhdl_10369_572008-10-17T11:16:55Z2008-10-17T11:16:55Z2008-10-17T11:16:55ZDictionary of Literary Biography Volume 30: British and Irish Dramatists Since World War II, pp.239-248, 257-2670787681288http://hdl.handle.net/10369/231The 1990s saw the emergence of a range of new voices in British theatre, coinciding with the ending of 18 years of Conservative government in 1997 and the devolution process in Scotland and Wales. Theatre in Wales began to focus around representations of Welsh identity and the use of language to identify significant changes to the idea of ‘Wales’; this new performance culture is explored in my critical studies of two contemporary Welsh dramatists: Ian Rowlands and Ed Thomas. The research context examines the dramatic style of their drama and its wider significance to contemporary Welsh culture.
These essays form extensive 8000 word critical studies that explore their drama from theoretical and practical perspectives. They are published by the Dictionary of Literary Biography, a reference volume that places writers within the context of their work and culture. It is published in a volume dedicated to post-war British and Irish dramatists, and is intended to be both a biographical overview and a critical analysis of a particular writers contribution to their fields. The essays were compiled from interviews with the subjects, as well as offering detailed analysis of the plays in an attempt to define their contribution to contemporary British theatre.
Other writers included in the volume represent some of the most important dramatists in post-war British and Irish drama: Alan Bennett, Edward Bond, Caryl Churchill, David Hare, Sarah Kane, Joe Orton and Harold Pinter. This work is part of a long-standing research focus on contemporary British drama that includes my doctoral thesis on Howard Barker (2005) and other submitted outputs.Made available in DSpace on 2008-10-17T11:16:55Z (GMT). No. of bitstreams: 0Thomson GaleDictionary of Literary BiographyIan Rowlands (1964 -); Ed Thomas (1961 -)
oai:http://repository.uwic.ac.uk:10369/2322008-10-17T11:16:55Zhdl_10369_57author2008-10-17T11:16:55Z2008-10-17T11:16:55Z2006-09-16John Moores 24, Walker Art Gallery, Liverpool, pp.1http://hdl.handle.net/10369/232The John Moores Liverpool exhibition has been the leading platform for the last 50 years for new trends in contemporary British Painting. From 2300 entries 52 paintings were selected for the exhibition in the Walker Art Gallery. The painting ‘Diego’s compact’ brings together the still-life genre of 17th century Dutch painting with the rigorous methodology of Conceptual artist On Kawara’s systematic approach of documenting time. The source material is an art postcard of a Velasquez painting and a compact. The slow, detailed transformation into a painting places great emphasis on the process of the work. This painting is one of an ongoing investigation into the traditional subject of still life.
Further work from this ongoing investigation was exhibited at Pallant House Gallery, Chichester 7.10.06-7.1.07, together with artists such as Tracey Emin, Sarah Lucas, Jake & Dinos Chapman, Wolfgang Tillmanns, Grayson Perry, William Kentridge a.o.
“The traditional subject of still-life has a place in the Wonderful Collection in the form of Andreas Rüthi’s knowing compositions, each juxtaposing nick-nacks with postcards representing figures from the canon of 20th century art: Mondrian, Giacometti and Morandi. Rüthi has staged these still-life paintings in a similar way to those of Patrick Caulfield where each carefully chosen item has a meaning and contributes to the overall resonance of the work. Both artists acknowledge the past masters of still-life painting: Chardin, Cézanne and Morandi”. (Frances Guy, curator, in Pallant House Gallery Magazine, Number 9, 2006).
John Moores 24: Catalogue: ISBN: 1-902700-30-9Made available in DSpace on 2008-10-17T11:16:55Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-09-16Diego's Compact
oai:http://repository.uwic.ac.uk:10369/2332008-10-17T11:16:55Zhdl_10369_57author2008-10-17T11:16:55Z2008-10-17T11:16:55Z2004-06-30Galerie Hammelehle und Ahrens, pp.22http://hdl.handle.net/10369/233The work shown at Hammelehle und Ahrens in Germany was a show of transition – from physical and geographic, to those painterly and cultural. I had traded living in London for Hastings. And with that move I left behind the closeted artificial light of the urban setting for the sun, sea and sky of England’s nearest reaches to the continent.
Light and space were the subjects of those paintings. In order to approach those areas of exploration in the work, one has to embrace other transitions and developments in the paintings. The still life is still the practical sphere. I had let go a higher art historical frame in leaving behind painting art postcards of old and contemporary masters. The viewer now fulfils that high art contextual role as we look into the emotive eyes of soft toys such as ‘Teddy’, ‘Bad Girl’ or ‘Heroic Poodle’. The postcard paintings function as a means of figuring out the way the space of a painting can flourish as a painterly subject in itself. That investigation has then been animated and set free. Re-contextualized and elevated as paintings, the ornamental aspect of the model is exchanged for an uncanny anthropomorphic quality in their expression and eyes.
Making these paintings is part of a project to return these glazed plaster, painted porcelain, and stuffed toys to their rightful, cultural context. Bambi, after all, was native to and originally lost and so too found, in a European wood. This is already bringing perhaps too much theory to bare on these paintings which ask only that we view them with two eyes and one heart – a heart even that might have left behind in some other time and place and culture, but can still sense a direction that leads to home.Made available in DSpace on 2008-10-17T11:16:55Z (GMT). No. of bitstreams: 0
Previous issue date: 2004-06-30Doggerel and Dogged
oai:http://repository.uwic.ac.uk:10369/2342008-10-17T11:16:55Zhdl_10369_57author2008-10-17T11:16:55Z2008-10-17T11:16:55Z2007-10-01, pp.http://hdl.handle.net/10369/234Video work titled ‘A Hard Place’ selected and published in the Journal of Media Practice as part of a new DVD project titled ScreenWork. This comprises of a DVD component of practice-based research in moving image work and is edited by Jon Dovey of the University of Bristol. ScreenWork is peer reviewed by an editorial board and published in association with the Journal of Media Practice by Intellect Books.
The selected video work ‘A Hard Place’, looks at the (re)construction of history and identity through interviews with ex-Hunger Strikers from the Northern Irish conflict. These testimonies are fused into a single voice that reveals their memorial residues and is viewed through the psychoanalytical prism of Jacques Lacan’s theory on Desire and the Other. This reconstructive process was directly influenced by the figure of Bobby Sands and the object of his desire was a heroic nationalist identity.
The imagery alludes to the psychological as part of a mapping process and how they, like memory itself, are replaced or fictionalised to accommodate the patina of trauma. The function and role of memory in the simulation or re-enactment of experience directs the practice in exploration of historical consciousness; both individual and collective.
The Journal of Media Practice-ScreenWork edition consists of twelve published video works. These video works have been reviewed and are included in the magazine publication along with artist statements relating to each work.
The material has been hosted on the magazine website along with a forum link. This allows for comments and responses to both the practice and reviews of the video works, and has become a platform that allows for the debate to continue outside of the conventional and hierarchical published format.Made available in DSpace on 2008-10-17T11:16:55Z (GMT). No. of bitstreams: 0
Previous issue date: 2007-10-01Intellect PressA Hard Place
oai:http://repository.uwic.ac.uk:10369/2352008-10-17T11:16:55Zhdl_10369_57author2008-10-17T11:16:55Z2008-10-17T11:16:55Z2006-09-159th International Photography Gathering, Aleppo, pp.http://hdl.handle.net/10369/235This photographic work emerges from a body of research that has gained momentum over the last year and was included in the Photo-London 2006 in the form of an artist’s talk in the Royal College of Art hosted by Jean Wainwright (Art Monthly). The public event was previewed in Pluk magazine. Other group exhibitions of the work include The Apexarts, New York (July 07), the Kunsthall, Bergen, Norway (Sept 07) and the Northern Bounds Exhibition, Videographie, Montreal (Nov 07).
Over the last two years the research practice has developed a body of photographic works that look at the process of historical narrative, by interrogating the role of the artefact. The approach explores our sense of historical knowledge and identity that creates a reciprocal relationship between past and present.
The work begins with the singular vernacular photographic image of Bobby Sands; the first of 1981 Republican Hunger Striker. The project negotiates an axis between the historical and the psychological to reveal a contested history in post-conflict societies.
An archaeological theoretical approach (Foucaultian and Freudian) excavates the anachronistic object; either visual, site or memory-based.
In September 2006 a series of photographs were exhibited and an invited artist talk offered as part of the 9th International Syrian Photography Festival, Aleppo, Syria.
The festival comprised of international and Syrian photography and the work selected consisted of four large-scale images (60 cm x 40cm) from the Maze Prison, Northern Ireland.
The work formed a curatorial group exhibition at the Du Pont Gallery with artists Rini Hurkmanns and Lalla Esssaydi amongst others. The invited artists talk discussed the photographic work and the martyr relationship between Irish Republicanism and the Islamic Republic of Iran. This festival has been reviewed online, for instance
http://www.fotofest.org/abroad/syria/aleppo06.htmMade available in DSpace on 2008-10-17T11:16:55Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-09-15The Maze
oai:http://repository.uwic.ac.uk:10369/2362008-10-17T11:16:56Zhdl_10369_57author2008-10-17T11:16:56Z2008-10-17T11:16:56Z2004-09-01Shrinking Cities: Kunst Werke, Berlin, pp.http://hdl.handle.net/10369/236Whilst research into Urban Planning has dwelt on the growth of the megalopolis, the research drawn together for this international project examined historically significant cities whose populations were in significant states of decline.
The photographic research considered the centrality of hidden economies within a de-industrialised region in the Northwest of England. The work was a contribution to a major international research project that gathered the findings of urban geographers, curators and architectural historians, and presented them adjacent to international and diverse responses from artists, cultural theorists and intervention. Work presented was the result of a sustained research into the activities of long-term unemployed families who drew income and materials from a land-fill site in a former industrial/dockland region. The materials reclaimed became a variable in an introspective and discreet economy built on both trust and an alienation from the more general opportunities for employment in the region.
In the development of the work, key issues addressed questions of narrative, representation of class within British social constructs, and the production of work that fore-grounded such issues . The consequent presentation of the work engaged with the sequencing and cohesion of photographs, and examined the potential of site-specific display. Consequently, the scale and reception of the work was a key aspect scrutinised during the work’s consolidation.
The resulting work was shown at Kunst Werke, Berlin, in 2004, at the invitation of curator Phillipe Oswalt. The show then toured to the countries from which much of the research had been drawn, including Ivanovo, Russia; Leipzig, Germany and Detroit, USA. A 500-page catalogue was first published in German by Hatje Cantz to comprise all work drawn together throughout the project. An English translation followed.
The show continues to tour internationally and will visit Liverpool and Manchester in November 2007.Made available in DSpace on 2008-10-17T11:16:56Z (GMT). No. of bitstreams: 0
Previous issue date: 2004-09-01Benny Profane
oai:http://repository.uwic.ac.uk:10369/2372008-10-17T11:16:56Zhdl_10369_57author2008-10-17T11:16:56Z2008-10-17T11:16:56Z2006-10-19Shifts: Archives in Dialogue and New Identities in Documentarism, pp.125-1279519730451http://hdl.handle.net/10369/237As part of the International Photography Research Network (IPRN), this paper was presented at the Shifts conference in Jyvaskyla, Finland in October 2006. The conference was focussed upon the examination of contemporary notions of work and its representation through photography. Taking this axis, the paper that considered the photographic depiction of contemporary manual labour in the northwest of England. Foregrounding the depictions of class, the paper considered photographic representations of labour, casual labour and acknowledged the hidden economies of an unmapped ‘underclass’, active in the region and the subject of previous research (item 3). Drawing upon the notion that an audience for photography is regularly a remote constituency from the subjects depicted, the essay progressed theories of difference and power, considering working methodologies that allowed the development of a more engaged and committed practice. It explored a sense of biography and the familial, as well as depictions of the vernacular and drew upon works of vernacular literature and folk narrative pertinent to labour and its depiction. The work sought to generate a reappraisal of issues of representation, an area dormant in current research and successfully expanded debate around the position of the worker-photographer and the participant-observer. It concluded by appraising photographic work I have made in the region over an extended period.Made available in DSpace on 2008-10-17T11:16:56Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-10-19No Pain Whatsoever
oai:http://repository.uwic.ac.uk:10369/2382008-10-17T11:16:56Zhdl_10369_57author2008-10-17T11:16:56Z2008-10-17T11:16:56Z2004-10-15National Museum of Film and Photography, Bradford, pp.http://hdl.handle.net/10369/238My contribution to this exhibition included three works from the series, ‘Flogging A Dead Horse’. The original series was a critical look at post industrial Britain and the emergence of “heritage culture”, and many of the themes of ‘Flogging A Dead Horse’ became part of the wider critique of heritage culture.
This exhibition re-contextualised and re-presented the selected works in relation to the work of Tony Ray Jones, one of Britain’s leading documentary photographers who died at an early age. The exhibition and book dealt not only with the significant contribution he made to the medium but also looked at the legacy and influence of his work on subsequent generations of British photographers.
The work was referenced in the monograph that accompanied the exhibition ‘Tony Ray-Jones’ by Russell Roberts, published by Chris Boot in Association with the National Museum of Film and Photography (October 2004) ISBN 0-9542813-9-XMade available in DSpace on 2008-10-17T11:16:56Z (GMT). No. of bitstreams: 0
Previous issue date: 2004-10-15'Flogging a Dead Horse' in group exhibition 'A Gentle Madness: Tony Ray Jones
oai:http://repository.uwic.ac.uk:10369/2392008-10-17T11:16:56Zhdl_10369_57author2008-10-17T11:16:56Z2008-10-17T11:16:56Z2007-05-22How We Are: Photographing Britain from the 1940's to the Present: Tate Modern, London, pp.http://hdl.handle.net/10369/239‘How We Are’ was the first major exhibition of photography ever to be held at Tate Britain. It took a unique look at the journey of British photography, from the pioneers of the early medium to today’s photographers who use new technology to make and display their imagery.
The inclusion of my work, "I Can Help" was a re-presentation and re-contextualisation of a selection from an earlier original body of work. The re-appraisal of “I Can Help” within the context of the exhibition looked at the impact it had made on British photographic culture. It was presented as a part of an emerging school of photographers who became known as ‘New Colour Documentarists’. This was an influential group which also included Martin Parr, Paul Graham, Anna Fox, Paul Seawright and others.
The ‘New Colour Documentarists’ were deliberately challenging some of the received notions of documentary photography. Rejecting the humanist tradition (which tended to be a black and white tradition) and defining a new kind of representation. It dismissed the medium’s preoccupation with the whimsical and exotic and replaced it with a commitment to the prosaic and everyday. This was a movement that radically altered the direction of British Documentary Photography
‘How We Are’: Photographing Britain, by Val Williams and Susan Bright. London, Tate Britain. May 2007. ISBN 1854377140Made available in DSpace on 2008-10-17T11:16:56Z (GMT). No. of bitstreams: 0
Previous issue date: 2007-05-22I Can Help
oai:http://repository.uwic.ac.uk:10369/2402008-10-17T11:16:56Zhdl_10369_57author2008-10-17T11:16:56Z2008-10-17T11:16:56Z2004-10-01'The House in the Middle'; Towner Art Gallery, Eastbourne, pp.http://hdl.handle.net/10369/240This was a group exhibition that featured myself and Martin Parr, Anne Hardy, Richard Billingham, Danny Treacy, John Kippin, Dirk Wackerfuss, Jo Broughton and John Paul Bichard.
My contribution was a selection of images from ongoing research into Show Homes on new housing estates. In particular the work looks at the role of interior design and how it functions both as a reflection of peoples needs and aspirations whilst simultaneously revealing something about the wider social/political climate.
The exhibition and book was an exploration of “interior design in the nuclear age”. The exhibition brought together a number of artists whose work is concerned with the function of interior space as a signifier of wider social and political imperatives. This work ranged from the highly contrived sets from popular T.V. soap operas to the domestic interiors built on the Los Alamos nuclear test site.
Catalogue published and curated by Photoworks (2004) ISBN 1-903-796-14-8Made available in DSpace on 2008-10-17T11:16:56Z (GMT). No. of bitstreams: 0
Previous issue date: 2004-10-01The New Economy / Thankyou For Calling
oai:http://repository.uwic.ac.uk:10369/2412010-01-15T10:45:16Zhdl_10369_57hdl_10369_623authorGill, Steve2008-10-17T11:16:56Z2008-10-17T11:16:56Z2005-05-01Human Oriented Informatics and Telematics Conference 2005, pp.9http://hdl.handle.net/10369/241One of two papers (see Output 3) based on Audi Design Foundation’s exercise requiring an information appliance to be produced from brief to prototype in 24 hours. The focus of this research was a comparison between the approaches of two design teams: one operating at PDR utilising the Information Ergonomics (IE) System [see Gill output 1] and the other, PDD in London, working on the same brief in the same 24-hour period. Both methodologies are described in detail and then a comparison of the approaches is made, showing how time was spent by each team according to type of activity (research & concept generation, development work, implementation etc.). The paper critically evaluates the teams’ design outputs and summarises the lessons learned for both the further development of the IE System and the ways in which it should or should not be implemented.
This analysis of the IE System’s strengths and weaknesses was critical in directing the research of the PAIPR group and the further development of the IE System. The conclusions, in conjunction with Samsung and Sony-Ericsson’s feedback from live trials, has led to the IE 2 Unit and have shaped the Intellectual Property leading to patents pending for more sophisticated IE Units 3, 4 & 5. They also led to a very stable relationship with University of Lancaster’s computing department resulting in two short-listed £1m EPSRC bids prior to AHRC/EPSRC Design for the 21st Century funding success.
Gill wrote the paper. Most of the internal co-authors’ contribution was at the event itself, though the work reported in it had particularly benefited from Loudon's skills input into the PAIPR group. The external co-authors supplied a bullet pointed list of the order in which the team at PDD undertook activities but did not contribute to the comparison or analysis.Made available in DSpace on 2008-10-17T11:16:56Z (GMT). No. of bitstreams: 0
Previous issue date: 2005-05-01The traditional design process versus a new design methodology: A comparative case study of a rapidly designed information appliance.
oai:http://repository.uwic.ac.uk:10369/2422008-10-17T11:16:56Zhdl_10369_57authorPovl LarsenauthorLewis, A2008-10-17T11:16:56Z2008-10-17T11:16:56Z2006-05-017(2), pp.121-1261465-7503http://hdl.handle.net/10369/242This paper reports on a case study of how a micro-enterprise managed the innovation processes in the development from product idea to commercial exploitation of a product awarded ‘Millennium Products’ status by the UK Design Council.
The focus of the paper is to describe how this micro-enterprise managed the barriers to innovation it encountered and whether the processes employed could act as an example of best practice for other micro-enterprises?
Few studies have sought to analyse the innovation process in SMEs, even fewer have looked at how micro-enterprises (enterprises with fewer than five employees including the owners) have dealt with the barriers to innovation – this paper seeks to address this apparent void.
This case study analysis emphasised that businesses do not necessarily need to address all of the barriers to innovation they encounter in order to commercially exploit an idea. Such knowledge has assisted other micro and small-enterprises in prioritising strategies for successful commercial exploitation of innovative new product development projects. These findings have informed further ongoing research and have also materially contributed to subsequent knowledge and technology transfer activities, including KTP schemes, particularly those with very small companies.
Larsen was responsible for identifying the micro-enterprise, content of questions for the interview, conducting the actual interview, data collection, evaluation of findings and eventual dissemination. Lewis provided input into data analysis, advice on the synthesis of conclusions and assistance in the development of questions for lecturers (which this journal requires of case study papers).Made available in DSpace on 2008-10-17T11:16:56Z (GMT). No. of bitstreams: 0
Previous issue date: 2006-05-01International Journal of Entrepreneurship and InnovationConfronting barriers to innovation
0001-01-01T00:00:00Z/9999-12-31T23:59:59Z/hdl_10369_57/mods/100