Scottish Archaeological Research Framework: Future Thinking on Carved Stones

No abstract available

Art in the Age of Networks - Networks as a Way of Thinking

The theme-based and material-based units (with lessons and lesson sequences) propose a curriculum for one academic semester in an undergraduate visual arts school (for sophomore, 2nd year, or junior, 3rd year students). However the lessons could be modified and tailored to any age group developmentally. This curricular framework aims to foster collaboration (within individuals, materials and disciplines), explore networked pedagogy and networks in pedagogy as a collaborating force through and with the visual arts and explore the materiality of the code and the digital media. The course also engages with new media theory and literature, investigates the materiality of the digital media as collaborators, mediators and metaphors and reflects on how technology affects pedagogy and allows students to tailor projects according to their own interests. The course content is flexible in its approach with plenty of elbowroom. The 3rd Unit of the suggested curriculum also seeks to advocate for social justice; students cultivate perspectives about the power of digital media to address social issues, they probe into matters of social justice or injustice with the featured artists and make connections with the artistic processes and goals of the artists (listed in the lessons) to reflect on the sociopolitical context of their own art making. The students also think about networks as an abstract or tangible concept (digital, social, physical, and biological networks) and create works in an open-ended, student-centric environment that encourages critical thinking, independent decision-making and enables them to chose their own nature/ track of projects.https://scholarscompass.vcu.edu/cstae_resource_higher_education/1002/thumbnail.jp

Reflecting on the technical development of the Mapping Sculpture project

This paper explains, evaluates and reflects on the technical challenges and opportunities that underpin both the Mapping Sculpture project and its mobile interface. It provides insights into the development process as an integral component of the research methodology, and highlights the importance of meaningful collaboration between researchers and software developers. Just as the project questions the conventional notion of the lone sculpture practitioner, so the technical development needed to mirror the complex web of connections between people, places, objects, organizations and events through enabling large-scale, distributed and collaborative research. Enabling access to these rich resources on mobile devices was a further innovative and challenging development, but one that opens up the possibility for fresh modes of access and development of new audiences. The success of this technical development offers a model for representing complex relationships hidden in multiple sources, enabling innovative research and enhancing access

Practices of Remembrance: The Experiences of Artists and Curators in the Centenary Commemoration of World War I

The centenary of World War One was marked in the UK by an unprecedented national investment in the creative arts as a vehicle for remembrance. This scale of funding for commemorative arts, not least under a government whose mantra had been economic “austerity”, demonstrates the importance that the nation-state placed on remembrance and on engaging the public in acts of memory through the arts. In the aftermath of the centenary, funding bodies have commissioned evaluations of this programming. These evaluations have focused on audiences reached, organisations benefitted, and social transformation. What remain occluded by the reports are the experiences of the artists themselves and the curators with whom they worked. In this article I explore the personal and affective experiences of several artists and curators whose work contributed to this national programme of remembrance. I ask: to what extent did artists and curators consciously engage with prior artistic responses to World War One? How did the context of collective commemoration and memory-making inform their practice and the works produced? What did their involvement in this programme of national remembrance make them feel? What were the narratives of the war they wanted to tell? To begin to answer these questions, I draw on a series of one-to-one interviews conducted with a number of artists and curators who were involved in commemorative projects in the UK and overseas

Reading Govan Old: interpretative challenges and aspirations

This paper explores the conceptual and strategic issues raised during the transformation of Govan Old church into a heritage attraction and community cultural centre. This exceptionally important Gothic revival church houses the largest collection of early medieval sculpture that is not in state care in Scotland. The quality and depth of Govan’s cultural assets and its historical traditions provide great interpretative opportunities, but come with great expectations. Govan is in the early stages of post-industrial urban regeneration and the church has been identified as its prime cultural resource. So the success of the transformation of Govan Old has the potential to have a significant influence on the future growth and prosperity of the community

Maintaining authenticity: transferring patina from the real world to the digital to retain narrative value

This research is concerned with utilizing new technologies to harvest existing narrative, symbolic and emotive value for use in a digital environment enabling "emotional durability" (Chapman, 2005) in future design. The projects discussed in this paper have been conducted as part of PhD research by Rosemary Wallin into 'Technology for Sustainable Luxury' at University of the Arts London, and visual effects technology research undertaken by Florian Stephens at University of West London. Jonathan Chapman describes vast consumer waste being "symptomatic of failed relationships" between consumers and the goods they buy, and suggests approaches for designing love, dependency, and even cherishability into products to give them a longer lifespan. 'Failed relationships' might also be observed in the transference of physical objects to their virtual cousins. Consider the throwaway nature of digital photography when compared to the carefully preserved prints in a family album. Apple often use a skeuomorphic (Hobbs, 2012) approach to user interface design, to digitally replicate the patina and 'value' of real objects. However, true transference of physical form and texture presumably occurs when an object is scanned and a virtual 3D model is created. This paper presents three practice-based approaches to storing and transferring patina from an original object, utilizing high resolution scanning, photogrammetry, mobile applications and 3D print technologies. The objective is not merely accuracy, but evocation of the emotive data connecting the digital and physical realm. As the human face holds experience in the lines and wrinkles of the skin, so the surface of an object holds its narrative. From the signs of the craftsman to the bumps and scratches that accumulate over the life of an item over time and generations, marks gather like evidence to be read by a familiar or a trained eye. According to the time and the culture these marks are read within, they will either add to or detract from its value. These marks can be captured via complex 3D modelling and scanning technologies, which allow detailed forms to be recreated as dense 3D wireframe, but the result is often unsatisfying. 3D greyscale surfaces can never fully capture the richness of patina. Authentic surfaces require other qualities such as colour, texture and depth, but there is something else - more difficult to define. Donald A. Norman expands on the idea of emotion and objects by describing three 'levels’ of design "visceral, behavioural and reflective". Visceral is based on "look, feel and sound", behavioural is focused on an object’s use, and reflective is concerned with its message. New technology is commonly seen in terms of its ability to increase efficiency, but this research has longer-term objectives: to repair or even rebuild Chapman's 'broken relationships' and enable ‘emotionally durable' design. The PhD that has formed the context for this paper examines the concept of luxury value, and how and why the value of patina has been replaced by fashion. Luxury goods are aspirational items often emulated in the bulk of mass production. If we are to alter behaviour around consumption, one approach might be to use technology to harvest patina as a way to retain emotional, symbolic and poetic value with a view to maintaining a relationship with the things we buy

Leaf-ing A Legacy

Leaf-ing a Legacy is the story of a university art education class that joined with an elementary classroom and residents in a long term health/rehabilitative center through a service-learning project that utilized digital technology and art making in a problem-based learning format to explore the concept of legacy. Evidence was found that the experience promoted socio-emotional learning and fostered the building of socio-emotional capital for the participants involved

Object Language/On Defining Sculpture

Object Language In the current era we in the Western, developed world, have almost universal free and uninhibited access to almost every piece of information in existence. Increasingly, regardless of the source, material presented to us as fact has become increasingly suspect. Together, these two things mean this endless stream of data is useless. The question is how to combat this decline, how to reverse the process of a meaningless, constant data-dump. The answer lies in the language used to communicate information. Language is the means by which we communicate complex ideas and knowledge from person to person. Language is something ubiquitous in our society, we see it, we hear it, it is so constant we do not even consider it as a part of the concepts it is used to convey. Altering language is one of the subtlest ways that information can still be obfuscated. Sculpture has the capability to reframe its own context. This is the great privilege evidenced numerous times by such works as Duchamp’s Fountain and enumerated by prominent art historians. Transforming something into sculpture implies that the purpose of the work is, at least in part, to reframe the subject matter of the piece. Translating language into sculpture is an effort to reframe this system. The process takes that which is recognizable and readily consumable and obfuscates it, putting barriers between us, the reader, and the idea expressed. That which is freely given is valueless, easily discarded, and ignored. By transforming the content into sculpture the idea is elevated, made enigmatic, even esoteric. The ideas in the context of this show are not freely given. They have been rendered inaccessible and there must be effort expended to understand the message. These ideas must be earned. This makes them more valuable and much harder to ignore or discard. Information is the most powerful tool we have, its possession saves us from the mistakes of the past, it is what guides us through our present, and it is what ensures our future. When information becomes valueless it is altogether too easy for it to be taken away; we lose the most important tool we have in self determination. The supplemental images are of the art exhibition entitled Object Language, produced by the artist, that this thesis is a companion to