368 research outputs found

    Endings are not always completed with a full stop

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    This chapter provides a critical discourse between Jones and Pinchbeck about the making of The Trilogy, offering a unique framework for a dialogue on dramaturgy. The conversation metaphorically occupies the corner points marked out on a stage, balanced on the edges of white masking tape, the threshold of dramaturgy. The chapter explores the dramaturgical twists and turns in the making of The Trilogy. Divided into three parts, The Preview, The Interview The Review and it is presented as a release statement from a contract in a final act of ‘signing off’ The Trilogy. A final act marked in permanent ink honouring that promise Pinchbeck once made never to perform again. The dialogue questions the undulations of dramaturgy and, like the work, the discourse between Jones and Pinchbeck consciously touches at the edges, it is sticky and non-linear. It weaves together fragments of other contributors’ voices in order to float a range of ideas. Of falling in and out of love with the theatre. And a conversation takes place.N/

    CHEAD Leadership Programme

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    This paper was written in order to share the research and Atypical leadership model by Dr Rhiannon Jones. The approach to set up alternative pathways into H.E for students, residents and communities. To innovate, research through practice and to measure and define leadership not only as administrative paperwork, writing of risk registers, managing teams, marketing, pitching, etc but being able to stand back, observe, see the potential in others and create the space for them to flourish. This blended way of making, learning bringing students into the city with staff to work with public, artists, schools – sharing in challenges we face and using innovation and research to blend with civic pedagogy to lead in that as the only way forward… to create new infrastructures, destabilise existing ones, use the S.H.E.D to create a new site, a new incubation space for learning, sharing, leading. The work of CHEAD, of PolicyConnect and other key stakeholders and policy makers are actively engaging with Art and Design Educators with Higher Education. We know that we not only need to rethink and reposition the Art and Design sector, but its associated perception of value and how it sees itself. The role of artistic practice, education and research is extremely valuable to industry, and needs to be reconsidered for how it is written, constituted and engaged within law and policy and by its leaders. Whatever your job description or title, we are all leaders. We can amplify the impact of the work that we do, on changing pathways to education – through how we can engage early years those at risk of exclusion or who have lack of access to arts and culture – by working collaboratively, across disciplines and sectors - with business, the F.A and H.E. We need to create shared agendas, goals and to do this We need to integrate and collaborate. And we do this by how we can inspire people who are the decision makers and inspire people for whom the decisions are being made for to engage with that process. This is what my research, like the work of others is trying to enable. To be the bridge between those two, to speak openly, to create safe spaces for discourse – to turn and face one another and talk. We need to support Artistic practice that is actively seeking out new methodologies to innovate to blend research, with pathways to education and direct feedback and feedforward to policymakers, stakeholders and with the public and communities that we are engaging. Recently at Design for Planet, the Design Councils Summit at the V&A in Dundee individuals, such as myself, were called to action to put our communities at the heart of everything we do, and Jane Davidison (2021) reminded us that we need to design for living and back to first principles of design – beauty, utility and dudility. We need to establish a pipeline for alternative approaches to leadership, to facilitate room for roots to bed in, shoots to grown and for leadership in H.E to be led as examples of best practice from Art and Design. "Leadership comes in many forms. Leadership is changing, but not quickly enough. Contemporary leaders bring something new to the table. Leadership is diverse and Leaders come from all backgrounds, disciplines, perspectives and experience. We need to support more art and design educators from underrepresented groups to achieve leadership roles. Do you identify yourself as a Leader or is the label of ‘Leader’ unappealing to you? This programme will explore traditional and evolving concepts of leadership within the context of art and design education and is designed to appeal to a wide range of art and design educators considering career progression, aspiring to leadership or keen to explore whether a leadership role is something you want in your next academic role" CHEAD, 2021.CHEA

    The Challenge of Change: The value of creative education supporting inclusion and diversity

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    This was a bespoke design for CHEAD that was developed and reconfigured over the two days of the conference to support the conference themes. S.H.E.D was commissioned to act as an open space for discussions to take place, and then a private, more closed space for the facilitation of a participatory workshop for delegates to consider the 'Challenge of Change: The value of creative education supporting inclusion and diversity'. S.H.E.D was offered as a case study and live installation to see the research methodology of how to design for dialogue through reconfigurable and dialogic space. It was also a consultation space and a disseminator space for CHEAD, led by Dr Rhiannon Jones.CHEAD Birmingham City University A-

    Protest S.H.E.D

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    S.H.E.D was installed over the August Bank Holiday weekend at the National Justice Museum, Nottingham. This research activity was to test out one of the configurations - which has been designed to be an open and engaging space for public to come and sit. To do this at the museum we contextualised the design in terms of its offering as a space for the public to contemplate and write ideas about what systems of injustice they felt were occurring and what they would be willing to protest about. The S.H.E.D functioned as a research-generation site for the National Justice Museum whilst also conducting an investigation into its own research agenda around how the open configuration could work on an intimate level with the public, to engage them when typically the open configuration has been used for large scale festivals and performance work presentations. This installation at the National Justice Museum demonstrated that the open plan configuration was able to also work with intricate and detailed activities, the open configuration didn't seem to prevent a sense of intimacy for this activity as we were able to construct a clear set of instructions. We were also able to, with permissions from National Justice Museum, display the first image of Greta Thunberg on a protest. This was then hung in the S.H.E.D as a trigger point to encourage people to sit with Greta, to reflect and to write about protest and justice. We were also considering the bespoke element to the design process in relation to Covid and how to operate the space through a design response - to create airflow and maintain it as being a safe and engaging space. We were able to prove that S.H.E.D can operate as an adaptable space even in response and reply to government guidance. We had over 524 visitors to S.H.E.D over the installation period. It has been a research tool for the museum, which the S.H.E.D has been designed to do which is to operate as a research incubation and public consultation and facilitation space. The result of this event, and the research material that has been generated will now help to inform a large scale exhibition at the museum in summer 2020 and it will also include the S.H.E.D being back at the museum to carry on the conversations that had started in the S.H.E.D and other activities will also take place to support both the ambition of the Protest S.H.E.D as a space for the shedding of preconceptions about people and place. The S.H.E.D will return to the Museum for 4 weeks in 2021, 2 weeks in the summer holiday and 2 weeks in October half term for a full programme of delivery working on the themes of protest and young people.National Justice Museu

    Shedding preconceptions of place-shaping through participatory design and research

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    This was an invited talk at CHEAD Members Event on Space and Place: exploring current issues in design of space, facilities and environment for art and design teaching and research. The paper given explored the current findings on how S.H.E.D has been created and piloted activity that has been exploring how a mobile space can facilaite the Shedding Preconceptions of place-shaping through participatory design and research. As a result of this paper S.H.E.D was invited to be installed at Birmingham City University as part of CHEAD Annual Conference using S.H.E.D as an exploratory research lab and conversation space.CHEA

    Sexuality and self in old age: exploring the intersection of gender and age through the framework of older women's sexuality

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    A growing body of literature is challenging understanding of sexuality in later life. The dominance of a biomedical perspective on sexual (dys)functioning has led to significant knowledge gaps and contributed to the construction of the oppressive binary of ‘asexuality’ versus ‘the sexy oldie’. This has silenced the voice of older people, particularly older women, and in turn limited development of learning on sexualities in later life. Using a feminist gerontological perspective, this thesis aimed to explore older women’s experiences of sexuality within the context of ageing, focusing on changes in relation to sexuality, and their impact on sense of self. Subsequently,participants’ accounts of sexuality were used as a lens through which the age/gender intersection was examined. The two-phase research design was qualitative, inductive and participative. In Phase 1, 6 older women and 8 researchers were interviewed about methodological issues in researching ageing and sexuality, which informed the focus and methods of the second phase. In Phase 2, 16 older women discussed their experiences of sexuality in in-depth interviews, which were thematically analysed. The resulting over-arching themes, ‘expressing’ and ‘revisiting’ sexuality, encompassed changes relating to practices, relationships, societal attitudes and sense of self. Older women’s narrations challenged the notion of a fixed sexual identity and the asexual/’sexy oldie’ discourse. Their experiences were far-ranging and nuanced, while shared characteristics of fluidity, heterogeneity and diversity were prevalent. These characteristics played an important role in countering the structural invisibility and regulation of older women’s sexuality, by enabling participants to ‘do gender’ differently and to assert a sense of continuity regarding their sexuality. Consequently this thesis contributes to knowledge development in three areas: (1) understanding of sexuality in later life; (2) feminist perspectives on women’s sexuality in later life, with emphasis on an intersectional approach; and (3) methodology around researching ageing and sexuality

    S.H.E.D

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    This research paper introduces S.H.E.D the Social Higher Education Depot and its various research-generation activities known as 'shedding' ; that has come out of that initial artistic research project. It addresses the research question of how do we design dialogue through socially and dialogically engaged practice. Thinking about the ‘Social Turn’ (Bishop 2010), placemaking (Courage, 2019) and the blend of design and performative approach to artistic practice. And how through site-specific practice to create a work of art, in this case S.H.E.D, was able to generate a reconfigurable space for socially motivated work, and as a vehicle for research and consultation space. In this presentation, Jones introduces her thinking about how the purpose of S.H.E.D as an artistic research project is seeking ways to bridges the gap between H.E and reach out to society to fulfil a civic duty. In this way, Jones considers how artist practice can offer insight into how we address the long term issues and impact of ‘shedding’ It is suggested that art is a social action model where S.H.E.D is the ‘mechanism for social engagement and change through participation’ (Sholette and Bass, 2018) . The talk blended the theoretical underpinning of S.H.E.D with its practice and community engagement, whilst introducing the impact and civic action that it has both supported and generated. The talk also describes the research journey to date - setting out its ambitions for 2021-23 and outlines how the project has become a CiC , and the first spin out company from the University of Derby. To date S.H.E.D has contributed to the KEF Shortlisted for Shed of the Year in the unexpected category 2020 Finalist for the GreenGown Awards for Benefiting Society Category, 2020 To date the project has engaged with over 4000 individuals. 187 artists, and 260 young people. Financial Research and Development Grants awarded by: Arts Council England Vice Chancellors Idea Forum Derby County Community Trust Derby Theatre This is Derby Reimagine This is Derby In Good Company BigHouse2 InDialogueN/

    From ‘Techniums’ to ‘emptiums’: the failure of a flagship innovation policy in Wales

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    This paper examines the use of European Union Structural Funds to support the development of innovation policy within Wales during the period 2000–06. Drawing on data from the Welsh government and interviews with key stakeholders, it focuses specifically on the Technium programme, a high-profile technology-based innovation intervention that took a predominantly supply-side approach to supporting innovation, resulting in its eventual failure. Consistent within this is an analysis of the efficacy of supply-side policies using European Union funds to support research and development activities to aid economic growth in peripheral, weaker regions
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