Neil Bottle exhibition catalogue

Neil Bottle exhibition catalogue with a critical review by Sue Prichard, Curator of Fashion and Textiles at The Victoria and Albert Museum in London. The text is in Welsh and English. The exhibition took place during September 2010 at the Ruthin Craft Centre, Denbighshire, Wales

KAPTUR: technical analysis report

Led by the Visual Arts Data Service (VADS) and funded by the JISC Managing Research Data programme (2011-13) KAPTUR will discover, create and pilot a sectoral model of best practice in the management of research data in the visual arts in collaboration with four institutional partners: Glasgow School of Art; Goldsmiths, University of London; University for the Creative Arts; and University of the Arts London. This report is framed around the research question: which technical system is most suitable for managing visual arts research data? The first stage involved a literature review including information gathered through attendance at meetings and events, and Internet research, as well as information on projects from the previous round of JISCMRD funding (2009-11). During February and March 2012, the Technical Manager carried out interviews with the four KAPTUR Project Officers and also met with IT staff at each institution. This led to the creation of a user requirement document (Appendix A), which was then circulated to the project team for additional comments and feedback. The Technical Manager selected 17 systems to compare with the user requirement document (Appendix B). Five of the systems had similar scores so these were short-listed. The Technical Manager created an online form into which the Project Officers entered priority scores for each of the user requirements in order to calculate a more accurate score for each of the five short-listed systems (Appendix C) and this resulted in the choice of EPrints as the software for the KAPTUR project

Remanufacturing and product design: designing for the 7th generation

The following is taken directly from the research report. This report investigates Design for Remanufacture in terms of both detailed product design and the business context in which Design for Remanufacture may operate. Key Study Objectives • To understand the link between design and remanufacture • To understand how Design for Remanufacture can lead to increased innovation and Sustainable Development (SD) • To identify proactive strategies to further Design for Remanufactur

Warehouse of failed invention

The exhibition consisted of a new installation work, combined with sculptural and video elements. The space was initially transformed from its 'white cube' architectural state, into a warehouse storage unit. The entrance of the gallery was reduced to a single corridor, through which there were a series of false doors, obscure shaped cupboards and larger rooms. One room acted as the 'storage area', darkly lit with boxes covered in oil, another room acts as a theatrical 'prototyping' space with two conjoined chairs were tested for strength (on the outside of the installation, a two-way mirror allowed the viewer to watch others as they explored this space). A smaller viewing room within the installation, acted as a space to view the dual-video film Beacon, 2012. A part documentary film of inventions that are used for safety and when lost (signal beacons)

A qualitative enquiry into OpenStreetMap making

Based on a case study on the OpenStreetMap community, this paper provides a contextual and embodied understanding of the user-led, user-participatory and user-generated produsage phenomenon. It employs Grounded Theory, Social Worlds Theory, and qualitative methods to illuminate and explores the produsage processes of OpenStreetMap making, and how knowledge artefacts such as maps can be collectively and collaboratively produced by a community of people, who are situated in different places around the world but engaged with the same repertoire of mapping practices. The empirical data illustrate that OpenStreetMap itself acts as a boundary object that enables actors from different social worlds to co-produce the Map through interacting with each other and negotiating the meanings of mapping, the mapping data and the Map itself. The discourses also show that unlike traditional maps that black-box cartographic knowledge and offer a single dominant perspective of cities or places, OpenStreetMap is an embodied epistemic object that embraces different world views. The paper also explores how contributors build their identities as an OpenStreetMaper alongside some other identities they have. Understanding the identity-building process helps to understand mapping as an embodied activity with emotional, cognitive and social repertoires

The 14-19 Diploma: partnering and piloting the agenda within Higher Education to enhance and inspire future learners

The following description is taken from the pdf of the conference programme. In collaboration with local schools consortia, professional practitioners and widening participation partners, this paper reflects on successful pilot workshops already held for the Creative and Media Diploma, and considers the vital role of higher education establishments in progressing and developing potential students for the future

Militant training camp and the aesthetics of civil disobedience

This paper examines the current interest in ‘art activism’ (Grindon 2010), and the relationship between artistic expression and civil disobedience. Boris Groys has argued that the lack of political dissidence within contemporary art is not down to the ineffectiveness of the aesthetic, but the far more effective intrusion of the aesthetic by the political (Groys 2008). As such, the political question of civil disobedience is necessarily an aesthetic one. At the same time, this raises problems for how politically effective artistic dissidence can be. As Grindon argues, if art activism often only mimics ‘real’ social activism, it remains within the boundaries of the gallery system with no real consequences (2010: 11). Most art activism fails to be effective civil disobedience, in this sense, as it already operates within the confines of pre-established curatorial spaces. As such, the use of art for the purposes of civil disobedience cannot be, then, mere aestheticism, but rather must act as ‘an insight into the transformed mechanisms of conquest’ (Groys, in Abdullah & Benzer 2011: 86): a conflict over the topology of disobedience which exposes the interrelation of aesthetics and politics through medium, space and archive. This paper critically assesses attempts in contemporary art to re-appropriate the symbolic dimension of dissidence as an aesthetic; in particular the use of militancy, asceticism and dissidence as an attempt to move beyond mere counter-political protest and towards a reclaiming of aesthetics from the intrusions of politics. It uses as a specific case example Militant Training Camp, a social experimental performance camp held at Arcadia Missa Gallery in London, March 2012. This weeklong performance piece was designed to explore the activity and mind-set of militant groups and the idea of non-pacifist activity within wider social movements. Engaging with not only the tradition of anarchist activism, but also more recent artistic engagements with civil disobedience (such as the Yes Men; Avaaz.org; Bike Bloc), the camp involved a residential ascetic ‘training programme’ followed by a series of violent performances open to the public, often disturbing other sites of protest such as Anarchist theatres and Occupy sites in the process. The paper uses first-hand documentary evidence and critical reflection on the event in order to argue that, as both an act of civil disobedience, and an exploration of the limits of its aesthetic treatment, the event raises two specific issues surrounding the notion of disobedience and its conceptual possibilities. The first issue is the representation of rage within the context of art activism. Here, the performance is discussed with particular reference to Sloterdijk’s arguments that argues that militancy and revolt operate under a ‘thymotic economy’ (2010: 58). However, Sloterdijk’s re-appropriation of the thymotic – a conceptualising of ‘rage’ which is not absorbed within the sublimination of psychology or Habermasian symbolism – is not as simple as offering an alternative, ‘non-symbolic’ rage. Given that modern militancy is always subject to containment (the ‘civility’ of civil disobedience), the second issue raised is the formative role of ‘curating’ acts of disobedience. Using the work of Groys on aesthetics and power, the paper assesses how ‘events’ of civil disobedience such as Militant Training Camp are located, represented, circulated and even stored, and the ways in which they might resist their reduction to or supplementing of a further economy (be it symbolic, banal or simply pious) which conceals the formative ‘rage’ of disobedience

Neil Bottle: Focus

A new exhibition of printed textiles inspired by the landscapes of the Middle East will be opening at Contemporary Applied Arts, London, in March. The pieces in the collection, which range from large wall hangings to wearable items such as scarves, were produced by UCA Canterbury Senior Lecturer Neil Bottle who has been a member of the gallery for twenty years. Much of the inspiration for this latest collection was gained during a secondment at the University of Sharjah, in the United Arab Emirates

Abram Games, Graphic Designer: maximum meaning, minimum means

Documents related to the Abram Games exhibition including the press release, invitation and inviatation reminder. Also included is a spreadsheet on the number of visitors to this exhibition

Research students exhibition catalogue 2011

The catalogue demonstrates the scope and vibrancy of current inquiries and pays tribute to the creative capacity and investment of UCA research students. It brings together contributions from students who are at different stages in their research ad/venture. Their explorations are connected by the centrality of contemporary material practices as focal point for the reconsideration of societal values, cultural symbols and rituals and their meaning, and the trans/formation of individual, collective and national identities The media and formats employed range from cloth, jewellery and ceramics to analogue film, the human voice and the representation of dress and fashionin virtual environments. Thematic interests span from explorations at the interface of art and medical science to an investigation of the role of art in contested spaces, or the role of metonymy in ‘how the arts think’ And whilst the projects are motivated by personal curiosity and passion, their outcomes transcend the boundaries of individual practice and offer new insights, under-standing and applications for the benefit of wider society. Prof. Kerstin Me