Tuesday, 14 September 2010

Ayr Alternative Arts Day, 25th September


We are working with our friends at Ayrtime and South Ayrshire Council to support Ayr Alternative Arts Day on Saturday 25th September. It features a number of UWS connections:  curated by doctoral researcher Chris Dooks, part of the day includes performances by Boy Angel Productions, a company set up by UWS graduates Lindalouise Martin and Dougie Grieg.  UWS Reader in Music and Performance Graham Jeffery will also be performing From the River to the Sea, an audio piece put together with sounds from the walk from the campus to the harbour in Ayr.
The day also includes readings from acclaimed authors Eleanor Thom, author of The Tin-Kin, Jason Donald, author of Choke Chain and Karen Campbell, author of The Twilight TimeAfter The Fire and Shadowplay.And artist Alex Norris will present his work on The Art of the Diary. Full information on the Ayrtime website.

Saturday, 4 September 2010

OLD/NEW NEW/OLD


Saturday, 21 August 2010

Art practice and co-creation


This international collaborative project,
co-organized, co-curated and co-convened by Katarzyna Kosmala explores the themes of

Boundless Creativity/Urban Subversion
The events related to these themes take place
at Bilgi University, Santral in Istanbul on the 1st and 2nd September:
the workshop with presentations/performances, the roundtable and the group exhibition
Old/New New/Old
Altermodern context is based on a series of departures and arrivals. Drawing on Paul Virilo’s aesthetics of disappearance and Marc AugĂ©’s idea of non-place, we have collated a series of the interactive initiatives to co-reflect upon the processes of knowledge exchange. A chaotic universe of communication, travel and migration affects and reflects the multiple genre of representing. A place can be viewed as a relational zone, a geographical landmark, or an area still–to–be–filled with signification and meaning.

Embracing the instability and movement, the project explores a domain of practice/research at the peripheries of dominant knowledge production. At the cross-roads of our academic, social and artistic expression we map the examples of creative practice at boundaries in order to reflect on alternative forms of organizing and processes of transient knowledge production, including:

Umbilical viators and exiles (Miguel Imas /Alia Weston)
Art installation and resisting dominant (Katarzyna Kosmala)
Market Estate Project: A triptych (Maria Daskalaki)
I love deadlines! Performing time (Jean-Luc Moriceau)
Music: Breathing out as organizing beyond controlling (Nick Wilson/ Howard Milner)

By intertwining a complex structure of more or less obvious connections that frame art practice today, the included and the excluded territories, localities as well as their organizational forms, we experiment with the field of potentiality for boundary-less creativity. An altermodernity becomes a method of engagement, opening up ideas for cultural production. The hybrid ways we live and work are acknowledged as the consequences of intersectionality of global markets and dominant ideologies that are continuously mediated by translation, multiculturalism and fragmentation.

The question remains and haunts us: Can creative borderline processes of a more nomadic nature carve a legitimate space for itself in a dominant culture of global markets, digital technologies and shifting social and political forces?

Wednesday, 11 August 2010

Contemporary Art and Environmental Aesthetics

UWS Lecturer in Digital Art Samantha Clark has just published this article in the journal Environmental Values. Abstract follows: 


Aesthetic debates within contemporary art have been tangential to the debates in environmental aesthetics since the 1960s. I argue that these disciplines, having evolved separately in response to the limitations of traditional aesthetics, may now usefully inform each other. Firstly, the dematerialisation of art as the focus of aesthetic experience may have environmentally useful consequences. Secondly, Gablik's 'connective aesthetics', like Berleant's 'aesthetics of engagement', folds aesthetic experience into the social as a kind of environmental aesthetics. Thirdly, contemporary art's flexible readings of 'framing' can respond to 'frameless' natural environments, and finally, Kester's 'dialogical aesthetics' may be enriched by Berleant's systematic account of 'contextual aesthetics'.

Spaces of encounter: Artists, conversations, and meaning-making

Several members of the UWS research community have just been at RGU in Aberdeen for the North East Scotland Visual Arts Research Network's doctoral summer school. Alongside presentations of some fascinating practice-led doctoral projects, including UWS' Kirsten Mcleod's work on participatory film making and community media, there were keynote presentations and seminars from Ray Langenbach, Jay Koh, Kathleen Coessens, Chu Chu Yuan, and Graham Jeffery. 

The slides from Graham's presentation are reproduced below.

Wednesday, 21 July 2010

Call for papers: Practice-led research in the arts

Special Issue on Practice-Led Research in the Arts


Creative Industries Journal (Intellect)
http://www.intellectbooks.co.uk/journals/view-Journal,id=145/


The Creative Industries Journal is planning a Special Issue on Practice-Led Research in the Arts/Creative Industries.


Ideas for papers looking at any aspect of Practice-Led Research in the Arts are greatly welcomed, as are "work-in-progress" suggestions. Approaches to Practice-Led Research  in the Arts/Creative Industries - from all disciplines that work in the area - are greatly encouraged.


Suggested topics/foci might be as "blue skies" as entirely speculative individual investigations of creative or critical knowledge in a particular arts practice (eg. Creative Writing, Film-making, Drama, Fine Art, Art and Design, Music, Architecture). Or topics might focus on "sector specific/knowledge transfer" type investigations, linked to the needs/aims of particular Creative Industries sub-sectors. All welcome.


This Special Issue will be an opportunity to explore the many aspects of Practice-Led Research in the Arts, and to consider both the development of knowledge through arts practice research and the investigation of modes of engagement, actions and activities, and critical understandings.


While undoubtedly it will be impossible to cover every possible area of this considerable set of human practices, it would be pleasing to show a great cross-section.


Initial enquiries - preferably by 1st September - can be made to:


Professor Graeme Harper FRSA, Special Issue Editor, at:


graeme@graemeharper.com


Deadline for drafts will be: 31 October 2010


Final Drafts: 1 December 2010

Thursday, 1 July 2010

MA: Music: Innovation and Entrepreneurship

‘There’s something happening in here.
What it is ain’t exactly clear…’

(For What It’s Worth/Buffalo Springfield)


Although Stephen Stills wrote those lyrics about a riot on the Sunset Strip back in the revolutionary 60’s, that sentiment could just as easily apply to the current state of the music industry.

A new music initiative from the University of the West of Scotland (UWS) is addressing this situation by offering a ground-breaking new course that aims  to be as creative, energetic and innovative as the best of '6os thinking and create its own educational revolution.
                           
The worlds of academia and business have been radically brought together in UWS’ MA Music: Innovation & Entrepreneurship which commences in Glasgow this September.

It is a one-year course aimed at anyone who is passionate about music and wants to set up their own music-related business.

 The MA is the first course of its kind in the UK and has the backing of major iconic figures from the music industry including Geoff Travis of Rough Trade whose forward thinking attitude resulted in what we now know as the independent sector.

Programme Leader Alan McCusker-Thompson says:

‘The traditional music industry is a ghost that’s sitting at the table. Everybody keeps talking to it as if it’s still there but it’s dead. This course is about learning to ‘think different’. It’s not about working in the music industry. It’s about working with music’.

To show how much the times are changing, in the first semester students ‘homework’ will include organising  a one day music conference at the CCA during which an entire album featuring a variety of Scottish acts will be recorded, mixed and mastered from scratch, the packaging designed and the whole thing physically manufactured  and given to delegates  as they leave the conference. It will also be made  available, digitally, around the world on the same day.


While the programme is ideally suited to artist entrepreneurs who wish to set up their own record labels, management or publishing companies, it seeks to go beyond this and develop music-related business ideas that may span everything from apps to fashion to hotels and beyond.


‘In one sense, the course is a blank page. We don’t know where it’s going to go but we want to create the environment where talented, energised individuals can push the envelope in generating new income streams’.

In effect, the course, which is delivered right in the heart of Glasgow at the CCA (Centre for Contemporary Arts) will function as a business incubation unit for cutting-edge, music products, processes and services.

Each student will have their own ‘digital board’ drawn from academia and the creative industries who will support them throughout their year of development and the programme  will ultimately connect students  with potential backers for their ideas.

‘Music has a phenomenal reach and cachet within the creative industries and enhances all media platforms both aesthetically and commercially. That’s why we’re involving practitioners from business, the internet, the film, TV, games, publishing and fashion industries…oh yes, and the music industry’.

The course will suit those who have an undergraduate qualification or prior experience in music, the performing arts, art and graphic design, media, film, business or any of the creative industries; however it is not confined to these backgrounds.

The programme is delivered mainly at the Centre for Contemporary Arts (CCA) in the centre of Glasgow, where the University’s School of Creative & Cultural Industries has a hub and also at Film City, Govan. Delivery of some programme options will also be offered at the University’s Ayr and Paisley campuses.


Applications can be made through www.uws.ac.uk

Contact Programme Leader, Alan McCusker-Thompson on 07977 224258 or alan.mccusker-thompson@uws.ac.uk for further information.

Followers