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This is a contribution to the section on colour photography guest-edited for the 40th anniversary issue of PhotoResearcher (also including articles by Dr Laure Blanc-Benon and Dr Caroline Fuchs).
Written in response to Rainbow’s Gravity (Mareike Bernien and Kerstin Schroedinger, 2014) and A 240 Seconds Analysis of Failure and Hopefulness (with Coke, Vinegar and other Tear Gas Remedies) (Basim Magdy, 2012), the text discusses the intrinsic elusiveness of colour photography vis-à-vis the complex historical baggage of its synthetic nature.
This book chapter is a result of a conference presentation and draws on my PhD thesis and forthcoming monograph. It discusses Sakata Minoru’s photographs published in different Japanese photo magazine in 1939 within the notion of the Surrealist object and the zōkei shashin (plastic photography) discourse.
Presentation to the 2019 SAHGB Architectural History Workshop
An exhibition examining the roles of artists, designers, photographers and modelmakers in the defence of Britain during wartime. From the WWI Dazzle disruptive camouflage patterns designed by Norman Wilkinson, to the highly secret activities of the V-Section modelmakers in WWII, this exhibition draws together a range of artworks, designs, photographs and modern interpretations to mark both the centenary of the end of WWI and the eightieth anniversary of the start of WWII.
This paper reveals how UK street carnival is located within policy discourses that facilitate notions of creative economy, inter-place competition and the representation of institutionally-preferred versions of local, regional and national place-identity. The paper draws on ethnographic research within two community town carnivals and the professional Battle for the Winds carnival performances that launched the 2012 Olympic sailing at Weymouth. It considers the evolution of policy-driven carnival vocabularies that were designed to articulate preferred ‘Jurassic Coast’ and Olympic place identities for the south-west UK during 2012, and their effect on two vernacular, community street carnivals in East Devon and Dorset. The paper exposes the cultural tension between these vernacular events and the ‘official feast’ of Jurassic Coast and Olympic carnival, in terms of their performance of contradictory place-identities and contested notions of artistic community. It describes the popular challenge to aesthetic hegemony that these community carnivals presented during 2012. Finally, the author argues for a reassessment of the artistic value of vernacular carnivals, and affirms their status as a culture of resistance that creates alternative, sometimes inconvenient, symbolic constructions of community and place to those preferred by institutional actors operating within a neo-liberal discourse of inter-place competition.
This chapter describes the study the author carried out with two 2nd year acting degree students assessed as dyslexic, and how they gained an autonomy over the processing and performing of Shakespeare’s text. The study aimed to develop inclusive teaching strategies to facilitate the abilities of those with dyslexia and bypass their difficulties with reading. For those with dyslexia the reading and speaking of Shakespeare’s text can present significant challenges. This difficulty undermines practical work and masks the abilities of the dyslexic student actor. Conversely, Shakespeare’s rich language encourages a construction of meaning through visually interpreted modalities. The study demonstrated that the participants created an additional text of drawings, colours and symbols, replacing the alphabetical text, embedding meaning into long-term memory. This chapter shares the experiences of the two students and the author as teacher.
This course reader, written by Mark Collington and published by Bloomsbury (2016), is designed to help animation practitioners apply cultural theories, such semiotics and montage, to the development of both independent and commercial animation projects. It contains examples of animation work by several AUB alumni and staff.
Flower fairy motif design by Mark Collington for re-brand of Moyses Stevens Florist (2005).
West Pier is an animated documentary by Mark Collington, about the history of Brighton’s once iconic tourist attraction, which he made for his MA Animation Final Project, Royal College of Art (2001). The image is a panning background from the animation, showing an interior view of the ‘carcass’ of the decaying pier concert hall.
Workshop at GLAD (Group for Learning in Art and Design) annual conference, 7 Dec. 2018, Manchester Metropolitan University
This workshop aims to consider ‘commuter students’ – students who live and study at home and travel to university (Thomas and Jones, 2017). Through group discussion and creative mapping activities, the session aims to explore learning and teaching issues that ‘commuter students’ can experience, and, importantly, how art and design learning and teaching can support such students.
Delivered a conference paper titled ‘Magic Realism: figurative painting as political oracle’.