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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’.
Solo exhibition at Charlie Smith London.
Kirsten co-organised this event with Professor Debbie Holley, fellow National Teaching Fellow at Bournemouth University. The symposium aimed to support staff who wish to develop a national profile and who aim to pursue a National Teaching Fellowship. The event provided networking opportunities and offered discussion of examples of excellent pedagogic practice that all may learn from.
Kirsten was invited keynote and provided colleagues with an overview of National Teaching Fellowship Schemes and detailed advice on key considerations when submitting a statement to become an NTF. She provided a rich illustrated discussion of her innovative and creative pedagogic practice.
From the inception of sync sound in the late 1920s to the modern day, sound in animation has assumed a variety of forms. This article will propose four principal modes that have developed in the commercial realm of American animation according to changing contingencies of convention, technology and funding. The various modes are termed syncretic, zip-crash, functional, and poetic authentication. Each one is utilised to different aesthetic effect, with changing relationships to the image. The use of voice, music, sound effects and atmos will be considered along with the ways in which they are recorded, manipulated and mixed. Additionally, the ways in which conventions bled from one period to the next will also be illustrated. Collectively, these proposed categories will aid in understanding the history and creative range of options available to animators beyond the visual realm.
A conference concerning what theories of things mean, to, for, and in design both in their historical and contemporary contexts.
This chapter seeks to distinguish between ‘objects’ and ‘things’ and to discuss the ways in which these different understandings are evident in graphic communication.
The two workshops were delivered following the invitation from Bournemouth University PGCE course staff for Dr Hardie to work with PGCE students, as guest speaker/workshop facilitator regarding her object-based learning teaching and learning and research work. The session utilised in part objects from AUB MoDiP museum.
This paper examined the AUB ‘For the Love of Graphics’ exhibition in 2017 that was co-curated and the result of student-staff partnership – BA5 Graphic Design students working voluntary and undertaking extra-curricular activities working with Dr Kirsten Hardie. This paper contributes to current research towards publication on student-staff partnership.
This chapter is based on two conversations between Jelena Stojković and Sen Uesaki, archivist and lecturer at Keio University Art Centre at the time, that took place in Tokyo in 2013. It was originally conceived for the ‘Archiving on the Line: Photography, Collecting and the Web’ section of the Either / And online publishing project, a collaboration between the National Media Museum and Ph: The Photography Research Network (co-programmed for Ph by Estefani Bouza, Andrea Alves de Oliveira, Jelena Stojković and Duncan Wooldridge).
It draws parallels between the practices of digital archiving and photography, drawing on several photographic projects including photobooks Ginza Hacchō (Yoshikazu Suzuki, 1953) and Montparnasse (Andreas Gursky, 1995) and discussing such notions as contiguity and ephemera.
This is an article written in collaboration with Dr Julian Ross, a research fellow at University of Westminster and a Programmer at International Film Festival Rotterdam. The collaboration was developed within Theatre and Photography research group, co-convened by Dr Wiebke Leister (LCC) and Dr Joel Anderson (Royal Central), focusing on dialogical writing as a method of presenting research in the field.
The article focuses on Tōmatsu Shōmei’s feature NO.541 from the spring 1971 issue of the magazine Kikan shashin eizō, a record of a performance in which eight actors, a reporter and a cameraman spent 24 hours together at an undisclosed location. It addresses several themes relevant to the feature by adopting some of its main strategies, such as fragmentation and improvisation, and by reproducing several photographs and parts of the tape recording in translation.