There’s more than one route into studying in our creative community. From Evening & Saturday Courses, to Foundation and BA courses, to research degrees, you’ll find a path through AUB that suits you. Simply select the course level you’d like to study.
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’.
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.