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Glowing Pathfinder Bugs is an interactive art project aimed primarily at children, using projection to visualise virtual bugs on a real sandpit. The bugs are aware of their surroundings and respond to its form in their vicinity. By changing the shapes and forms in the sand, the bugs’ environment is altered in real time, creating a direct form of communication between virtual bugs and real people.
This highly malleable and tactile physical environment allows us define and carve out landscapes in which the creatures exist, in real time. The piece, originally commisioned by Folly Gallery for Portable Pixel Playground, encourages a simple form of animal husbandry; a sense of looking after, controlling, breeding and caring for the bugs.
According to Paul Wells, the lengthy and intimate relationship of the animation auteur to the animated text is similar to the writing process, and the animated form’s sense of its own artifice highlights the transformative aspects of adapting literary sources for the cinema. It is this expression of interiority, translation and textual process that makes the animated film a perfect vehicle for an adaptation of James Joyce’s Ulysses (1922), which utilizes multiple narrators to construct and deconstruct representations of urban, Dublin society in the early 20th century. It is the purpose of this article to consider Tim Booth’s animated short Ulys (1998), which is in part a commentary on Joyce’s writing authorship, and also an adaptation of Joyce’s novel. The author considers Booth’s use of animation to recover the ‘image-schemas’ that underpin Ulysses, and the ‘small spatial stories’ that inform human cognition of both the literary and animated text.
An analysis of the representations of Irishness in the animated feature film ‘The secret of Kells'(2009).
A critique of Tim Edgar’s ‘Rookery’ (2003) and ‘Cobweb’ (2008)series of photographs by Annabelle Dalby, accompanied by ten of the images.
Tim Edgar records traces of ‘ritual’, through marks and objects, remnants of ceremony. The work heretaken from the larger series ‘Subterrane’ explores the surface of a cave, creating a narrative comprised of clues from its historical and contemporary usage.
These images are drawn from a long term project documenting a small area of woodland which during the Second World War contained the buildings of a nearby airfield. This is one of a series of decade long initimate studies of the European landscape by the author.
Badbury Rings is an Iron Age site in Dorset. A ‘modern’ approach to it appears in ‘Wessex from the air’ (1928) by pioneering aerial archaeologist O.G.S. Crawford, who believed his work could lead to mastery of the past. Ambasna’s concerns are more discreet and subjective, encompassing landscape, territory, belonging, heritage and nature.
An anthology putting the practice of appropriation its into historical and global context.
An anthology based on the authors online art journal criticaldictionary.com
This study showcases the ‘On Trial’ student-centred teaching strategy developed by Kirsten Hardie as part of her National Teaching Fellowship work. The study was invited contribution to the book Design School Confidential: Extraordinary Class Projects from International Design Schools by editors Steven Heller and Lita Talarico.
Article published to accompany the major exhibition ‘Flockage: the flock phenomenon’ staged at the Russell Cotes Art Gallery and Museum, Bournemouth, Dorset from 14 January – 2 June 2008 and co-curated by Kirsten Hardie and Pam Langdown.
Explores the concepts of student-centred, experiential, problem-based and enquiry-based learning through the examination of the ‘On trial’ teaching strategy as used with Level 4 BA (Hons) Graphic Design students.