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How does Condé Nast segment their UK markets and target and position themselves in the branded magazine market?
How can Fashion Retailer Cos successfully improve their customer experience for consumers when shopping for their brand across multi channels?
This article regards the relationship between photography, the city and invisibility in view of Takuma Nakahira’s work at the turn of the 1970s.
Nakahira’s practice departed from the candid street photography and sought means to not only document but also induce social and political change. Having a strong theoretical grounding in the specific discourses developing in Japan at that time, the article argues how this practice is still significant to much of the present-day concerns with the potential of visual arts to envisage and produce new forms of urban habitation.
Photography’s role in the historical framing of how we see can hardly be overestimated: heralded as the most extraordinary invention in vision, it was meant to deliver the promise of technology’s ability to enrich and improve human sight. Simultaneously, the medium’s capacity to offer photographic evidence placed it at the crossroads of the techniques of representation and regulation. Even as the machine is ever so rapidly substituting the eye in the forging of endless stream of visual data that we are now subjected to, digital vision still relies on the photographic image.
Against such a background, this book chapter departs from a proposition that if we were to envision different ways of seeing we can start from a reformulated understanding of photography. In order to do so, it discusses recent photographic works by Taisuke Koyama and Nihal Yesil and argues that abstract photography enables the recognition of material entanglements between the medium and what it aspires to represent. ‘Following’ such materials as cellophane, aluminium, PVC as well as light, it also mobilises Karen Barad’s project of agential realism in its view of abstract photography as a tool for looking with, a vehicle that enables the rethinking of the medium and, by implication, the ethical parameters of vision that hinges on it.
What affordances does Shakespeare’s language offer those with dyslexia towards perceiving and remembering meaning when processing the text? How might actor-trainers meet the needs of student-actors with dyslexia, especially when interacting with Shakespeare’s words? ‘Working with Shakespeare is for me, like a mathematician’s delight in working with numbers’ states a dyslexic acting student. For some acting students with dyslexia, Shakespeare’s text creates a paradox; the unfamiliar language can hinder their ability to read it, whilst the abundant images and active language excites a visual and kinaesthetic simulation and documentation of meaning. When devising strategies of support for dyslexic acting students, Shakespeare’s employment of sensory signals that work beneath the surface of literal meaning, offer a rich exploratory field, in stimulating psycho-emotional experience, accuracy of word, and developing meta-cognitive strategies to support the act of reading. In this paper, I will give an overview of my (concluded) PhD research investigation into some dyslexic acting students’ rationale for creating visually embodied constructs to represent the text, and describe some of my case-study/action-research trials with the participants; 2nd year Acting degree students with dyslexia, during their work on the Shakespeare Acting unit. This paper will centre on my dyslexic research participants’ deviation from conventional acting methods wherein the written text is the singular source, into the utilisation of drawing, PowerPoint image-slides and choreographed physical actions; translating the alphabetic text into a parallel semiotic language, afforded through Shakespeare’s metaphors, connotations, active verbs, and ‘little word pictures’. This paper will offer practical teaching ideas, which can by-pass the blocks caused by dyslexia.
In the context of this rapidly changing world, Rachel Worth explores the ways in which the clothing of the rural working classes was represented visually in paintings and photographs and by the literary sources of documentary, autobiography and fiction, as well as by the particular pattern of survival and collection by museums of garments of rural provenance. Rachel Worth explores ways in which clothing and how it is represented throws light on wider social and cultural aspects of society, as well as how ‘traditional’ styles of dress, like men’s smock-frocks or women’s sun-bonnets, came to be replaced by ‘fashion’. Her compelling study, with black & white and colour illustrations, both adds a broader dimension to the history of dress by considering it within the social and cultural context of its time and discusses how clothing enriches our understanding of the social history of the Victorian period.
Romiley Forum A two year research and development choreographic project which brought together six practitioners from different performance backgrounds. Devised and directed a live dancework for four dancers which was heard but not seen.
Commissioned by Rivca Rubin, funded by Arts Council. With Lea Parkinson, Paula Hanson, Patrick Beelaert, Andrea Buckley, Julia Wilson, Artistic Director Mark Whitelaw.
Romiley Forum. Devised and Directed Video Work for nine dancers talking about seminal dance moments in their lives. Funded by Arts Council and Dance North West.
A Performed elocution lesson, for video. Viewpoint Gallery, Portland, Ohio, U.S.A. Group Show.
Funded by MMU.
Romiley Forum Devised and Directed a Dance Performance and Video installation, exploring the dance potential of the usually un-revealed parts of the dancer’s body.
Blah Blah Club. NY, USA, Sensitive Skin Festival, Nottingham, PSI 2000 Phoenix, Arizona, the Pratt Institute Brooklyn, New York. A-lectro E-coustic club, Manchester.
A multi-media performance using live and recorded imagery. Funded by Vip Productions and MMU.
ICA, London, Royal Exchange Studio, Manchester, Alsager Arts, Hull University, Sensitive Skin Festival Nottingham.
A live performance work with interactive video script simultaneously playing five characters.