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.
Boyd, C., & Edwardes, C. (eds.) (forthcoming) Non-Representational Theory and the Creative Arts. London; Melbourne: Palgrave Macmillan.
This book jointly examines the impact of non-representational theory on contemporary art practice and geographical research methods. It presents distinct perspectives from both geographically-oriented creative practices and geographers working with arts-based processes. In so doing, it fills a significant gap in the already sizeable body of non-representational discourse by bringing together images, theatre scripts, reflections on performances, artistic practices or music production alongside academic texts that consider both how art-making is shaped by these approaches to spatial enquiry, and how geographic research has been influenced by artistic practice.
A display of artefacts and text created for the 2017 ‘Be My… Valentine’ exhibition at the Priest’s House Museum and Gardens, Wimborne, was displayed as part of the inaugural AUB Knowledge Exchange exhibition at Arts University University. The display evidenced the collaborative work of a creative projects that involved students and staff from 5 specialist courses at AUB and an external client and local companies.
The NTF Regional writing workshop
Following on from the ‘Inspiring Educator’ regional NTF symposium in June last year, Bournemouth University hosted the National Brieifing event for the 2018 NTFnominations. The event was co-organised by Professor Debbie Holley and Dr Kirsten Hardie with Professor Stephen Tee (BU) and Dr Jenny Hill (UWE).
Co-organiser and workshop facilitator of the International Federation of National Teaching Fellows (IFNTF) 2nd World Summit, Halifax, Nova Scotia, Canada 3- 5 May
Presented paper on staff and student partnership at the International Society for the Scholarship of Learning and Teaching annual conference, Calgary, Canada, Nov 2017.
How will Dazed Media remain an agenda-setting publishing powerhouse by 2028?
Gloverall- Brand Perspectives in a Global and Digital World
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.