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Idea 1

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Idea 2

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1/ Raising awareness for local support groups such as Frimley IBD Group
2/ How to support and boost morale for people in the same boat as you?

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Here's my blog with thoughts and research

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This week we want you to explore how to research and define a topic that reveals a new insight and critical understanding of visual culture, myth or story in your area.

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Lots of choices, but I wasn't sure which, mostly because of a lack of interest. Here is the re-searching:https://jazzstew.wordpress.com/2020/03/10/research-and-curate/
and the elevator pitches. I'm aiming for the first.. thoughts?
https://jazzstew.wordpress.com/2020/03/11/elevator-answers/

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Hi class! I am woefully behind, but finally have my recording of the two research ideas I am proposing to study for the big essay. The video with my elevator pitch is linked below. Let me know which you think would be best to research path to pursue. NOTE: both ideas are in one, 2-minute video. Thanks! :)

https://www.youtube.com/watch?v=3wKy5GzU0ZI

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Candid tourism: An assemblage of news headlines taken from local and national news outlets, that when viewed as a single text would provide a multi-faceted, alternative narrative of life in Herefordshire.
Known primarily for its luxurious, period properties and genteel way of life, the county is synonymous with an upper-middle class culture, however, like many areas the social fabric of the county is far more eclectic and it is the disparities between these contrasting demographics, that would provide the basis for my exploration: Does this existing cultural identity accurately reflect the social fabric of the county, as a whole?

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The exploration of the Ghost story as a literary theme, and how this relates to the historical sites in Herefordshire: Does the affiliation with such narratives enrich the cultural identity of a location? Or is it merely a marketing asset? And how has the presence of such iterations of this literary tradition, impacted the recorded histories of the county? Pure fiction, or necessary embellishment?
The article will seek to explore the notion of this literary practice, through the lens of a social-commentary: According to the architects of the genre, the ghost story has always adapted in order to express the anxieties of the era.

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Thoughts and working outs

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Weekly learning objectives

By the end of this week you should be able to:

1. Discover and analyse a range of topics that reflect a viewpoint of your own town, city or locale.

2. Contextualise the interplay between social, provenance and history when writing a visual culture article about your locale.

3. Define and distil your research to gain a new insight and critical understanding of visual culture, myth or story in your area.

4. Deliver an 'elevator pitch' presentation to clearly articulate the subject of your long form 3,000 word article.

5. Manage your personal work-plan and schedule.

Some advice

It is very important to take some time to find interesting and inspiring local topics, subjects or stories, because you will engage with the content over the next three weeks. Speak to family, friends and people who have lived in your locality for a long period of time. Visit the local library and explore newspaper archives.

Lecture introduction

In last week's lecture we explored the interrelationship between critical writing and design. This week we will talk to a creative practitioner working in the field of publishing, to gain an insight into the challenges experienced when developing a new written publication.

In this lecture you will:

Watch Stuart Tolley in discussion with Andrew Sanigar about research, developing a concept, developing a proposal and the challenges of pitching an editorial project;

Explore how places speak to us and how we talk back;

Develop ethnographic research to curate socially led research stories.

After the lecture, take some time to explore the given resources. Make notes and reflect upon these ideas, and use them as a springboard for your own investigations. Use the Ideas Wall freely to discuss, ask questions and share ideas.

Research And Curate.

Ethnographic Research

Study of peoples lives from perspective of own communities

Title first used to describe studies of peoples social and cultural observations from small communities in different countries.

Whilst researching it's common to live amongst the inhabitants to fully understand the culture first-hand.

Before starting, define clear objectives for what you want to achieve, eg. To get an insight into a particular society or culture, to identify a new or versioning lifestyle or sub-culture, to reveal new consumer patterns or perspectives or provide a voice for social or cultural groups.

This kind of research is a great tool to gain information from within a group, but it's important to act appropriately; consent is important especially when studying vulnerable groups, eg. Children, elderly and infirm. Can they rationally and freely give their consent. This may not seem necessary for a uni project but it's important to get this permission if the research is to be in the public domain.

Film and photography are the most effective ways to show ethnographic research. It has the power to reveal new insights into the society and cultures.

Andrew Sanigar - Commissioning Editor at Thames & Hudson

Author & publisher relationship when developing a proposal.

Family owned company! 70 yrs old.

"A museum without walls"

Primarily art, design, illustration, photo, architecture, archeology, fashion and textiles, etc.

Visual publisher.

Commissioning Editor responsible for finding, researching and bringing in the books for the years ahead. First point of contact.

The roll of a book designer should be an active one.

How do you make meaning from the presented content. The design was created out of the content not design first, then add the content.

Consider format, sizes, types of paper...

Subculture/music

What makes a good visual culture book concept?

A clear audience, clear focus on what the book is for, why the audience might want/need the book. Whats the best way of communicating that want/need; format, positioning, price. Also consider how much it might have to cost to buy.

Main points: clearly ID'd audience and a 'hook', why should this book be?

Recognise the audience and how you need to speak to them.

The marketability of the book is a key consideration.

Platform for the book, support material, exhibitions, etc.

Audience + hook gives you a chance.

Considering a global audience varies from subject to subject so not always necessary.

Research:

Authors need to be 'under the skin' of the subject - show a level of expertise. Relying on the author to bring good knowledge and passionate about the subject. Publisher job is to distill that knowledge into a saleable format. Very collaborative.

Presenting books, the pitfalls:

Work hard to make a case for the book. Why this book? More than just info, more than just the content.

Stages:

Proposal, present, talk. Next comes Once past that first hurdle of getting looked at it goes into development: who there will fit the project best. What's the spec, what's the price, what's the audience?

Basic requirements to distill down those things.
Positioning statement.

'Cold War Steve presents the festival of Brexit' a book from a Twitter feed.
Text by John Savage

'Crashing a book' = very quickly publishing a book to meet a trend.

Books -vs- Internet:

Digital is 'transient', gives some excitement. Books are experiences and not just information.

Curate: bring together the information and present it 'correctly'

Ozalids 🙂

Slow journalism - what's that?

The CD ROM, internet, apps replacing books: people jump(ed) on those because they were novel at the time but always revert back to the book when the interest in those dies/settles down. Plus the reaction against them in favour of 'tradition'. Download -vs- holding a real thing in your hands.

Vinyl records
Analogue photography
Letterpress
Become sub-cultures?

Feel more hands on, have to look closer, more involved and 'expert' (?).

Crowd-funding gets a pre-built audience.

New to come? Mid-range will shrink. Collectors editions, include prints or something 'special'.

Books no longer used as reference? Reference online is instant so this kind of book needs to be/contain something extra. How-to included... Not just a 'survey book'. The practical book.

Week 6: Workshop Challenge

The Challenge

This week we want you to explore how to research and define a topic that reveals a new insight and critical understanding of visual culture, myth or story in your area.
Please note, this is a key research phase for a longer, three-week project.
The findings of your research will inform the next stage of production and we expect you to utilise a variety of research methodologies (e.g. primary, secondary, ethnographic).

Please remember, it is imperative you gather enough initial material to develop your final 3,000-word article.

1. Research and find two possible stories that reflect a viewpoint of your own town, city or locale.

2. Create one image to represent both initial story concepts, using a variety of methods, which must be original and not sourced from the Internet or a third party.

3. Present two short proposals with title, original image and a short 100-word synopsis (elevator pitch) about the concept of your article. Please note, we will provide a prepared Keynote slide template for you to present your findings.

Use different research methods

Primary: Questionnaires, interviews, etc.

Secondary: Existing research, publicly available

Ethnographic: Observation/interaction with study participants in their real life environment.

Gather enough material to develop 3000 word essay!

Lots of groundwork on an engaging subject.

Library

Archives

Interviews

Stories

Needs to be something I'm interested in... 🤷🏻‍♂️

Ok, Shrewsbury...

What do we have instead of history?

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Discover and analyse a range of topics that reflect a viewpoint of your own town, city or locale. Contextualise the interplay between social, provenance and history when writing a visual culture article about your locale. Define and distil your research to gain a new insight and critical understanding of visual culture, myth or story in your area.

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Subject two. Julian Batey, a violin maker who has a workshop in Shrewsbury.

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I’ve wanted to avoid simply doing ‘the history of…’, mainly because it’s been done here in Shrewsbury over and over again. I wanted something connected but current, something still going on.

The first is inside the Market Hall in Shrewsbury.
A day-in-the-life of the traders.

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My two proposals are:

Satan Comes to Canterbury - an exploration of the juxtaposition between the Satanic Temple and the centre of Christianity in the UK.

Eat Local - an investigation  into the rise in popularity of locally sourced veg box deliveries in Kent.

I'm pretty sure I'm going to go with the Satanists idea for my 3000 word essay.

I had a lot of fun making the images. :)

Blog : https://lucysmagraphicdesignblog.wordpress.com/2020/03/09/week-6-workshop-challenge/

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Idea Number 2
The Light of St Ives

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Idea Number 1
Who was Alec Walker

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Here is my second idea.

Idea 2:
Street Art

Feedback is very welcome!
Thanks!

Peace out! ✌️

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Here is my first  idea.

Idea 1:
Chesterfield business mums

Feedback is very welcome!
Thanks!

Peace out! ✌️

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Just uploaded my synopsis :) Feedback appreciated. Thanks all.

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Been need to upload this for a while. further to my previous post, below are my synopsis for the two essay ideas. I have also included transcripts for both. Hope you enjoy the presentations.
Idea 1: Maltese: The Latinised Semitic Language
As Malta was conquered multiple times from different rulers across Europe and North Africa, the Maltese language has a history as interesting as that of the Island's culture.

The Maltese language is predominantly semitic, however it is not classified as a Semite because of the heavy influences of Romanesque and Anglo-saxon languages. In my research. I would be outlining the historical and linguistic aspect of how the language came to be, and also how the media is impacting the language, both written and spoken. In addition, I would like to see if the language is at risk of dying out, being a minority language.
Idea 2: What Goes on in the Shadows: An Analysis of the Evolution of Crime in Malta Through the Years.
Malta has always been considered one of the safest in the world - this is statistically proven. With that said, there are cases that have shook the nation over the course of time, even if the number is small. I will be looking at the works of crime historians to get a better picture of what is the crime scene in Malta. In addition, I would like to see whether the crime rate fluctuated and which crimes are more likely to be committed. The goal behind this research is not to mar Malta's reputation of safety, but rather to show that vigilance is important at all times.

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Been need to upload this for a while. further to my previous post, below are my synopsis for the two essay ideas. I have also included transcripts for both. Hope you enjoy the presentations.

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When Humans turned into Butterflies.
Surfridge, USA

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Plumed Knights.
Face(of a city)palm

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Managed to get through week six (finally!)

Hate my voice tho, but here goes:

Idea one: History Re-written
https://rachelwise240483.wordpress.com/2020/03/06/idea-one-history-re-written/

Idea two: Bracknell's Bickering Bypassers
https://rachelwise240483.wordpress.com/2020/03/06/idea-two-bracknells-bickering-bypassers/

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Athlone Town v AC Milan article proposal

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Jimmy Gralton article proposal

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Idea 3:
This one is totally different to the others. It would be more of a business style article. Focusing on a group run locally by self-employed business mums.

'A group for ladies in the chesterfield area who are self - employed to inspire, connect and ask for advice'.

The audience would be local business, self-employed people (mums), and local women.

The piece would be used as a way to elevate their presence.

Facebook

Thanks, J

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Idea2:
This one is going to be harder to communicate I think, simply because no-one has ever seen a ghost. But, right on my doorstep is Bolsover castle. It has been voted (by staff) as the spookiest site run by English Heritage. There are 400 plus castles and abbeys, historic houses and palaces.
The audience would be ghost hunters and historians. Trying to find a subculture that maybe visits these places to try and find the elusive ghosts.

Bolsover Castle is built on an ancient burial ground and overlooking a town once described as "the Satanic capital of Britain"

Would love your thoughts please?

Cheers!

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Idea 1:
I am looking at maybe putting together a piece that documents the hidden artwork around my location. Pieces that not everyone knows about, me included until recently on week 1s project.
Here is an example (below image)
I am trying to find the artist and then maybe get into their subculture if there is one.
- Delve into why they do it?
- What they get from it?
- Are their hidden groups about this artwork?
- Is there an underground movement maybe?

What are your thoughts on this idea?

Thanks Peace out! ✌️

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5:30-7:30 tomorrow.

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including the two pitches. I feel though, as I carry out more research and have more time to think on the subjects the direction of 3000 words could change. For the moment though:
https://theworkshedoes.wordpress.com/2020/03/05/research-and-curate-workshop-challenge/

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Titled: It is called: A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench.

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There are old newspapers, discarded concert tickets, thrown out art materials and even the annoying bit of paper that always falls out of a new copy of the New Yorker - all brought together for a vast piece of art work that wraps around the back of the Barbican's concert hall.

Walead Beshty, a UK-born and LA-based artist, on Wednesday unveiled the work made from a year's worth of detritus.

Beshty has pinned more than 12,000 prints to the 90 metre long wall of the hall's Curve space. He has used one of the earliest of photographic processes, the cyanotype, which involves objects being placed on a porous surface - such as cardboard - that has been coated with UV-sensitive material and then dried in the sun. The results are kind of silhouettes against a cyan blue background.

It is less a year in Beshty's life, he said, and more "a year of work".

There is waste from his studio, discarded personal objects and a fair number of newspaper front and back pages. He does not like reading newspapers online, he said. "I just love the object. I feel a little bit like an object fetishist for enjoying it so much."

The work is essentially a giant photographic collage and it comes with a title so long it cannot even be communicated in one tweet.

It is called: A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench.

Beshty said it was "a picture that tells its own history" and that a number of narratives could be placed on it.

He did not want to be prescriptive in how it is read. "You could say it's my diary, an exegesis on how a studio produces, that it's about waste - you could say any number of things. While all those narratives could stick, there are also things that simply don't add up to support that story."

Most of the items at the far end of the work are from Beshty's time at the Barbican over the last month and include concert tickets and a copy of the Guardian.

The work is free to see at the Curve until 8 February.
Topics

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Rubbish idea: Walead Beshty artwork made from year's detritus goes on show

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There are old newspapers, discarded concert tickets, thrown out art materials and even the annoying bit of paper that always falls out of a new copy of the New Yorker - all brought together for a vast piece of art work that wraps around the back of the Barbican's concert hall.

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"This Mess is a Place allows a cross-disciplinary project to develop in parallel to contemporary interest in archives/collections. Putting collection and compulsion together in theory and practice combines psychiatric research into hoarding"

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It was Mark Dion who did the Thames Dig project. Apologies, watching the webinar back (yes, for some odd reason I do...) I said John Dilnot and later said Mark. If of interest, John Dilnot is quite an interesting Artists' Book Maker. Really don't know how I got the two names mixed up.
http://www.johndilnot.com/

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This text discusses two related works, 1999 () and Tate Thames Dig - Locker 2000 ().

During the summer of 1999, U.S. artist Mark Dion and a team of volunteers drawn from local groups combed the foreshore of the Thames at low tide along two stretches of beach at Millbank and Bankside, near the Tate Gallery (now Tate Britain) and Bankside Power Station, which would become Tate Modern the following year. As with Yard of Jungle 1992 (Museo Arte Moderna, Rio de Janeiro), where he literally removed and examined a yard of jungle floor, Dion focused on a natural, historical constant. In this case, he turned to the banks of the River Thames, looking for fragments of individual and ephemeral histories. London's location, its growth and its fortunes can be attributed to the Thames. The two sites yielded a wide variety of artefacts and tokens of life as lined Millbank on the north shore of the Thames and Bankside on the south. Working over a number of days, Dion's team collected large quantities of items, including clay pipes, vividly decorated shards of delftware, oyster shells and plastic toys. The finds were then meticulously cleaned and classified in 'archaeologists' tents' on the Tate Gallery's lawn at Millbank during the summer of 1999.

First shown at the Tate Gallery as an Art Now installation between October 1999 and January 2000, the finds for Tate Thames Dig are presented according to location in a double-sided old-fashioned mahogany cabinet, alongside photographs of the beachcombers and tidal flow charts. There are also five 'treasure chests' which contain larger items, but which are not part of this work. Organised loosely according to type (such as bones, glassware, pottery, metal objects), the viewer finds them in seemingly unhistorical and largely uninterpreted arrangements. Antique items sit alongside contemporary items, ephemera and detritus are next to objects of value. Each is a material witness, performing the same function as a historical proof. This lack of distinction is an important aspect of Dion's approach and he resists the reading of history as a necessarily linear progression. The only differentiation is a geographical one, the two sites retaining their individual identities. The lack of historical categorisation suggests a subversion of standard museological practice. Viewers are free to create their own associations, to trace histories across time, not necessarily in a linear direction.

Tate Thames Dig - Locker did not form part of the original Art Now installation and stands as a kind of postscript in relation to the project. The work comprises a field locker filled with items belonging to or used by Dion. Its appearance contrasts with the solidity and solemnity of the double-sided mahogany veneer cabinet. The side panels and door of the locker are constructed from sturdy wire mesh, so that the contents are visible. It has the quality of a theatrical prop cupboard; the assembled objects and articles stand as attributes of the artist-archaeologist-collector. On the top shelf sit various items and a number of books, including S.J. Knudson's Culture in Retrospect: An Introduction to Archaeology. Hanging from pegs are Dion's orange boilersuit and cap, a Tate Modern site jacket, a specimen bag, and the white lab coat that he wore while camped on Millbank lawns. Alongside his boots on the floor, there are two rubbish-filled dustbins, labelled 'site 1 Millbank' and 'site 2 Bankside'. These suggest humorous connections with the Art Now treasure chests and prompt us to question the categories of disposable and valued.

Dion's practice incorporates aspects of archaeology, ecology and detection. His projects focus primarily on current issues surrounding the representation of nature and on the history of the natural sciences. Dion is simultaneously fascinated and repelled by the principles of taxonomy which have been used since the eighteenth century to classify and interpret the natural and man-made ephemera of the world. His principles are informed by the writings of Stephen Jay Gould, the contemporary evolutionary theorist, who points out that taxonomic systems do not provide objective criteria but are contingent upon our value systems and thus rooted within our social structures. By re-enacting the processes of scientific research, Dion questions the premises upon which these activities are based. His investigations have led him to construct laboratories and to embark on experiments and expeditions. An essential aspect of his methodology is collaboration with other artists, scientists, community groups, and both art and non-art institutions. His work can take the form of installation, , performance or film and video. Typically, these present a reworking of the orthodox procedures of collecting, identifying and classifying to suggest a more poetic and open-ended approach to interpretation.

Further reading:
Art Now 20: Mark Dion, exhibition leaflet, Tate Gallery, London 1999
Mark Dion, Tate Thames Dig: Beachcombing London's Foreshore, exhibition leaflet, Tate Gallery, London 1999

Tina Fiske and Giorgia Bottinelli
February 2002

Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.

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'Tate Thames Dig', Mark Dion, 1999 | Tate

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Long story short: I wrote the synopsis and everything, only the images are missing. How are you guys going about it?

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#1 The disappearance of Football League’s most storied club

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#1 The disappearance of Football League’s most storied club

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Notts Country: Officially the the most stressful team to support, the club where Sol Campbell lasted 29 days, a former owner who flashed his penis on social media, and a club whose own anthem rings "I had a wheelbarrow, and the wheel fell off” - I aim to explore where it all went horribly wrong for Notts County; the oldest professional club in the world.

I will also explore how the club can and should rebrand itself and take inspiration from clubs such as Nantes, Bristol City and Juventus at how to become noticed once again.

(note for image - I aim to take a medium format photographic exploration for this, as the stadium interestingly sits in the middle of an industrial estate)

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Finally stumbled on an idea that I really like… an exploration of local zines and zine culture. I came across a bunch of old punk zines and after talking to a few people apparently there is a bit of a resurgence of local zines too. I came across Swansea Zine Fest (https://swanseazinefest.wixsite.com/2019/), a local event celebrating zines. The DIY aesthetic and connection to counter-culture is really appealing to me and something I’d love to get stuck in to, and I’m sure there’s some interesting stories to found here! Thoughts?

p.s. sorry for being AWOL for so long everyone, life’s been a bit hectic

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There's some really fantastic ideas starting to develop. Well done all.... Hope you're enjoying the task and we look forward to seeing how your ideas develop. 

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There's some really fantastic ideas starting to develop. Well done all.... Hope you're enjoying the task and we look forward to seeing how your ideas develop. 

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I was going to put this in the webinar... but, here you go. Dramatic shaping dramatises the everyday.

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PLOT POINT (teaser) // BIEFF 2010 Award Winning Films

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Always worth a watch

https://youtu.be/v6-K-arVl-U

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One could be critical of this, or sit back and enjoy the cinematography, or both.

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Samsara is a non-narrative documentary by Ron Fricke exploring the marvels of the world and the richness of the human experience. Filmed across twenty-five countries over a five-year period and acclaimed for its mesmerising visuals and music, it captures both the tedious and the miraculous and the greatest depths of human spirituality.

Samsara is a Sanskrit word meaning 'the ever-turning wheel of life', an expression which perfectly describes the interconnectedness of the human lifecycle. Combining scenes of both destruction and renaissance, the film illustrates the ties between mankind and nature and how our lifecycle is in tune with the rhythm of the earth.

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Samsara is a non-narrative documentary by Ron Fricke exploring the marvels of the world and the richness of the human experience. Filmed across twenty-five countries over a five-year period and acclaimed for its mesmerising visuals and music, it captures both the tedious and the miraculous and the greatest depths of human spirituality.

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Gods led by Goats – How myth, legend and missed penalties shape a good story

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Gods led by Goats – How myth, legend and missed penalties shape a good story

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Today I held an unstructured (great way to open conversation) interview with Irish journalist and author Declan Lynch who was at the Athlone Town v Ac Milan Match in 1975. He remembers the AC Milan team being viewed as Greek Gods compared to the pale Irish, who would rarely have left the country at the time. He remembers a pipe band leading the teams out and that pipe band being led by a Goat. In the years since, he was told that goat didn’t exist, but it’s now part of the myth of the game. He also remembers how a missed penalty for Athlone led to a collective trauma that never left him or maybe anyone that was at the game. It got me thinking of how myth plays a part in shaping the narrative of such events. This led me to a hook for the article. Against the backdrop of this game, I’d like to explore:
- The power of mythology in storytelling
- How moments shape events and create myth
- How stories like this and storytelling in general is engrained in Irish identity
- How storytelling connects us and help us understand our place in the world
- Should we let truth get in the way of a good story

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Still thinking through the ideas for this week and unsure about how I'm going to gather research with little time. Might have to go the interview route with online newspaper articles. It's going to roll into the weekend before I can get to the libary.

Idea 1 The Myth of Ralph’s Wife

Investigate the myth of ‘Ralph’s Wife’, a story which influenced the name of a local roads and a bar in the village of Banks. Had Ralph been a smuggler or a fisherman? Research the origin of the myth and its significance to local culture historically, at present and possible future adaptations of the story.

Idea 2 The Village of Banks

Investigate the local community of farming and shrimping. Take a look at the evolution of equipment used like primitive horse pulled ploughs, steam engines and the development of complex machinery with many times more efficient processes that are in place today. Agriculture and Fishing are seen as a heritage being passed down generation after generation through family, land and locality.

Idea 3 Southport Seaside Resort Decline

Southport and its decline from the Seaside resort that it once was. Southport had once been a thriving tourist place in the past and is said to of inspired the tree lined boulevards of Paris. Napoleon III had lived locally before he orchestrated the construction of the French capital. Southport is originally a Victorian town and features one of the oldest and longest iron piers in the country. Although the town is still a very nice place to live it has since lost much of its attraction to nearby places like Blackpool and Liverpool.

https://graphicdesign601949651.wordpress.com/2020/03/04/week-6/

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Idea 2: What goes on in the Shadows: An analysis of the crime scene in Malta

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Idea 2: What goes on in the Shadows: An analysis of the crime scene in Malta

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The second idea for the essay is to look at crime scene in Malta and how it has changed over the course of time.

The objectives for this essay are:
- to look at the history of crime in Malta: types of crimes; motifs etc.
- Increase and decrease of different types of crimes
- Cold cases?
- Weapons of choice: what was used as weapons/devices; Ownership of conventional weapons; What is considered a weapon in the eyes of the law.

This idea involves a lot of desk research. I will be looking at the works of Edward Attard - a crime historian. Considering contacting him, but would like to have a solid framework of the essay first so that I will ask the correct questions. I'll also be paying a visit to the Crime Museum. Should find some good source material there. In the museum, there is a section dedicated to cold cases. Would be interesting to have a look there.

In contrast to this, I am considering conducting a survey or put together a questionnaire. The goal is to see whether people generally feel safe. I can then compare this data to crime maps and data involving crime rates etc.

The national archives can also be a good source, but I will not be banking too much on the access of documents for there does not seem to be a catalogue or an overview what sort of documents are held in said archives.

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Life has taken over a bit this week, super busy at work and also realised I’d been driving my car around with no tax or MOT for over a month 😅

The good news is I’m no longer driving around illegally, and I’ve just caught up with a more detailed blog post for this week!

https://alicemarlow.home.blog/2020/02/29/week-6-research-and-curate/

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Found this book at the library of comments from all the children who have moved into Milton Keynes while it was being built. "we have not got any hospitals" "what ever they are doing, they are taking away our identity" oh and "well if theres anything you need me and my mrs are next door" Toni aged 9.

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Idea 1: Maltese - The Latinised Semitic language

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Idea 1: Maltese - The Latinised Semitic language

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**QUICK TIP: listing the goals of the research first helped me a lot in putting together the frameowrk of the research and essay.**

The first idea for the essay is an exploration of the Maltese language itself.

The objectives of the research and essay are to:
-take a closer look at the historical aspect of the language.
- learn about how the language became "officialised" in rems of grammar, spelling etc.
- how media impacted the language
- whether change in demographics affected the spoken language

In order to gather this information, I will of course start off with desk research. I already found some book titles that will help me gain traction. Amongst other things I will be looking at historical documents that outline the linguistic aspect of the Maltese Language. In addition, I will also look at statistical data, particular in terms of knowledge of the written and spoken Maltese as well as for code-switching - shifting between one language and the other mid-sentence. It is very common in Malta for we have two official languages.

I am also considering conducting a couple of surveys. One of them for sure to gather raw data regarding the knowledge of the language, impact of the media and langauge preference amongst other things. The other I would like to aim it towards Maltese language teachers. In the classroom, teachers are faced with various situations and experience first-hand various trends, including trends in the spoken language. This survey can provide that data regarding the 'official' changes in the language (changes in spelling, syntax etc...) and also evolution of the spoken language - how the students communicate and express themselves both verbally and in writing.

As for demographics, I am unsure whether to look at already existing data or populate my own. Depends on the date of publication of the existing data.

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During the years that followed WW2, thousands of Brits rallied around a common cause - rebuilding the country together.

Rationing became a necessary measure, ensuring that the countries' limited resources could stretch to everybody. This shared sense of self-sacrifice is partly what the modern British identity is built upon & was a major factor in the swing towards welfare-state socialism in that era that produced such wonders as our NHS.

With no-deal Brexit looming on the horizon and our country more fractured than ever, we could do well to once again tap into that 'Blitz spirit' and come together in the face of whatever may come.

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This book will bring together a diverse collection of individual stories from refugees, veterans & others that have survived through difficult life experiences. Here in Southampton, one of the UK's most heavily bombed cities, these stories might help us reflect on the commonalties that exist between us all & could attempt to break down some of the divisions that continue to feed a resurgent right-wing narrative here in the UK.

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Great resource of essays and articles about graphic design and visual culture. The magazine has been running for 30 years, so there's a wealth of information on there....

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Eye, the international review of graphic design, is a quarterly printed magazine about graphic design and visual culture

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I'm still really unsure about my topics, but I am reading through ethnography theory and local history to see if something prompts me

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I'm still really unsure about my topics, but I am reading through ethnography theory and local history to see if something prompts me

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1. I'm definitely going to the sewing evening at the community centre tomorrow evening, because at the very least it will allow me to sit and talk to people of different ages and backgrounds. Maybe this will spawn into a project.
2. Another tentative idea is Walthamstow as a hub of innovation – Andrex, Arts and Craft, Rubber Production, Transport and Flight. What is it about Walthamstow that provided the right social and environmental conditions for this to be the case? What new innovations are being created right now?

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Listed here are all of the stories that have been sent to us for inclusion on the site.
Select the desired Section (see below), then click on the Title and a new page will open.

You are most welcome to send in your own articles ( see requirements).

Note: Most of the stories have been saved as PDF files ( ) and you will need Adobe Reader to read them.
Other files ( ) are regular site pages.

Personal Stories [Top of Page]

"Spooky Corner" [Top of Page]

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Listed here are all of the stories that have been sent to us for inclusion on the site. Select the desired Section (see below), then click on the Title and a new page will open. You are most welcome to send in your own articles ( see requirements).

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Some really useful info on when and why to use an ethnographic study approach

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Some really useful info on when and why to use an ethnographic study approach

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https://www.spotless.co.uk/insights/ethnography-when-and-how/

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Ethnography can help investigate very complicated or critical design challenges. A good researcher is essential when observing and/or interacting with target audiences in their real-life environment.

What is ethnographic research?

Ethnographic research is a qualitative method where researchers observe and/or interact with a study's participants in their real-life environment. Ethnography was popularised by anthropology, but is used across a wide range of social sciences.

Within the field of usability, user-centred design and service design, ethnography is used to support a designer's deeper understanding of the design problem - including the relevant domain, audience(s), processes, goals and context(s) of use.

The aim of an ethnographic study within a usability project is to get 'under the skin' of a design problem (and all its associated issues). It is hoped that by achieving this, a designer will be able to truly understand the problem and therefore design a far better solution.

Methods associated with ethnography

Anthropological ethnographers often live amongst a group/society for a year or more, in order to learn about them. This fully immersive, long-term 'live and work' approach to ethnography has not proven popular within the field of usability.

Part of the reason may involve cost, but it is also the case that anthropologists and usability practitioners are interested in different things. Anthropologists use ethnography in an attempt to fully understand as much as possible about an entire society. Usability practitioners are usually only interested in learning information that will support their reasoning on a specific design problem.

We would argue that deep, immersive 'live and work' ethnography is rarely required within the field of user-centred design. However, short ethnographic studies can be very useful for user-centred projects. For example: in order to understand the way in which a Merchant Bank trades and operates, a usability consultant might conduct an ethnographic study by working and socialising with its employees for a month.

Individual methods which are available within an ethnographic study include: participant observation, interviews and surveys. All of these ethnographic methods can be very valuable in gaining a deeper understanding of a design problem. Usability practitioners often make use of these in order to develop their understanding of the relevant domain, audience(s), processes, goals and context(s) of use.

When to use ethnography

Ethnography is most useful in the early stages of a user-centred design project. This is because ethnography focuses on developing an understanding of the design problem. Therefore, it makes more sense to conduct ethnographic studies at the beginning of a project in order to support future design decisions (which will happen later in the user-centred design process).

Ethnographic methods (such as participant observation) could also be used to evaluate an existing design - but their true value comes from developing an early understanding of the relevant domain, audience(s), processes, goals and context(s) of use.

We would normally recommend that ethnographic methods are used for very complex and/or critical design problems. More complex design problems (in terms of their domain, audience(s), processes, goals and/or context(s) of use) are likely to need the deeper understanding which ethnographic studies can bring. Equally, highly critical systems (where failure or error can lead to disaster) could also justify significant ethnographic research.

For example: An insurance company wanted to re-design their system dealing with the processing of insurance claims. This system had evolved over many years and actually represented a patchwork of previous systems. The 'claim processing' supported by this 'system of systems' is itself a highly complex process. In this example, ethnographic research should probably be considered.

Advantages of ethnography

One of the main advantages associated with ethnographic research is that ethnography can help identify and analyse unexpected issues. When conducting other types of studies, which are not based on in-situ observation or interaction, it can very easy to miss unexpected issues. This can happen either because questions are not asked, or respondents neglect to mention something. An ethnographic researcher's in-situ presence helps mitigate this risk because the issues will (hopefully) become directly apparent to the researcher.

Ethnography's other main benefit is generally considered to be its ability to deliver a detailed and faithful representation of users' behaviours and attitudes. Because of its subjective nature, an ethnographic study (with a skilled researcher) can be very useful in uncovering and analysing relevant user attitudes and emotions.

Disadvantages of ethnography

One of the main criticisms levelled at ethnographic studies is the amount of time they take to conduct. As discussed above, ethnographic studies do not always require a long period of time, but this consideration is nonetheless valid. Because of its richer output, an ethnographic study will tend to take longer to generate and analyse its data than many other methods.

During previous ethnographic studies, we have found that it is possible that subjects may not act naturally during a short study. Longer studies normally counter-act this because the subjects grow to trust the researcher and/or get tired of any pretence.

For example: During the first week of an ethnographic study into an insurance claim processing system, all the subjects were observed to be following the strictest interpretation of the correct procedures. As time progressed, however, it became increasingly apparent that almost all employees had 'work-arounds' and 'short cuts' which were liberally used in order to speed things up. These behaviours were very instructive in helping to re-design the process flow. Had the researcher not stayed in-situ long enough to observe these, they may have gone unrecorded.

Risks associated with ethnography

As stated above, ethnographic studies consist of the researcher observing and/or interacting with subjects within the environment which the (future) design is intended to support. The two main potential weaknesses with ethnographic studies are:

Researcher
Ethnographic researchers need to be very highly-skilled to avoid all the potential pitfalls of an ethnographic study. Some of these include the detail & completeness of observations, as well as potential bias (and mistakes) in data collection or analysis.

Subjects
It is essential that any studies' subjects are as true a representation of the larger user audience as possible (assuming that the study has been designed this way). It is also vital that the subjects are open and honest with the researcher. Of course, both of these issues are related to the quality of the researcher themselves and their role in the study's design.

As we can see from the above, most of the risks associated with ethnographic studies relate to the researcher, either directly or indirectly. This, of course, means that the choice of ethnographic researcher is critical to a study's success. We recommend choosing a researcher with a proven background of past involvement in successful projects across varying domains.

Conclusion

We would generally recommend that an ethnographic approach may be suitable for the early stages of a user-centred project that deals with a particularly complicated or critical design challenge. This is because ethnographic methods allow a particularly deep understanding of a design problem's domain, audience(s), processes, goals and context(s) of use. These ethnographic methods can also be very useful in discovering and exploring previously unknown issues.

Perhaps the most critical decision within an ethnographic study is the choice of ethnographic researcher. This individual will design, conduct and analyse the study's findings - so it is essential that they have the skill and experience to make sure the study is representative, accurate and fair.

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Ethnographic Research: What is it & How to Use It? | Spotless

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Ethnography can help investigate very complicated or critical design challenges. A good researcher is essential when observing and/or interacting with target audiences in their real-life environment. Ethnographic research is a qualitative method where researchers observe and/or interact with a study's participants in their real-life environment.

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I am struggling a little to find a new insight or pick a topic that can be interviewed/surveyed from both sides so any advice would be warmly welcomed!
So far my idea's ...
1. The soulless city - Milton Keynes is only 50 years old and was designed as a garden city` on a grid system but it engulfed old towns with a lot of history so I was looking at how it has affected the culture in those areas -however I have stumbled across a book on mysterious Milton Keynes and how it is one of the head quarters for the illiminate and links to Stonehenge.
2. Knife crime in MK has risen by 90% is now said to be worse than London, postcode wars have started, kids are bringing knives to school - looking at what has lead to the increase, the motivations of carrying, fashion, fear and links to reduced funding at schools, youth clubs closing and in the police force. etc.

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Hey, Izia look at this -
“The people of Southampton have always been proud of their seafaring heritage. For hundreds of years sailors, engineers & scientists have brought prosperity and pride to her humble shores. From navigating the vast, choppy seas to producing some of the finest climate analysts, So…t. “

So...t.. what?

I don’t know, that’s as far as it goes.

I don’t get it Voro, what’s a climate analyst? What does all this mean?

I’m not sure, maybe nothing. But I don’t think that what we’ve been taught is… right? I need to keep looking. Something doesn’t add up.

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Set in an imagined future in which much of the UK’s coastline has succumb to rising sea levels - this project would explore the impact human-led climate change & an increasingly fragmented socio-political system have on the lives of two children living in the year 2520.

The main text will take the form of a textbook - supplied by the nation’s central corporation to all school age children. Hidden within this book however are snippets of found text & imagery that reveal a different story to the one that is printed inside…

Part speculative fiction, part social commentary – this work will look to blur the lines between fact, fiction and storytelling.

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A look at Iron Age monuments in Bracknell

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A look at Iron Age monuments in Bracknell

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One of the earliest places recorded in Bracknell, before it was given the name "Braccan Heal", is Caesar's Camp. This is what sparked my interest in comparing the history and future of the town and opinions around it.

For anyone who wants to have a look at Caesar's camp - I took some photos and videos to try and show just how huge and hilly it really is.

Blog post: https://rachelwise240483.wordpress.com/2020/03/03/pre-old-bracknell-caesars-camp/

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Despite popular culture at the time projecting an image of Newcastle being very much in decline, the Sixties were a time when many modern (almost futuristic) city planning proposals were made. The intention was to make the city a thriving metropolis and yet due to a bit of political scandal and lack of funds many were left unrealised and literally left hanging in mid-air.

Given that those associated with the projects are held in considerable disdain now, a lot of what they were aiming for has actually been realised (though arguably with a little more care taken) and is serving as inspiration for future developments

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One) The exploration of the Ghost story as a literary theme, and how this relates to the historical sites in Herefordshire: Does the affiliation with such narratives enrich the cultural identity of a location? Or is it merely a marketing asset? And how has the presence of such iterations of this literary tradition, impacted the recorded histories of the county? Pure fiction, or necessary embellishment?

The article will seek to explore the notion of this literary practice, through the lens of a social-commentary: According to the architects of the genre, the ghost story has always adapted in order to express the anxieties of the era.

Two) Candid tourism: Candid tourism: An assemblage of news headlines taken from local and national news outlets, that when viewed as a single text would provide a multi-faceted, alternative narrative of life in Herefordshire. Known primarily for its luxurious, period properties and genteel way of life, the county is synonymous with an upper-middle class culture, however, like many areas the social fabric of the county is far more eclectic and it is the disparities between these contrasting demographics, that would provide the basis for my exploration: Does this existing cultural identity accurately reflect the social fabric of the county, as a whole?

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Complex simplicity: History Revealed
Studio practice: Discover and analyse a selection of contemporary and historical letterforms that define the identity of your location. Research and document the typography in your location and upload them onto the GeoType Wall. Distil and edit your letterforms down to five examples you think best define the identity of your location. Deliver a short written description to contextualise and communicate your research into how type design reflects the identity of your location. Collaborate through group discussions on the Ideas Wall.
Research: How does Typography inform the identity of a city/town?

The typographic narrative that is present in Leominster is, in my opinion, typical of a market town in England. By typical, I mean to say that it is wrought with tension and engulfed in a self-perpetuating battle between the pleasantries of the past and the desperate, economic need to embrace an unknown future.

The first chapter of this story is built on the history of the town itself and is conveyed through the implementation of an array of serif fonts, often accompanying the branding of a local business. With the selected fonts presented in a manner that aspires to communicate the values of the town: Traditional, Proud, Respectful, Industrious, Cultured, Consistent, the town endeavours to project an identity that seeks to communicate an idyllic interpretation of itself. This message is conveyed through the use of serif fonts, script fonts, and decorative fonts-All of which are imbued with an aesthetic that evokes nostalgia.
"A good typeface creates an emotional response in relation to the message it is conveying," Jonathan Barnbrook, founder of the website Virus Fonts, told the BBC. "You're trying to get that tone of voice right-you can shout or whisper. And you want to sum up the spirit of the age, because they do date quite quickly."
In response to this attachment to the past, and how detrimental this can be to a small rural community, we can observe the presence of a more contemporary and unified typographic language, in the form of signage and word-marks. These communications represent the large, international conglomerates that small towns such as Leominster have come to rely on economically.

Culturally, the typographic language adopted by the town is reflective of the mindset that has established itself here. The businesses a reflection of the social hierarchy and the disparity in the income of the town's residents. A predominantly upper middle-class area the town is home to businesses that reflect the affiliated pass-times of such social groups. The presence of this class system is evident too in the selected typography and permeates the subtext of the messaging therein. Therefore, we can state that typography is able to communicate large swathes of cultural-data, through the use of colour, shape, and letterforms. And working harmoniously, these elements can forge an emotional connection with the reader and communicate the identity of the collective, as well as the singular.

A Brief History of Leominster, Herefordshire.

Leominster is the largest of the five market towns in Herefordshire, situated twelve miles from the Cathedral city of Hereford the town boasts picturesque views and a rich history that can be traced back to the period known as early, pre-history.

There is much uncertainty pertaining to the naming of the town, with the explanations ranging from linguistic in nature to the purely fantastical. However, it is widely accepted that the name Leominster is constructed from a two part structure. The first part, that being Leo is a corruption of the Welsh word Lei, meaning to flow and is believed to refer to the geographic relationship between the town and the rivers Orney and Lugg. The second part of the name being the suffix, Minster and refers to a Christian community or Church.

A second explanation references the Anglo Saxon Earl known as Leofric, whom had held dominion over the area during the 10th and 11th Century. It was during this period that Leominster became know as a centre for excellence in the raising of Ryeland sheep and so valued was the wool, that it became known as Leominster Ore (Gold).

In 1121, Henry the 1st Gifted the land and the town to the monks at Reading abbey and they used the revenue that had been generated by the lucrative wool trade, to erect a Benedictine abbey in the centre of the town. This structure was later subject to raids by the welsh armies led by Owain Glyndwr and invading, Viking war-bands. Today, the site is inhabited by the Priory and continues to serve as a centre of worship for the town and the wider community.

The town has played a prominent role throughout the history of the British Isles, from post Roman Britain through to the Industrial Revolution and beyond, the town has been at the forefront of the economic and political landscape of Britain.

From approximately 1748-1754 Leominster was home to one of the first four Paul-Wyatt cotton-mills in the world As a consequence of being home to such an innovative production facility, the town had enjoyed a period of prosperity during this time.

This week we were tasked with documenting the typographic identity of our local area.
For this task I had chosen to record my findings using the camera on my phone, as this method would allow for a more practical approach to the task at-hand.
I began the week by walking around Leominster, beginning at the centre of town and setting forth on a cyclical route that would allow me to observe much of the towns layout. I placed an emphasis on observing the layout of the streets and how this related to the history of the town. With much of the original architecture still present, many of the buildings can be read as a visual-history of the town and its fortunes.

I was intrigued to discover a visual-dialogue that was seemingly present at various points on the chosen route. It seemed to me that this narration reflected the changing fortunes of the community and more interestingly, the spiritual identity of the towns inhabitants. This was particularly evident in the number of buildings that had at one time served as a church or home to a church-affiliated organisation. Subsequently, I had began to reflect on how this occurrence reflected too, the decline in the role of the church as a foundation stone of the community here, and in many of the rural communities across the UK. If this is the case, we could view the typographic legacy of such institutions as a social-commentary.

In-keeping with this notion I further analysed the interplay that was taking place between the typographic-narrative and the towns history, as a centre of worship. This was further demonstrated by the emergence of a more contemporary vocabulary in the form of Sans Serif letterforms, which announced the arrival of a post-modern philosophy, that was in direct contrast to the more traditional cultural-identity, of the town itself. This minimalist aesthetic was indicative of the changing cultural landscape and the emergence of the large international conglomerates that have established outlets, here in the town.

The presence of these multi-nationals has begun to dictate the visual narration within the town-square, and is in-conflict with the many decorative fonts that are synonymous with the local businesses. The subtext of the sans serif fonts can be read as advocating progress and a breaking with the past, where as many of the decorative fonts celebrate heritage and legacy. In response to this tension, I found myself contemplating the subject more broadly and reflecting on the risk to the linguistic integrity of rural England. By admitting international brands to establish a presence in these communities, is the country complicit in the systematic degradation of its own legacy? Or is this merely a question of having to progress, in order to survive?

In my view, it is this dialogue between the past and the present that dominates the townscape, this exchange depicts the social changes and economic upheaval that is taking place in many of the communities, across the country. We are living in a period of transition, economically, socially, technologically and philosophically. And it is this layering of change that is reflected in the typography of Leominster. And it this tension between legacy and progress that I intend to explore, further.

Final 5 examples + 100 word Analysis.

Swan Brewery
Here we have an example of how, by referencing a more traditional aesthetic, the local proprietors are continuing to retain a connection with the history of the town.
Once again, the choice of materials has value and contributes to our understanding of the messaging. It is this application of the chosen materials that provides the viewer with a visual prompt and establishes an emotional connection between the brand-message and the members of the public.
What do we take from this outcome? Our attention is directed towards the past, of an idealised interpretation of history, which may in-turn evoke a sense of nostalgia and a yearning for our own past.
ALL
What can we say about a seemingly nondescript example, of contemporary way-finding?
For me, this application of low-cost paint on a poorly maintained tarmac road is allegorical in nature and indicative of the economic state of many of the rural communities around the UK.
Often starved of funding and dismissed in favour of more commercially viable towns and cities, the traditional market town is often reliant of low-cost materials and is seldom prioritised in the awarding of funding or in the provision of vital resources. This visual is a damning statement on the failing infrastructure, that is on display all across the UK.
Court/Centre/Inform
The second major building in Leominster is The Grange, a Tudor building that is regarded as the finest surviving example of a timber-framed building, from that period. The structure was designed and built by the Kings' carpenter, who is believed to have been a native to the town.
Today, the building is located in a large open parkland in the centre of the town and is used for a multitude of purposes, including: The hosting of cultural events and private functions.
This interplay between contemporary life and legacy is evident in the choice of font and in the application of the materials, which instils the letterforms with a sense of dignity and elegance. Together, the combination of polished metal and traditional typography directs the reader once again to the past, however, here we are also informed of the buildings intention to endure and transcend the changes taking place within the modern age.
Youth Hostel
The interplay between modernity and the history of the town is ever transient, and here we can observe an example of how a previous attempt at modernising the signage in the town has been dismissed by the passage of time. The typography resigned to the besieging gestures of the natural processes that have occurred, within the environment.
This example possesses a visually stimulating assemblage of organic matter and man-made materials, and as a consequence of this juxtaposition of materials, we can view the signage as a metaphor for the overall narrative of the towns history.
War Memorial
Here we can see how Type has been used in the construction of a war memorial. The brass plate is secured to a tree that was brought from the battlefields of Verdun during the 1914-1918 war. The tree stands adjacent to the towns war memorials, the Priory Church, and a children's play park. In my view, this gives the placing of the object a more profound presence and signifies a relationship between all three locations. This is evident in the choice of font, which aligns itself with the tone of the subject in question. The typography takes on a greater meaning when viewed in-situ, and communicates a firm connection between the memorial and the adjacent priory. It tells the viewer that the landscape in which the memorial is located possesses an almost divine quality, which in-turn contributes to the elevation of the message itself. The materials too, are indicative of the narrative that is being conveyed to us. The weathering of the brass and the cosmetic damage that is present on the surface of the structure denoting the destructive nature of mechanical warfare. In response to the tone of the message therein, which is arguably one of loss and forlorn hope, we must once again refer to the placing of the signage. Adjacent to this sign is the children's play park, and for me this geographic relationship establishes both a literal and philosophical dialogue between life and death. The children's play area evoking a sense of rebirth and new life, free of the burdens of war.
References:

Peate S., (©2018). Font psychology and typography inspiration in logo design [online]. Fabrikbrands. [Viewed 1 February 2020]. Available from: https://fabrikbrands.com/font-psychology-and-typography-inspiration-in-logo-design/

Fabiano G., (©2016). Typography of place: How fonts shape a city's identity [online]. Blueprint. [Viewed 1 February 2020]. Available from: https://blueprint.cbre.com/typography-of-place-how-fonts-shape-a-citys-identity/

Complex Simplicity: Story Told

Studio Practice
Define and analyse your research into local typographic language and experiment with new and original letterforms. Develop, design and make new and original letterforms, which create a new and unique title typeface that spells out the name of your town or city.
Research

Inspiration

Life and Death + Industry.
In attempting to refine my initial-observations, I have compiled a selection of the photographs that I had taken during week one. Using these examples I will endeavour to create and develop a series of design-proposals, that seek to communicate the history of Leominster and it'a inhabitants, past and present.
A community is a living organism, with each aspect of that entity responsible for the continued survival of the whole. We can observe these processes taking place in the everyday lives of those around us, and indeed in our own lives. Each of us contributes to the successful continuation of society, subscribing to universal truths and accepted forms of conduct. We abide by the law, we don't commit acts of violence or infringe upon the lives of others, we attend school and seek employment, and we contribute to the whole. The ability to do so is essential in the up-keep of a stable community. And it is this cyclical exchange between decay and rebirth that is on display in the typography of Leominster, with the fingerprints of the past deeply embedded in the towns vision for the future.

Therefore, the key objective this week is to explore and communicate the layered history of Leominster's inhabitants, past and present. Specifically, I wish to tell the story of the town as a spiritual centre, throughout the history of Christianity in the British Isles and how this relationship with spirituality is imbued in the fabric of the landscape.
Much of the narrative that is present within the given examples, is reflective of that history and the history of the economic fortunes of the community. With many of the surviving signage systems repurposed or placed upon former communications, the interplay between the past and the present is in plain-view. This process of decay and rebirth can be applied too, to the town as a whole. And is a story that I endeavour to communicate, through the work that I produce this week.
Development Process

The starting point will be the selection of material, and for this task I have decided to incorporate the use of acetate. I intend to use this material to provide texture and added depth to the typographic elements in my design. This will be achieved by printing directly onto the acetate, using a laser-printer. Subsequently, I will then scan the acetate and save the files in Photoshop.

In my sketchbook, I then began to deconstruct the selected words and cut and paste them onto the page. I placed an emphasis on pairing letterforms, that when placed next to each other would create a strong visual contrast. The canvases were selected in order to provide texture, in an effort to recreate the weathered surfaces of the examples given, previously.

The next phase of development consisted of me taking the scanned, hand-made letterforms into Photoshop and experimenting with different digital processes. With the objective being to recreate the cosmetic damage and effects of weathering, that had been observed in the given examples.

Progressing this idea forward I had expanded my objectives to include an exploration of the effects of light and moisture, and how this contributed to the visual-narrative taking place, within the letterforms. Observing, how a build-up of moisture could obscure the letterforms and corrode the structure of the type, itself. I was also intrigued by the interplay between the build-up of water droplets and the source light, with the resulting effect being the illusion of movement within the letterforms. This too, was an occurrence that I had attempted to recreate, below.

The next phase of development was to focus on composition, and through the process of deconstruction I was able to explore the relationship between positive, and negative space. Endeavouring to create moments of drama in their interactions and to further enhance the overall impact of the end result.

One of the more interesting outcomes of this exercise, was in the emergence of the two compositions below. In my opinion, the two designs had begun to resemble fully formed, logo-type. Upon further reflection, I had began to imagine said forms on all manner of brand-communications and marketing collateral. For me, these two monotone images best represent a more contemporary aesthetic and could be further developed into a stylish, contemporary and unique logotype. Was this the image that Leominster should aspire to project, going forward?

Speaking of a more contemporary aesthetic, the two subsequent images were the result of a decision to realign the approach and to establish a more vibrant and on-trend, visual-language. The aim was to project a positive, contemporary and stylish visual representation of the town's cultural identity and in the process, lay-out a minimalist vision for the future.

The following iterations were inspired by the industrial landscape and how man-made products interact with the natural world, specifically how the dispersion of solvents and industrial-chemicals interact with water. This idea was the result of observing said chemicals running into small, pools of rain-water. And how, the consequences of this contamination conjured-up all manner of hues, on the surface of the water.

Workshop Challenge
This week we want you to use your initial visual research from Week 1 to create a new and unique title typeface. Do not forget to document your visual developments, and be experimental with form and legibility to create something entirely new. Use the DNA of your initial visual research from Week 1 to create a new and unique title typeface that spells out the name of your town or city.
Your new title lettering should reflect the identity of your town or city.
Consider the interplay between provenance and historical story, in contrast to more strategic alignment to a design's positioning.
Outcome

Reasoning.

The above work was primarily designed to be a meditation on the relationship between Leominster's past, as a centre of worship and its decline as a hub for national industry. It is part social-commentary, part artefact. The composition seeks to evoke the presence of the monastic-orders that were synonymous with the town, during the Middle Ages. And to act as a monolith, lamenting the loss of the industry that had given the town much of its cultural relevance.

In regards to the composition I had established a grid that allowed me to operate freely, whilst still retaining a structured form. The drama that is taking place between the separate elements is designed to instil the viewer with unease, and allude to the violent relationship between industry and landscape. It speaks too, of the spirituality that is imbued in the natural structures, throughout the landscape.

Stylistically, I had taken much of my inspiration from the work of Chris Ashworth, specifically his hand-made collages. The appeal of these works is in how they retain an element of imperfection, and yet appear refined and modern. Much like the Japanese philosophy, Wabi-Sabi, Chris's work celebrates the imperfect. And that too, is a part of Leominster's narrative.

References

Ashworth C., (2020). Instagram [online]. @ashworthchris. [Viewed 3 February 2020]. Available from: http://www.instagram.com/@ashworthchris

Carson D., (2020). RayGunmagazine [online]. DavidCarsonDesign. [Viewed 4 February 2020]. Available from: http://www.davidcarsondesign.com/t/tag/raygun/

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History and Futures Week_01 Complex simplicity: History Revealed Studio practice: Discover and analyse a selection of contemporary and historical letterforms that define the identity of your location. Research and document the typography in your location and upload them onto the GeoType Wall. Distil and edit your letterforms down to five examples you think best define...

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1.The Devil made me do it
The Santa Ana Winds that typically blow in the autumn are hot dry powerful winds that blow from the desert and – according to legend and literature – increase violence and crime. They bring dust and dryness from the east, turning sunrise and sunsets into spectacular displays and fanning or creating wildfires, ushering in fire-season in Southern California. They feature in Joan Didion's and Raymond Chandler's writings as well as several songs. Is there a link between weather and human behaviour, and our these winds an integral part of life in Los Angeles (or just death)?

2. When Humans Turned Into Butterflies
Did Frank Whittle inadvertently save a butterfly species or kill a community? Surfridge, California was a community that now lies abandoned, mostly forgotten and unseen at the end of the Los Angeles International Airport's runways. It had once been a very desirable place to live, looking out over the Pacific Ocean, but the advent of the passenger jet-age meant that the city, using eminent domain forced residents to sell their properties. It lies vacant still with the streets and infrastructure still visible but has like e.g. the DMZ become an accidental nature preserve of sorts.

3. City Of Gold
The Stowell Hotel started as a rather grand hotel on Spring Street in Banking District of Los Angeles, it later became the El Dorado Hotel, which became a flophouse as white-flight took hold and the banks moved north. The revitalisation saw the building turned into luxury lofts after artists and then galleries had taken over the downtown area. The building now has a restaurant in the former lobby and a bar called El Dorado replete with the newest gimmick must-have, a speakeasy called The Stowaway.  It would be a look at changing neighbourhoods and gentrification through the history of one building. It is also right next to the first skyscraper in Los Angeles, which featured in 500 Days of Summer, so Rasagy might like it.

http://schokotrunk.com/2020/03/03/week-6-harris-k-telemacher/

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Bought a book today titled 'Visitor's Descriptions, Southampton: 1540 - 1956'

It's a chronicle of different first-hand perspectives of Southampton across that period and has loads of great first-hand content that I wouldn't be able to get from a standard ethnographic study.

Hoping to pull out some interesting stuff about what makes the people of Southampton who they are by looking at the history of this place.

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Have been trying to think of a second topic, but I think I'll stick with the history one as I feel there is more that I can uncover here.

Blog post: https://rachelwise240483.wordpress.com/2020/03/02/exploring-ideas/

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1. Jimmy Gralton – The only man ever to be deported from Ireland. Jimmy lived in a place called Effrinagh about 10 KM’s from my town. He was famous for standing up for the rights of working people. He set up a hall where people could dance, sing create art etc, which brought freedom of expression to a very poor and repressed society  The church, who ruled Irish society with an iron fist, tried continually to censor him. They eventually colluded with the state to deport him and his hall was burned down. British Director Ken Loach made a movie about him called ‘Jimmys Hall’. He was an underdog and a hero to many, but I'd imagine given the staunch catholicism of the time he was a source of embarrassment to many others.
https://www.youtube.com/watch?v=EwptAfd_BJc

2. Athlone Town v Ac Milan 1975 – I work in Athlone Town. In 1975 the towns’ soccer team were riding high in the 1st division(poor standard). They welcomed AC Milan for a UEFA cup tie in their home ground. A MASSIVE EVENT at the time. This would be the equivalent of Woking Town playing Real Madrid in their home ground today. This is seen as the biggest event in the towns history. I’d like to explore the effects that game had on the club, the town and Irish soccer in general. https://www.youtube.com/watch?v=gLc40Ew3lD8

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Satan comes to Canterbury

A detailed exploration of the juxtaposition between the Satanic Temple and the centre of Christianity in the UK.

Canterbury Cathedral is one of the most well-known religious sites in England. Famed for the murder of Thomas Becket in (DATE), it is the centre of the Church of England and the home of the Archbishop of Canterbury. Every year, it brings in tourists from around the world, who pay pilgrimage to this holy site, just as they did in Chaucer’s Canterbury tales.

Recently a new branch of the Satanic Temple has opened in Canterbury and has been slowly increasing in members. This increase has largely been due to the 2019 release of the film ‘Hail Satan?’, a documentary which explores the Satanic Temple and its charismatic leader Lucien Greaves.

Aims of the article:

1. To explore the reasons why people are joining the Satanic Temple

2. To discuss the feelings of the members of TST towards Christianity in the U.K.

3. To explore the feelings of Canterbury Cathedral towards TST - do they even know of their existence?

4. To investigate the wider community’s viewpoint on TST, residents, MPs etc.

5. To look at the pros and cons of being a member of TST in Canterbury

6. To compare the difference in experiences between being a member of TST in the U.K. vs the US

7. To celebrate the diversity of Canterbury and the relative safety and acceptance that residents have to express differing viewpoints.

Research

1. To interview members of TST

2. To request a comment from Canterbury Cathedral

3. To request a comment from Rosie Duffied, local MP

4. To research TST and contact them for stats.

5. To questionnaire local residents on their viewpoints.

6. To use info from the Hail Satan film including peoples experience as documented in the film.

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One could be very critical of this or sit back and just enjoy the cinematography, or both.

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Samsara is a non-narrative documentary by Ron Fricke exploring the marvels of the world and the richness of the human experience. Filmed across twenty-five countries over a five-year period and acclaimed for its mesmerising visuals and music, it captures both the tedious and the miraculous and the greatest depths of human spirituality.

Samsara is a Sanskrit word meaning 'the ever-turning wheel of life', an expression which perfectly describes the interconnectedness of the human lifecycle. Combining scenes of both destruction and renaissance, the film illustrates the ties between mankind and nature and how our lifecycle is in tune with the rhythm of the earth.

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Samsara is a non-narrative documentary by Ron Fricke exploring the marvels of the world and the richness of the human experience. Filmed across twenty-five countries over a five-year period and acclaimed for its mesmerising visuals and music, it captures both the tedious and the miraculous and the greatest depths of human spirituality.

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So some initial ideas for Nottingham are:
- Shottingham, living in 'Gun City'
- The demise of the world's oldest professional football club.
- Something Robin hood related (though I feel like I'm overkilling the subject now ha...)

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So this last weekend I wrote down every single random idea that came to mind with regards to the essay. Some are really random, others have potential and others are good topics but may not be that solid.

One of the ideas is to explore crime history in Malta. This sounds a bit weird, but was thinking looking at the 'weapons of choice' and or props used to commit the crime.

Another one was to look at how the Maltese language evolved historically and how does it compare to contemporary Maltese language and grammar, and how other language are influencing the language. Was thinking of looking at old publications as well as online contemporary docs (even social media posts etc)

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This week is about ethnographic research. Beyond the conventions, it would be worthwhile collating and analysing the broad visual culture of a place.

The Comedy Carpet is a great project that draws on the importance of Comedy as central to the social fabric of Blackpool as well as the historic and current vernacular.

"Comedy in all its guises is a big part of who we are; it has its own social history and a very important place in that history is Blackpool" Gordon Young

Richard

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"I also wanted to create a work with self consciously high craft standards, as embodied in the town's historic architecture. I chose a carpet because I felt the town needed something very posh in it's built environment and I didn't want an area used for comedy to be a run-of-the-mill paving area.

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The BIG book is here:

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This is simple yet effective

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Week Five Workshop Challenge: Palatino, My Love

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Week Five Workshop Challenge: Palatino, My Love

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Howdy class! Sorry for the lack of engagement. It's been insanely busy for me these last three weeks. I've decided to pursue a love letter for Week five's workshop challenge. I figured I'd drop it here now that Group A is no longer (RIP).Below is a PDF of my final piece.

You can find a write-up of this week's assignment on my blog to get all the details about my approach HERE. Thanks! :)

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Along the lines of what i'd like to put together, a really interesting speculative project.

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As more and more people become curious about the role speculative design can play in challenging our current ways of seeing and making sense of the world, I'm digging into my own projects archive. 'The Shape of Things to Come' (with a nod to H.G.Wells) presents one wild scenario for what we might have to do should our lack of meaningful action on climate change continue...
The specific site of intervention is the mouth of the Wash estuary and proposes the strategic relocation of the UK's most deprived seaside town, Skegness, alongside a large scale infrastructural development - an 11km storm surge barrier.

Here, over 100,000 homes are at risk of severe flooding, together with the breeding ground for 300,000 birds - designated as special protection area (SPA), as well as UNESCO World Heritage sites such as Cambridge.

The land use transforms resilience infrastructure into a post-natural landscape, where the movement of tides, sediments, birds and people is hosted. The lighthouse - traditionally the highest point in the landscape - doubles up as town hall.

The managed retreat sees the flood prone land north slowly transform into wetlands as well as a network of defensible polders, which provide additional grounds for the wildlife to thrive as well as an essential ecological buffer. The train lineterminates at Skegness Wetlands where the old amusement park is last remaining artefact of the British seaside town of the 20th century, as well as an observation point of the changing landscape.
Skegness. Saturday, 13th June 2037.
Ivan, mother's third husband, still fascinated by "working-class culture" suggested to go to Skegness on a "bucket and spade holiday" like the one he went on as a teenager. He drivelled on about the candyfloss, the donkeys, and how "the glorious vulgarity of the amusement arcade" lingered in his memory. I had no choice but to say yes - afterall, I'd like to see what's become of the place.

Sunday

We boarded the train to Skegness on Sea and right before we arrive, we pass vast lakes. We are told those are the polders and that we missed our stop - we are at the Wetlands Centre. A curious revamp of the old arcade, now in the middle of a swamp. We are told there are lots of different species of birds around, but the slot machines are still working. William has already spent his pocket money while we were waiting for the train to take us in the other direction.

Monday

The view is of mournful-looking seagulls looking to pinch some fish from the vast tidal pools. Low tide.

Wednesday, wind shelter

Ivan and my mother struggled to construct a windbreak, and William, dressed in an anorak, sheltered behind it and tried to make a sandcastle. We were forced to take shelter from the cruel wind that blows unchecked across the North Sea. Took the tram to the cafe on the barrier and tried to warm up. The place was full of shivering families eating terrible food.

Thursday

The sun came out today. Breezy, but warm enough to go for a dip in the shallow tidal pools. William managed to build his sandcastle and Ivan bought a sunhat. He went on saying to my mother: "This is still an authentic working class experience, isn't it Pauline?" His eyes were shining with excitement.

My mother drew heavily on her electric fag with the gold rimmed filter and said: "Ivan, I'm 78, I'm no longer working class. I read the Guardian and buy coffee beans now, or hadn't you noticed?"

* This speculative design project was my graduating thesis from the Royal College of Art. The Skegness-on-Sea diary is adapted from "The Secret Diary of Adrian Mole Aged 13 3/4", an 1980 British TV series.

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Speculative Design x Cli-Fi: The Shape of Things to Come

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As more and more people become curious about the role speculative design can play in challenging our current ways of seeing and making sense of the world, I'm digging into my own projects archive. 'The Shape of Things to Come' (with a nod to H.G.Wells) presents one wild scenario for what we might have to do should our lack of meaningful action on climate change continue...

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Following my nose and visiting community centres and the library.

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The other idea i'm thinking of developing is 

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The other idea i'm thinking of developing is 

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to explore the validity of this quote - "...it is a culture represented by people rather than things."

I found it whilst looking for something else and it is from an article considering the ultimately failed bid for Newcastle to become European Capital of Culture in 2008.

My thought is to research the culture exploring the focus on people and notable individuals as well as the increasing number of immersive cultural experiences in the city

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Ally Wallace, Dead Modern, 2002, installation, 'Capital'

Bill Lancaster

Newcastle upon Tyne has recently attracted much media attention with its joint bid with Gateshead to be European Capital of Culture in 2008. Eyebrows have been raised at the prospect of the coaly Tyne playing host to an event that has often appeared as the destination of the year for the cultural tourist. Glasgow, Stockholm and Antwerp all have recognisable cultural pedigrees of long vintage. Newcastle's treasures are less well known. The city's architecture - predominantly late Georgian - surprises many visitors by its scale. The Laing Art Gallery has several works of national importance in the midst of a mainly provincial collection and the city centre has some outstanding pieces of early twentieth century public sculpture. Many of the city's buildings are the product of the ambition of Richard Grainger, a self-made builder and developer, who had to flee the city when his shaky method of funding was called to account. The Laing Art Gallery was a turn-of-the-century gift by a beer bottler and pub owner of Scottish birth, Alexander Laing, who responded to the unease expressed by some that Newcastle was one of the few northern cities not to possess a municipal gallery. When the Laing opened, paintings had to be borrowed to cover the absence of a civic collection.

History was not very kind to Newcastle. Described by poets as 'England's Peru', the King of Denmark even tried to buy the town and river in the seventeenth century. In tonnage terms Newcastle was the world's largest port and the Tyne and its environs pioneered the transition from a biological to a mineral-based economy, arguably the most important transition in human history. Yet the coal trade was a relatively simple one. Extraction, transportation and marketing did not require the facilitating skills of a large class of merchants. A small cosy circle of owners and merchant 'hostmen' formed the 'Vend', the first cartel of the modern period. During the eighteenth century, this lean organisation allowed the elite to move away from the town. Country estates, London palaces and salons in St James's were funded by Newcastle coal. Tyneside was a plantation economy. There is a stark contrast to Britain's other great ports during this period. Slaves, tobacco, sugar and cotton made Bristol, Liverpool and Glasgow rich. Newcastle extracted and exported rather than imported - though fruit and flowers sometimes came in with colliers returning from the Dutch ports. The merchant princes of the Atlantic ports operated from home and their often ill-gotten wealth helped to establish local civic infrastructure. Bristol and Glasgow have their eighteenth century merchant quarters and - together with Liverpool - were centres of arts patronage. Liverpool's inheritance of painting is of such importance that it is designated as part of the 'National Collection'. Sure, Newcastle produced Thomas Bewick, but this former artisan's reputation was largely based on his ability to produce and sell his books himself.

Wealth flowed from, rather than into, Newcastle. The richest cargo ever to enter the Tyne was a shipful of butter from southern Sweden in the 1930s. Lacking a sizeable wealthy middle class, Newcastle followed an unusually distinctive cultural trajectory. A major turning point was the Queen Caroline riot of 1821 when ordinary townspeople disrupted an official Corporation-funded celebration of the coronation of George IV. This disturbance was followed by a series of carnivalesque parades and mock coronations that won control of the streets for plebeian Newcastle. Bonnie 'Pit Laddies' and 'Fish Lassies' defined the culture of the streets and made the Quayside their own. Bright clothes, hilarious songs sung in the rich local dialect and a propensity for excessive drinking reached its apogee in the 1860s milieu of the Blaydon Races and Cushie Butterfield - both popularised in song, the former were riotous horse races and the latter a mid nineteenth century beer loving heart-breaker from Gateshead. Numerous Irish immigrants joined this social brew and Irish songsters such as Ned Corvin helped to create Geordie culture. These nineteenth century developments remain central to present day Tyneside. The conurbation is distinguished by a value system that is staunchly working class. Middle class hegemony does not rule here and metropolitan and global trends are subject to local filtration. Newcastle remains a city whose citizens have not had their cultural weapons confiscated.

Geordie is a culture that lives largely on the tongue and can be witnessed travelling in crowds through the city centre. The dialect is a language-within-a-language as well as a delightful surviving example of near authentic Old English. It is central to local identity and its ever-changing utilisation is a cultural treasure. The past remains amongst Geordies in other ways. Visitors often singled out the bonnie Pit Laddies and Lassies' clothes for comment and the silver buckles on Bobby Shaftoe's knees were known throughout nineteenth century Britain. Geordies still dress with flair - Bigg Market minimalism is as well known as Mr Shaftoe's buckles. The colours are as bright now as they were on the Quayside in the early nineteenth century.

Testimony to the tenacity of local culture is its ability to enter a dialogue with new forces. Newcastle is not a cultural museum. The post-modern Quayside - with its confection of Farrell's masterplan, a gallery of bridges, Sunday market and Victorian pubs - has quickly become an extension to Newcastle's nightlife. We will soon see the crowd crossing the stunning Gateshead Millennium Bridge to BALTIC, The Centre for Contemporary Art and the Sage Music Centre. This promises to be a different experience to its London equivalent. The ease with which the Grands Projets of postmodernism have been absorbed into the local scene is in strong contrast to similar developments elsewhere. Newcastle and Gateshead's bid to be European Capital of Culture 2008 is brave. If victory were to come it would be deserved - not least because it is a culture represented by people rather than things. Europe needs reminding of the importance of the connection between people and place and if any people can do this it is the Geordies.

Bill Lancaster is Director of the Centre for Northern Studies at Northumbria University. He is co-editor of Newcastle upon Tyne, A Modern History, 2001, published by Phillimore & Co Ltd, ISBN 1 86077 167 X.

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Ally Wallace, Dead Modern, 2002, installation, 'Capital' Bill Lancaster Newcastle upon Tyne has recently attracted much media attention with its joint bid with Gateshead to be European Capital of Culture in 2008. Eyebrows have been raised at the prospect of the coaly Tyne playing host to an event that has often appeared as the destination of the year for the cultural tourist.

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I was looking for some information about T Dan Smith (a contentious figure in Newcastle’s political history) and his vision of Newcastle as a ‘Brasilia of the North’ in the Sixties and came across images like the one below. They were created for the ‘Linear City Manifesto’ which suggested ways at which Newcastle could become more modern following the war including separating out the city into different levels.

There are some of the walkways & subways still left in Newcastle which don’t actually go anywhere and my idea is to look at this manifesto in relation to Newcastle at the time, the contentious city planning decisions of T Dan Smith and consider the influence it still has today.

One quote from the manifesto which doesn't really translate well to today's society is: ‘ You can walk or ride undercover from hotel to restaurant to theatre to nightclub to bowling alley after a day of tennis, swimming, lectures, womanising and chastisement if that’s the way you want it’

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So after wandering around Caesar's Camp yesterday in Bracknell/Crowthorne, I wanted to do something based on the history of Bracknell.

I've recently found out the origin of Bracknell as it was built as a satellite town outside of London after WWII. It helped with housing crises and wouldn't compromise any farming land.

In the 1960s, most of the remains from this town were demolished and then rebuilt as Bracknell 'New Town', and even now as the town is regenerating and changing it's image once again 60 years later, there are no traces (that I can find) of a pre-1960s town centre.

There are other (for lack of a better word) monuments around Bracknell that are historical, like Caeser's Camp (old map/information sign pictured below) and this is what sparked my interest in comparing Bracknell Old Town with Bracknell New Town. There aren't many sites you can visit that are pre-old town.

Kicking off my research with a survey posted onto several community groups for Bracknell that I'm in on Facebook, and getting a lot of responses already (160+) about their opinions of the town now and what it once was from their earliest memory.

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I'll show myself out.

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I'm really interested in Transition design & speculative futures. I think i'd like to weave that in if I can.

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I'm really interested in Transition design & speculative futures. I think i'd like to weave that in if I can.

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Currently thinking about looking at some kind of speculative future project for Southampton in a post-sea level rising time. Maybe try to theorise what a submerged or sinking city might be like & how we might adapt to try and deal with it.

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Searching currently for something to jump out at me that I am interested in and that would have enough info for 3000 words. Some ideas so far -
- The cock and bull story is meant to have derived from my town
- Knife crime in MK has risen by 90% in two years.
- or something to go with the new and the old - old historical towns in a new 'city', modern architecture against the green spaces.

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I finally managed to "sort-of" catch up on most of the things.
So as for this week, just finished listening to the lecture and was also looking at the sources.

So far I have a couple of initial ideas but I do not know if I should focus solely on my town or pick a topic that is country wide. Was considering something directly related to Graphic design, but following the lecture, I think its better to pick a topic then visualise it myself.

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It's always a shocker to see so much on the wall when I've not so much as looked at the new week!
I just got through week 5 so here's the post so it doesn't get left behind.
Link to flannel: https://www.severn.agency/falmouth/week-5-visual-writing/#workshop
And here's the visual part…

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Stuart talks about ethnographic research in this weeks lecture, and it reminded me of this film I saw last weekend. An group of artists have made a film using footage recorded by sailors and dockworkers on trade routes across the Indian Ocean. It’s literally from the perspective of the subjects, unlike traditional ethnographic research.
https://www.tate.org.uk/visit/tate-modern/display/media-networks/camp

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but in the meantime, just getting some inspiration from a book that features essays from many of my lecturers from my undergraduate degree (which was History of Modern Art, Design and Film)

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From fashion in Newcastle in the 1960s to 55° North, and from Get Carter to the architecture of the contemporary Quayside, this book covers aspects of the visual history of the North East in the last 50 years. Art, architecture, design, fashion, film, advertising, and television all combine to tell a story of a changing identity and the role of the region in the development of postwar culture.

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From fashion in Newcastle in the 1960s to 55° North, and from Get Carter to the architecture of the contemporary Quayside, this book covers aspects of the visual history of the North East in the last 50 years.

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My first idea this week is to research how the game Pokémon Go has impacted the community of Redditch, since its release in 2016. I can see both positive and negative impacts, and I’m keen to find out how this has been perceived by people that live here, both players and non-players.

Initial thoughts on this idea on my blog -  https://alicemarlow.home.blog/2020/02/29/week-6-research-and-curate/

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I found some interesting information on the Bracknell Town Council's website about the history of our town - some of which I didn't even know!!

https://bracknelltowncouncil.gov.uk/bracknell/

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Just a quick note. Peer-to-peer session this weekend will be tomorrow from 5:30-7:30 GMT. This seems to be the best time for most people but DM me if it doesn’t work for you and we can try and take it into account going forward.

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**re enters the fray**
Had to choose life over Uni last week so keen to get into week 6 early and with a full heart. I have moved again (others may remember my very varied location projects) SO I am starting again with another location brief about my new town (where I just started my new job hence the MIA last week) St. Ives Cornwall. It seems a rich ground for stories, and I really really hope to find a story that will serve me for the next 3 weeks. Ideas that come to mind thus far:

The proliferation of Fine Art
The mean of the maker, the designer in the town.
The juxtaposition of tourism and locality, and the tension between both.
The myth/factual story of the 'light of St. Ives' and it influence on art and artist.

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I'm personally dissapointed that this week's task, like so many from previous weeks has a focus on our immediate area. Just feels a little unimaginative & stifling to me. There are things i'd love to explore that the wording of the tasks seems to negate which kinda sucks. It's not that there aren't interesting things to be said about Southampton, it's just that i'm tired of reflecting on it every week. You know?

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Here's the hook question for this week:
How can you research and define a topic that reveals a new insight and critical understanding of visual culture, myth or story in your area?

Your workshop challenge for this week:
This week we want you to explore how to research and define a topic that reveals a new insight and critical understanding of visual culture, myth or story in your area.

Please note, this is a key research phase for a longer, three-week project.

The findings of your research will inform the next stage of production and we expect you to utilise a variety of research methodologies (e.g. primary, secondary, ethnographic).

Please remember, it is imperative you gather enough initial material to develop your final 3,000-word article.

1. Research and find two possible stories that reflect a viewpoint of your own town, city or locale.

2. Create one image to represent both initial story concepts, using a variety of methods, which must be original and not sourced from the Internet or a third party.

3. Present two short proposals with title, original image and a short 100-word synopsis (elevator pitch) about the concept of your article. Please note, we will provide a prepared Keynote slide template for you to present your findings.