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WINTER RESEARCH CONFERENCE SCHEDULE, Arts and Creative Industries, Middlesex University, December 10th 2020

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WINTER RESEARCH CONFERENCE SCHEDULE, Arts and Creative Industries, Middlesex University, December 10th 2020

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We hope you enjoy browsing the research materials hosted on this padlet space. They are by researchers in the Faculty of Arts and Creative Industries (Middlesex University) and include images, videos, weblinks and powerpoint slides as ways to document research.

You are invited to explore these materials alongside attending the conference in real time on zoom.

The zoom events run from 10am-5.15pm (uk time).

The schedule can be downloaded below.

The link is:
https://zoom.us/j/3331738469

Meeting ID: 333 173 8469

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Emanuela Santini: The Unconscious and differentartistic approaches to discovering the nature of the creative process of drawing

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Emanuela Santini: The Unconscious and differentartistic approaches to discovering the nature of the creative process of drawing

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This research explores Carl Jung’s unique approach to visual imagery (the Red
Book as an example). His thoughts on creativity as well as his method of how to approach it, is valuable and crucial
for the understanding/contemplating about the creative process of drawing and its methodology connected to my research. What Jung discovered was a way to enter and use the unconscious as a creative source for spontaneity, self-expression and inner knowing.
The research also interrogates his methodology in comparison to artist’s Hilma af Klint and Emma Kunz who were his contemporaries.

Documentation of this work can be found on google drive:
https://drive.google.com/drive/folders/1zuBJs7smBz6YS-xDWsuRO3N5oPfJQdA5

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Daniel P. O. Wiedemann:  Investigating Rollenwahrnehmung, Perspective and Space through Virtual Reality related Game Interfaces 

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Daniel P. O. Wiedemann:  Investigating Rollenwahrnehmung, Perspective and Space through Virtual Reality related Game Interfaces 

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Link to video materials: https://vimeo.com/wiedemannd

This practice-based research is derived from a portfolio of specifically developed interactive artifacts, following the methodological approach of Constructive Design Research (CDR). These include the VR related games Nicely Dicely, LizzE and Gooze. They were used for various Lab experiments and Showroom presentations (components of the CDR approach), while continually being refined throughout an iterative process.

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RESEARCH TOOLS

RESEARCH PUBLICATIONS

Wiedemann, D.P.O., Passmore, P. and Moar, M. 2016. "VR 3rd Person Camera Behavior Modes". In Proceedings of the GameOn'2016 Conference (09/2016). Eurosis, 57-64.

Conference Paper | Conference Presentation | Conference Best Paper Award | Experiment Overview Video | Experiment Procedure Video

Wiedemann, D.P.O., Passmore, P. and Moar, M. 2017. "'VRification': Applying Virtual Reality to Digital Games". In Proceedings of the SciFi-It'2017 Conference (04/2017). Eurosis, 55-58.

Conference Paper | Conference Presentation

Wiedemann, D.P.O., Passmore, P. and Moar, M. 2017. "An Experiment Design: Investigating VR Locomotion & Virtual Object Interaction Mechanics". In Proceedings of the GameOn'2017 Conference (09/2017). Eurosis, 80-83.

Conference Paper | Conference Presentation | Informal Prestudy | Gooze In-Game Footage

Wiedemann, D.P.O., Passmore, P. and Moar, M. 2017. "Local Multiplayer Immersion Affected by 3D Stereoscopy". In Extended Abstracts Publication of the Annual Symposium on Computer-Human Interaction in Play - CHI PLAY '17 (10/2017). ACM, 25-35.

Conference Extended Abstract | Conference Extended Abstract at ACM DL | Conference Presentation | Experiment Overview Video

Wiedemann, D.P.O., Passmore, P. and Moar, M. 2020. "UX Evaluation of VR Locomotion & Virtual Object Interaction Mechanics". In Proceedings of the SciFi-It'2020 Conference (09/2020). Eurosis, 49-57.

Conference Paper | Conference Presentation | Conference Best Paper Award | Experiment Overview Video

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RESEARCH TOOLS RESEARCH PUBLICATIONS Wiedemann, D.P.O., Passmore, P. and Moar, M. 2016. "VR 3rd Person Camera Behavior Modes". In Proceedings of the GameOn'2016 Conference (09/2016). Eurosis, 57-64. Conference Paper | Conference Presentation | Conference Best Paper Award | Experiment Overview Video | Experiment Procedure Video Wiedemann, D.P.O., Passmore, P.

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(Un)touched is a double work performance installation of a corridor and a floor to be inhabited by both dancers and audience. The key materials are re-enforced glass and light.

(Un)touched began in 2014 to investigate an experience of intimacy within a construction that simultaneously divides those within it. Our interest was to probe, through movement enactments, relationships of meeting and separation.

The research prompted a psychological dimension, that is a focus placed on the sanctioned actions or otherwise of the viewer. South Korean artist Do Ho Suh resonated,  specifically 'Floor' (1997), which draws upon power and that of human collective action. We re-imagined this tension in a live event.

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In collaboration with sculptor Nathaniel Rackowe with

dancers Alice Labant and Martina Conti (original cast Stine Nilsen and Martin Conti).

See images of this work at:
http://angelawoodhouse.co.uk/mdx-research-conf/

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Click on an image to open the gallery

(Un)touched (2016-2020)

Photos courtesy of Canary Wharf / Del Costa / Nathaniel Rackowe

(de)figured (2018)

Westworks, White City

In collaboration with Elephant Magazine

Royal Society of Sculptors

As part of The Great Exhibition Road Festival

Photos Brian Slater

Alserkal Lates, Dubai

Photos Nathaniel Rackowe

Thermal Duets (2019)

Photo Philip Sayer. Screenshots Caroline Broadhead.

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Click on an image to open the gallery Photos courtesy of Canary Wharf / Del Costa / Nathaniel Rackowe In collaboration with Elephant Magazine As part of The Great Exhibition Road Festival Photos Brian Slater Photos Nathaniel Rackowe Photo Philip Sayer. Screenshots Caroline Broadhead.

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Sharon Reshef Armony: StageScreen Performance Practice (Physical Action + 2 cameras)

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Sharon Reshef Armony: StageScreen Performance Practice (Physical Action + 2 cameras)

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This video, part of my ScreenStage practice, is an improvisation with two cameras, where the performers practice their physical actions relating to different sorts of audience; and where I practice the frame motion of the camera intending to create my sorts of meaning.

watch in vimeo:
https://vimeo.com/290158516

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Thermal Duets is a collection of 5 videos using a thermal heat camera for ipods to be exhibited on a wall.  They are framed in black surrounds so as to draw attention to  light/ colours.

The research was concerned with how an extension of the body through heat impacts on objects, materials, and other bodies and the manipulation of filmic and choreographic principles on traces of heat heighten this for the viewer. Notions of the forensic were evident through the observations of heat difference in the dancers’ bodies, which we exploited in the choreographic process. We focused on the painterly strokes that wiped out the definition or   appeared to wound the other, developing a sense of touch in the viewer.

Our context was other experiments in the field such as Italian video artist Stefano Cagol who explores the use of thermal technology in this way in his work, Body of Energy (2014).

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In collaboration with artist Caroline Broadhead with

dancers Alice Labant and Martina Conti.

See images of this work at:

http://angelawoodhouse.co.uk/mdx-research-conf/
(scroll down for Thermal Duets)

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Click on an image to open the gallery

(Un)touched (2016-2020)

Photos courtesy of Canary Wharf / Del Costa / Nathaniel Rackowe

(de)figured (2018)

Westworks, White City

In collaboration with Elephant Magazine

Royal Society of Sculptors

As part of The Great Exhibition Road Festival

Photos Brian Slater

Alserkal Lates, Dubai

Photos Nathaniel Rackowe

Thermal Duets (2019)

Photo Philip Sayer. Screenshots Caroline Broadhead.

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Click on an image to open the gallery Photos courtesy of Canary Wharf / Del Costa / Nathaniel Rackowe In collaboration with Elephant Magazine As part of The Great Exhibition Road Festival Photos Brian Slater Photos Nathaniel Rackowe Photo Philip Sayer. Screenshots Caroline Broadhead.

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Emanuela Santini : The Unconscious and different artistic approaches to discovering the nature of creative process of drawing

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Emanuela Santini : The Unconscious and different artistic approaches to discovering the nature of creative process of drawing

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The research explores Carl Jung’s unique approach to visual imagery (the Red Book as an example). His thoughts on creativity as well as his method of how to approach it, is valuable and crucial for the understanding/contemplating about the creative process of drawing and its methodology connected to my research. What Jung discovered was a way to enter and use the unconscious as a creative source for spontaneity, self-expression and inner knowing.

The research interrogates his methodology in comparison to artist’s Hilma af Klint and Emma Kunz who were his contemporaries.

You are invited to explore the practice in drawings and video arising in this research on google drive:

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Sharon Reshef Armony: StageScreen Performance Practice (Eyes Open and Closed experiments)

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Sharon Reshef Armony: StageScreen Performance Practice (Eyes Open and Closed experiments)

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This video, part of my ScreenStage practice, shows some excerpts of improvisation sessions, exploring the sight - eyes closed, open, extended through a camera; and being sensitive and aware to a hybrid time-space of virtual and live moving duos.

On vimeo:
https://vimeo.com/290158516

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Heashin Park: Theoretical frameworks and bringing a PhD project to a conclusion

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Heashin Park: Theoretical frameworks and bringing a PhD project to a conclusion

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My PhD explores the teaching of dance to deaf students. Here I reflect on the process of bring different fields together and how the  research changed over time.

It is general to set up a theoretical/conceptual framework at the beginning of your Ph.D. project. However, there is a possibility that the framework needs to reflect your changed perspective of the main issue.

This presentation addresses adjustments made to my framework after writing the data analysis and discussion chapters, and I reflect too on my work post-viva.

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Magnus Moar and James Martin Charlton produced a 360 video of Charlton’s play ‘Fellow Creatures’. This project aimed to identify the methodological and technical possibilities and challenges of using immersive 360° video to develop new ways of experiencing authored drama. 360 in 360 is a reflective piece that uses textual annotations to document key features of the process of making such videos as well as a reflection on a variety of issues raised relating to such a staging -  experiencing Drama within VR as a solitary audience member: being situated in the centre of the action, experiencing the play asynchronously, being invisible, voyeurism and  Mise en scene.

Watch the video documentation:

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Anne Robinson: Wakeful: If I Sleep I May Be Caught:  artists’ moving image project and research, 2018

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Anne Robinson: Wakeful: If I Sleep I May Be Caught:  artists’ moving image project and research, 2018

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https://wakefulproject.org

Wakeful, 2018, colour, 2 screens, 47minutes.  A film sparked by personal memory, Wakeful is a hybrid work where indexical processes - capturing the ‘same’ moments differently by ‘queering’ photomedia technologies, manipulating  frame, shutter, format and editing - work in conjunction with ‘documentary’ archive material, to investigate a particular historical moment. This unique confluence offers a unique contribution to the field of experimental film. In this new strategy, industrial and military film footage, government memos, prison records, charts, personal diaries, letters and photographs - are mobilised to reinhabit and expand a temporal moment. Working meticulously with experimental studio practices, writing and in collaboration with sound artists, performers and crew on sonic memory and embodiment, the work offered counter-narratives to the WW1 centenary commemorations: ‘listening to the past’.

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Trailer for work by Anne Robinson, 2018.

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http://www.active-energy-london.org

This twelve-year project commenced as a response to Queen Mary University research into older people’s experience failing to inform development of new technologies. Through this artist Loraine Leeson met The Geezers, a men’s groupat AgeUK Bow, who wished to work with tidal power. With the help of engineers and further fundraising theydeveloped and tested a prototype turbine for the Thames, held two exhibitions, worked with young people to produce a wind turbine for an AgeUK roof, contributed to three university research projects, conducted numerous joint presentations, collaborated with a seniors’ group in Pittsburgh, and produced floating water wheels to provide aeration for rivers, the latest installed in 2019 in the Queen Elizabeth Olympic Park.

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Loraine Leeson_Active Energy_ Powerpoint with timings

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(de)figured is a performance event that adapts to different spaces. The materials (rope, netting, lamps, fluorescent tubes) and actions are reconfigured while retaining a sense of origin.  Our intention is that objects are to be malleable and straying, the body acting as carrier and concealer; a faltering landscape of bodies and materials.

Our question was how could we find an equanimity between materials, bodies and space, and how could we play with the formed / unformed.  We took inspiration from American artist Fred Sandback who describes the complexity of a line in space to create an ambivalence between interior and exterior.

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In collaboration with sculptor Nathaniel Rackowe with

dancers Alice Labant and Martina Conti.

See images of this work at:

http://angelawoodhouse.co.uk/mdx-research-conf/

(scroll down)

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Click on an image to open the gallery

(Un)touched (2016-2020)

Photos courtesy of Canary Wharf / Del Costa / Nathaniel Rackowe

(de)figured (2018)

Westworks, White City

In collaboration with Elephant Magazine

Royal Society of Sculptors

As part of The Great Exhibition Road Festival

Photos Brian Slater

Alserkal Lates, Dubai

Photos Nathaniel Rackowe

Thermal Duets (2019)

Photo Philip Sayer. Screenshots Caroline Broadhead.

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Click on an image to open the gallery Photos courtesy of Canary Wharf / Del Costa / Nathaniel Rackowe In collaboration with Elephant Magazine As part of The Great Exhibition Road Festival Photos Brian Slater Photos Nathaniel Rackowe Photo Philip Sayer. Screenshots Caroline Broadhead.

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For the past three years I have been working with photography and text on a practice-based research project about masculinity. Initially conceived as an illustrated essay, I will explain how the project developed to combine image and text in a more conceptually appropriate way. This presentation is a wander through some of my research and the ways in which I use theory to generate experimental artworks.

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Stefano Puppio: Immersed in Architectural Antiquity: excavating Roman history through ‘Archaetre’

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Stefano Puppio: Immersed in Architectural Antiquity: excavating Roman history through ‘Archaetre’

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Archaeological and architectural artefacts inspire and are evoked through physicalised storytelling, sketches and sculptures, excavating somatic memories and lived experiences that embody both mundane and ritualistic activities of ancient cultures and communities.

The landscape is examined in regard to autobiographic experiences, providing potential moments for self-reflection and self-reflexivity. Adopting theories from site-specific practice, Archaeatre aims to inspire an awareness of belonging and community within places and time.

You are invited to browse his work in progress materials on google drive including video, drawings and work with clay.

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Vida Midgelow & Jane Bacon: Creative Articulations Process

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Vida Midgelow & Jane Bacon: Creative Articulations Process

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www.choreographiclab.co.uk
https://vimeo.com/488455149

The Creative Articulations Process (CAP) is an approach that supports artists/practitioners/students/scholars interested in deepening their awareness in/of creative processes.

CAP is multifaceted and incorporates Preparations, a Ground Form and an Expanded Form. The process is arranged across six facets – from Opening to Outwarding – and accompanying strategies. It seeks to enable dual-attending and languaging,  with the aim of ‘giving voice’ to artistic practice.

Documenting their work and teaching, you are invited to hear more about this work in the video 'CAP: A rhizomatic Practice' (on vimeo)
https://vimeo.com/488455149  With thanks to the participants.

Further information can also be viewed on the 'Choreogaphic Lab' website:

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Creative Articulations Process (CAP) is an approach that supports artists/practitioners/students/scholars interested in deepening their awareness in/of creative processes. CAP is multifaceted and incorporates Preparations, a Ground Form and an Expanded Form. The process is arranged across six facets - from Opening to Outwarding - and accompanying strategies.