Items where Year is Not Specified

The Creative Interventions research project examined creative arts student experiences of work-related learning (WRL) activity in the public and third sectors. It set out to explore how such experiences contribute to students’ employability skills, how these are identified by the students and how the activities are valued by students, the higher education institution (HEI) and the external partners involved. This report was primarily written for academics (both within the creative arts and other
disciplines); the Higher Education Academy (HEA); employability support workers (e.g.careers staff); and employability policy-makers.
The project took place between 2008-2010, and was a collaboration led by the University
of the Arts London (UAL), in partnership with the Arts University College at Bournemouth (AUCB) and the Surrey Centre for Excellence in Professional Training and Education (SCEPTrE) at the University of Surrey. It was part of the National Teaching Fellowship Scheme (NTFS) project strand initiative funded by the Higher Education Funding Council for England (HEFCE) and managed by the HEA.

Walking Publics/Walking Arts is a research projectfunded by the Arts and Humanities Research Council  exploring the potential of the arts to sustain, encourage and more equitably support walking during and recovering from a pandemic.

I have two projects of mine featured in the exhibition:

https://walkcreate.gla.ac.uk/portfolio/the-herepath-project-kevan-manwaring/

https://walkcreate.gla.ac.uk/portfolio/king-arthur-way-kevan-manwaring/

The King Arthur Way is a brand new long-distance pilgrimage route (or ‘legendary walk’) devised by author and long-distance walker Kevan Manwaring, stretching across south-west England – it tells the story of King Arthur, whose legend is intrinsic to the psychogeography of the area. Starting at the dramatic sea-castle of Tintagel (the place of Arthur’s conception and Merlin’s Cave) and culminating in his final resting place, Glastonbury Abbey and the Isle of Avalon, this 153-mile-long walk is a mythic pilgrimage taking in key sites along the way that will bring the story of King Arthur alive. Along the way, the historical and archaeological evidence will seek to reveal the truth behind Arthur – a composite of traditions, a clash of myth and history.

The idea of a walk being a valid work of art in itself is something the artist Richard Long and others have explored. #WalkCreate offers a platform for modern creative-critical practitioners who use walking as a mode of artistic enquiry.

Underline produces public film and live performance events. Thus far, it has had three iterations (2022–4), which were staged as part of Open House Festival, London.

It would re-imagine urban public space through artistic intervention, encouraging active co-existence and co-experimentation. Its past programmes featured an open call and invited participants, an inclusivity that places the inexperienced (of all ages) next to international figures, who are all locally connected. The exhibited film and performance work was presented after dark, in an otherwise overlooked location, a Victorian railway bridge that divides the historic terraced street, Beck Road, in east London. The road was closed for the event and the arch of the bridge was repurposed, becoming a screen, creating a truly common space, an inclusive ‘stage’, that brought residents, artists, visitors, neighbours alike together as creators and audience - European Heritage Days, observed it ‘featured a remarkable line-up of locally-made video art.’

Underline explores the re-imagining of urban space, an environment in which a disconnect can develop between the individual and place, producing disenfranchisement, a contested realm. Its method addresses ‘sense-of-place’ and its impact on ‘sense-of-self’ and community, proposing that artistic intervention can engender creative participation and collective engagement, which can help produce more common understanding, a new ‘sense-of-ownership.’

The article examines a particular instance of animation practice through a reading of how Bob Sabiston’s Rotoshop software was used in the 2006 film A Scanner Darkly. By discussing the notions of ‘communities of practice’ and ‘legitimate peripheral participation’, and contextualizing the film in relation to different modes of working, the author excavates the ways in which a range of people came to work on the project. Moreover, he outlines some of the production history of the film to argue that certain assumptions and expectations about accepted working practice point to wider perceptions of ‘independent’ and ‘studio’ animation. Questions of division of labour and standardization, and how they relate to creativity, autonomy and animation production will be addressed; Rotoshop’s position in the history of animation forms an interesting case study for interrogating these issues.