UK National Centre for Craft and Design
"The National Centre for Craft & Design sits at the heart of the market town of Sleaford in Lincolnshire in the beautiful riverside setting of Navigation Wharf. It is the largest venue in England entirely dedicated to the exhibition, celebration and promotion of contemporary and international craft and design.
We do not have a permanent collection, providing instead a seasonal programme of dynamic exhibitions ranging from international to innovative new work created by local and regional artists shown across our four diverse gallery spaces."
(The National Centre for Craft & Design, UK)
Fig.1 Claire Morgan (2011). "Gone To Seed", Exhibited at About Time, Hub: National Centre for Craft and Design, Lincolnshire, UK.
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Simon PerkinsSHARE
We Are Primary: an artist-led social and cultural resource
"Primary is an artist-led space that exists to support creative research and to develop new ways of engaging with audiences. Offering dedicated artist studios alongside flexible spaces, both within and outside the building, where artists from around the world can meet and work in the heart of Nottingham. Primary is a place where artists and the public can share, experiment and learn about contemporary visual art through an ambitious programme of events and activities. ...
In November 2011, the building opened its doors to the first resident artists: Nadim Chaudry, Simon Raven, Yelena Popova, Rebecca Beinart, Matt Hawthorn, Andy Lock, Simon Withers, Mik Godley, Tether, Frank Abbott, Craig Fisher and Debra Swann. Further recruitment of resident artists has continued in 2012 with an associate artist programme launching later in the year. ...
[Note that] we are not currently open to the public except for special events. However if you would like to visit, please get in touch: 33 Seely Road, Nottingham, NG7 1NU, +44(0)115 924 4493"
(Nottingham Studios Ltd., UK)
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Simon PerkinsSHARE
HiBROW: a collection of videos for arts enthusiasts
"The British based film-maker Don Boyd, HiBROW's founder, has gathered a wide range of established professionals in the international arts industries, to be called Curators to create content exclusively for HiBROW. Three years of research and development has resulted in the successful production of over 80 hours of professionally produced High Definition video. HiBROW's content will be refreshed every month, and is radically different to current broadcast television and other online content. Available free, it is professionally produced, contemporary and original. With unique access our teams have captured behind-the-scenes rehearsals, work in progress and interviews. HiBROW has relationships with some of the world's great arts institutions and is building new ones with those who want to use our platform to expose larger audiences to their work. These embrace a very broad range of international artistic talent including Vasily Petrenko, Russia's young conductor, Dominic Hill, artistic director of Glasgow's Citizens Theatre, Newton Aduaka, Nigeria's young film director, Raf Bonachela, Spain's great choreographer, Gavin Turk, the British artist, Margaret Attwood, Canada's great novelist, and Britain's great spy author John Le Carré. Their contributions have allowed HiBROW to fashion intimate films of entire performances of new plays, concerts, exhibitions, and literary events all of which have subsequently received glowing critical reviews."
(Don Boyd)
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Simon PerkinsSHARE
Nina Wenhart's blog on the prehysteries of new media
"this blog is nina wenhart's collection of resources on the various histories of new media art. it consists mainly of non or very little edited material i found flaneuring on the net, sometimes with my own annotations and comments, sometimes it's also textparts i retyped from books that are out of print.
it is also meant to be an additional resource of information and recommended reading for my students of the prehystories of new media class that i teach at the school of the art institute of chicago in fall 2008.
the focus is on the time period from the beginning of the 20th century up to today."
(Nina Wenhart, 26/06/2008)
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Simon PerkinsSHARE
Effective and evocative research: difference through the form and outcomes of the iterative cycles and the type of feedback that informs the reflective process
"From the differences we have described, it might be assumed that the distinction between effective and evocative research is between the analytical and intuitive. However, it is important to note that, while analysis of the problem and context tends to come first in effective research, as in all research, it is intuition that leads to innovation. And, on the other hand, while evocative research may evolve intuitively through the interests, concerns and cultural preoccupations of the creative practitioner, it is rounded out and resolved by analytical insights.
Because of this combination of the intuitive and analytical, both ends of the spectrum may draw on bodies of theory such as Donald Schön’s (1983) theories of reflective practice and principles of tacit knowledge and reflection-in-action, to frame an iterative development process. However, differences can be identified between the form and outcomes of the iterative cycles and the type of feedback that informs the reflective process.
In effective research, an iterative design process may involve an action research model and prototyping (paper prototype, rapid prototype, functional prototype and so on). Each iterative stage is evaluated through user testing by a representative group of end users (through quantitative or qualitative surveys or observations of use, for example). The purpose of this testing is to gauge the artifact’s functionality, usability and efficacy. The gathered data informs changes and refinements in each cycle.
On the other hand, an artist might stage a number of preliminary exhibitions, but these are not staged to gather ‘data’, or to obtain successively closer approximations of a solution to a problem. Instead, they are part of an exploration of unfolding possibilities. Feedback might be sought from respected colleagues, and gathered in an informal setting (in the manner of a peer ‘critique’). The purpose of gathering such insights is to allow the artist to reflect upon the project and its evocation and affect and to see their work through the insights of others, which may shed new light on the practice and its possibilities."
(Jillian Hamilton and Luke Jaaniste, 2009)
2). Hamilton, J. and L. Jaaniste (2009). "The Effective and the Evocative: Practice-led Research Approaches Across Art and Design". ACUADS: The Australian Council of University Art & Design Schools, Brisbane, Queensland, Queensland College of Art, Griffith University.
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Simon PerkinsSHARE
