• A Walk of 20 Steps: Representing memory of place

      Kealy-Morris, Elizabeth; University of Chester (University of Chester, 2015-07)
      A Walk of 20 Steps: Representing memory of place “…’(T)he everyday’ is a space where practice and representation are complexly interrelated, where the lived reality of the quotidian co-exists with clichés, mythologies, stereotypes and unsourced quotations” (Moran, 2005, p.13) . Pierre Nora’s (1989) work documenting the diverse range of French national sites of memory demonstrates that the “where” of memory changes over time and that official memory can be challenged by alternative forms of cultural memory. Just like memory, then, place is also unstable and open to shifting social perceptions about its function and use. Joe Moran (2005) examines how representations of the everyday have influenced the ideas surrounding the relationship between public and private spheres in postmodern culture. Overlooked, ignored and discounted as a source of meaning for wider cultural developments, everyday culture then becomes a source of resistance for Antonio Gramci’s (2005) “spontaneous philosophy” and Michel Foucault’s (1980) “subordinate and unofficial knowledge”. The everyday culture my doctoral visual practice gazes upon, analyses and questions is the suburban landscape of my hometown, Wellesley Massachusetts, fifteen miles west of Boston, the state’s capital. My photographs capture daily shopping life in the tradition of deadpan photography depicting local vernacular which emerged from America in the 1960s and 1970s through the work of Ed Ruscha, Stephen Shore, William Eggleston, Lewis Baltz, Robert Adams and Dan Graham. Of particular inspiration to my photographic method was the work of Hilla and Bernd Becher who began systematically documenting industrial sites around Germany in the late 1950s. The pair was interested in returning to the ‘straight’ aesthetic and social concerns of German practice in the 1920s and 1930s and a rejection of the contemporary leanings towards sentimentality. While the photographs of Central Street naturalise the assumptions and myths of conspicuous consumption, the act of photographing and decoding these signifiers of everyday upper-middle class life offers me space to question the legitimacy of this dominant culture of commodity fetishism and the effects of this landscape upon my identity.
    • A Walk of 20 Steps: Representing memory of place

      Kealy-Morris, Elizabeth; University of Chester (2015-07-09)
      A Walk of 20 Steps: Representing memory of place “…’(T)he everyday’ is a space where practice and representation are complexly interrelated, where the lived reality of the quotidian co-exists with clichés, mythologies, stereotypes and unsourced quotations” (Moran, 2005, p.13) . Pierre Nora’s (1989) work documenting the diverse range of French national sites of memory demonstrates that the “where” of memory changes over time and that official memory can be challenged by alternative forms of cultural memory. Just like memory, then, place is also unstable and open to shifting social perceptions about its function and use. Joe Moran (2005) examines how representations of the everyday have influenced the ideas surrounding the relationship between public and private spheres in postmodern culture. Overlooked, ignored and discounted as a source of meaning for wider cultural developments, everyday culture then becomes a source of resistance for Antonio Gramci’s (2005) “spontaneous philosophy” and Michel Foucault’s (1980) “subordinate and unofficial knowledge”. The everyday culture my doctoral visual practice gazes upon, analyses and questions is the suburban landscape of my hometown, Wellesley Massachusetts, fifteen miles west of Boston, the state’s capital. My photographs capture daily shopping life in the tradition of deadpan photography depicting local vernacular which emerged from America in the 1960s and 1970s through the work of Ed Ruscha, Stephen Shore, William Eggleston, Lewis Baltz, Robert Adams and Dan Graham. Of particular inspiration to my photographic method was the work of Hilla and Bernd Becher who began systematically documenting industrial sites around Germany in the late 1950s. The pair was interested in returning to the ‘straight’ aesthetic and social concerns of German practice in the 1920s and 1930s and a rejection of the contemporary leanings towards sentimentality. While the photographs of Central Street naturalise the assumptions and myths of conspicuous consumption, the act of photographing and decoding these signifiers of everyday upper-middle class life offers me space to question the legitimacy of this dominant culture of commodity fetishism and the effects of this landscape upon my identity.
    • A Walk of 20 Steps: Representing memory of place

      Kealy-Morris, Elizabeth; University of Chester (2015-07-09)
      A Walk of 20 Steps: Representing memory of place “…’(T)he everyday’ is a space where practice and representation are complexly interrelated, where the lived reality of the quotidian co-exists with clichés, mythologies, stereotypes and unsourced quotations” (Moran, 2005, p.13) . Pierre Nora’s (1989) work documenting the diverse range of French national sites of memory demonstrates that the “where” of memory changes over time and that official memory can be challenged by alternative forms of cultural memory. Just like memory, then, place is also unstable and open to shifting social perceptions about its function and use. Joe Moran (2005) examines how representations of the everyday have influenced the ideas surrounding the relationship between public and private spheres in postmodern culture. Overlooked, ignored and discounted as a source of meaning for wider cultural developments, everyday culture then becomes a source of resistance for Antonio Gramci’s (2005) “spontaneous philosophy” and Michel Foucault’s (1980) “subordinate and unofficial knowledge”. The everyday culture my doctoral visual practice gazes upon, analyses and questions is the suburban landscape of my hometown, Wellesley Massachusetts, fifteen miles west of Boston, the state’s capital. My photographs capture daily shopping life in the tradition of deadpan photography depicting local vernacular which emerged from America in the 1960s and 1970s through the work of Ed Ruscha, Stephen Shore, William Eggleston, Lewis Baltz, Robert Adams and Dan Graham. Of particular inspiration to my photographic method was the work of Hilla and Bernd Becher who began systematically documenting industrial sites around Germany in the late 1950s. The pair was interested in returning to the ‘straight’ aesthetic and social concerns of German practice in the 1920s and 1930s and a rejection of the contemporary leanings towards sentimentality. While the photographs of Central Street naturalise the assumptions and myths of conspicuous consumption, the act of photographing and decoding these signifiers of everyday upper-middle class life offers me space to question the legitimacy of this dominant culture of commodity fetishism and the effects of this landscape upon my identity.
    • Reinstating Touch in the Documentary Photobook

      Daly, Tim; University of Chester (Museums Etc., 2012-07-22)
      Collections of photographs by photographers are rarely envisioned in the book form, but instead use the medium solely as an alternative distribution channel. In addition, most critically respected photographic publications are rightly perceived as surrogates for the gallery print; for the history of photography has fetishised the experience of viewing an original above all else. I propose that authored documentary photography books can become super-sensory works, documents of participation, intervention and touch.
    • The Bookbinding Workshop: making as collaborative pedagogic practice

      Kealy-Morris, Elizabeth; University of Chester (2015-02)
      The value of Engagement is no longer questioned” (Trowler & Trowler, 2010, p.9) Trowler & Trowler, in their 2010 report for the HEA’s Student Engagement Project, note that studies have consistently shown associations between student engagement and improvements in identified desired outcomes, including cognitive development, critical thinking skills, practical competence, and skills transferability. They also note that there are specific features of engagement which improve outcomes, including student-staff contact, active learning, and cooperation amongst students such as group work and peer support. Trowler & Trowler found that interacting with staff has been shown to have a powerful impact on learning, especially when it takes place outside the classroom and responds to individual student needs. The NUS 2012 Student Experience Survey supports Trowler & Trowler’s findings. The purpose of the study was to understand student expectations of a university experience. Teaching quality was cited as the most important factor in what makes a good learning experience. Students want more engaging teaching styles that are interactive, use technology & props to make the subject more accessible and interesting. This paper will consider student engagement through collaborative teaching and learning practices I have developed within a series of bookbinding workshops in which I acquire new skills alongside my students. Developed directly from my practice-based PhD inquiry The Artist Book: making as embodied knowledge of practice & the self which emerged from my curiosity of whether new knowledge of practice, creativity, expression and the self might emerge from the embodied practice of making with one’s hands. Inspired by the research of Reid and Solomonides (2007) which suggests that for creative students to engage successfully in their studies they must have the opportunity to “develop a robust Sense of Being [sic]” . The most valuable pedagogic conditions, according to Reid and Solomonides, will be those that create learning opportunities that encourage this embodiment of the creative self. Lawrie (2008) ponders whether design educators could encourage in our students a deeper understanding of their subject beyond skills leading to employability and entrepreneurship. She suggests, “…an answer may lie in the intersection of embodiment, meaning and signification” . The bookbinding workshop developed from my desire to seek ways to engage with and alongside students in my practice and research to ground my own making within my pedagogic practice. In this way students are not being ‘instructed’ by a skilled specialist but rather collaborating with a committed enthusiast and researcher learning from their practice and experience. This paper will discuss the impact these workshops have had on participating students, their practice and their sense of “creative self” through the analysis of anonymous surveys carried over the span of two years.