• Sensible Sensitivity: Arts Pedagogy in Management Development

      Passila, A.; Owens, Allan; Lapeenranta University of Technology; University of Chester (Kogan Page, 2016-03-03)
      This chapter introduces the distinctive forms of practice and discourse that arts pedagogy can offer when applied in management development and education.
    • Sensual austerity

      Bristow, Maxine; University of Chester (2006-07-10)
      This exhibition presented two different but complementary solo exhibitions which documented Maxine Bristow's work from 1996 to 2006. An accompanying exhibition catalogue was produced.
    • Sevenfold Fugue for Solo Organ

      Sproston, Darren; University of Chester (Darren Sproston, 2015-03-01)
      Commissioned by the University of Chester for its 175th Founders’ Day Service. First performed at Chester Cathedral, March 2015 by Graham Eccles.
    • Shades of expression: Online political journalism in the post-colour revolution nations

      Roberts, Simon Gwyn; University of Chester (University of Chester Press, 2013-05)
      The Colour Revolutions in the former Soviet Union were arguably the twenty-first century’s first successful attempts to overthrow political elites through mass protest and civic society activism. They are of intrinsic interest to media scholars because concepts of media freedom were located at the heart of the protests against semiautocratic post-Communist regimes and have continued to characterise political debate in Georgia, Ukraine and Kyrgyzstan. The ideals that underpinned the events were echoed several years later in the Arab world, and both initially involved influential networks of activists ranged against political elites. The events of the Arab Spring were often facilitated and given added impetus by the advances in news media technology which had taken place over the latter half of the decade and which allowed for more effective networked communications and a more open public sphere to thrive, even in autocratic environments. But while the role of evolving media technologies has been extensively analysed and critiqued in the context of the Arab world, its use in the more mature post-Revolution environments of the former Soviet Union has been largely overlooked. This book captures a “snapshot” of the contemporary role of online journalism in rapidly evolving post-Soviet, post-Colour Revolution political environments, exploring the wider journalistic and political context alongside the use and influence of online news sites. In particular, it aims to fill a gap in the literature by undertaking qualitative work in the post-Colour Revolution nations which seeks to assess the views of active journalists on the role of online political journalism in those environments.
    • Sharing something

      Owens, Allan (Chester College, 1995)
      This article discusses events leading up to and a performance of "After the ball is over" at Howard House, HM Prison Styal in Cheshire during July 1994.
    • The Significance of Marie Duval’s Drawing Style

      Grennan, Simon; University of Chester
      Duval’s drawings were made to provoke laughter, by articulating and rearticulating social stereotypes and contradictions. Duval achieved this in her choice of topics and, more unusually, in her use of ideas of her own position as a humorous visual journalist: her visible lack of training, stage career, gender and social class, relative to the experiences of readers. This chapter will examine this articulation, considering late nineteenth-century gender and class relationships between humour, displays of technical skill and concepts of vulgar behaviour. The chapter will finally exemplify these relationships in two Duval drawings on the topic of the Royal Academy Summer Exhibitions of 1880 and 1876.
    • Site, Sight, Cite: (Re)Making Locational Identity through Walking and Performance

      Layton, James R.; Molony, Richard; University of Chester (2015-04-16)
      In August 2014, James Layton, Richard Molony and Julian Waite (University of Chester) conceived and presented a participatory performance titled (V)-Is-it Chester?, in which spectators were invited on a walking tour of Chester city centre, reimagining its history and present day reality. Currently, Layton and Molony are using the seeds of this performance to curate a community project that employs participatory performance and walking art practice as a means of engaging a range of Chester residents in the arts. The participants will be invited to make connections between their own identities and familiar locations, thus foregrounding autobiographical and non-rational associations (Smith, 2010). Through the (re)exploration of locational identities, Site, Sight, Cite aims to raise awareness of and engagement in the arts in Chester as the city's new arts centre moves towards completion in 2016. Site, Sight, Cite aims to work with participants in creating their own personal histories of the city. In doing so, the project draws upon notions of 'sited community' (Kwon 2004); performative walking (Smith, 2010; 2014; Heddon, 2012; Mock, 2009), mythogeography (Wrights & Sites, 2006; 2010), and relational aesthetics (Bourriaud, 2002). In this paper, the authors offer a prognosis for the future of the arts in Chester and how, through engaging the city's denizens in walking art practice, locational identity can be (re)examined and (re)evaluated.
    • Sonic Proxemics and the Art of Persuasion: An Analytical Framework

      Collins, Karen; Dockwray, Ruth; University of Waterloo; University of Chester (MIT Press, 2015-12-07)
      This paper introduces a framework for the creation and analysis of sonic spatialization and proxemics in audiovisual media. The authors apply the framework to three public service announcements to show how sonic proxemics can be used as a rhetorical device that may be used to strengthen political aims.
    • Spatial Design for Multicultural Online Game Environments

      Summers, Alan; Bellaby, Gareth; University of Chester, University of Central Lancashire (Shibaura Institute of Technology, 2013-08)
      Current gaming technologies enable players from different cultures to communicate and participate in gameplay within a single game environment. A player from one culture may now inhabit a three-dimensional game environment developed by designers from a different culture. These game environments bypass geographic and cultural boundaries and question differences in Eastern and Western gameplay preferences recognized by the games industry. This paper discusses the effect of cultural knowledge on the spatial design of three-dimensional game environments. A new methodology for the comparative analysis of the design of three-dimensional game environments is established considering cultural models as applied to design thinking. Based on spatial analysis it offers game designers and researchers metrics correlated to human way-finding in the real world that are directly relevant to the forms of game play in these environments. The initial analysis of internationally popular, and culturally specific, game environments indicate areas where cultural differences may be considered through spatial considerations within a design methodology. Recognized cognitive differences between Eastern and Western cultures and the interpretation of the two dimensional visual field are considered within findings that determine the use of spatial metrics is a methodology that can be used by design researchers and game designers as a tool set within the design cycle of online multicultural three-dimensional game environments.
    • Stone Tapes: Ghost Box, Nostalgia and Postwar Britain

      Pattie, David; University of Chester (Oxford University Press, 2016-03-10)
      Book Chapter
    • “Surely people who go clubbing don’t read”: Dispatches from the Dancefloor and Clubland in Print

      Morrison, Simon A.; University of Chester (International Association for the Study of Popular Music, 2014-12-31)
      In the context of the UK dance club scene during the 1990s, this article redresses a presumption that “people who go clubbing don’t read”. It will thereby test a proposed lacuna in original journalist voices in related print media. The examination is based on key UK publications that focus on the musical tropes and modes of the dancefloor, and on responses from a selection of authors and editors involved in British club culture during this era The style of this article is itself a methodology that deploys ‘gonzo’ strategies typical of earlier New Journalism, in reaching for a new approach to academicism. In seeking to discover whether the idea that clubbers do not read is due to inauthentic media re/presentations of their experience on the dancefloor, or with specific subcultural discourses, the article concludes that the authenticity of club cultural re/presentation may well be found in fictional responses.
    • Taking the Studio by Strategy

      Pattie, David; University of Chester (Continuum, 2016-08-11)
      Book chapter
    • Tamaglitchi

      Collins, Karen; Dockwray, Ruth (ACM Press, 2018)
    • Teaching by story

      Rutherford; University of Chester (2012-07-09)
      This presentation discusses the role of higher education in modern society.
    • Terrorists, rioters and crocodiles: The political symbolism of an Olympic monster

      Charles, Alec; University of Chester (Palgrave Macmillan, 2014-06)
      In August 2005, just a month after the announcement that London had succeeded in its bid to host the 2012 Olympic Games, the UK national press witnessed a brief rash of stories alleging the presence of a crocodile or similar water monster lurking beneath the surface of the River Lea – the river that runs from the town of Luton in Bedfordshire down to join the Thames adjacent to the Olympic site. This story re-emerged in November 2011 when a campaigner against the environmental impact of the Olympics on the river area claimed to have seen further evidence of crocodilian activity. This paper will explore the reasons for the proliferation of this story, in terms both of its function as a metonymic news-hook (it opened up directly related concerns as to the impact, organization and security of the Games) and of its metaphorical significance (its incarnation of a superstructure’s fears of an emerging threat of a monstrous underclass – one which might at once comprise terrorists, rioters and anti-establishment campaigners). It will conclude by suggesting that this monstrous myth might hold within it the possibility of the convergence of populist news media and popular democracy.
    • The 'auto cannibal'

      Turner, Jeremy; Hultum, Ben (University of Chester, 2010-10)
      The relentless triumph of technology is increasingly dismissive of the human desire for interaction; we are deprived of experiences with the ordinary and become less aware of the potential such objects contain. The author primarily considers art as a means of understanding the world and his practice is based on personal observations and autonomous processes. This can often lead to an over-analysis of the mundane, which is directly confronted in each of my projects through an enthusiasm for the objects we not only take for granted, but do so to the extent that we barely notice their existence. Drawing inspiration from literature, philosophy and ideas which surround permanence in a society which is frequently considered throwaway, the author is influenced by personal insecurities and have developed a creative style that not only explores construction - in the obsessive means by which a work is made; but also one that celebrates the process of destruction - in that the materials the author uses have the potential to instigate their own demise in a process I generally refer to as autocannibalism.
    • The abuse of power: Savile, Leveson and the Internet

      Charles, Alec; University of Chester (Peter Lang, 2014-05-05)
      This book chapter discusses press responses to the Jimmy Savile scandal, and the phone hacking scandal and the Leveson inquiry.
    • The Arrival of Godot: Beckett, Cultural Memory and 1950s British Theatre

      Pattie, David; University of Chester (Bloomsbury Methuen, 2016-06-30)
      Book chapter
    • The artificial body: Speaking through stammers and silences

      Smith, Kate M. (Chester College, 1996)
      This article, originally delivered at the Body memory in performance conference at Lancaster University in August 1995, discusses some of the observed phenomena in rehearsal processes towards the performance of the damaged and dismembered bodies that inhabit Caryl Churchill and David Lan's A mouthful of birds (Methuen, 1986) and Timberlake Wertenbaker's The love of the nightgale (Faber & Faber, 1989).
    • The artist's book: Making as embodied knowledge of practice and the self

      Adams, Jeff; Waite, Julian; Kealy-Morris, Elizabeth (University of Chester, 2016-09)
      The initial research questions for this practice-based doctoral research project was to ask, "Is it possible to develop a more confident, self-conscious creative voice able to articulate one's identity more clearly through the making of handmade artefacts?"; this thesis applies the methodologies of autoethnography and pedagogy to consider an answer. My original contribution to knowledge through this enquiry is the identification of the ways in which the exploration of identity through autoethnographic, creative and pedagogic methods encourages an expanded field of self-knowledge, self-confidence and sense of creative self.