The School of Digital, Technologies and Arts is again holding a series of seminars, chaired and curated by C3 member Becky Nunes, following a life-cycle of reserch: It will cover presentations by researchers about how projects start, how to work across teams, how to co-create research with external communities and in the second half of the season will moev to how research gets funded and reviwed.
Seminars are designed to be in person, but recordings will be available afterwards. Dates for the seminars are:
WED NOV 9TH 3.30-5.00P.M : CA204 – BEGINNINGS – How do projects start? What are the catalysts for interesting research projects? (Michael Day, Alke Groeppel-Wegener)
WED DEC 7TH 3.30-5.00P.M: CA204 : COLLABORATIONS – Working across teams, co-creating and other fruitful research partnerships (Neil Brownsword, Maria Martinez-Sanchez)
WED JAN 11TH 3.30-5.00P.M : CA204: : COLLABORATIONS – Working across teams, co-creating and other fruitful research partnerships (Islam Abohela)
This partnership, recorded on 19 May 2022, was co-devised by colleagues at Keele University, Staffordshire University and Age UK Oxfordshire, as part of the Age of Creativity Festival 2022 and Creative Later Life 2025.
The keynote presentations and panel discussions around creative aging and placemaking, is now avaiable from the link above.
C3 Centre’s Professor Carola Boehm gave a talk on #Culture30Walks: How Creative is your Place?
Professor David Amigoni FEA- Director, Keele Institute for Social Inclusion (KISI), Keele Deal Culture & ArtsKeele (chair)
Carola Boehm– Professor of Arts and Higher Education, Staffordshire University
Rose Gilroy-Professor of Ageing Planning and Policy, Chair of Future Homes Alliance, School of Architecture Planning and Landscape
Steven Millington– Director/ Senior Fellow at The Institute of Place Management and Reader in Place Management at Manchester Metropolitan University
Jason Jones-Hall– Director of Development, Five10Twelve
Neil Johnson– Engagement Project Lead, Liverpool City Region
It covers topics and case studies exploring the following:
How does creativity/ culture contribute to ‘vibrant’ places for older people beyond local tourism?
What constitutes a creative/ cultural ‘asset’ to older communities experiencing inequality?
What ‘value’ do we give creativity/culture and older communities experiencing inequalities in rebranding places?
What role does place based leadership have in making places both ‘Creative/ Cultural’ and ‘Age Friendly’?
How can inequalities be tackled by ‘making’ in place and is this place leadership?
Recently released, in a warm and engaging audio interview, producer and Associate Professor Fiona Graham from C3 and historian Colin Winn walk to the craters and tour their perimeter. While doing so they share with us their stories behind this exciting project into the crater and talk about the special relationship that has developed with the local community. Colin is a military historian and tunnelling expert and Fiona an associate professor on the project.
The Hawthorn Redoubt was an formidable defensive position for the Germans which was blown up on the morning of 1 July 1916 by a mine that had been placed beneath the German stronghold on the ridge. The explosion, ten minutes before the whistles blew at 7:30am, destroyed the position but the timing of the detonation and the lifting of the artillery barrage meant that the position was reinforced by the Germans, leading to massive losses among the attacking British troops.
Throughout history, ceramics have played an important role in the phenomenon of cultural transfer. For centuries China, Korea and Japan have influenced each other’s aesthetics, practices and technologies. Subsequent trade with the West, and the imitation and assimilation of East Asian goods and styles in the late 17th and 18th centuries greatly influenced the development of new ceramic traditions in Europe that were to gain historical prominence.
Since 2015 artist Neil Brownsword has explored this historic cycle of knowledge exchange, via performances staged in South Korea and the UK which have addressed the cultural hierarchies and value systems aligned to their ceramic traditions.In his work Factory (2017) staged at Icheon World Ceramic Centre, Brownsword re-choreographed the indigenous ceramic practices of two ex-factory personnel from Stoke-on-Trent and four Korean artisans to question established hierarchies of cultural production and reassign value to people and practices displaced by global economics.
By reactivating obsolescence via non-commercialised production, Brownsword revealed a shared language of haptic intelligences developed through ethical modes of exchange between East and West.
Performing FACTORYin Korea enabled the actors of marginalised immaterial heritage to renegotiate their value in a context where similar embodiments of knowledge are culturally protected. Its tour to the British Ceramics Biennial 2017, furthered UK/Korea cultural exchange, strengthening Stoke-on-Trent’s regeneration ambition as a global centre for ceramics. This presentation examines the context and development of Brownsword’s collaborations and his exploration of heritage as a ‘living process’ that can be constantly reimagined for the future.
Neil Brownsword is an artist, researcher and educator who holds a professorial position in ceramics at Staffordshire University. Brownsword began his career in ceramics as an apprentice at the Wedgwood factory in the mid- 1980’s. His practice examines the legacy of globalisation in relation to Stoke-on-Trent’s ceramic manufacturing sector, and the impact this has had upon people, place and traditional skills. Using film and performative installation Brownsword deconstructs complex craft knowledge within industrial production to pose questions surrounding the value of inter-generational skill. His work is represented in public/private collections internationally, including the Victoria and Albert Museum, Korea Ceramic Foundation, Yingee Ceramic Museum Taiwan and Fu Le International Ceramic Art Museum China. In 2009 he was awarded the ‘One Off Award’ at the inaugural British Ceramic Biennial, and the Grand Prize at the Gyeonggi International Ceramic Biennale, South Korea in 2015, and Whitegold International Ceramic Prize in 2019.
In this session, we consider existing strategies for cultural production that masquerade as avantgarde, while potentially in fact perpetuating an ideological status-quo. The role of the auteur is implicated in these strategies and examined in both presentations. The question is asked: what sort of art is really needed for our future societies?
In this session: Wednesday 2 March 2022, Room T101
Dr. Andrew Stubbs: Talent Managers and their Indie-Auteur Clients: Understanding the Conematization of Television
Becky Nunes: 15 Minutes of Fame. Andy Warhol, Facebooks and the Work of Luke Willlis Thomspn
Professor Ian Brown will base his presentation on a series of artworks produced as part of artists’ group Common Culture (Ian Brown, David Campbell, Mark Durden). The work uses appropriation and the ready-made to engage audiences in a critical assessment of a celebrity culture which functions by commodifying its audience’s attention, leading to questions on its cultural and social value.
OMG I love common culture !!!!❤️❤️❤️❤️ and ME, The Total Show were made in response to an American internet celebrity who capitalized on the intimate relationship he had built with his online followers by trademarking the name ‘Common Culture’ to brand, promote and sell a range of products. The Die Raum gallery was turned into a Common Culture shopfront, with logo, weblink and an accumulation of graphic stickers based on the online posts of the celebrity’s fan base. The Rampa gallery collates appropriated and translated material into an enclosed interior space for consumption. The two exhibitions involve a parodic mimicry of the internet celebrity’s commodification of his audience, himself and his products. This explores how the aesthetics, interactions and transactional intimacy built by internet personalities are ruthlessly deployed to convert followers into consumers and attention capital.
OMG I love common culture!!!!♥♥♥♥ Die Raum, Berlin, Germany. 29th Feb — 19th April 2020
Saturday 16 October 2021, 9am to 5pm Potteries Museum & Art Gallery
Bethesda Street, Hanley, Stoke-on-Trent ST1 3DW
Beyond Preservation: re-evaluating Intangible Cultural Heritage in the UK Ceramic Industry
Global economics and advances in automation technology have radically transformed the landscape of the UK’s ceramic industry in recent decades. Whilst these transitions have facilitated greater productivity, once commonplace skills associated with ceramic manufacture have now been displaced, threatening the continuation of much traditional knowledge. Should such practices, deemed outmoded or economically unviable for contemporary ceramic production be simply relegated to history or the trails of heritage tourism? What value is there in safeguarding this knowledge for the future? How can traditional practices be revived through new modes of thinking and creativity in a digital age?
This symposium builds upon these questions, and highlights specialist skills at significant risk of being lost from the industry, surveyed through recent research for the Heritage Craft Association’s Red List of Endangered Crafts. Making particular reference to North Staffordshire’s intangible cultural heritage*, scholars together with former employees and current representatives from the ceramics industry, will explore a variety of perspectives concerning a re-evaluation of the industrial crafts and their revitalisation through contemporary exchange and adaptation.
Although the symposium will be taking place within a cultural event, it will discuss ways to connect with the local community beyond cultural institutions, so that they can develop, engage and participate in ‘their’ intangible heritage. It is hoped that this event will introduce new ways of valuing industrial ceramics skills that are not influenced by the immutable heritage discourse of experts, by facilitating those that were and are still involved in the industry to articulate the value of their own heritage.