The document discusses the Angel of the North sculpture in Gateshead, UK. It provides background on its creation, funding, and unveiling. It also discusses the artist Antony Gormley's vision for the sculpture and how it has become a symbol and part of the identity of the North East region over time. The document then analyzes efforts to measure the social and economic impacts of public art projects and whether they achieve their aims.
Part of A2 Film Studies (WJEC) coursework (FM3). Also consisted of an annotated catalogue. Had to explore a theoretical issues/debate (e.g. authorship) within film studies and apply to original research.
'Found' and 'after' - a short history of data reuse in the artsMartin Donnelly
A presentation prepared as emergency backup for RDMF10 (http://www.dcc.ac.uk/events/research-data-management-forum-rdmf/rdmf10-research-data-management-arts-and-humanities), while we were struggling to secure a replacement keynote speaker. It was fun to prepare, though, so here it is, minus the multimedia bits such as the sound files on the 'sampling' slide.
Course Reader Reading #3 What is Design .docxmarilucorr
Course Reader: Reading #3
What is Design?
Excerpts from:
Adolph Appia, Lee Simon (from: “The Ideas of Adolphe Appia”),
Robert Edmund Jones, Leonard Pronko,
and Gaston Bachelard
Intro to Theater: What is Design? Page #1
Intro to Theater: What is Design? Page #1
r;;e: The American
s: 145-155.
Harry N. Abrams
~
Chapter 3
Adolph Appia
ACTOR, SPACE, LIGHT,
PAINTING
T HE ART OF STAGE PRODUCTION is the art of projecting into Space what the original author was only able to project in
Time. The temporal element is implicit within any text, with or
without music . . . The first factor in staging is the interpreter: the
actor himself. The actor carries the action. Without him there can
be no action and hence no drama ... The body is alive, mobile and
plastic; it exists in three dimensions. Space and the objects used
by the body must most carefully take this fact into account. The
overall arrangement of the setting comes just after the actor in
importance; it is through it that the actor makes contact with and
assumes reality within the scenic space.
Thus we already have two essential elements: the actor and
the spatial arrangement of the setting, which must conform to his
plastic form and his three-dimensionality.
What else is there?
Light!
Light, just like the actor, must become active; and in order to
grant to it the status of a medium of dramatic expression it must
be placed in the service of ... the actor who is above it in the
production hierarchy, and in the service of the dramatic and plastic
expression of the actor.
... Light has an almost miraculous flexibility . . . it can cre
ate shadows, make them living, and spread the harmony of their
vibrations in space just as music does. In light we possess a most
powerful means of expression through space, if this space is placed
in the service of the actor.
29
Intro to Theater: What is Design? Page #2
Intro to Theater: What is Design? Page #2
ACTOR, SPACE, LIGHT, PAINTING
So here we have our nonnal established hierarchy: ,
the actor presenting the drama;
space in three dimensions, in the service of the actor's plastic fonn;
liBht giving life to each.
But as you have inferred, there is a but what about painting? What do we
understand about painting in terms of scenic art?
A collection of painted backcloths and flats arranged vertically on the stage,
more or less parallel to one another, and extending upstage. These are covered
with painted light, painted shadow, painted fonns, objects and architecture; all of
it, of course, on a flat surface since that is the nature of painting ...
Our staging practice has reversed the hierarchical order: on the pretext of
providing us with elements which are difficult or impossible to realize in solid
form, it has developed painted decor to an absurd degree, and disgracefully
subordinated the living body of the actor to it. Thus light illuminates the b.
Part of A2 Film Studies (WJEC) coursework (FM3). Also consisted of an annotated catalogue. Had to explore a theoretical issues/debate (e.g. authorship) within film studies and apply to original research.
'Found' and 'after' - a short history of data reuse in the artsMartin Donnelly
A presentation prepared as emergency backup for RDMF10 (http://www.dcc.ac.uk/events/research-data-management-forum-rdmf/rdmf10-research-data-management-arts-and-humanities), while we were struggling to secure a replacement keynote speaker. It was fun to prepare, though, so here it is, minus the multimedia bits such as the sound files on the 'sampling' slide.
Course Reader Reading #3 What is Design .docxmarilucorr
Course Reader: Reading #3
What is Design?
Excerpts from:
Adolph Appia, Lee Simon (from: “The Ideas of Adolphe Appia”),
Robert Edmund Jones, Leonard Pronko,
and Gaston Bachelard
Intro to Theater: What is Design? Page #1
Intro to Theater: What is Design? Page #1
r;;e: The American
s: 145-155.
Harry N. Abrams
~
Chapter 3
Adolph Appia
ACTOR, SPACE, LIGHT,
PAINTING
T HE ART OF STAGE PRODUCTION is the art of projecting into Space what the original author was only able to project in
Time. The temporal element is implicit within any text, with or
without music . . . The first factor in staging is the interpreter: the
actor himself. The actor carries the action. Without him there can
be no action and hence no drama ... The body is alive, mobile and
plastic; it exists in three dimensions. Space and the objects used
by the body must most carefully take this fact into account. The
overall arrangement of the setting comes just after the actor in
importance; it is through it that the actor makes contact with and
assumes reality within the scenic space.
Thus we already have two essential elements: the actor and
the spatial arrangement of the setting, which must conform to his
plastic form and his three-dimensionality.
What else is there?
Light!
Light, just like the actor, must become active; and in order to
grant to it the status of a medium of dramatic expression it must
be placed in the service of ... the actor who is above it in the
production hierarchy, and in the service of the dramatic and plastic
expression of the actor.
... Light has an almost miraculous flexibility . . . it can cre
ate shadows, make them living, and spread the harmony of their
vibrations in space just as music does. In light we possess a most
powerful means of expression through space, if this space is placed
in the service of the actor.
29
Intro to Theater: What is Design? Page #2
Intro to Theater: What is Design? Page #2
ACTOR, SPACE, LIGHT, PAINTING
So here we have our nonnal established hierarchy: ,
the actor presenting the drama;
space in three dimensions, in the service of the actor's plastic fonn;
liBht giving life to each.
But as you have inferred, there is a but what about painting? What do we
understand about painting in terms of scenic art?
A collection of painted backcloths and flats arranged vertically on the stage,
more or less parallel to one another, and extending upstage. These are covered
with painted light, painted shadow, painted fonns, objects and architecture; all of
it, of course, on a flat surface since that is the nature of painting ...
Our staging practice has reversed the hierarchical order: on the pretext of
providing us with elements which are difficult or impossible to realize in solid
form, it has developed painted decor to an absurd degree, and disgracefully
subordinated the living body of the actor to it. Thus light illuminates the b.
11. Participating in local discussions to aid forward movement (19)Lardon is clear that the focus on governance, public politics and spatial analysis leads to an understanding of just how important is the relation between public politics and institutional apparatuses, and that means that transposing partially compatible rules and facilitating their adaptation in their new form is very important. The academic attempt to be multi-perspectival and objective can help with this; and ‘academic’ evaluation can help to validate new processes, and the associated institutional learning and reform, in most if not all contexts. (20)<br />The ENGREF researchers hypothesised that cohering regional visions can be brought into being by creating and using shared spatial protocols. Visualising new processes helps to enable their representation in the new context, opening paths for adaptation where necessary. The accent here is placed on the co-ordination of different actors, on the creation of new resources, and on the dynamics of change. The general climate to be developed is one where the region is not pre-conceived, but results from the play of multiple actors.<br />References<br />Anderson, Gail-Nina 1998 ‘Angels’, in Antony Gormley et al, Making an Angel. London: Booth-Clibborn Editions, pp.105-107.<br />Arup, Ove 1998 ‘Engineering the Angel’ in Antony Gormley et al, Making an Angel. London: Booth-Clibborn Editions, pp.40-41.<br />Asheim, B.T. 2003 ‘Industrial districts: the contributions of Marshall and Beyond’ in Clark, G.L et al, The Oxford Handbook of Economic Geography. Oxford UP, pp.413-431.<br />Becattini, G. 1991 ‘The industrial district as a creative milieu’ in G. Benko and M. Dunford (eds), Industrial change and regional development: the transformation of new industrial spaces, New York: Belhaven Press.<br />Biddle, P., Archer, A., Lowther, H. 2006 Cultural Investment and Strategy Impacts Research (CISIR) Report on Research Findings. University of Northumbria.<br />Boyne, R 1998 ‘Angels in the archive’, Cultural Values, Vol.2, No.2/3, 48-64<br />Boyne, R. 2006 ‘Methodology and ideology in cultural evaluation’ Humboldt University Working Papers in British Studies, July 2006.<br />Boyne, R. 2008 ‘Comparative Cultural Strategy and Socio-Economic Indicators’ NERIP Newsletter, May 2008.<br />Dobbs, L., Moore, C., Simpson, G. 2004 Cultural Investment and Strategy Impacts Research (CISIR) Report on Research Findings. University of Northumbria.<br />Gormley, A. 1998 ‘Of coal, and iron, and ships, and planes’ in Antony Gormley et al, Making an Angel. London: Booth-Clibborn Editions, pp.14-15.<br />Holdon J (2004) Capturing Cultural Value: How culture became a tool of government policy (London, Demos).<br />Impacts08 2009 Impact workshops: measuring audience engagement - Final Report: http://impactworkshops.wordpress.com/ (accessed 11 November 2009)<br />Jones, J. 2002 ‘Me,me,me’, The Guardian, September 20.<br />Lardon, S., Moquay, P. & Poss, Y. 2007 Développement territorial et diagnostic prospectif: Réflexions autour de viaduc de Millau. Paris: Seuil, Editions de l’aube.<br />Ottati G.D. 2003 ‘Exit, voice and the evolution of industrial districts: the case of the post-World War II economic development of Prato’, Cambridge Journal of Economics, Volume 27, Number 4, pp. 501-522.<br />Reeves M (2002) Measuring the economic and social impact of the arts: a review. The Arts Council of England.<br />Sacco, P.L., Blessi, G.T. and Nuccio, M. 2008 ‘Culture as an Engine of Local Development Processes: System-Wide Cultural Districts’, Art and Industrial Design Working Papers, University of Venice.<br />Sargent J (2005) Culture at the Heart of Regeneration – A North East perspective. The Ideas Mine.<br />Scottish Executive Social Research (2005) Quality of Life and Wellbeing: Measuring the Benefits of Culture and Sport.<br />Searle, A. 1996 Field For the British Isles, London: Hayward Gallery.<br />Selwood S (2002)”The Politics of Data Collection”, Cultural Trends 47, 2002.<br />Sinclair, I. 1998 ‘Achieved anonymity’ in Antony Gormley et al, Making an Angel. London: Booth-Clibborn Editions, pp.27-29.<br />Tomaney, J. 2007 ‘Keeping a beat in the dark: narratives of regional identity in Basil Bunting’s Briggflatts’. Environment and Planning D: Society and Space: Vol.25, pp.355-375.<br />Vallely, P. 2003 ‘Antony Gormley: The model sculptor - and angel of modern British art’, The Independent: 22 February.<br />Van der Graaf, P.F. 2009 Out of Place? Emotional Ties to the Neighbourhood in Urban Renewal in the Netherlands and the United Kingdom. Amsterdam UP.<br />White, M. 1998 ‘A Northern Tale’ in Antony Gormley et al, Making an Angel. London: Booth-Clibborn Editions, pp.21-23.<br />Wroe, N. 2005 ‘Leader of the pack’, The Guardian, 25 June.<br />Images (in order of appearance)<br />Gormley, A.(1998) Angel of the North 9908-21-8104 www.free-foto.com<br />Gormley, A. (1996) Field http://www.dailyicon.net/2008/09/page/5/<br />Plensa, Jaume (2009) Dream http://eatingdesign.com/wp-content/uploads/2009/05/st-helens-dream.jpg<br />Hillier, Joseph (2009) In Our Image <br />Hannock, Stephen (2008) Northern City Renaissance (courtesy of the artist)<br />Millau Viaduct n.d. www.transport.polymtl.ca<br />Millau Viaduct n.d. www.hotel-de-la-capelle.com<br />Millau Viaduct n.d. www.commons.wikimedia.org<br />