Log in
Reminiscence theatre's primary goals are to improve the well-being of senior citizens and promote intergenerational dialogue. ARTA has successfully engaged 100 marginalised older people, 13 young volunteers and over 200 others since 2012. The project has created a new model of reminiscence theatre by proving that archive material can be used instead of live interviews. It has learned the strengths and weaknesses of this approach and found creative solutions to the problems. It has also given the Reminiscence Theatre Archive a long-term `living' future. Finally ARTA has disseminated good practice internationally through a website, articles, training events and conferences.
Augmented reality (AR) and physiological computing (PC) represent computing paradigms for wearable technology. Both forms may be combined to deliver Adaptive AR (A2R) where changes in psychophysiology are used to adapt digital artifacts in real-time. A number of art exhibits were created that represented A2R and were presented to the public as part of the Turning FACT Inside Out show in Liverpool. The impact of this research is evidenced by: (a) engaging the public with emerging technology, (b) influencing the strategy of an arts organisation, and (c) informing the practice of artists.
Challenging simplistic depictions of Ireland's revolutionary past, Fearghal McGarry's research has facilitated greater public understanding of the causes and consequences of political violence in Ireland. Through impacts arising from an innovative collaboration with a documentary film-maker, as well as through the influence of his research on public discourse, cultural life, civil society and education, McGarry's work has enhanced public understanding by extending the range and quality of historical evidence, contributing to a more meaningful public engagement with both history and commemorative processes within the context of post-conflict Northern Ireland and the current `decade of centenaries'.
Although Adam Benjamin's research has greatly influenced contemporary dance in the UK and elsewhere through his development and advocacy of inclusive practice, this case study focuses on his impact on contemporary dance and disability culture in Ethiopia. By introducing integrated practice to Adugna Community Dance Company in Addis Ababa (in which able-bodied and disabled dancers perform together), and continuing to foster its development through his choreographic and mentoring work with its current Artistic Directors, he has helped to transform the lives of individual disabled performers as well as strongly contributing to the socially-driven nature, values and aesthetics of contemporary Ethiopian dance.
The Africa in Motion Film Festival (AiM), based in Glasgow and Edinburgh, directly emerged from research led by David Murphy and a community of postgraduate students at the University of Stirling. The festival has attracted new audiences for African cinema (over 20,000 spectators since 2006) and contributed to wider debates about it amongst the general public, NGOs, as well as cinephiles in Scotland and more widely. In particular, two projects on the `lost classics' of African cinema allowed neglected films to be discovered both by a general audience and influential film critics/journalists.
Afterall is a research and publishing organisation founded in 1998 by Research Fellow Charles Esche and Professor Mark Lewis at Central Saint Martins, University of the Arts London (UAL). Afterall focuses on contemporary art, and its relationship to wider theoretical, social and political fields. Researchers associated to Afterall undertake and commission research, which is disseminated to an international audience through publications and events. Afterall impacts on the cultural sector and an extended audience by providing a platform for critical and creative responses to art, curatorial and cultural practice and by shaping discourse in this area. The significance and wide reach of this impact is demonstrated through partnerships and high-profile cultural events, publication reach, and support from the cultural community.
As a result of Benedict Burbridge's work on photographic practices, he was asked to co-curate the Brighton Photo Biennial 2012, entitled Agents of Change: Photography and the Politics of Space. The Biennial had an impact on viewers' understanding of photography, photographic practices and the contingent meaning of photographic images. It also affected the artistic practice of participants and influenced a number of students to see connections between art and politics. Burbridge's research shaped the Biennial's thirteen exhibitions: he invited its artists and organised the exhibition of work in unusual spaces and modes that highlighted connections between image and context by underlining the influence that setting has on meaning.
`Anya 17 is not just an opera. It's a campaign' (cast member's blog, http://tinyurl.com/ne64uqt).
Anya 17 (an opera about human trafficking), first performed in March 2012, generated wide media and civil society attention. 13 UK and international anti-trafficking campaigning groups have endorsed the opera and used it to raise awareness and help leverage their agenda to change legislation. Third sector and media attention has taken the research to a wider community than just the original audience, winning recognition and enabling follow-through of various kinds. Collaboration, publicity and support from NGOs has enabled Anya17 to further its reach internationally, with performances in Romania, Germany, the UK and the USA in the near future creating opportunities for developing further impacts on opera audiences, campaigning organisations, wider civil society and government in Europe and America.
Interdisciplinary research by the Centre for Architecture and the Visual Arts (CAVA), based in the School of Architecture, is on the role of the moving image in the culture and identity of cities. By examining historic film, current trends and future developments in city branding and digital imaging, a new field of research has developed with three types of beneficiary: (1) institutions (museums and galleries); (2) municipal authorities (planning/urban development departments); (3) inhabitants of and visitors to cities. Liverpool's European Capital of Culture programme (2008) formed the basis of the research, which has spread nationally (London/Battersea) and internationally (China).
Research on Nazi Germany and specifically its appropriation of Jewish-owned art led to Professor Sir Richard Evans's appointment to the Spoliation Advisory Panel of the Department for Culture, Media and Sport, which resolves claims for cultural objects lost during the Nazi era. As the only historian on the Panel, Professor Evans has used his research to provide expert advice that has played a significant role in shaping the five reports and recommendations published by the Panel since 2008. This has resulted in the resolution of a number of disputes and played a role in the ongoing process of reconciliation following the Second World War. In 2012 Professor Evans was appointed Deputy Chairman of the Panel. He played a significant part in the deliberations of the Panel that led to the drafting of the Holocaust (Return of Cultural Objects) Act 2009.