Lingering Spaces: A Drifting Walking Tour of some of LCC’s Learning Landscapes | UAL

Lingering Spaces: A Drifting Walking Tour of some of LCC’s Learning Landscapes

Event date
14 March 2019 (4pm to 5pm)
Location
London College of Communication
Status
Open
Contact
events@lcc.arts.ac.uk

Thursday 14 March 2019
4 – 6pm
Lower Gallery
London College of Communication
Elephant & Castle, London, SE1 6SB.
Free and open to all UAL Staff/Students
Book your place here.

Mark Ingham, Reader in Critical and Nomadic Pedagogies and Paul Myers, LCC’s Director of Change Management will take you on a walking tour of some of the new and innovative learning spaces that have been created at LCC over the last couple of years.

Paul, from his research into learning spaces, will discuss what the characteristics of the pedagogical spaces needed by the college are, as well as the use of neighbourhoods to help support teaching and learning.

Mark will introduce his research into liminal learning spaces, such as the corners, edges, and informal spaces of and between neighbourhoods.  Mark will ask the question: ‘how can we prevent ‘learning-loss’ when we design a space ‘pedagogically’, as much as we do when designing spaces for minimum ‘heat loss’?’ 

Research Fortnight is our annual celebration of research across UAL. This year’s programme at LCC dives deep into the creative work of staff and students. It features events and exhibitions exploring themes of conflict, reconciliation, displacement, refugee experience, and social justice. 

Central to research in our schools of Screen, Design, and Media is a commitment to socially-engaged practice, visible in our teaching and accessible to our students.

Join us as we examine contemporary cultural politics through creative practice.

4 – 15 March 2019.

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Location: London College of Communication
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Location: Online Seminar
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— Read on www.arts.ac.uk/whats-on/lingering-spaces-a-drifting-walking-tour-of-some-of-lccs-learning-landscapes

Mapping Strange Assemblages

Mapping Strange Assemblages

Mapping Strange Assemblages

 

“A series of encounters run by current and former LCC students who will provide performative educational experiences for visitors attending the exhibition. This ‘Band of Students’ will help visitors critically map out the multiple territories of the exhibition. They will manage and operate a number of daily and weekly provocative events that respond to the ideas, work and spaces involved. They, the BoS, will act as guides to create ‘lines of flight’ as they flow through the show. Let them entertain you and entangle you in their assemblage of mappings.”

#uncertainty #design #education #art #communication #twitter #entertainment #politics #universities #maps #futurism #geopolitics #transformations

+

EVERYTHING HAPPENS SO MUCH

Join us to celebrate the opening of London College of Communication Design School’s ‘Everything Happens So Much’ exhibition and series of events. We have a keynote from Sarah Weir OBE, CEO Design Council where we discuss ‘The Design Economy 2018; the state of design in the UK’; followed by a series of performances/activities from exhibition participants. We launch our new Design School Manifesto, a call to action that is never closed and always in flux; and a new research platform called Supra Systems Studio, which interrogates the politics of networked technologies. We uncover new directions in service design, explore the concept of velocity in the context of contemporary culture, delve into the UAL Archives for a display of mini-comics, and much, much more…

Explore the College’s galleries and the spaces between. Immerse yourself in open processes, research and experiments that respond to the current condition of intense activity and accelerated change where ‘Everything Happens So Much’, part of London Design Festival.

https://www.eventbrite.co.uk/e/everything-happens-so-much-launch-night-tickets-48365162503

Wednesday 19 September 2018 6-9pm

London College of Communication

Elephant & Castle

London SE1 6SB

Alumni event on Tuesday 18th September 6-8.30pm (and invite your former students) and the Launch Night on Wednesday 19th September 6-9pm

Alummi Event booking link: https://www.eventbrite.co.uk/e/lcc-design-school-presents-everything-happens-so-much-alumni-event-tickets-48835337810

Launch Night booking link: https://www.eventbrite.co.uk/e/everything-happens-so-much-launch-night-tickets-48365162503

PARC – LCC

Photography and the Archive Research Centre

From Wikipedia, the free encyclopedia
 

Photography and the Archive Research Centre (PARC) is an organisation in London that commissions new research into photography and culture, curates and produces exhibitions and publications, organises seminars, study days, symposia[1] and conferences, and supervises PhD students. It is a part of University of the Arts London (UAL), is based at UAL’s London College of Communication at Elephant & Castle[2] and was designated by UAL in 2003.

According to PARC’s website its activities span the history and culture of photography, particularly post-war British photography, the documentation of war and conflict, the photography of fashion and style, the visualization of the counterculture and photographers as filmmakers.

Details[edit]

Val Williams is its director and Brigitte Lardinois its deputy director. The Centre has a core group of members including Tom Hunter, Alistair O’Neill, Patrick Sutherland, Wiebke Leister, Jennifer Good (née Pollard), David Moore, Paul Lowe, Corinne Silva, Paul Tebbs, Mark Ingham, Martina Caruso, Peter Cattrell, Monica Biaglioli, Anne Williams, Jananne Al-Ani, Sophy Rickett, Joanna Love and Sara Davidmann. Current staff are Corinne Silva (Research Fellow), Robin Christian (Projects Manager) and Melanie King (Research Administrator).

Many of PARC’s activites are conducted in conjunction with other arts organisations and universitities including University of Sunderland, National Media Museum in Bradford, Library of Birmingham, Canterbury Christ Church University, Street Level Photoworks in Glasgow, Wolverhampton Art Gallery, Ffotogallery in Cardiff, Imperial War Museum in London, Photoworks in Brighton, University of Western Ontario in Canada, Expressions of Humankind and Max Ström publishers in Stockholm, Sune Jonsson Archive in Umea, Tate Modern and University of Wales, Newport.

Two of PARC’s divisions are War and Conflict Research Hub and Photography and the Contemporary Imaginary Research Hub.

PARC publishes Fieldstudy twice yearly, both in print and online, covering projects from PARC’s staff, members and students.

PARC and Bloomsbury co-host the journal Photography & Culture, co-edited by Kathy Kubicki, Thy Phu and Val Williams, published three times a year by Berg.[3]

PARC leads the Directory of Photographic Collections in the UK, a portal to UK institutions holding publicly accessible photographic collections.

Collections held within the Photography and the Archive Research Centre[edit]

PARC currently houses three collections within its archive, ‘Camerawork’, ‘Photography Exhibition Posters’ and ‘The John Wall archive of the Directory of British Photographic Collections in the UK’. ‘Photography Exhibition Posters’ is a collection of over 300 posters dating back to the 1970s that features examples of partnerships between designers and galleries. The ‘Camerawork’ collection includes papers and objects from the Half Moon Photography Workshop and Camerawork’s early years, publication and touring exhibition programme. ‘The John Wall archive of the Directory of British Photographic Collections in the UK’ includes correspondence, research papers and file cards of this 1970s project.

Selected exhibitions organised by PARC[edit]

Exhibitions at PARCSpace[edit]

Publications originating at PARC[edit]

  • Derek Ridgers: When We Were Young: Club and Street Portraits 1978–1987. Brighton: Photoworks, 2005. ISBN 978-1903796139. Photographs by Derek Ridgers, text by Val Williams. About the emergence of new style cultures in London in the late 1970s and early 1980s.[n 1]
  • Anna Fox Photographs 1983–2007. Brighton: Photoworks, 2005. ISBN 978-1903796221. Edited by Val Williams. With texts by David Chandler, Val Williams, Jason Evans and Mieke Bal.[n 2]
  • Magnum Ireland. London: Thames & Hudson, 2005. ISBN 9780500543030. Edited by Val Williams with Brigitte Lardinois.
  • Glyndebourne, a Visual History. London: Quercus, 2009. ISBN 9781847248657. Edited by Val Williams and Brigitte Lardinois. Includes an essay by George Christie.
  • The New Gypsies. Frankfurt, Germany: Prestel. By Ian McKell.[n 3] Essay by Val Williams.
  • Daniel Meadows: Edited Photographs from the 70s and 80s. Brighton: Photoworks, 2011. ISBN 1-903796-46-6. Authored by Val Williams. Edited by Val Williams and Gordon MacDonald.
  • I belong Jarrow. Amsterdam: Schilt, 2012. ISBN 978-9053307809. Photographs by Chris Harrison. Essay by Val Williams.
  • Marjolaine Ryley: Growing up in the New Age. Hillsborough, NC: Daylight Press, 2013. ISBN 978098323231684. Essays by Malcolm Dickson (StreetLevel Photoworks), Brigitte Ryley, Peter Ryley, Val Williams. Additional photographs by Dave Walking.
  • Martin Parr, Phaidon, 2014. ISBN 978-0714865669. Authored by Val Williams.
  • Sune Jonsson: Life and Work. MaxStrom, Stockholm. Text by Val Williams

Fieldstudy[edit]

  • Fieldstudy 1 London: Stories.[n 4]
  • Fieldstudy 2.
  • Fieldstudy 3: Charged Atmospheres. London: PARC. By Alison Merchant.[n 5]
  • Fieldstudy 4: Unfolding the Tissue: The Fashion and the Archive Study Day. London: PARC.[n 6]
  • Fieldstudy 5: Archives from the New British Photography London: PARC.[n 7]
  • Fieldstudy 6: Private Museum. London: PARC. Researched by Val Williams and Lorna Crabbe, photographed by Laura Thomas.[n 8]
  • Fieldstudy 7: Marjolaine Ryley: Résidence Astral: 1993-2005. London: PARC. Photographs taken over a twelve year period in her grandmother’s apartment in Brussels.[n 9]
  • Fieldstudy 8: MAP Reading. London: PARC. Catalogue of work from LCC’s MA in Photography, 2006[n 10]
  • Fieldstudy 10: Visible London: PARC.[n 11]
  • Fieldstudy 11: Lovers, Liars & Laughter. London: PARC by Wiebke Leister.[n 12]
  • Fieldstudy 12: Fashion & Food London: PARC.[n 13]
  • Fieldstudy 14: Daniel Meadows, Butlin’s by the Sea, 1972. London: PARC.[n 14]
  • Fieldstudy 15: Growing Up in the New Age. London: PARC, 2011. By Val Williams, Marjolaine Ryley (University of Sunderland) and Dave Walking. Features photographs by Dave Walking and essays by Val Williams, Marjolaine Ryley, Zoe Lippett and Malcolm Dickson.[n 15]
  • Fieldstudy 16: From a Distance. London: PARC. Photographs by Paul Reas.
  • Fieldstudy 19: Ken. To be Destroyed. London: PARC, 2013.[n 16]

Notes[edit]

  1. Jump up^ The publication is reproduced here within PARC’s site.
  2. Jump up^ The publication is reproduced here within PARC’s site.
  3. Jump up^ The publication is reproduced here within PARC’s site.
  4. Jump up^ The publication is reproduced here within PARC’s site.
  5. Jump up^ The publication is reproduced here within PARC’s site.
  6. Jump up^ The publication is reproduced here within PARC’s site.
  7. Jump up^ The publication is reproduced here within PARC’s site.
  8. Jump up^ The publication is reproduced here within PARC’s site.
  9. Jump up^ The publication is reproduced here within PARC’s site.
  10. Jump up^ The publication is reproduced here within PARC’s site.
  11. Jump up^ The publication is reproduced here within PARC’s site.
  12. Jump up^ The publication is reproduced here within PARC’s site.
  13. Jump up^ The publication is reproduced here within PARC’s site.
  14. Jump up^ The publication is reproduced here within PARC’s site.
  15. Jump up^ The publication is reproduced here within PARC’s site.
  16. Jump up^ The publication is reproduced here within PARC’s site.

References[edit]

  1. Jump up^ The Big Conversation: Martin Parr and Grayson Perry “, Time Out (magazine). Accessed 7 July 2014.
  2. Jump up^ “Research to change the world”. The Guardian. Retrieved 6 July 2014.
  3. Jump up^ Journal of Photography & Culture“, Journal of Photography & Culture. Accessed 6 August 2014.
  4. Jump up^ Cribbin, Joe (7 February 2002). “Martin Parr: Photographic Works at the Barbican”. Culture24. Retrieved 31 March 2014.
  5. Jump up^ Parr, Martin. “Exhibitions”. Retrieved 31 March 2014.
  6. Jump up^ “Martin ParrOeuvres 1971-2001”. Maison européenne de la photographie. Retrieved 3 April 2014.
  7. Jump up^ 2001: Martin Parr: Photographic Works“, Photography and the Archive Research Centre. Accessed 6 July 2014.
  8. Jump up^ Magnum Ireland at the Irish Museum of Modern Art“, Irish Museum of Modern Art. Accessed 6 July 2014.
  9. Jump up^ http://www.aday.org/about
  10. Jump up^ ‘Life on the Road’ featuring images by Tom Hunter at the London College of Communication“,World Photography Organisation. Accessed 6 July 2014.
  11. Jump up^ This Guy Spent the Mid-90s Living in a Travelling Rave Van“, Vice (magazine). Accessed 6 July 2014.
  12. Jump up^ Daniel Meadows: Early Photographic Works“, Library of Birmingham. Accessed 6 July 2014.
  13. Jump up^ Camerawork: Posters and objects from the archive“, PARC. Accessed 05 August 2014.
  14. Jump up^ 2014 Ken To Be Destroyed“, PARC. Accessed 05 August 2014.
  15. Jump up^ The artist who brought her uncle back to life as a woman“, The Guardian. Accessed 05 August 2014.
  16. Jump up^ 2014 Paper Topographies“, PARC. Accessed 05 August 2014.
  17. Jump up^ 2014 Single Saudi Women“, PARC. Accessed 05 August 2014.

External links[edit]

It’s delicate … but potent.

120 Days Title v2

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120 Days and Nights of Staggering and Stammering: Installation shots (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)

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Trending Creators at SEE.ME

https://mima27.see.me/

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‘120 Days & Nights of Staggering & Stammering: Red Square Pet Heaven’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)

                                                                           

‘120 Days & Nights of Staggering & Stammering: All the Fun of the Family’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)

IMG_1481

‘120 Days and Nights of Staggering and Stammering’ (SLR film Cameras, Slides. LED spotlights. + as a Digital Print)

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Carousel/Carousal

“My first job, I was in house at a fur company, with this old pro copyrighter, a Greek named Teddy. 
And Teddy told me the most important idea in advertising is “new”. Creates an itch.
You simply put your product in there as a kind of … calamine lotion.
He also talked about a deeper bond with the product.

Nostalgia.

It’s delicate … but potent.

Teddy told me that in Greek, nostalgia literally means the pain from an old wound. 
It’s a twinge in your heart far more powerful than memory alone.
This device isn’t a spaceship.
It’s a time machine.

It goes backwards, forwards.
It takes us to a place where we ache to go again.
It’s not called the Wheel.x

It’s called the Carousel.

It lets us travel the way a child travels. 
Around and around and back home again…x

to a place where we know we are loved.”

– From Mad Men, Season One, Episode 13, “The Wheel”

In this scene, Don Draper (Jon Hamm) gives his advertising pitch to Kodak for their new slide projector, which they have not named yet.

 

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memory-machine-image

A display about memory at the Dittrick medical history center (1966)

Now at the College of Arts & Sciences of Case Western Reserve University in Cleveland, Ohio 

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“The magical power of the projected image is unique to the medium.

A beam of light, thrown out from the slide or film projector, bears sequences of images  

that reconstitute and take form when the light meets an opaque surface.

Projected images are at once solid and transparent…

The beam of light is a powerful sign of memory and the visual imagination.

It transmits ghost images, figures that live only through the power of the projective

apparatus and die as the picture vanishes. Projected in darkness, the cone of light

traces the genesis of the images from projector to screen.

It is spellbinding and full of promise”

– Lynda Nead, The Haunted Gallery: Painting, Photography and Film around 1900

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120 Days & Nights of Staggering & Stammering: Vampire Days.  
SLR film Cameras, Slides. LED spotlights. + as a Digital Print

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ART TAKES LONDON | FEATURED ARTIST: MARK INGHAM

Mark Ingham‘s incredible installation, 120 Days and Nights of Staggering and Stammering, 

is designed from 120 SLR film cameras and LED spotlights. Each of these handmade projectors 

will display images taken before and during the installation, as well as audience-donated images.

Regardless of where Ingham’s piece is installed, the end result will reflect the experience

of the viewer within it.”  

Artists Wanted

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120 days 3

“Ars Magna Lucis et Umbrae” 
Dilston Grove, Cafe Gallery Projects. 2008

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Link: Go to Works 

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TCoE Inside 1

“England’s Dirty Rotten Gardens” 1988  (The Consumption of Elements) Chisenhale Gallery London

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“A concept is a brick. It can be used to build a courthouse of reason. 

Or it can be thrown through the window.”

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“Gilles Deleuze & Felix Guattari (A Thousand Plateaus: Capitalism and Schizophrenia. p xiii)

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Crossroads

Crossroads 1986 In New British Sculpture, Air Gallery
Radios, Cardboard, Maps, Clocks, Barbed Wire.
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“Technology is not neutral. We’re inside of what we make, and it’s inside of us.

We’re living in a world of connections —

and it matters which ones get made and unmade.” 

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Donna Haraway (A Cyborg Manifesto. pp.149-181)

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DIAGRA~1

Camera Projectors Diagram. 2005

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“We have to see creation as tracing a path between impossibilities.” 

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Gilles Deleuze  (Negotiations? & Essays Critical and Clinical. p x|viii)

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10MarkIngham

“Ars Magna Lucis et Umbrae” 
Dilston Grove, Cafe Gallery Projects. 2008

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“Art struggles with chaos but it does so in order to render it sensory….” (Watteau)

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Gilles Deleuze and Felix Guattari.  (What is Philosophy? p205)

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Doppelganger 3 Kings

Döppelganger: “We Three Kings…”  
2005  (Photographic Print 160 cm x 240 cm)

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“Break a vase, and the love that reassembles the fragments is stronger than that love

which took its symmetry for granted when it was whole.” 

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Derek Walcott (The Antilles: Fragments of Epic Memory. Nobel Lecture .1992)

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Dr Mark Ingham 

View Mark Ingham's profile on LinkedIn

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Twitter: (@ArsLucia)
Linkedin: (Mark Ingham)
Email: (markingham3@hotmail.com)

PDF CVMarkIngham2012CV

CV/Contact Page

[contact-field label="Name" type="name" required="1"/][contact-field label="Email" type="email" required="1"/][contact-field label="Website" type="url"/][contact-field label=’Comment’ type=’textarea’

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Trending Creators!

Trending Creators!

120-days-6

120 Days and Night of Staggering & Stammering

https://www.see.me/ & https://mima27.see.me/

Dear Mark,

It is my pleasure to let you know that your profile has been selected for a special feature on the See.Me homepage!

Our homepage is updated daily by the See.Me Community Team, and it displays our latest favorite discoveries. We found your work to be thoughtful and inspiring, and felt that your profile would be a lovely addition to the diverse array of amazing work. There may be a short wait time between now and when your profile is officially publicized, but be assured that it will be up there soon if not already!

Fantastic work with your profile: https://mima27.see.me/

Congratulations again! Be sure to spread the news to your friends, family and colleagues, and take advantage of your bragging rights; you’ve earned it. 🙂

justine.b@see.me

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‘…an ever changing, cavorting carousel, that documents the transitory lives that pass through our crystalline world.’

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[text start]

 

‘..an ever always changing, cav, cav, cavor, cavorting carousel, that documents the transitory lives that pass, pass, pass, through our crystalline worlds.’

120 Days and Nights of STAGGERING + STAMMERING.

The young man at the beginning of Andrei Tarkovsky’s The Mirror stammers and stutters, and then learns not to.

My grandmother, Rose-Marie, staggers out of The China Hall Public House, The White Horse Tavern, The Crystal Tavern, The Eagle and never learns. In the icy wastes of the French Alps she dives into freezing lakes. Followed by my grandfather, without a St. Bernard dog for company. ‘Ice, No Brandy’. The very very late night Troy Bar in Soho always clings.

However far I try and get away from ‘Grey Gardens’ it still tugs me back to ‘Tea for Two’. Just tea for two and two for tea Just me for you Just tea for two and two for tea Just me for you.

Our lives are smeared throughout the world, recalled through disparate, dissolute, fragmentary images, sounds and memories.

On the 27 of December 1960 Marilyn Monroe gave birth to a baby boy. Two weeks earlier she had flown to the town of Pointe-à-Pierre in Trinidad and Tobago to give birth. The father is unknown. She gave it up for adoption immediately. A Mexican divorce was granted to Arthur Miller and Marilyn Monroe on January 24, 1961. The boy, weighing 6lbs and 12oz was adopted by Sheila and Stephen Ingham

120 Days and Nights of STAGGERING + STAMMERING is an installation that sucks in and spews out images of the people and surroundings it encounters, real or imaginary, wherever it happens to stumble: New York, London, Venice, Iquitos, Ocho Rios.

Consisting of old SLR film cameras and LED spotlights each of the 120 ‘projectors’ throws out images of people, events and the fabric surrounding wherever it is exhibited.  A dense flickering array of images negotiated and dictated by the space, can be projected into, onto and outwards of any given situation/site. They prefer shady aspects but can flourish during daylight hours too. The larger less bright images are made visible by the descending gloom of the night. The smaller, closer to the wall/ceiling/floor, ones can cope with the intensity of other light sources.

The projectors can be clumped together in one location or be spread around different locales as needs be. The audience is enveloped in and disrupts this cacophony of images, creating and destroying as they wander through and around them. Shadows will appear and obliterate the wall images only to reappear on the bodies of the transgressors. The images will be instantly recognisable, as they will depict places just passed through on the way to the exhibition site.

There will be temporal shifts occurring sometimes of mere days alongside others of an indeterminate age. Referents will be lost and gained throughout this encounter.

‘…an ever changing, cavorting carousel, that documents the transitory lives that pass through our crystalline world.’

The End The End To be continued…..

[text end]

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