Showing posts with label education. Show all posts
Showing posts with label education. Show all posts

Wednesday, 14 January 2015

Culture shock: The best artistic stories that science has to tell by Gemma Tipton Irish Times 10th Jan 15


Thousands of years ago people made up stories to explain the world. Myths describing the changing seasons often became dogma, morphing into religion. Fact, theory and story slid around one another, shaping an idea of what the world was, how it worked and what the meaning of life was.
More recently science nudged those belief systems aside – unless you happen to be a creationist – and enjoyed a brief interlude when everything seemed measurable, discoverable and explainable.
But it isn’t. The paradox is that the more we can observe, the more we discover that the sums don’t add up. Concepts such as dark matter, which can’t be seen or measured, have to be added to calculations to make them work.
These days string theory and quantum physics seem to occupy a similar space to the old myths. It does appear, at least to the amateur, that these branches of science offer stories that make sense of what can be seen but not (yet) proved.
Some of these ideas are almost romantically delicious. Take entanglement. Once derided by Einstein as “spooky action at a distance”, entanglement demonstrates how some particles are so deeply linked that observing one has an effect on the other, even though they may be separated widely. Imagine if that fact could form part of an explanation for some of our more inexplicable emotional reactions – including love.
On a perhaps more practical level, there’s the work of Benoit Mandelbrot, the Polish-born French mathematician who saw how fractal geometry creates the structure underpinning what may otherwise seem like chaos, and that even clouds and coastlines have an underlying degree of order. Arthur C Clarke, the science writer and author of2001: A Space Odyssey, described the pretty patterns of fractals, generated by the Mandelbrot set, as “one of the most astonishing discoveries in the entire history of mathematics”.
With that, science and art, which in Leonardo da Vinci’s day were twin aspects of creative thinking, have come closer together again.   For more click on: http://www.irishtimes.com/culture/culture-shock-the-best-artistic-stories-that-science-has-to-tell-1.2060226

Wednesday, 10 July 2013

PQ Prague Quadrennial 2013



Layering Reality: the Right to Mask – a Gathering
Scenography Symposium
October 31 to November 1, 2013
Prague, Czech Republic

The Prague Quadrennial of Performance Design and Space invites you to a symposium for practitioners and theorists that will examine use of performance design in theatre and beyond in order to question and reclaim the place of the invisible, the imaginary and the theatrical in our lives. This symposium is part of the beginning phase of the Prague Quadrennial’s long-term exploration within the SharedSpace Music Weather Politics 2013 / 2016 project.

We live today in a ‘reality which is repeatedly innovated’ (Paolo Virno, A Grammer of the Multitude 2004, 33). Part of this state of constant innovation is that we are constantly staging ourselves at work, in school, on Facebook and YouTube, and in the expanding number of TV shows that promise us a total makeover, or 15 minutes of fame as a star, cook, model or designer (provided that we manage to convincingly perform being one). Today, Boris Groys observes, everyone is required to take aesthetic responsibility for his or her appearance in the world, for his or her self-design (Boris Groys, Going Public, New York: Sternberg Press, 2010. 42). At the same time however, all kinds of design, including self-design, are often met with suspicion.

They are regarded as inauthentic, as ways to seduce us with a false appearance or as ways to hide who we actually are. They are perceived as ‘mere theatre’ as opposed to ‘the real,’ and rejected or even forbidden for being deceptive. However, now that it is commonly accepted that our identity is a performance, and now that not just movie stars, celebrities and politicians, but everyone is expected to be his or her own author, it is about time that we move beyond such easy condemnation and take a closer look at what is actually at stake.

This symposium proposes to do so using mask and masking as our key concept and theatrical tool. Mask is a complex concept that brings in transformation, hiding and disappearing as well as revealing. As practice, masking touches on political issues of anonymity – and of masking and unmasking as dynamics of contemporary political action. Masks such as those of the Guerilla Girls and more recently of Pussy Riot or Guy Fawkes have become a mark not only of freedom, independency and anonymity, but they are also questioning reality itself, and the relationship between reality, staging and performance. As part of performance design – on stage or in daily life – masking is a tool of layering reality, of questioning reality, and of making new realities come to life.

We invite proposals for presentations of primarily practical as well as theoretical examples from or connected to contemporary theatre, performance, performance art and installation questioning variety of practices of masking (and unmasking) and layering reality. Mask will be explored in a wider sense – to include a variety of covering and uncovering of body and space in performance.The symposium will include longer and shorter presentations, discussions, and at least one party. The aim of the symposium is to map the variety of practices of masking that exist in contemporary performance as well as their use within performance.

In this first ever masked symposium (speakers and audiences are strongly advised to wear masks) we will discuss masking while practicing it. Topics will include: 
- Layering reality
- Masking/ Revealing
- Covering space
- Full body mask
- Costume as performance
- Scenography as uncovering, showing, discovering space
- Masking through sound or lighting
- Masking as a dramaturgical, narrative or conceptual tool
- Mask as a temporary autonomous zone
- The transformative power of masking



Conveners: Sodja Lotker, Maaike Bleeker and Julian Hetzel

Please send your proposal by September 5, 2013 through our registration form or via email. The proposal should include a max. 300 word abstract and a short bio. Practitioners should also include (max.) 2 images of their work, if applicable.
You may register HERE. Registration opens July 10, 2013.

Date of the symposium:
October 31 to November 1, 2013

Place:
Studio Hrdinů, National Gallery Prague
Kostelní 6
170 00 Prague 7
Czech Republic.

Contact:
Prague Quadrennial
Arts and Theatre Institute
Celetná 17
110 00 Prague 1
Czech Republic

For more information contact: Anna Friedländer, anna.friedlaender@pq.cz, +420 224 809 102

Organized by the Prague Quadrennial as a part of the SharedSpace: Music, Weather, Politics project. 
With the support of the Culture Programme of the European Union. 
Prague Quadrennial is organized and funded by the Ministry of Culture of the Czech Republic and realized by the Arts and Theatre Institute.

SharedSpace is organized by Prague Quadrennial (CZ) in cooperation with:
Finnish National Gallery, Museum of Contemporary Art, Kiasma Theatre; New Theatre Institute of Latvia; Santarcangelo dei Teatri; Victoria and Albert Museum; Theatre Faculty Utrecht School of the Arts; Academy of Performing Arts in Prague; The Royal Central School of Speech and Drama; Centre for Creative Actions IMPACT Macedonia; Center for Polish Scenography, Silesian Museum; Zbigniew Raszewski Theatre Institute; University College of Østfold, Norwegian Theater Academy; The Swiss Arts Council Pro Helvetia; School of Visual Theatre Jerusalem.

For more information visit: www.sharedspace.cz and www.pq.cz.

Monday, 27 May 2013

Student residency at The Abbey Theatre Dublin


Well done and Congrats to The Abbey Theatre, Dublin, in its support for students of design for performance through its Yeats Design Residency “Designs on the Future” Nurturing Irish Set Designers.

The Yeats Design Residency of a six month internship at the Abbey Theatre is a wonderful opportunity for the successful student to learn how world-class theatre directors, designers, technical and production staff at the Abbey Theatre collaborate. It affords them the opportunity to acquire at first hand an understanding of how set design is incorporated into the process of creating a production.

 Furthermore, during the Yeats Design Residency, staff in the Abbey Theatre’s production department participate in student assessments and in the final year presentation process.

Is the competition for an internship residency restricted to students of design for performance at Sligo Institute of Technology or is it open to all final year students of design for performance in other third level institutions?

 

Sunday, 17 February 2013


Jameson Dublin International Film Festival

Art for Film: Production Design/Art Director Work Shop 

Want to know what a career in art for film entails and how to get a start? Click on:

Tomorrow Monday 18th Feb 2013 at Film Base, Curved Street, Temple Bar, Dublin 2
Ireland
P:01 679 6716
W:http://filmbase.ie/


 

Monday, 24 September 2012

Tracking Third Level Graduates


How Europe Tracks Students
September 24, 2012 - 3:00am
By
It has become an article of faith among many policy makers in the United States that the country needs better data about student progress through higher education and into the work force. The perceived inadequacy of currently available federal and state information, for accountability and institutional improvement purposes alike, has prompted a drive by the Obama administration and its foundation partners in the “completion agenda” to strengthen federal, and state and institutional data collection and usage.


Read more: http://www.insidehighered.com/news/2012/09/24/study-tracks-european-tracking-university-students#ixzz27Nx57zl3
Inside Higher Ed

For more, click on the link below

http://www.insidehighered.com/news/2012/09/24/study-tracks-european-tracking-university-students

Thursday, 28 June 2012

Study Centre for Scenic Arts


Have a look at this, regards Patrick at stagebrace.com

Maria Harman [mharman@thescenographer.com]
Actions
To:
M
info@scenic-fest.com
22 June 2012 19:03
Dear Friends and Colleagues,
This is to let you know that the Study Centre for Scenic Arts (SCSA) has posted a cluster of filmed interviews with prominent names in contemporary scenography. Please take a moment to peruse our Stagecraft and Lectures pages at: www.scenic-fest.com where you will find exclusive interviews shot during the events we organised in Europe from 2008 to 2011. New videos will be posted every month while we generate an archive accessible to all.
The Study Centre is committed to generating a database of AV documentation and other material on contemporary scenography and related subjects, to be made available to academics, teaching staff, students and postgraduates, industry professionals, creative and technical minds alike.
I'd like to remind you that the Study Centre has opened the registration for membership. We already count almost 200 SCSA members and we hope that you, too will consider membership if you have not already signed up. Benefits include free entry to events and discounts on selected items. Check the Members' Space on our web site for details.
If you would like to be involved in our activities or collaborate with the Centre, as a signed-up SCSA member, we invite you to put your name forward to join our Scientific Committee. Details can be found on our web site.
Don't forget - our upcoming conference on contemporary scenography and scenic architecture takes place in Bologna from 17 to 21 October. You'll find event details, programme, updates and registration forms at: http://www.wix.com/i24423/scenic-fest#!training
Thank you for your time and we hope to see you in Bologna later this year.
Maria Harman
IFSArts /SCSA co-director
Tel. +39.(0)763.341667
Italy cell. +39.347.4390813

Wednesday, 18 April 2012

Fugard Theatre Cape Town RSA

Thursday 5th April 2012,
While in Cape Town I made an appointment to see The Fugard Theatre on Caledon Street (corner of Buitenkant)  District 6, Cape Town. 
The Fugard Theatre http://thefugard.com/ is entered through an old renovated and converted church on Caledon street in District 6, Capetown, RSA. http://www.districtsix.co.za/
The cluster also accommodates the Fugard (Sigrid Rausing) Studio which is for smaller performances, experimental and developmental work. The theatre cluster also has two rehearsal spaces in a top floor annex and ground floor annex.
I came across the Fugard on my way to visit the District 6 Museum and could not resist going in to see what was going on. It was during the Cape Town Jazz Festival and the venue was running a series of workshops for musicians, performers, etc. I sat in on a presentation by Graham Gilfillian on performing artist’s protecting their creative rights. http://www.capetownjazzfest.com/WorkshopDetail.aspx?ID=93
He was critical of Music Schools that offer courses with no modules on how musicians/artists can protect their creative rights. He also expressed the view that artists should think through, why do they need a Manager? They should manage themselves but what they do need is an “Operator” a person who knows how the system works and how to protect the artist from signing away their creative rights.
It raises for discussion the question; do Scenographers (Set Designers) protect their creative rights? If they do, how do they do so? 
Mr Gilfillian made an interesting observation on creativity in the music business as seen by Europe, the USA and the Rest of the World. In Europe, creativity is at the centre of the music business followed by business and money. In the USA, money is at the centre followed by business and creativity. In the rest of the world it is equally divided between, business/money and creativity. The workshop was sponsored by the Western Cape Government, Dept of Cultural Affairs & Sport. http://www.westerncape.gov.za/your_gov/74834

I phoned Ms Ronel Botha, Events Assistant and followed up with an email outlining my background and interest in seeing the theatre and having a technical tour of the stage and theatre. This was arranged, and on arrival at the box office/reception I was met by Ms Ingrid Stemmert who called Mr Benjamine Du Plessis the Technical Stage Manager who showed me around. Benjamine (Ben) is a graduate of the Faculty of Arts and Social Sciences at Stellenbosch University http://www.maties.com/under-graduate-prospectus/arts-and-social-sciences/specialised-programmes/b-of-drama-and-theatre-studies-bdram.html

When not presenting a production of its own, the Fugard theatre is a facilitated venue for hire.

There is a grid to hang scenic elements from but no facility for flying scenery, wing space is also restricted, as is the size of the scene dock door. Access from the loading area is through the stage left off-stage wing space where a domestic sized door ope has been extended in height to facilitate the bringing of scenic pieces to the stage.  
There are ample black drapes, masking wing legs and borders. I need to check if there is a good cyclorama cloth. The theatre is well provide with lamps most of which appear to be Power Cans, T Spots and but I could be corrected on this!
An interesting and useful feature of the stage is the option of putting the main acting area of it at a rake of three optional levels of pitch. Not only that but the raked stage is in three sections, each one hinged at the front, up-stage of the stage apron and can be raised independently of each other. The three options on the angle of the rake are governed by hanging brackets at the back of the stage where the back end height of the rake can be fixed. At the very back of the stage there is a fixed two tier choir/chorus platform traversing the width of the stage. The upper height of the rake can be fixed to the lower of the two tiers

The stage also accommodates two trap doors, one as a storage hatch to under stage storage and the other as a scenic or performance attribute.

During my visit the crew were setting the stage and lamps for their next production Kat the King a Musical about a former resident of District 6.
Directed by David Kramer, Design by Graham? Lighting by Daniel Galloway (General Manager).
Thanks to Ben for his time and knowledge in showing me the facilities at this interesting theatre venue and to the Fugard for facilitating my visit and the photos I took to add to the www.stagebrace.com web site.

Thursday, 16 February 2012

Equipping graduates for working abroad

Is it not about time that we accepted the fact that Ireland cannot provide employment for all of its graduates and that a large portion of them are going to emigrate? What we do need to look at is how best to equip them to travel abroad to find employment, to test their learning, develop greater understanding and for those who wish to, to return to Ireland with enhanced knowledge which they can add to Ireland’s growing knowledge society/smart economy.

Have our Careers Guidance Counsellors got sufficient support and knowledge to advise school leavers and graduates on the opportunities of foreign experience and what they need to know to make a success of working abroad?  

Learning to teach and learn

To support the realisation of a knowledge economy through education, creativity and innovation is it not timely for a review of the core activity of teaching and learning at third level education? This is, to insure that all our lecturers and tutors are equipped with contemporary knowledge of teaching and learning theory and practice.

Currently, it is estimated that less than 20% of third level academic teaching staff have any recognised qualification in Teaching & Learning, Theory and Practice.

Without a knowledge of teaching and learning theory and practice it is difficult to see how our third level educators can support students learning how to learn, so as to enable the students to become independent life long learners, knowing how to go about up-skilling or reskilling and how to go about revitalising their knowledge capital to meet the challenges of a changing national and international workplace?

We need to insure that our graduates are equipped with the skills for lifelong learning, for research, for communicating, that they have developed enquiring, inventive, adaptive minds and have an understanding of how innovation and creativity happen. Without this joined up, constructive alignment of process we are not doing our best for our academics, our learners and our graduates to face the current and future, national and global, social and economic challenges.