Metamorphosis landscape design annie pierce
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It has become increasingly clear that our modern human modes of living are incongruous with the natural systems that sustain us and other lifeforms on our planet. What is required of design are more than minor adjustments to methodologies, or new design tools, but a radical shift in perception, comprehension and practice. My research-by-practice attempts to create conditions for new ways of seeing and thinking about ourselves humans and others the more-than-human with the aim of not just de-centring the human but moving towards a shared centre with the ultimate aim of facilitating ecological design practice. Using a diffractive methodology, I am currently developing experiments and experiences for design practice experiential learning opportunities which can be described to varying degrees as radical, relational, bio-regional, non-verbal, ontological, troubling, embodied and performative.
WATCH RELATED VIDEO: NZ's best landscaping companyContent:
- Previous Exhibitions
- Program for the 2022 PDI
- Marianna Charitonidou’s Papers Presented at International Conferences & Lectures (71)
- Local Sightings Film Festival 2008
- Venice Florist - Farwest
- IN THE WORKS 2020
- History of art
- Garden Designs Ideas 2018 : Annie Pierce of Metamorphosis Design / The Artful Gardener
- Blue bills meaning in birthday
- St. Katharine’s Precinct, Regent's Park, London
It has become increasingly clear that our modern human modes of living are incongruous with the natural systems that sustain us and other lifeforms on our planet. What is required of design are more than minor adjustments to methodologies, or new design tools, but a radical shift in perception, comprehension and practice.
My research-by-practice attempts to create conditions for new ways of seeing and thinking about ourselves humans and others the more-than-human with the aim of not just de-centring the human but moving towards a shared centre with the ultimate aim of facilitating ecological design practice. Using a diffractive methodology, I am currently developing experiments and experiences for design practice experiential learning opportunities which can be described to varying degrees as radical, relational, bio-regional, non-verbal, ontological, troubling, embodied and performative.
These can be used by designers, design educators, and non-designers to listen to those more-than-human voices, challenge the unecological status quo , trouble current modes of design practice, and hopefully engender new ones. Art teachers are often isolated in the Irish secondary school context and often feel neglected in terms of subject recognition and academic respect. With a curricular shift across the board that encourages students to be more self-critical and reflective of their learning, does art as a subject have anything to offer other subjects in terms of collaboration and sharing reflective critical skills that are embedded within art practice?
Could these practices improve the teaching and learning in other subjects? Contrastingly, could art teachers learn from other subject teachers through engaging in professional observations?
The researcher full time visual art secondary school teacher proposes to explore the research questions using the action research method. It will be carried out in a co-educational Irish community secondary school context.
The school serves a rural catchment area in southeast Ireland and has a current enrolment figure of mainstream students. Changes within Irish society, in the past number of years shows inclusive education is a high-profile topic. Based on global and European models, the Irish government is striving for an inclusive society and therefore an inclusive education system for all.
This approach will consist of different research methodological tools such as, questionnaire, case study and semi-structured interviews. Through Spinozist Posthuman philosophy, Feminist New Materialism and Affect theory, the research finds processes of literacy, learning and caring to be affective material assemblages, rather than anthropocentric modes of self-expression or intentional meaning making.
From the starting point of the decentralised human subject in non-verbal artistic practices with materials in early childhood, the research contributes to thinking about the implications of the entangled nature of learning and caring as always materially, and thus ethically, located concerns in the context of the Anthropocene.
DublinThe purpose of this action research is to analyse and question the engagement of primary school children in the gallery experience. This study will be underpinned by the Friedrich Froebel philosophy of autonomy during the creative and research process using a blended learning approach to contextualise the question, where learners can access the gallery both directly or remotely.
A theoretical bricolage will be used for presenting various insights and methodologies of this constructivist collaboration between gallery education and the visual art curriculum in primary school.
This ethnographic study will analyse and question how primary school teachers can use such gallery education for art and other subject teaching purposes by critically examining perspectives, discourses and possible constructs of effective creative learning.
I investigate links between cultural and geographical divides, focusing on international borders, migration of people, goods and labor. My practice is creating art-based mixed media projects covering personal migration stories, preservation of cultural rights, and my own life experience of growing up in the transportation industry. My research goals are to dive deeper into the documentation of displacement in Europe, and the borders issues between Ireland and the United Kingdom.
The purpose being to unpack the ways in which art can transcend dehumanizing political dialogue about migration. To address the negative conations of the word migrant, by personalizing the individuals through the art of refugees, migrants and relief workers. My research is focussed on examining Photography and the Greek Landscape through the work of Fred Boissonnas.
The work of Swiss photographer Fred Boissonnas was arguably one of the most important in Modern Greek history. Spanning some thirty years from to , Boissonnas photographed the ancient Greek landscape and its archaeological ruins, documenting the expansion and unification of modern Greece.
His practice was indebted to the C19th practice of archaeological photography and, as such, might be seen as its extension into early C20th politics. Boissonnas framed his subjects in a manner that drew upon long-established visual tropes. Western Hellenism and art historical painterly sensibilities regarding the ancient Greek landscape, impacted on the imaging practices of Boissonnas. His idealised picturing of Greece and its people sustained a national imaginary, which sought to legitimise Greek claims to extend its territory and sovereignty based on classical Greek archaeology and heritage.
My research is based on three case studies. Here the need and process for reimagining the Greek landscape in is explored. The study examines how important it was to reconfigure western Hellenism and appropriating it to suit the political aims and territorial claims of the Greek state. The association of image, texts and modes of display forged a popular imagination with regards to Greece. This study focuses on the choice and arrangement of the photographs for the book of and how they operate as a body of images.
It examines how the still images deployed by Boissonnas are cinematic. I argue that it is because of the influence of photography and because of cinema that Boissonnas takes this approach. In addition, I argue that Boissonnas adopts a unique phenomenological approach to his representation of the Homeric subject.
I also examine how his work influenced the image of Greece and how he effectively establishes a kind of set of viewing positions, for anybody representing the Greek landscape. This study further examines his influence on the important Greek photographer Nellys and compares his work with her images of the 4th August regime. The idea of the worlds debris manifests in the re-appropriation of materials in a state of rejection, the reprocessing of existing waste in lieu of perpetuating an extractive, nonreciprocal relationship with the land.
This research encompasses interdisciplinary practical and theoretical research rooted within the idiosyncratic site of the Spilt Hills Esker, Co. In utilising the lands lived experience, its metamorphosis and multiple destructions, I will examine the historical lexicon of extraction and land use. This research will be a synthesis of knowledge generated by personal and intensive material research alongside collaborations with material innovators, geologists and mineral engineers.
Artistic practice embodies and drives the research; the final thesis will be an entwining of praxis, reflection and research. New knowledge will be site specific and generated through material engagement, walking, interviews, public engagement and writing. This thesis is an analysis of ballet costume at the National Ballet of Canada from until , the year that marked the sixtieth anniversary of the Company. The thesis focuses on the classical repertoire created between the years andIt aims to establish a design process in the costume workshops that represents a transnational culture of ballet making the style of costume recognizable across major companies around the world.
It discusses the emergence of Arts and Culture in Canada post-war as a way of establishing the Company as a national cultural icon with influence from British and Russian Ballet. Costume is treated as a material object that constitutes the dancer, thereby revealing the role of the makers as co-authors in the performance. A range of artifacts such as tutus, designer sketches, show bibles, photographs and programmes are analysed in the thesis, mainly to show how the objects are used to create a material habitus in the making of costume for classical ballet.
As well as actual objects, this thesis analyses how certain discourses of materiality are played out in the performance of ballet, particularly through the rituals employed by dancers in the dressing room and back-stage personnel during a performance. The thesis argues that costume is integral to the performance of ballet, in fact constitutes the body of the dancer because it is built on and around the ballerina body.
It is used to discipline the body in training, it co-authors the body in performance, and it lends recognition and identity to otherwise invisible designers and makers, materialising their work through the performance. This is a descriptive historical research project built upon library and field research.
The library element consists of studying published books on stained glass , publications in NCAD and NIVAL where there is an extensive Earley archive , Earley studio records still in family possession, and records of restored windows such as those of Abbey Stained Glass Studios. Church records and Dublin Diocesan Archives will assist in identifying relevant churches. Field research comprises on site recording of windows by photographic means having identified churches and convents with stained glass from Earley studios between andFurther information will be gained by interviewing various family members and present day Irish stained glass manufacturers.
The completed thesis will fill a gap in the history of a very fruitful era in Irish stained glass which spanned the first half of the twentieth century. This research advances a new theoretical framework examining the work of Stephen Willats through a lens of second order cybernetics.
As such Willats diagram for a Model of Social Interaction, expressed in terms of Artist Artwork Audience, is aligned to a cybernetic triadic model, articulated by the cybernetician Heinz Von Foerster, expressed as Observer Language Society. The research argues that the foundational ideology of both is concerned with the philosophical implications of self-responsibility and that the embodiment of this notion can be understood in terms of action and interaction.
My aim will be threefold, having established that my own theoretical frame corresponds with the second order cybernetics of von Foerster, I intend firstly, to show how Willats practice can be aligned within this same framework.
Demonstrating that the development of Willats own theoretical frame, while influenced by multiple cultural factors, has at its root, been influenced by second order cybernetics.
This is interpreted and expounded by a number of cyberneticians closely connected to von Foerster, including Gordon Pask, Stafford Beer and Ranulph Glanville, that present a significant trajectory linking the principals of second order cybernetics directly into the art world, and with Willats himself. Finally I will draw together the theoretical models of von Foerster and Willats to demonstrate how Willats appropriation of this cybernetic framework can be understood in his practice.
The research concludes that Willats can be seen to trigger change within an operationally closed autopoietic second-order system. For Willats the potential of transformation is based upon the notion of self-responsibility. In cybernetic terms the research demonstrates that while Willats as an individual, cannot change the system change can only occur within the system by the system ; however as artist observer within the system and irritant outside of the system, his perturbations can be seen to have activated change, albeit unpredictable, difficult to measure, understood as a whole, and observable over time.
My research examines the way women dealers promoted modern art in America and the impact they had on the careers of artists and the development of artistic movements and communities.
One aim of this research is to explore how these dealers formed a bridge between two generations of art patrons: the Gilded Age collector e. Isabella Stewart Gardner and Depression Era museum founder e. Gertrude Vanderbilt Whitney. Another aim is to examine the evolution of professionalism in American art; and the role of gender therein; particularly the relationship between gender and the avant-garde.
My research is an investigation of contemporary digital image-making practices and techniques. In particular, my interest is in the situation whereby the generation of the image has become a process that is increasingly entangled with both algorithms and with data.
Proceeding from the assumption that this entanglement represents a significant shift in our visual culture, the aim is to explore the implications of this with respect to our relationship to the image, and to attempt to elucidate exactly how such imagery does or does not differentiate itself from other forms of imagery which have been more rigorously theorised. A key theoretical touchstone for the project is the philosophy of Gilles Deleuze, and specifically his work on cinema, which decenters the role of the subject in the analysis of the image and emphasis notions of process.
By examining in detail some key elements of digital image-generation - such as the rendering algorithms used in computer graphics - through the lens of this theoretical framework, I hope to contribute to an understanding of exactly how the integration of algorithms and data into image-making might require us to rethink what an image is. Hugh McCabe is an academic, lens-based artist and musician.
Publications: McCabe, H. My practice-based research draws on storytelling techniques to explore the ways in which the Internet is shaping orality. At the core of social media is the need to share, to tell a story of some kind.
I am interested in what would happen if our digital apparatus were taken away. Would language and body gestures endure as our tools to recite. Particularly, how we can engage in the language of the Internet to create abiding stories beyond the screen.
Drawing on texts concerning orality alongside an ongoing investigation into the inherent performative nature of the narrator through my spoken word performances, I hope to unpack how we share and retell stories today. I hope to create a body of research and work which contributes a new voice to the contemporary discourse of storytelling.
This multidisciplinary project examines the physical remains of Irish Magdalene Laundries, considering their changing meanings as objects of labour and containment to a highly disputed material realm of sensitive heritage.
Central case studies examine the evolving circumstance of the last Irish laundry site in state ownership and the collection of materials by the National Museum of Ireland, drawing from survivor testimony, theories of material culture, and existing modes of architectural, museological, and sensitive heritage practice.
This study ultimately advocates for a survivor-informed ethical framework to refer to when interpreting, mediating, and charting a course for collections, artefacts, and buildings that have a traumatic past, particularly relating to the histories of institutional abuse in Ireland. This thesis contributes to our understanding of the material culture and social change which evolved in suburban Dublin homes fromIt explores how contemporary affordable media influenced women in the decoration, design and management of their new privately-owned suburban mid-century homes.
Program for the 2022 PDI
Below you'll find information about our exhibitions from past years. To inquire about exhibitions prior to , please contact Rosewood Gallery at or email paula. Rosewood Gallery in Kettering, Ohio is pleased to announce the 15th annual HWD , a juried exhibition for sculpture artists in Ohio and surrounding states. The exhibition runs from August 16 through October 22,There will be a Closing reception on Friday, October 22 from 5 — 7 p. Both the reception and exhibition are free and open to the public. Artists will be able to collect their art after 7 p.
Garden activities include butterfly releases, Butterfly Habitat and Pavilion tours, children's crafts, Story Time with Miss Metamorphosis, and a.
Marianna Charitonidou’s Papers Presented at International Conferences & Lectures (71)
Local Sightings Film Festival 2008
This marks the first Sundance Film Festival with Jackson at the helm. According to her, organizers started figuring out the logistics of the event in March, when the early stages of the coronavirus pandemic forced South by Southwest to cancel its annual festival in Austin, Texas. The adversity created by the global health crisis allowed Jackson and her collaborators to deconstruct how the Sundance Film Festival has operated for the last 36 years, and build anew from scratch. Beyond the pandemic, the Sundance Film Festival will unfold amid a transformational time for the film industry as a whole. This month, Warner Bros.
Venice Florist - Farwest
List of all Quilt National exhibitors, including awards granted and the year s they exhibited. The list of all the exhibitors, their quilts, and the year they were in the show has been broken down into FIVE parts:. Abrams, Virginia A. Adams, B. Adams, Deidre C. Adams, Naomi S.
IN THE WORKS 2020
Not registered? Register here. A house is a big project and they must inspire you. Chris, 37, and Becca, 34, met at Cambridge. After renting in London they bought a small Regency house in Greenwich, and had their first son, Sammy, now five. Then Becca became pregnant with Charlie, now four, and the couple decided to move. They wanted a house with room for a live-in nanny.
Layout & Design: Al Dubé - Fireheart Studio the Pierce Ranch herd and imported Brazilian Growing milkweed in your garden encour-.
History of art
Zoe is one of those women that you question existing outside of a film. Her attitudinal mixture of eloquence, soft-spoken voice, and quirk evokes a sincere uniqueness seen through her style, her words, and her art. Recently, however, Zoe has come into a dizzying amount of notoriety.
Garden Designs Ideas 2018 : Annie Pierce of Metamorphosis Design / The Artful GardenerRELATED VIDEO: This ISN'T Landscape Design!
The Festival will take place digitally via a feature-rich, Sundance-built online platform and in person on Satellite Screens across the country public health permitting from January February 3,The Institute shared details of how the Festival will meet audiences on the online platform and Satellite Screens earlier this month. This is who we are. And this is what we see.
Link to call for papers.
Blue bills meaning in birthday
Amber dreams of one day growing wings and learning to fly. She is a Founder and Producing Director for Rainbow Militia Circus, and has over 15 years of PR, marketing, donor relations, theater, event planning and production experience. Amber has been practicing the aerial arts for over 10 years, with fabric as her favorite apparatus. When not in the air, she is a tarot reader, bottle walker, actor, and public speaker. She has performed all over the front range but thrives when she is able to perform with live musicians. One of her favorite collaborations was with Chimney Choir at the Levitt Pavilion in a space themed circus extravaganza.
St. Katharine’s Precinct, Regent's Park, London
Scavenger hunts! Lessons from the UEC puppet pack! Click here for all sorts of lessons and activities made for kids and kids-at-heart alike.