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Base URL:  http://radar.gsa.ac.uk/cgi/oai2/
Sample date:  2017-01-30
Sample size:  100 records harvested

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ID: oai:radar.gsa.ac.uk:5
Date: 2015-02-06

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
rioxxterms:projectMinimum of 1 value(s) required for rioxxterms:project - found 0 values
dcterms:dateAcceptedMinimum of 1 value(s) required for dcterms:dateAccepted - found 0 values
ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
<record>
    <header>
      <identifier>oai:radar.gsa.ac.uk:5</identifier>
      <datestamp>2015-02-06T11:47:08Z</datestamp>
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    <metadata>
      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>The challenge of intangible heritage is to capture the essence of performance: the idea of capturing is interesting as it implies that the professionals, involved in SIBMAS, are on a hunt, a hunt in a number of different ways to pin down and preserve something ephemeral and something worth preserving, something that tells us more about ourselves and the world we live in. Some hunters use the database, some the written word, some the camera but all share a common goal: not to let go of a particular moment, a magic moment that only the live event can create.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/5/1/scanned-article.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>PIE Peter Lang</dc:publisher><dc:source>978-90-5201-637-5</dc:source><dc:title>Theoretical Discussions on Digital Representations of Performance</dc:title><rioxxterms:author>Abbott, Daisy</rioxxterms:author><rioxxterms:author>Jones, Sarah</rioxxterms:author><rioxxterms:author>Ross, Seamus</rioxxterms:author><rioxxterms:publication_date>2010</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:52
Date: 2015-02-06

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
rioxxterms:projectMinimum of 1 value(s) required for rioxxterms:project - found 0 values
dcterms:dateAcceptedMinimum of 1 value(s) required for dcterms:dateAccepted - found 0 values
ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
<record>
    <header>
      <identifier>oai:radar.gsa.ac.uk:52</identifier>
      <datestamp>2015-02-06T11:54:21Z</datestamp>
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    <metadata>
      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>The proliferation of three-dimensional and augmented reality representations offers significant advantages for the accumulation of spatial knowledge regarding human complex structures. Interestingly the interpretation of complex applied medical sciences often requires a strong grasp of the 3D anatomy to which it relates. In practice the obstacle to learning is compounded when procedural techniques and specialist anatomy are effectively taught simultaneously. However it has been shown that learning can be augmented by the use of high resolution 3D models and intuitive human-computer interaction.&#13;
In particular this study investigates the structural complexity of the human anatomy with emphasis to the inguinal canal region. Notably this section was highlighted as one of the most difficult for the undergraduate and foundation doctors to mentally visualise and understand. We contrasted the opinions of consultant surgeons and trainee doctors in order to identify the potentials and pitfalls of a VR explanatory model of the inguinal canal in facilitating for surgical anatomical knowledge.&#13;
The inguinal canal was of particular interest due to the sequential complexity of the abdominal layers that are exceptionally difficult to comprehend spatially. Therefore we modelled a high fidelity 3D representation of the inguinal canal in anatomical context facilitated by the close collaboration of a multidisciplinary group. This included anatomists, radiologists, laparoscopic surgeons, and human visualisation and interaction experts. In turn we developed an activity-based curriculum, which standardised the augmented teaching and allowed us to evaluate the perceptions of 10 trainee doctors. Feedback from the laparoscopic surgeons was also derived in order to contrast it with the expectations and results of the trainees and their performance using the VR system.&#13;
Overall this paper explores the empirical evidence regarding 3D visualisation and the enhancement of spatial learning and describes the integration of robust anatomical modelling techniques, intuitive human-computer interfaces and current educational theory.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/52/1/Augmented_Reality_Surgical_Rehearsal_abstract_VCharissis.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Springer Berlin / Heidelberg</dc:publisher><dc:source>978-3-642-02808-3</dc:source><dc:title>Augmented Reality Anatomy Training for Inguinal Canal Region</dc:title><rioxxterms:author>Anderson, Paul</rioxxterms:author><rioxxterms:author>Charissis, V</rioxxterms:author><rioxxterms:author>Ward, B</rioxxterms:author><rioxxterms:author>Sakellariou, S</rioxxterms:author><rioxxterms:author>Rowley, D</rioxxterms:author><rioxxterms:author>Parkin, I</rioxxterms:author><rioxxterms:publication_date>2008-07-30</rioxxterms:publication_date><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:180
Date: 2015-04-13

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
rioxxterms:projectMinimum of 1 value(s) required for rioxxterms:project - found 0 values
dcterms:dateAcceptedMinimum of 1 value(s) required for dcterms:dateAccepted - found 0 values
ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
<record>
    <header>
      <identifier>oai:radar.gsa.ac.uk:180</identifier>
      <datestamp>2015-04-13T10:05:03Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>5 tapestries</dc:description><dc:format>application/vnd.ms-powerpoint</dc:format><dc:identifier>http://radar.gsa.ac.uk/180/2/J.Barker.Output1.pptx</dc:identifier><dc:language>en</dc:language><dc:source>978-0-9561099-0-3</dc:source><dc:title>Jo Barker - Tapestries (solo exhibition)</dc:title><rioxxterms:author>Barker, J.</rioxxterms:author><rioxxterms:publication_date>2009</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:234
Date: 2015-04-13

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is not a valid RIOXX record
PropertyError
dc:relation'http://www.as-coa.org/exhibitions/rent-consuelo-castañeda' is not a valid HTTP URI in dc:relation
dc:relation'http://www.domusweb.it/en/art/you-like-this-garden-/An art' is not a valid HTTP URI in dc:relation

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
rioxxterms:projectMinimum of 1 value(s) required for rioxxterms:project - found 0 values
dcterms:dateAcceptedMinimum of 1 value(s) required for dcterms:dateAccepted - found 0 values
dc:relation'http://www.as-coa.org/exhibitions/rent-consuelo-castañeda' is not a valid HTTP URI in dc:relation
dc:relation'http://www.domusweb.it/en/art/you-like-this-garden-/An art' is not a valid HTTP URI in dc:relation
ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
<record>
    <header>
      <identifier>oai:radar.gsa.ac.uk:234</identifier>
      <datestamp>2015-04-13T10:33:57Z</datestamp>
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    <metadata>
      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Guantanamera is a film, installation and recording project devised in collaboration with David Harding (former Head of Environmental Art and Sculpture at Glasgow School of Art) and was filmed in Cuba (2008) and Miami (2009). It was funded by SAC and Glasgow City Council and produced by Douglas Gordon. The project focuses upon the recording and broadcast of the Cuban song, Guantanamera. Guantanamera has been screened and exhibited internationally since its launch at Glasgow International in April 2010. Exhibitions/Screenings: Trades Hall, GI (17-18 April 2010); Swiss Institute in Rome (9 May-25 Sept 2010); Kunsthalle Basel (13 Jun-22 Aug 2010; public film screening at StadtKino, Basel, 29 June 2011); Galleri Rotor 1, Gothenburg (8 Oct-7 Nov 2010; screening and lecture 11 Oct 2011); Cobra Museum of Modern Art (8 May 2011; a closing event, public screening and discussion with !Patria o Libertad! exhibition curator Paco Barragán and Roos Gortzak, Exhibition Co-ordinator, Kunsthalle Basel); Americas Society (17 May–30 July 2011; a film screening and panel discussion with Carmen Pelaez, Yasmeen Siddiqui and Gabriela Rangel was held on 18 May 2011); Portikus, Frankfurt am Main (18 Nov 2011-22 Jan 2012; talk at Staedelschule, 15 Nov 2011). A book published by Portikus, Frankfurt am Main is forthcoming in 2013, titled, You Like This Garden? Ross Birrell/David Harding and Douglas Gordon, with a new essay by Jan Verwoert and texts by Sophie Von Olfers and Nikolaus Hirsch, Walter Benjamin, Hannah Arendt, Malcolm Lowry, Jose Marti and Mark Neocleous (ISBN: 978-1-934105-78-8)</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://radar.gsa.ac.uk/234/1/Guantanamera%2C_Trades_Hall.jpeg</dc:identifier><dc:language>en</dc:language><dc:relation>http://www.glasgowinternational.org/index.php/events/view/guantanamera_record_launch/</dc:relation><dc:relation>http://www.gallerirotor.com/exhibitions/guantanamera/</dc:relation><dc:relation>http://www.frieze.com/issue/review/strange-comfort-afforded-by-the-profession/</dc:relation><dc:relation>http://www.e-flux.com/announcements/you-like-this-garden-at-portikus/</dc:relation><dc:relation>http://www.domusweb.it/en/art/you-like-this-garden-/An  art</dc:relation><dc:relation>http://www.youtube.com/watch?v=S9E9ZRwQW3w&amp;feature=related</dc:relation><dc:relation>http://www.youtube.com/watch?v=vmWmGmTyHBo</dc:relation><dc:relation>http://blog.frieze.com/romes_new_museum_italys_old_politics/</dc:relation><dc:relation>http://www.kunsthallebasel.ch/ausstellungen/aktuell/92?lang=en</dc:relation><dc:relation>http://www.e-flux.com/announcements/you-like-this-garden-at-portikus/</dc:relation><dc:relation>http://www.kulturpur.de/de/museum/kunsthalle-portikus/you-like-this-garden</dc:relation><dc:relation>http://www.portikus.de/exhibition_16600000000.html</dc:relation><dc:relation>https://vimeo.com/70763598</dc:relation><dc:relation>http://sicuba.org/en/organization/24</dc:relation><dc:relation>http://issuu.com/gifestival/docs/2010prog</dc:relation><dc:relation>http://www.merchantcityglasgow.com/event/id/900</dc:relation><dc:relation>https://www.facebook.com/events/144998805569809/</dc:relation><dc:relation>http://archives.newyorker.com/?iid=49006&amp;startpage=page0000026#folio=CV1</dc:relation><dc:relation>http://www.glasgow.gov.uk/index.aspx?articleid=5843</dc:relation><dc:relation>http://www.list.co.uk/event/198215-guantanamera-record-launch/</dc:relation><dc:relation>http://www.as-coa.org/exhibitions/rent-consuelo-castañeda</dc:relation><dc:source>For Rent: Consuelo Castaneda (Guantanamera presented as invited intervention into retrospective)</dc:source><dc:title>Guantanamera</dc:title><rioxxterms:author>Birrell, Ross</rioxxterms:author><rioxxterms:author>Harding, David</rioxxterms:author><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:286
Date: 2015-04-13

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
rioxxterms:projectMinimum of 1 value(s) required for rioxxterms:project - found 0 values
dcterms:dateAcceptedMinimum of 1 value(s) required for dcterms:dateAccepted - found 0 values
ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
<record>
    <header>
      <identifier>oai:radar.gsa.ac.uk:286</identifier>
      <datestamp>2015-04-13T10:37:02Z</datestamp>
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    <metadata>
      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Solo Exhibition - The Fusion of Digital Inkjet Printing with Bespoke Woven Textiles</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/286/6/LH_CRAFTS_REVIEW_150dpi_s.pdf</dc:identifier><dc:language>en</dc:language><dc:relation>http://www.artrabbit.com/uk/events/event/4721/elaine_bremner</dc:relation><dc:source>The Fusion of Digital Inkjet Printing with Bespoke Woven Textiles</dc:source><dc:title>The Fusion of Digital Inkjet Printing with Bespoke Woven Textiles</dc:title><rioxxterms:author>Bremner, E.</rioxxterms:author><rioxxterms:publication_date>2008-03-01</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:287
Date: 2015-04-13

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
rioxxterms:projectMinimum of 1 value(s) required for rioxxterms:project - found 0 values
dcterms:dateAcceptedMinimum of 1 value(s) required for dcterms:dateAccepted - found 0 values
ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
<record>
    <header>
      <identifier>oai:radar.gsa.ac.uk:287</identifier>
      <datestamp>2015-04-13T10:36:24Z</datestamp>
      <setSpec>7374617475733D707562</setSpec>
      <setSpec>74797065733D6172746566616374</setSpec></header>
    <metadata>
      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/287/1/GK%26C_PP_Full_250213_s.pdf</dc:identifier><dc:language>en</dc:language><dc:relation>http://www.craftscotland.org/craft-news/news-article.html?textile-archives-awaken-new-inspiration&amp;document_id=526</dc:relation><dc:relation>http://www.culture24.org.uk/art/craft/textiles/art64654</dc:relation><dc:relation>http://gsalibnews.blogspot.com/2009/01/awaken-exhibition-of-new-textiles.html</dc:relation><dc:relation>http://www.gsa.ac.uk/about-gsa/library-learning-resources/archives-collections-centre/projects/</dc:relation><dc:relation>http://archivesandauteurs.blogspot.com/2009/02/awaken-awakened-project-process.html</dc:relation><dc:relation>http://bookshop.blackwell.co.uk/jsp/id/Awaken/9780956031747</dc:relation><dc:title>Awaken GK&amp;C Digital Textiles Collection</dc:title><rioxxterms:author>Bremner, Elaine</rioxxterms:author><rioxxterms:author>Britt, Helena</rioxxterms:author><rioxxterms:publication_date>2009-01-24</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:306
Date: 2015-04-13

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
rioxxterms:projectMinimum of 1 value(s) required for rioxxterms:project - found 0 values
dcterms:dateAcceptedMinimum of 1 value(s) required for dcterms:dateAccepted - found 0 values
ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
<record>
    <header>
      <identifier>oai:radar.gsa.ac.uk:306</identifier>
      <datestamp>2015-04-13T10:39:06Z</datestamp>
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    <metadata>
      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:format>application/vnd.ms-powerpoint</dc:format><dc:identifier>http://radar.gsa.ac.uk/306/2/SBrind_REF_Output_1_v3.pptx</dc:identifier><dc:language>en</dc:language><dc:source>Curious Arts - No. 3</dc:source><dc:title>Curious Arts - No. 3 - semi-permanent site-specific installation</dc:title><rioxxterms:author>Brind, Susan</rioxxterms:author><rioxxterms:author>Harold, Jim</rioxxterms:author><rioxxterms:publication_date>2010-12-04</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:307
Date: 2015-04-13

RIOXX

Base RIOXX scheme designed for low-level interoperability
This is a valid RIOXX record

RCUK-RIOXX

RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
This is not a valid RCUK-RIOXX record
PropertyError
rioxxterms:projectMinimum of 1 value(s) required for rioxxterms:project - found 0 values
dcterms:dateAcceptedMinimum of 1 value(s) required for dcterms:dateAccepted - found 0 values
ali:license_refMinimum of 1 value(s) required for ali:license_ref - found 0 values
<record>
    <header>
      <identifier>oai:radar.gsa.ac.uk:307</identifier>
      <datestamp>2015-04-13T10:38:35Z</datestamp>
      <setSpec>7374617475733D707562</setSpec>
      <setSpec>74797065733D6172746566616374</setSpec></header>
    <metadata>
      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Focussing on the artists' use of text and their interest in how the gaps between different knowledge structures generate the emergence of other ideas, ‘Curious Arts - No. 4’ posed the question: How does a viewer/reader understand and reflect upon the contemporary world through subjects as apparently diverse as time, nature, history, mathematics, politics, theology, astronomy, mysticism and specifically through a journey of thought as reflected in the writings of Richard Parrot (1740-1762); found in the library of Patrick Allan Fraser of Hospitalfield House, Arbroath?  The resulting artwork took the form of a text work which was subsequently published in '2HB:  Volume 10', published by CCA, Glasgow, 2011, and the publication was subsequently exhibited in 'Millenium Magazines' at the Museum of Modern Art, New York in 2012.</dc:description><dc:format>application/vnd.ms-powerpoint</dc:format><dc:identifier>http://radar.gsa.ac.uk/307/1/SBrind_REF_Output_2.pptx</dc:identifier><dc:language>en</dc:language><dc:publisher>CCA, Glasgow</dc:publisher><dc:relation>http://www.moma.org/visit/calendar/exhibitions/1244</dc:relation><dc:relation>http://www.e-artnow.org/announcement-archive/archive/2011/7/article/ACTION/5878/</dc:relation><dc:source>2HB</dc:source><dc:title>Curious Arts - No. 4</dc:title><rioxxterms:author>Brind, Susan</rioxxterms:author><rioxxterms:author>Harold, Jim</rioxxterms:author><rioxxterms:publication_date>2011-07-31</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:314
Date: 2015-05-24

RIOXX

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<record>
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      <identifier>oai:radar.gsa.ac.uk:314</identifier>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:language>en</dc:language><dc:title>Walltile, 3Dblock, 3Dstripe, 3DtrioAn investigation into the aesthetic potential of utilising three-dimensional (3D) computer-aided design (CAD) software and digital print technologies in the creation of textiles suitable for interior contexts.</dc:title><rioxxterms:author>Britt, H.</rioxxterms:author><rioxxterms:publication_date>2003-01-01</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:316
Date: 2015-05-24

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      <identifier>oai:radar.gsa.ac.uk:316</identifier>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:language>en</dc:language><dc:title>Light, Line and CutAn investigation into the aesthetic potential of utilising computer-aided design (CAD) software and digital print technologies in the creation of textiles suitable for interior contexts.</dc:title><rioxxterms:author>Britt, H.</rioxxterms:author><rioxxterms:publication_date>2001-09-01</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:318
Date: 2015-05-24

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      <identifier>oai:radar.gsa.ac.uk:318</identifier>
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'...geography has played an important role in the development of the Scottish Textile Industry, not least because of the conditions, materials and available labour force specific to these geographical areas. What is important about this is that the development of education in textiles...has been a response to the changing industry, [and] will therefore have developed according to the same regional characteristics.' (Olley 2005: 186)</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/318/1/ArsTextrina_Abstracts.pdf</dc:identifier><dc:language>en</dc:language><dc:source>Ars Textrina International Textiles Conference - Textile Territories: Past, Present and Future</dc:source><dc:title>Locating Digital Technologies</dc:title><rioxxterms:author>Britt, H.</rioxxterms:author><rioxxterms:publication_date>2007-09-10</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>SMUR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:332
Date: 2016-03-20

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The annual D&amp;AD Awards are highly respected, and regarded as a major event in the world of design and advertising.</dc:description><dc:language>en</dc:language><dc:title>Design and Art Direction Global Awards 2006</dc:title><rioxxterms:author>Cairns, B.</rioxxterms:author><rioxxterms:publication_date>2006-07-03</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:338
Date: 2016-03-20

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ID: oai:radar.gsa.ac.uk:390
Date: 2015-04-13

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ID: oai:radar.gsa.ac.uk:392
Date: 2015-04-13

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ID: oai:radar.gsa.ac.uk:415
Date: 2015-02-27

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Our seas and oceans hide a plethora of archaeological sites such as ancient shipwrecks that, over time, are being destroyed through activities such as deepwater trawling and treasure hunting. In 2006, a multidisciplinary team of 11 European institutions established the Venus (Virtual Exploration of Underwater Sites) consortium to make underwater sites more accessible by generating thorough, exhaustive 3D records for virtual exploration.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/415/1/IEEE_CGA2010_VirtualSubmarine.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>IEEE</dc:publisher><dc:relation>http://www.guardian.co.uk/science/2008/sep/09/archaeology</dc:relation><dc:relation>http://news.bbc.co.uk/1/hi/sci/tech/7605718.stm</dc:relation><dc:relation>http://www.bcs.org/content/conWebDoc/35189</dc:relation><dc:source>0272-1716</dc:source><dc:title>We All Live in a Virtual Submarine</dc:title><rioxxterms:author>Chapman, Paul</rioxxterms:author><rioxxterms:author>Bale, Kim</rioxxterms:author><rioxxterms:author>Drap, Pierre</rioxxterms:author><rioxxterms:publication_date>2010-01-01</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version><rioxxterms:version_of_record>http://doi.ieeecomputersociety.org/10.1109/MCG.2010.20</rioxxterms:version_of_record></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:419
Date: 2015-02-27

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These sites have to be reconstructed in terms of environment (seabed) and content (artefacts) by performing bathymetric and photogrammetric surveys on the real site and matching points between geolocalized pictures. The base idea behind using Mixed Reality techniques is to offer archaeologists and general public new insights on the reconstructed archaeological sites allowing archaeologists to study directly from within the virtual site and allowing the general public to immersively explore a realistic reconstruction of the sites. Both activities are based on the same VR engine but drastically differ in the way they present information. General public activities emphasise the visually and auditory realistic aspect of the reconstruction while archaeologists activities emphasize functional aspects focused on the cargo study rather than realism which leads to the development of two parallel VR demonstrators. This paper will focus on several key points developed for the reconstruction process as well as both VR demonstrators (archaeological and general public) issues. &#13;
The first developed key point concerns the densification of seabed points obtained through photogrammetry in order to obtain high quality terrain reproduction. The second point concerns the development of the Virtual and Augmented Reality (VR/AR) demonstrators for archaeologists designed to exploit the results of the photogrammetric reconstruction. And the third point concerns the development of the VR demonstrator for general public aimed at creating awareness of both the artefacts that were found and of the process with which they were discovered by recreating the dive process from ship to seabed.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/419/1/VAST2008_venus.pdf</dc:identifier><dc:language>en</dc:language><dc:relation>http://www.guardian.co.uk/science/2008/sep/09/archaeology</dc:relation><dc:relation>http://news.bbc.co.uk/1/hi/sci/tech/7605718.stm</dc:relation><dc:relation>http://www.bcs.org/content/conWebDoc/35189</dc:relation><dc:relation>http://www.journalofoceantechnology.com/?page_id=73&amp;id=17</dc:relation><dc:source>The 9th International Symposium on Virtual Reality, Archaeology and Cultural Heritage</dc:source><dc:title>Virtual Exploration of Underwater Archaeological Sites: Visualization and Interaction in Mixed Reality Environments</dc:title><rioxxterms:author>Chapman, Paul</rioxxterms:author><rioxxterms:author>Roussel, David</rioxxterms:author><rioxxterms:author>Drap, Pierre</rioxxterms:author><rioxxterms:author>Haydar, Mohamed</rioxxterms:author><rioxxterms:publication_date>2008</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:486
Date: 2015-04-13

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>20 Photographs by Thomas Joshua Cooper and eight photographs by Timothy H. O'Sullivan. Critical Essay by Toby Jurovics, Curator of Photographs, the Smithsonian Museum of American Art, Washington DC.</dc:description><dc:format>application/vnd.ms-powerpoint</dc:format><dc:identifier>http://radar.gsa.ac.uk/486/1/TJC_Shoshone.ppt</dc:identifier><dc:language>en</dc:language><dc:publisher>Radius Books, Santa Fe, New Mexico, U.S.A</dc:publisher><dc:source>978-1-934435-25-0</dc:source><dc:title>Shoshone Falls</dc:title><rioxxterms:author>Cooper, T.</rioxxterms:author><rioxxterms:author>O'Sullivan, T. H.</rioxxterms:author><rioxxterms:publication_date>2010</rioxxterms:publication_date><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:487
Date: 2015-04-13

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      <identifier>oai:radar.gsa.ac.uk:487</identifier>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:format>application/vnd.ms-powerpoint</dc:format><dc:identifier>http://radar.gsa.ac.uk/487/1/TJC_True.ppt</dc:identifier><dc:language>en</dc:language><dc:publisher>Haunch of Venison, London, England</dc:publisher><dc:source>978-1-905620-31-9</dc:source><dc:title>True: 80 photographs</dc:title><rioxxterms:author>Cooper, T.</rioxxterms:author><rioxxterms:publication_date>2009</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:505
Date: 2015-02-06

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      <identifier>oai:radar.gsa.ac.uk:505</identifier>
      <datestamp>2015-02-06T09:37:26Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>Digital technologies and processes have been used to generate architectural form for over two decades, now the recent advances in digital technologies have allowed virtual digital environments to be constructed from physical movement. But can a bridge that connects the physical and virtual realms be developed? Can this, currently arbitrary form making be grounded in human activity and subsequently be integrated in to real time, space and place. This paper describes the preliminary explorations of research which attempts to address the stated questions.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/505/1/IJAC_paper_Space_Making.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Multi-Science Publishing</dc:publisher><dc:source>1478-0771</dc:source><dc:title>Space Making- Between the Virtual and the Physical</dc:title><rioxxterms:author>Crotch, J.</rioxxterms:author><rioxxterms:author>Mantho, Robert</rioxxterms:author><rioxxterms:author>Horner, Martyn</rioxxterms:author><rioxxterms:publication_date>2009-09-01</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:562
Date: 2015-04-13

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/562/1/Evans-Output03-UrbanIdentity.pdf</dc:identifier><dc:language>en</dc:language><dc:title>Urban identity - learning from place 2</dc:title><rioxxterms:author>Evans, B.</rioxxterms:author><rioxxterms:publication_date>2011-05-03</rioxxterms:publication_date><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:564
Date: 2015-04-13

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/564/1/Evans-Output02-SpacePlaceLife.pdf</dc:identifier><dc:language>en</dc:language><dc:title>Space place life - learning from place 1</dc:title><rioxxterms:author>Evans, B.</rioxxterms:author><rioxxterms:publication_date>2011-04-26</rioxxterms:publication_date><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:588
Date: 2015-04-13

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/588/1/Evans-Output01-StAndrewSquare-LoRes.pdf</dc:identifier><dc:language>en</dc:language><dc:title>St. Andrew Square, Edinburgh</dc:title><rioxxterms:author>Evans, B.</rioxxterms:author><rioxxterms:publication_date>2009</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:677
Date: 2015-02-16

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>COLLECT is the premier annual fair in Europe for international contemporary craft of museum quality.&#13;
Originally held at the V&amp;A, and now re launched at the Saatchi Gallery in London, COLLECT has an enviable reputation as a major event on the international cultural calendar, with a loyal audience of private collectors and museum curators.&#13;
COLLECT, presented by the Crafts Council, will feature 31 UK and international galleries showcasing the highest quality craft.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://radar.gsa.ac.uk/677/3/gold_leaf_brooch.jpg</dc:identifier><dc:language>en</dc:language><dc:title>Collect 2010 - The international Art Fair for Contemporary Objects</dc:title><rioxxterms:author>Gordon, A.</rioxxterms:author><rioxxterms:publication_date>2010-05-14</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:679
Date: 2015-02-16

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RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
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      <identifier>oai:radar.gsa.ac.uk:679</identifier>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>To celebrate the opening of the jewelry gallery at the MFA&#13;
Boston in 2011, Mobilia Gallery curated an&#13;
exhibition “Objects of Status, Power and Adornment: The&#13;
Studio Jewelry Movement 1950-2011”. They invited internationally&#13;
known masters in the field of metalsmithing, as&#13;
well as emerging talents, all of whom work with a myriad of&#13;
diverse materials and techniques to creatively explore their&#13;
vision and interpretation of jewelry.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://radar.gsa.ac.uk/679/1/IMG_0060.jpg</dc:identifier><dc:language>en</dc:language><dc:source>Objects of Stuatus, Power and Adornment: The Studio Jewellery Movement 1950 - 2011, Mobilia Gallery, USA</dc:source><dc:title>A group of work made for the exhibition Objects of Status, Power and Adornment: The Studio Jewellery Movement 1950 - 2011, Mobilia Gallery, USA</dc:title><rioxxterms:author>Gordon, A.</rioxxterms:author><rioxxterms:project funder_name="self funded">i submitted a group of pieces to showcase the contemporary jewellery movement in relation to my practice</rioxxterms:project><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:735
Date: 2015-10-26

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>An exhibition of over 40 paintings and drawings made between 1996 and 2005 and a new commission.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://radar.gsa.ac.uk/735/1/CNV00015.JPG</dc:identifier><dc:language>en</dc:language><dc:title>Freedom of Information: Paintings and drawings 1996-2005</dc:title><rioxxterms:author>Hopkins, L.</rioxxterms:author><rioxxterms:publication_date>2005-10-08</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:738
Date: 2015-10-26

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>An exhibition of approximately 15 paintings and drawings made on the surface of graph paper, newspaper, world maps and patterned furnishing fabric.</dc:description><dc:language>en</dc:language><dc:title>Louise Hopkins at Andrew Mummery Gallery</dc:title><rioxxterms:author>Hopkins, L.</rioxxterms:author><rioxxterms:publication_date>2003-04-06</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:739
Date: 2015-10-22

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>The role of language in art is the focus of a the exhibition, Words from the Arts Council Collection. It features works by 29 artists, ranging from the modern master Ben Nicholson and senior figures Gilbert &amp; George and David Hockney, to the younger generation including Tracey Emin and Mona Hatoum. This National Touring Exhibition, organised by the Hayward Gallery, has been selected from the Arts Council Collection in collaboration with Plymouth City Museum and Art Gallery, and comes to Aberystwyth in September before touring extensively around the UK.</dc:description><dc:language>en</dc:language><dc:title>Words (from the Arts Council collection)</dc:title><rioxxterms:author>Hopkins, L.</rioxxterms:author><rioxxterms:publication_date>2002-05-06</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:759
Date: 2015-04-13

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ID: oai:radar.gsa.ac.uk:857
Date: 2015-04-13

RIOXX

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RCUK RIOXX scheme for reporting of open access publications funded through UK Research Council grants
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      <identifier>oai:radar.gsa.ac.uk:857</identifier>
      <datestamp>2015-04-13T11:06:37Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>This paper details the evaluation of human modelling software, which provides visual access to dynamic biomechanical data on older adult mobility to a new audience of professionals and lay people without training in biomechanics. An overview of the process of creating the visualisation software is provided, including a discussion of the benefits over existing approaches. The qualitative evaluation method, which included a series of interviews and focus groups held with older adults, and healthcare and design professionals, is discussed together with key findings. The findings are illustrated with examples of new dialogues about specific mobility issues impacting on healthcare and design planning which were facilitated by the data visualisations.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/857/1/857_FullTextREF.pdf</dc:identifier><dc:language>en</dc:language><dc:source>HCI International 2009</dc:source><dc:title>Towards a visual representation of the effects of reduced muscle strength in older adults: new insights and applications for healthcare and design</dc:title><rioxxterms:author>Loudon, David</rioxxterms:author><rioxxterms:author>Macdonald, Alastair S.</rioxxterms:author><rioxxterms:publication_date>2009-07</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version><rioxxterms:version_of_record>http://dx.doi.org/10.1007/978-3-642-02809-0</rioxxterms:version_of_record></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:867
Date: 2015-02-09

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    <header>
      <identifier>oai:radar.gsa.ac.uk:867</identifier>
      <datestamp>2015-02-09T09:32:22Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>This chapter discusses the applications and solutions of emerging Virtual Reality (VR) and video games technologies in the healthcare sector, e.g. physical therapy for motor rehabilitation, exposure therapy for psychological phobias, and pain relief. Section 2 reviews state-of-the-art interactive devices used in current VR systems and high-end games such as sensor-based and camera-based tracking devices, data gloves, and haptic force feedback devices. Section 3 investigates recent advances and key concepts in games technology, including dynamic simulation, flow theory, adaptive games, and their possible implementation in serious games for healthcare. Various serious games are described in this section: some were designed and developed for specific healthcare purposes, e.g. BreakAway (2009)’s Free Dive, HopeLab (2006)’s Re-Mission, and Ma et al. (2007)’s VR game series, others were utilising off-the-shelf games such as Nintendo Wii sports for physiotherapy. A couple of experiments of using VR systems and games for stroke rehabilitation are highlighted in section 4 as examples to showcase the benefits and impacts of these technologies to conventional clinic practice. Finally, section 5 points some future directions of applying emerging games technologies in healthcare, such as augmented reality, Wii-mote motion control system, and even full body motion capture and controller free games technology demonstrated recently on E3 2009 which have great potentials to treat motor disorders, combat obesity, and other healthcare applications.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/867/1/978-3-642-17824-5Full.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Springer</dc:publisher><dc:source>3642178235</dc:source><dc:title>Virtual Reality and Serious Games in Healthcare</dc:title><rioxxterms:author>Ma, Minhua</rioxxterms:author><rioxxterms:author>Zheng, Huiru</rioxxterms:author><rioxxterms:publication_date>2011</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:888
Date: 2015-02-06

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      <identifier>oai:radar.gsa.ac.uk:888</identifier>
      <datestamp>2015-02-06T09:53:26Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>This paper describes the development of a serious-game-based rehabilitation system aimed at encouraging stroke patients with upper limb motor disorders to practice physical exercises. The system contains a series of physically-based Virtual Reality (VR) games. A framework for physically-based VR rehabilitation systems is described which consists of a number of serious game designed to encourage patients' physical activity in highly motivating, physics-enriched virtual environments where various factors such as size and gravity can be scaled to adapt to individual patient's abilities and in-game performance. In addition, one goal of this study was also to determine whether physically-based VR games are an effective rehabilitation for training individuals who suffer from upper limb motor disorders as a result of a stroke. A pilot study with 8 participants who have a first hemispheric stroke shows improvements on impairment measurement and functional measurement shortly after completion of the intervention and 6 weeks after the intervention. Despite several limitations in this study the results support the effectiveness of physically-based VR games in the treatment of participants with hemiplegia and further development of the serious games.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/888/1/SMC2008.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>IEEE</dc:publisher><dc:relation>http://news.bbc.co.uk/1/hi/northern_ireland/4292026.stm</dc:relation><dc:source>1062-922X</dc:source><dc:title>Serious Games for Movement Therapy after Stroke</dc:title><rioxxterms:author>Ma, Minhua</rioxxterms:author><rioxxterms:author>Bechkoum, Kamal</rioxxterms:author><rioxxterms:project funder_name="Northern Ireland Chest Heart and Stroke Association">Virtual reality and the rehabilitation of the upper limb after stroke</rioxxterms:project><rioxxterms:publication_date>2008-10</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:983
Date: 2015-04-13

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(Exhibit – Treegrid)</dc:title><rioxxterms:author>Macklin, P</rioxxterms:author><rioxxterms:project funder_name="CCA">n/a</rioxxterms:project><rioxxterms:project funder_name="Scottish Arts Council (SAC)">n/a</rioxxterms:project><rioxxterms:project funder_name="SAC Lottery">n/a</rioxxterms:project><rioxxterms:project funder_name="Glasgow City Council">n/a</rioxxterms:project><rioxxterms:project funder_name="Suspect Culture">n/a</rioxxterms:project><rioxxterms:publication_date>2009</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:1064
Date: 2016-01-19

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      <identifier>oai:radar.gsa.ac.uk:1064</identifier>
      <datestamp>2016-01-19T10:22:20Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>An 1813 guide to William Hunter’s collection describes a Renaissance shield under ‘miscellaneous curiosities’ and my research here describes how scholarship and research of ancient artefacts, based on material evidence, was still a largely new practice during the early nineteenth century. This analysis demonstrates inconsistencies in antiquarian methods whenever there was an attempt to reconcile ancient texts with physical objects or reproductions of such objects.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/1064/1/HMcC.Dr._Hunter%27s_Shield_Appendix-1_copy.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Ashgate</dc:publisher><dc:source>9781409447740</dc:source><dc:title>Dr Hunter's Shield: Miscellaneous Curiosities and Antiquarian Debates', in William Hunter's World: The Art and Science of Eighteenth-Century Collecting, Ashgate 2013</dc:title><rioxxterms:author>McCormack, H.</rioxxterms:author><rioxxterms:publication_date>2013-09</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:1067
Date: 2016-01-19

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      <identifier>oai:radar.gsa.ac.uk:1067</identifier>
      <datestamp>2016-01-19T10:43:05Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>‘Housing the Collection: The Great Windmill Street Anatomy Theatre and Museum’, in William Hunter and the Art and Science of Eighteenth-Century Collecting,  Ashgate (Histories of Material Culture and Collecting 1700-1900)&#13;
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&#13;
This essay describes the original house and collection of the eminent Scottish anatomist, Dr William Hunter 1718-1783 and explains how the Great Windmill Street Anatomy Theatre and Museum connected Hunter’s ambitions for his collection, an accumulation and combinability of natural and artificial curiosities, with the ambitious plans of ‘improvement’ for the city itself. Hunter’s ‘great school’ incorporated details of the urban architectural schemes of John Gwynn in his London and Westminster Improved (1766) and constituted an exemplar of the public/private spaces characteristic of late eighteenth-century London.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/1067/1/Hunter%27s_House_for_Ashgate_.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Ashgate</dc:publisher><dc:source>9781409447740</dc:source><dc:title>The Great Windmill Street Anatomy School and Museum</dc:title><rioxxterms:author>McCormack, Helen</rioxxterms:author><rioxxterms:publication_date>2015</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:1104
Date: 2015-04-13

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      <identifier>oai:radar.gsa.ac.uk:1104</identifier>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Creative documentary “Pollphail” tells the story of a village in limbo, through the eyes of a property dealer and an artist who share an obsession with the strange place. Director Matthew Lloyd explores the imagined future for the village, built to great acclaim and expense during the 1970s oil boom which gripped Scotland. Combining an unusual use of ‘minds-eye’ archive material with stunning photography and a haunting soundscape, “Pollphail” unravels the unique and unsettling story to reveal a very different reality than that which was planned for the village, and clashing ideals about how its future should now play out…&#13;
Reviewed by independent UK film magazine ‘Little White Lies’ as "an excellent documentary" in which "archive footage is sensitively handled alongside current interviews to create an absorbing story."</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/1104/1/Mick_McGraw_Pollphail-2.pdf</dc:identifier><dc:language>en</dc:language><dc:relation>http://www.scottishdocinstitute.com/films/pollphail/</dc:relation><dc:relation>http://vimeo.com/20068135</dc:relation><dc:relation>http://www.ckdgalbraith.co.uk/scotlands-ghost-village-set-for-new-future</dc:relation><dc:relation>http://www.dokument-festival.com/database/movie/6830%7CPollphail</dc:relation><dc:relation>http://www.producingclarity.com/productions/i52/pollphail</dc:relation><dc:title>POLLPHAIL</dc:title><rioxxterms:author>McGraw, M.</rioxxterms:author><rioxxterms:publication_date>2010</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:1259
Date: 2015-02-06

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>In response to the growing demand for zero-energy housing, today’s home needs not only to be energy-efficient, but also to provide part of its own energy requirements. The energy efficiency may be improved by applying high thermal performance building envelope and passive energy and environmental systems to housing. Micro-power can be generated through the use of renewable energy technologies. This paper is aimed at providing a comprehensive guideline on the design techniques and approaches to the delivery of net zero-energy healthy housing in view of the ÉcoTerra house, which won the Canadian federal government’s EQuilibrium sustainable housing competition. The house was built in Eastman in the province of Quebec and it is currently open to the general public in order to sharpen the consumers’ awareness of commercially available net zero-energy healthy housing today.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/1259/1/OHI_Vol_33_No_3_Noguchi_Canadian_Experienc_output_4.pdf</dc:identifier><dc:language>en</dc:language><dc:source>0168-2601</dc:source><dc:title>Net Zero-energy Home Design Strategies Learned from Canadian Experience</dc:title><rioxxterms:author>Noguchi, Masa</rioxxterms:author><rioxxterms:publication_date>2008-09-01</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:1268
Date: 2016-12-15

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>Homes need to be socially, economically, and environmentally sustainable in response to societal pressure on our common future. The concept of ‘Sustainable Development’ was first advocated by the World Commission on Environment and Development, dated back to 1987, and it was considered as ‘a process of change in which the exploitation of resources, the direction of investments, the orientation of technological development, and institutional change are all in harmony and enhance both current and future potential to meet needs and aspirations.’ In 1992, this notion was given additional impetus at the United Nations Conference on Environment and Development (or the Earth Summit) held in Rio de Janeiro where an initial international treaty on environment was produced; however, this had neither limits on green house gas emissions nor legal enforcement provisions for individual nations. In 1997, the text of the Kyoto Protocol to the United Nations Framework Convention on Climate Change was adopted eventually at the 3rd Conference of the Parties held in Kyoto, Japan. As of April 2008, 178 states signed and ratified the Protocol; in consequence, most industrialized nations and some central European countries agreed to legally binding the reductions of greenhouse gas emissions of an average of 6 to 8% below 1990 levels between the years 2008 and 2012. &#13;
Housing is a system of energy and environment. Homes are responsible for a great deal of carbon dioxide (CO2) emissions that encompass the enormous impact on global warming—for instance, CO2 emissions from the housing sector in the UK account for 27 per cent of the national carbon footprint to which each dwelling unit contributes on average 3 tons CO2 ¬ per year. How on earth can the CO2 emissions in housing be reduced or eliminated over the life cycle? Undoubtedly, the mass-production (and mass-marketing) of ‘zero carbon housing’ is the key to resolving the societal pressure. Prior to the discussion of carbon-neutral housing, the energy use in housing needs to be reduced to low or zero levels. In essence, zero energy housing falls into two categories: self-sustainable or net. The former type is a stand-lone house whose operational energy relies solely on its own power generation and storage so that it is disconnected from a commercial grid or disuses the power from the outside sources. The latter is the one whose energy ‘use’ becomes net zero over a fixed period of time. In addition, a house whose energy ‘bill’ becomes net zero under the same conditions is termed net zero-energy-cost housing. The notion of zero carbon housing today is from time to time likened to that of these abovementioned homes; perchance, the performance may entail the further steps to cover CO2 emissions that derive from not only the operation but also the construction and demolition—i.e. over the house’s life cycle. &#13;
In theory, homebuilders are keen on the marketability of their products and are sensitive to the market needs and demands, which somewhat change over time. In reality, the builders tend to follow ‘routines’ in their way of doing business and cut down information search for non-programmed decisions to determine whether or not to adopt unfamiliar design challenges, and innovative building materials and methods, which may somewhat require the reshaping of their ‘closed-system’ business operations. In order to propagate zero-carbon housing solutions, the technical information needs to be legible and the design approach and production process should be systematised. However, the concept and performance of zero-carbon housing today are not coherent and the logical sequence of the delivery process is so far little discussed. Accordingly, this special issue took the initiative in packaging the dispersed knowledge of potential zero carbon housing solutions. Inevitably, the scope of the discourses became diverse in subjects ranging from the analyses of existing low-energy housing and solar community developments, energy-efficient building materials, passive energy and environmental systems, renewable energy technologies to the investigations of design, production and marketing strategies for the delivery of marketable and replicable zero energy housing and the community development.&#13;
This MEARU edition was established with the aim to assist housing researchers and professionals in grasping the status quo of carbon-neutral housing in question and provide a base for their research and development activities. Expectantly, this collective expertise of international experts in eco-housing will also be fed into a policy making cycle for discussion of net metering, time zone contract and feed-in-tariff schemes, which are almost inevitable in the mass sales of net zero carbon homes today and tomorrow.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/1268/1/OHI_Vol.33_No3_Final1.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Eastern Mediterrannean University</dc:publisher><dc:source>0168-2601</dc:source><dc:title>COMMERCIALISATION STRATEGIES FOR NET ZEROENERGY- COST HOUSING IN JAPAN</dc:title><rioxxterms:author>Noguchi, Masa</rioxxterms:author><rioxxterms:publication_date>2008-09-01</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:1273
Date: 2015-02-06

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>The societal pressure on sustainable housing development is on the rise. Homes need to be socially, economically and environmentally sustainable in response to the wants and needs of individual homebuyers/users as well as society. However, existing housing design approaches being applied by today’s homebuilders barely lead to the accomplishment of the sustainability agenda. Mass customization was seen as one of the potential means to tackle issues arising in achieving the housing sustainability. Based on the notion, a systems approach to sustainable homes and the interactive design communication tool were introduced. This study led to a suggestion that along the line with the research on mass customization, the way to mass-personalize a house after occupancy, which may need to involve inclusive design approaches, should be examined for the delivery of truly sustainable homes that satisfy the dynamic and diverse market demands and requirements for housing over the lifetime.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/1273/1/2_3_2.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>World Scientific Publishing</dc:publisher><dc:relation>http://www.amazon.co.uk/HANDBOOK-RESEARCH-CUSTOMIZATION-PERSONALIZATION-VOLUMES/dp/9814280259</dc:relation><dc:relation>http://www.mass-customization.de/download/mchandbook2010.pdf</dc:relation><dc:relation>http://www.worldscientific.com/doi/pdf/10.1142/9789814280280_0045</dc:relation><dc:source>978-981-4280-25-9</dc:source><dc:title>Mass Custom Design for Sustainable Housing Development</dc:title><rioxxterms:author>Noguchi, Masa</rioxxterms:author><rioxxterms:author>Hadjiri, Karim</rioxxterms:author><rioxxterms:publication_date>2009-12-30</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version><rioxxterms:version_of_record>http://dx.doi.org/10.1142/9789814280280_0045</rioxxterms:version_of_record></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:1298
Date: 2015-02-06

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>In response to growing global warming issues and the constant increase of energy prices, house-builders and housing manufacturers today are becoming more responsive to the delivery of net zero energy sustainable homes than ever. Within this context, the sustainability may embrace housing economy and adequacy beyond the legitimacy in which the quality barely coincides with individuals’ dynamic various needs, desires and expectations. Nevertheless, the industry’s business operation tends to follow routines and the close system mode of operation often hinders the enterprises from adopting unfamiliar innovations which may be inevitable in realising the delivery and operation of socially, economically and environmentally sustainable homes. In this special issue, the notion of ‘mass customisation’ is reviewed. This paradoxical concept has been recognised as a means to lessen production costs of end-user products while achieving the customisability through economies of scope rather than economies of scale. Housing is no exception. The idea dates back to the 1950s as the gravity became explicit in Walter Gropius’ book entitled ‘Scope of Total Architecture.’ The essence of mass customisation applied to housing was speculated as he emphasized the need for ‘standardising and mass-producing not entire houses, but only their component parts which can then be assembled into various types of houses.’ This edition encompasses a wide spectrum of hopes and fears around the design, production and marketing approaches to both delivery and operation of zero-energy/emission mass custom homes, or ZEMCH, and showcases some exemplars budding out in different climates around the globe. This issue is developed in collaboration with ZEMCH Network and IEA SHC/ECBCS Task 40/Annex 52 international experts with the aim to solidify today’s diverse expertise in the realm as elicited research paradigms for further exploration and delivery of the homes that meet the wants and needs of individuals and society.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/1298/1/OHI_38.03.2013_Editorial.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Eastern Mediterranean University</dc:publisher><dc:source>0168-2601</dc:source><dc:title>Design issues for net zero-energy buildings</dc:title><rioxxterms:author>Aelenei, Laura</rioxxterms:author><rioxxterms:author>Aelenei, Daniel</rioxxterms:author><rioxxterms:author>Goncalves, Helder</rioxxterms:author><rioxxterms:author>Lollini, Roberto</rioxxterms:author><rioxxterms:author>Musall, Eike</rioxxterms:author><rioxxterms:author>Scognamiglio, Alessandra</rioxxterms:author><rioxxterms:author>Cubi, Eduard</rioxxterms:author><rioxxterms:author>Noguchi, Masa</rioxxterms:author><rioxxterms:publication_date>2013-09-01</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>SMUR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:1326
Date: 2016-11-16

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ID: oai:radar.gsa.ac.uk:1403
Date: 2015-04-13

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ID: oai:radar.gsa.ac.uk:1432
Date: 2016-02-11

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ID: oai:radar.gsa.ac.uk:1504
Date: 2015-02-10

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ID: oai:radar.gsa.ac.uk:1569
Date: 2015-04-13

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/1569/1/Creative-Business-Mentor-Review.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>National Endowment for Science, Technology and the Arts</dc:publisher><dc:relation>http://www.nesta.org.uk/library/documents/Creative-Business-Mentor-Review.pdf</dc:relation><dc:relation>http://www.nesta.org.uk/library/documents/Mentoring-Final_Evaluation_Report_2010.pdf</dc:relation><dc:relation>http://www.nesta.org.uk/library/documents/playing_the_game.pdf</dc:relation><dc:title>A review of mentoring literature and best practice</dc:title><rioxxterms:author>Ramage, Julie</rioxxterms:author><rioxxterms:author>Henderson, L.</rioxxterms:author><rioxxterms:publication_date>2009</rioxxterms:publication_date><rioxxterms:type>Monograph</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:1574
Date: 2016-09-26

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Using our own blood as the main ingredient we produced several black puddings. We then showed this black pudding self-portrait in 'Romantic Detachment'' at PS1 MoMA Centre for Contemporary Art, New York 15th October - 9th November 2004. Cooking performances took place on Saturday 16th October and Saturday 23rd October. Curated by Grizedale Arts and the Henry Moore Foundation.&#13;
This work has also been show at: ‘Body Parts’ at the Royal Scottish Academy, Edinburgh February 2005. Solo show at the Trade Apartment, London April - May 2005. ‘Sympathy for the devil’ at CAPC Coimbra, Portugal May - June 2005. ‘Toxic’ at the Fundacion Oeiras, Lisbon, Portugal June - September 2005.&#13;
The video documentary went on tour to Chapter, Cardiff and Q Arts, Derby and was also shown at Spitz gallery, London, Catalyst Arts, Belfast and the Ship Gallery, London. (all 2006)&#13;
&#13;
RECIPE&#13;
2 pints of fresh blood&#13;
(1 pint extracted from Beagles and 1 pint extracted from Ramsay)&#13;
1 pint of cream&#13;
12oz cooked pearl barley&#13;
1lb bacon fat and suet&#13;
Intestinal tubes from a pig or cow&#13;
1 or 2 onions, finely chopped&#13;
6oz oats, soaked overnight&#13;
Salt, pepper, cayenne pepper to taste</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://radar.gsa.ac.uk/1574/1/Sanguis%20Gratia%20Artis.jpg</dc:identifier><dc:language>en</dc:language><dc:title>Sanguis Gratia Artis - Black Pudding Self-Portrait.</dc:title><rioxxterms:author>Ramsay, Graham</rioxxterms:author><rioxxterms:author>Beagles, John</rioxxterms:author><rioxxterms:publication_date>2004-10-16</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:1577
Date: 2016-10-04

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      <identifier>oai:radar.gsa.ac.uk:1577</identifier>
      <datestamp>2016-10-04T15:41:42Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>A specially commissioned body of new work was made for this exhibition comprising 5 separate elements (details below). This was a group exhibition featuring a number of artists who make work in which they themselves appear. All of the artists in this exhibition can be seen to reflect Cindy Sherman's statement 'I am trying to make other people recognise something of themselves rather than me'. Other artists included Cindy Sherman, Matthew Barney, Monica Castillo, Peter Land, Wood and Harrison, Bjorn Melhus , Melanie Smith and Mark Neville.</dc:description><dc:language>en</dc:language><dc:title>What makes you and I different: Glitter Island</dc:title><rioxxterms:author>Ramsay, G.</rioxxterms:author><rioxxterms:author>Beagles, John</rioxxterms:author><rioxxterms:publication_date>2006-02-24</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:1779
Date: 2015-02-16

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Recent contestations of the ascendancy of Fredric Jameson’s definition of pastiche (Ingeborg Hoesterey, Pastiche: Cultural Memory in Art, Film, Literature, 2001; Richard Dyer, Pastiche, 2007) harmonise with Judith Butler’s endorsement of the “pastiche-effect” of certain forms of parody that employ subversive repetition to illuminate the artificiality of categories that pose as ‘natural,’ or ‘authentic’ (Butler, Gender Trouble, 1990).  As well as outlining some emergent and historical definitions of pastiche as critique, this paper illustrates its parodic functioning by presenting an analysis of artist Tracey Moffatt’s video works Lip (1999) and Love (2003).&#13;
&#13;
Moffatt often makes subversive use of the collation of affiliated imagery to reveal the excessive repetitions of hegemonic cultural forms, particularly those of dominant cinema.  The two films discussed here directly sample stereotypical cinematic images of both the subservient black maid and the desirable white woman, removing these from their sources and recombining them to produce works that both shock and entertain.  Numerous film theorists, attempting to articulate a theory of counter cinema, insist that direct engagement with both the form and content of narrative cinema is necessary for its effective critique.  Moffatt’s pastiche films use strategies of repetition and imitation to effectively destabilise cinematic myths of womanhood, particularly black womanhood as servile.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/1779/1/Screen-2008-Smith-209-15.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Oxford Journals</dc:publisher><dc:source>0036-9543</dc:source><dc:title>Lip and Love: Subversive Repetition in the Pastiche Films of Tracey Moffatt</dc:title><rioxxterms:author>Smith, Sarah</rioxxterms:author><rioxxterms:publication_date>2008-05-01</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version><rioxxterms:version_of_record>http://dx.doi.org/10.1093/screen/hjn031</rioxxterms:version_of_record></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:1836
Date: 2016-08-16

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>The introduction of intended learning outcomes programmes within Glasgow School of Art has been largely without incident or change to student success rates. In the five years since, they have become embedded in Stage inductions, Studio briefs and introductions. They appear in the Definitive Programme documents, Course handbooks, specific project briefs, and are the focus for assessment. They are what we reach for to remind ourselves what we claim we set out to teach our students and expect from students in return. Why then our anxiety? The use of learning outcomes should have made the curriculum more transparent to learners, and by implication improve student progression rates. Looking back to Course documents prior to this, it is difficult to reconcile how little information students were given to describe what they were expected to learn. While the incorporation of intended learning outcomes has countered this, there are still other areas for concern. Staff remain uncomfortable about the generic language - we don’t yet feel we have ownership over our own documents and by implication their intentions. We are also unclear how closely outcomes translate into assessment criteria. While it is true to say that ILO’s have become a critical part of learning and teaching within the institution, it is equally true that we are less than fluent in their use and therefore missing opportunities their development would present. This paper documents action research undertaken with student groups to test these assertions, and to better understand and reflect of the viewpoints of staff and students towards learning outcomes and their role in the structuring and delivery of a studio based programme.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/1836/1/1836_FullTextREF.pdf</dc:identifier><dc:language>en</dc:language><dc:relation>http://connected2010.eproceedings.com.au/papers/p259.pdf</dc:relation><dc:source>978-0-646-54506-6</dc:source><dc:title>The trouble with our learning outcomes; with apologies to Hussey and Smith</dc:title><rioxxterms:author>Stewart, Sally</rioxxterms:author><rioxxterms:publication_date>2010-06-28</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:1925
Date: 2015-02-06

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ID: oai:radar.gsa.ac.uk:2048
Date: 2015-04-13

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ID: oai:radar.gsa.ac.uk:2050
Date: 2015-06-18

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>The virtual reconstruction of heritage sites and artefacts is a complicated task that requires researchers to gather and assess many different types of historical evidence which can vary widely in accuracy, authority, completeness, interpretation and opinion. It is now acknowledged that elements of speculation, interpretation and subjectivity form part of 3D reconstruction using primary research sources. Ensuring transparency in the reconstruction process and therefore the ability to evaluate the purpose, accuracy and methodology of the visualization is of great importance. Indeed, given the prevalence of 3D reconstruction in recent heritage research, methods of managing and displaying reconstructions alongside their associated metadata and sources has become an emerging area of research. In this paper, we describe the development of techniques that allow research sources to be added as multimedia annotations to a 3D reconstruction of the British Empire Exhibition of 1938. By connecting a series of wireless touchpad PCs with an embedded webserver we provide users with a unique collaborative interface for semantic description and placement of objects within a 3D scene. Our interface allows groups of users to simultaneously create annotations, whilst also allowing them to move freely within a large display visualization environment. The development of a unique, life-size, stereo visualization of this lost architecture with spatialised semantic annotations enhances not only the engagement with and understanding of this significant event in history, but the accountability of the research process itself.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2050/1/VAST-Heritage-Paper-Camera-Ready.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Eurographics Association</dc:publisher><dc:source>1811-864x</dc:source><dc:title>Linking Evidence with Heritage Visualization using a large&#13;
Scale Collaborative Interface</dc:title><rioxxterms:author>Bale, Kim</rioxxterms:author><rioxxterms:author>Abbott, Daisy</rioxxterms:author><rioxxterms:author>Gowigati, Ramy</rioxxterms:author><rioxxterms:author>Pritchard, Douglas</rioxxterms:author><rioxxterms:author>Chapman, Paul</rioxxterms:author><rioxxterms:project funder_name="AHRC">Enhancing Engagement with 3D Heritage Data through Semantic Annotation</rioxxterms:project><rioxxterms:publication_date>2011-10</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version><rioxxterms:version_of_record>http://dx.doi.org/10.2312/VAST/VAST11/121-128</rioxxterms:version_of_record></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2069
Date: 2015-06-18

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      <identifier>oai:radar.gsa.ac.uk:2069</identifier>
      <datestamp>2015-06-18T09:52:26Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>3D visualization is a powerful tool to increase understanding and experience of the world’s cultural heritage. However, where there is incomplete primary material on which to base visualizations there is a recognised danger that 3D models, as absolutist in their representations, can be misinterpreted as a totally accurate replica of reality. Good practice in creating digital reconstructions of non extant architecture leads to researchers meticulously documenting the process and outputs of heritage visualizations, however unless the research sources and methods are made explicit and visible, the danger of mis-reading visualized data remains.&#13;
&#13;
This research describes the development of software that allows research sources, methods, and interpretation to be added as multimedia annotations to a 3D scene comprising the entire British Empire Exhibition of 1938. All real-world and digital objects are semantically described and given a spatial placement within the scene. The software is built on a CIDOC-CRM export-compatible data model and provides a novel interface which allows groups of users to collaboratively and simultaneously create annotations in an intuitive discursive visualization environment using remote tablet PCs. The development of a unique, life-size, stereo visualization of this lost architecture, with spatialised semantic annotations, will enhance engagement with and understanding of this hugely significant event in history.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2069/1/article-msv-FINAL.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>CSREA Press</dc:publisher><dc:source>1-60132-192-9</dc:source><dc:title>Empire 3D: A Collaborative Semantic Annotation Tool for Virtual Environments</dc:title><rioxxterms:author>Abbott, Daisy</rioxxterms:author><rioxxterms:author>Bale, Kim</rioxxterms:author><rioxxterms:author>Gowigati, Ramy</rioxxterms:author><rioxxterms:author>Pritchard, Douglas</rioxxterms:author><rioxxterms:author>Chapman, Paul</rioxxterms:author><rioxxterms:project funder_name="AHRC">Enhancing Engagement with 3D Heritage Data through Semantic Annotation</rioxxterms:project><rioxxterms:publication_date>2011-11</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2076
Date: 2015-02-06

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>A crowd simulator which creates autonomous characters’ behaviour in crowds consists many components such as pathfinding, collision avoidance, character creation, behaviour system, and level of details. The majority of these involve different level of decision making in order to simulate autonomous agents’ behaviour. Some components have a few different algorithms that can be adopted. For a simulator with a large number of autonomous agents, these components need to be efficient to contribute to the creation of a faster and cheaper game environment. Otherwise bottlenecks may occur and this can led to a poor representation.&#13;
&#13;
In this paper we investigate these areas, discuss and compare existing approaches in each component, and select the best combination on Xbox 360 through a series of experiments on our crowd simulator within the Microsoft XNA framework. We used the Xbox 360 console for accurate testing which is not affected by other processes running in the background. We also optimise the application to overcome bottleneck issues. Our simulator is able to handle a large number of automonous agents with a healthy frame rate of 60 FPS. Based on our implementation and testing results, some recommendations are provided in this paper, which will be useful for independent game developers who create games containing autonomous crowd for Xbox 360 using XNA framework.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2076/1/idt110.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>IOS Press</dc:publisher><dc:source>1872-4981</dc:source><dc:title>Simulation of autonomous crowd behavior on Xbox 360</dc:title><rioxxterms:author>Ma, Minhua</rioxxterms:author><rioxxterms:author>Brittain, Matthew</rioxxterms:author><rioxxterms:publication_date>2011</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>AM</rioxxterms:version><rioxxterms:version_of_record>http://dx.doi.org/10.3233/IDT-2011-0110</rioxxterms:version_of_record></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2093
Date: 2015-02-06

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      <identifier>oai:radar.gsa.ac.uk:2093</identifier>
      <datestamp>2015-02-06T12:06:00Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>This paper presents a novel approach for interpretation of Computerised-Tomography (CT) scans.  The proposed system entails an automated transfer of selected CT scans onto a derfault Virtual Reality human model.  Contemporary training requirements often are proven to be time-consuming for the clinical facilities which have to split unevenly their operational time between radiological examinations and the Radiologists' training. Adhering to the contemporary training requirements we employed a plethora of VR and Human-computer Interaction techniques in order to enable the trainees to familiarise themselves with the interpretation of such data and their actual, spatial correlation inside the human body.  Overall the paper presents the challenges involved in the development of this method and examines the potential as well as the drawbacks for deployment of such system in large scale teaching audience.  Finally the paper discusses the results of an initial user-trial, which involved twelve trainee doctors, and offers a tentative plan of future work which aspires to customise the software for different learning levels.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2093/1/fulltext.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Springer</dc:publisher><dc:relation>http://www.springerlink.com/content/l26t174832l27r81</dc:relation><dc:source>978-3-642-02808-3</dc:source><dc:title>A Novel Approach to CT Scans’ Interpretation via Incorporation into a VR Human Model</dc:title><rioxxterms:author>Sakellariou, S</rioxxterms:author><rioxxterms:author>Charissis, V</rioxxterms:author><rioxxterms:author>Anderson, Paul</rioxxterms:author><rioxxterms:author>Ward, B M</rioxxterms:author><rioxxterms:author>Channock, D</rioxxterms:author><rioxxterms:project funder_name="Scottish Funding Council &amp; Chief Medical Officer">Medical Visualisation Network</rioxxterms:project><rioxxterms:publication_date>2009-07-19</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version><rioxxterms:version_of_record>http://dx.doi.org/10.1007/978-3-642-02809-0_58</rioxxterms:version_of_record></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2101
Date: 2015-04-13

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&#13;
The work featured in a number of exhibitions, and was seen in it's entirety at a solo exhibition at R O O M, May - June 2008, featuring 17 works in the series. Lesley Punton is represented by R O O M in the UK and in Europe. &#13;
&#13;
The initial, first works in the series were featured in Next Level magazine immediately prior to solo exhibition, and at Zoo Art Fair. The show also travelled as a solo exhibition to EKAC, Scotland in July 2008, and some of the works featured in "Mapping the Terrain", Mackintosh Museum, Glasgow, Nov 2008, and in "Back to the Things Themselves", a 2 person exhibition (with Judy Spark) for Glasgow International festival of Visual Arts, (GI) 2012, at the Briggait, Glasgow.&#13;
&#13;
The work will also feature in a monograph on the artist's work, due for publication in Autumn 2013.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2101/1/silverpoint_REF_output_1.pdf</dc:identifier><dc:language>en</dc:language><dc:relation>http://www.roomartspace.co.uk/past_detail.php?eventID=103&amp;eventType=exhibition&amp;theartist=ZOO%20ART%20FAIR</dc:relation><dc:relation>http://www.nextleveluk.com/gallery.aspx?id=15</dc:relation><dc:relation>http://news.gsa.ac.uk/content/default.asp?page=s48_6_1</dc:relation><dc:relation>http://www.glasgowinternational.org/index.php/events/view/back_to_the_things_themselves/</dc:relation><dc:relation>https://vimeo.com/44236583</dc:relation><dc:relation>http://dailyserving.com/2012/05/back-to-the-things-themselves/</dc:relation><dc:source>Lesley Punton</dc:source><dc:title>Series of silverpoint drawings.</dc:title><rioxxterms:author>Punton, Lesley</rioxxterms:author><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2120
Date: 2015-04-13

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ID: oai:radar.gsa.ac.uk:2125
Date: 2015-05-27

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      <identifier>oai:radar.gsa.ac.uk:2125</identifier>
      <datestamp>2015-05-27T14:13:21Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>So reads the text on one of the earliest modern road signs, a ‘danger board’ issued by The Scottish Cyclists’ Union. It is one amongst a plethora of others issued by national cycling organisations in the early 1880s. In this paper I aim to consider the implications of this sign using some of the techniques of object-analysis. This is, perhaps, an unfashionable methodology in the realms of academic transport history as it is more associated with material culture coming through art and design history that has traditionally laid emphasis on the primacy of the object. It could also be seen as dangerously close to the activities of collectors and enthusiasts when placed in the transport realm, without the respectability of traditional connoisseurship enjoyed in the visual arts.</dc:description><dc:format>application/vnd.openxmlformats-officedocument.wordprocessingml.document</dc:format><dc:identifier>http://radar.gsa.ac.uk/2125/1/This%20Hill%20TC%20Final%20RADAR%2015.docx</dc:identifier><dc:language>en</dc:language><dc:publisher>Johns Hopkins University Press</dc:publisher><dc:source>0040-165X</dc:source><dc:title>This Hill is DANGEROUS</dc:title><rioxxterms:author>Oddy, Nicholas</rioxxterms:author><rioxxterms:publication_date>2015-04</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2138
Date: 2016-01-13

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&#13;
John Hartley, Ecology Officer, Arts Council England (Convenor)&#13;
Judith Nesbitt, Chief Curator, Tate Britain&#13;
Alison Tickell, Director, Julie's Bicycle&#13;
Laura Sillars, Director of Programme, FACT, Liverpool&#13;
James Wallbank, Access Space, Sheffield</dc:description><dc:language>en</dc:language><dc:source>Climate Change and the Visual Arts</dc:source><dc:title>Climate Change and the Visual Arts</dc:title><rioxxterms:author>Carter, Justin</rioxxterms:author><rioxxterms:publication_date>2009</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2139
Date: 2015-04-13

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      <datestamp>2015-04-13T13:02:08Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>This was a large installation as part of a group show featuring 6 artists Amy Cutler, Bill Burns, Antti Laitinen, Andreas Shulenburg, Tim Silver and Ross Sinclair who have used islands as symbols of our ethical and moral attitudes now and in the past. It was exhibited in two museums in Denmark over the period of a year 2009/10. My contribution was is a large scale sculptural installation(14x14m) featuring video, sound, text and drawing.  The exhibition has an accompanying book. (144pp), n.b.The project was first made as a solo exhibition at the Fruitmarket Gallery in Edinburgh in 1999. in discussion with Julie R. need to check wasn’t used in RAE 2001 - we couldn't manage to check)</dc:description><dc:format>application/vnd.ms-powerpoint</dc:format><dc:identifier>http://radar.gsa.ac.uk/2139/1/SINCLAIR_ST._KILDAoutput-2.pptx</dc:identifier><dc:language>en</dc:language><dc:relation>http://www.e-flux.com/announcements/i-lands/</dc:relation><dc:source>ISBN : 978-87-7766-094-8</dc:source><dc:title>"I-Lands" exhibition, featuring the work&#13;
 "Journey to the Edge of the world –The New Republic of St Kilda"</dc:title><rioxxterms:author>Sinclair, Ross</rioxxterms:author><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2140
Date: 2015-02-10

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Chronic Obstructive Pulmonary Disease (COPD) is a common and debilitating lung condition. Pulmonary rehabilitation is effective in treating COPD. Rehabilitation, combining physical exercise with education, is usually undertaken in hospital or clinic-based groups led by a clinician. The support of the group is important. However, distance of travel, and mobility and transport problems can mean that patients are unable to participate. This paper describes a feasibility study to deliver a program to a group of patients in their own homes, improving accessibility. A novel videoconferencing system was installed in four patient’s homes, connected to their TV and the Internet. A physiotherapist delivered a pulmonary rehabilitation program, involving twice-weekly exercise sessions for eight weeks. All were visible and audible to maintain the group-based approach of the conventional program. The technology performed well, satisfaction was high, and clinical improvements occurred in all patients, comparable to a conventional program. Larger studies are warranted.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2140/1/p3083.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>ACM</dc:publisher><dc:source>978-1-4503-0228-9</dc:source><dc:title>Group pulmonary rehabilitation delivered to the home via the Internet: feasibility and patient perception</dc:title><rioxxterms:author>Taylor, Andrea</rioxxterms:author><rioxxterms:author>Aitken, Angus</rioxxterms:author><rioxxterms:author>Godden, David</rioxxterms:author><rioxxterms:author>Colligan, Judith</rioxxterms:author><rioxxterms:publication_date>2011-05-07</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version><rioxxterms:version_of_record>http://dx.doi.org/10.1145/1978942.1979398</rioxxterms:version_of_record></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2141
Date: 2015-02-10

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>In the UK, a ‘carer’ is someone who, unpaid, looks after a family member, friend or partner who could not manage without them because of frailness, illness or disability. In this paper, we present research on the role of the carer, and describe why it is important to consider carers in the design of new healthcare technology to support people to self care. By self care, we mean supporting people to take more control and responsibility for their own health and well-being. Our contribution is a set of design guidelines for new home monitoring technology. Our guidelines are distilled from a survey distributed to carers in Moray, North East Scotland on sharing health information and a follow-up discussion at a carers forum. We used these guidelines to design a new home monitoring system. The main difference with current systems is that data is primarily shared between carer and cared-for, rather than health professional and patient, and carers are encouraged to use the system to monitor their own health.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2141/1/3532a194.pdf</dc:identifier><dc:language>en</dc:language><dc:source>eTELEMED 2009</dc:source><dc:title>A home health monitoring system designed to support carers in their caring role</dc:title><rioxxterms:author>Taylor, Andrea</rioxxterms:author><rioxxterms:author>Wilson, Richard</rioxxterms:author><rioxxterms:author>Agamanolis, Stefan</rioxxterms:author><rioxxterms:publication_date>2009-02-01</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2142
Date: 2015-02-10

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      <identifier>oai:radar.gsa.ac.uk:2142</identifier>
      <datestamp>2015-02-10T08:00:25Z</datestamp>
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    <metadata>
      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Telecare is the remote or enhanced delivery of care services to people in their own home or community setting using ICT. Telecare is expected to play an important role in addressing some of the challenges of an ageing population. However, products are often unsatisfactory and a major contributing factor is that suppliers do not typically involve users in design processes. This paper describes a participatory design project involving 25 designers, 6 service users, 11 potential future service users and 2 telecare suppliers: six concept designs were created for a wearable alarm button in two half-day workshops. Our main contribution is to present the design features considered most important to users, which can be incorporated into future product designs and inform other wearable alarm systems for older people. As a result of the project, a leading supplier has invited users to participate in their research and development activities for the first time.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2142/1/Paper.pdf</dc:identifier><dc:language>en</dc:language><dc:source>CHI 2012</dc:source><dc:title>teleWEAR: engaging users and suppliers of telecare in product design</dc:title><rioxxterms:author>Taylor, Andrea</rioxxterms:author><rioxxterms:author>Bernard, Lorna</rioxxterms:author><rioxxterms:author>Pizey, Hugh</rioxxterms:author><rioxxterms:author>Whittet, Craig</rioxxterms:author><rioxxterms:publication_date>2012-05</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>SMUR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2143
Date: 2015-02-10

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      <identifier>oai:radar.gsa.ac.uk:2143</identifier>
      <datestamp>2015-02-10T08:02:04Z</datestamp>
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    <metadata>
      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Telecare is a term that covers a range of products and services that use new technology to enable people to live with greater independence and safety in their own homes. In this paper, we present an evaluation of the user experience of a familiar telecare product called a ‘personal trigger’ that provides a means of summoning assistance when help is needed. It is supplied as part of a community alarm service and should be worn at all times for continuous protection. Our evaluation is based on a survey distributed to over 1,300 clients in Moray, North East Scotland with a 60% response rate. The main findings are: clients view the service extremely positively, but almost two-thirds have never used their personal trigger to summon help and less than 8% wear it at all times; over two thirds of clients wear their personal trigger most or all of the time, predominantly because it makes them feel safer; almost one-third of clients wear their personal trigger only some of the time to not at all, mostly because it is too sensitive or they forget to put it on. The appearance of the personal trigger was found to be less significant, despite the large majority of respondents being women. However, there is a need for better design to make it more comfortable and enjoyable to wear. Over the coming years, many older people will have higher expectations of public services. Designers can make things that are attractive and work well, and should be included in teams that develop telecare technology.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2143/1/3950a051.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>CPS</dc:publisher><dc:source>978-1-4244-5803-5</dc:source><dc:title>Evaluation of the user experience of a standard telecare product – the personal trigger</dc:title><rioxxterms:author>Taylor, Andrea</rioxxterms:author><rioxxterms:author>Agamanolis, Stefan</rioxxterms:author><rioxxterms:publication_date>2010-02-10</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version><rioxxterms:version_of_record>http://dx.doi.org/10.1109/eTELEMED.2010.15</rioxxterms:version_of_record></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2148
Date: 2016-03-23

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<record>
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      <identifier>oai:radar.gsa.ac.uk:2148</identifier>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>'Continuum of the Unsayable and the Unspeakable'&#13;
This paper centres round two images which span the decade at issue: in one, US citizens witness the WTC attack; in the other, US executives witness the killing of Bin Laden. The first image contains a haunting and prescient representation of the unsayable and unspeakable, a version of which was to return so surprisingly and powerfully in the second image ten years later. In interview with Giovanna Borradori in 2003, Jacques Derrida proposed that there exists a double trauma in acts of terror such as those now metonymically held within the designation ‘September 11’. The attack on the WTC and the Pentagon involved, firstly and most obviously, the traumatising of commonly held interpretations of US landmass invulnerability made real by the physical destruction of life and property. The second order of trauma comes more abstractly from a pathological inability to comprehend what the first trauma really means. The nature of this inability – with its overlapping component parts of the politically unsayable and the&#13;
philosophically unspeakable - is of interest in this paper.&#13;
In accordance with Derrida’s first order of trauma, such acts of horrific physical destruction destroy a complacent present, which Chomskyites and others would seek to reconstitute in greater critical understanding of contemporary political affairs - thus political unsayableness would be superseded by discursive transparency.&#13;
But perhaps there is a more serious blockage in respect of the second order of trauma. Despite the fact that this year saw the realisation of George W’s goal of the death of Bin Laden, what might be done to address the unspeakable lingering trauma of acts of terror such as 9/11 and of the unseen acts which follow, and, alongside improved political nous, what shifts might we need to effect in our philosophical purview to contend with a precarious world not governed by a filmic logic of finality?</dc:description><dc:language>en</dc:language><dc:source>The "9/11" Decade: Rethinking Reality</dc:source><dc:title>Continuum of the Unsayable and the Unspeakable</dc:title><rioxxterms:author>Neil, Ken</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2151
Date: 2016-03-23

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<record>
    <header>
      <identifier>oai:radar.gsa.ac.uk:2151</identifier>
      <datestamp>2016-03-23T16:24:31Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>Following and building upon, Mapping the Future: Public Art in Scotland, three public seminars organised by PAR+RS, Duncan of Jordanstone College of Art and Design, and Creative Scotland, October 2010, this joint proposal seeks to disseminate some of the insights from those events in respect of salient ethical aspects of public art practice. This is in advance of a more detailed report and publication of findings, which might constructively draw upon the debates to be generated by the Stills event.&#13;
This paper focuses on one prominent theme offered to the Mapping discussions by Dutch artist Jeanne Van Heeswjik. For Van Heeswjik a productive ethics can emerge from that form of participatory art practice which facilitates ‘temporary fields of intervention’ which in turn foster the ‘intensification of trivialities’. By these means, the citizen experiences a constructive encounter with their own locale, cajoled by the artist, one which lingers in lore if not in artefact: the encounter might be termed ethical by Van Heeswjik as she encourages the participant to ‘act up’ in their environment and to take ownership of the locale for the duration of the project and beyond.&#13;
&#13;
Questions which emerged from discussion of Van Heeswijk’s practice, especially, and also from the presented work of Graham Fagen, and Tracy Mackenna and Edwin Janssen, relate expressly to the following suggested inquiries:&#13;
•	What is the role of aesthetics in relation to the ethical and the political?&#13;
•	Should the artist be subject to the same ethical codes and responsibilities as practitioners from other disciplines?&#13;
•	Is the viewer’s relationship with an artwork ethically different from our other encounters with objects, knowledge, individuals and communities?&#13;
&#13;
&#13;
With contextualisation by way of reference to Ranciere’s observations on the paradox of political art, and David Schwartz’s defence of art as dress-rehearsal for democratic politics, the paper speculates in conclusion on the ways in which practices explored at Mapping the Future: Public Art in Scotland might offer models for thinking further about how to circumvent Ranciere’s identified risk of critical art practice promulgating consensus by hubris or by accident.</dc:description><dc:language>en</dc:language><dc:publisher>Stills Gallery Edinburgh</dc:publisher><dc:source>'The Ethics of Encounter</dc:source><dc:title>Mapping Ethics of Public Art</dc:title><rioxxterms:author>Neil, Ken</rioxxterms:author><rioxxterms:author>Mackenna, Tracy</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2159
Date: 2015-04-13

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      <identifier>oai:radar.gsa.ac.uk:2159</identifier>
      <datestamp>2015-04-13T12:45:50Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Exhibition, List of works:&#13;
&#13;
Self-portrait in Suprematist Dress, 2004, photograph, 60 x 60 cm&#13;
Black Circle, 2004, photograph, 60 x 60 cm&#13;
Black Cross, 2004, photograph, 60 x 60 cm&#13;
Black Square, 2003, photograph, 60 x 60 cm&#13;
Red Square, 2004, photograph, 60 x 60 cm&#13;
White on White, 2005, photograph, 60 x 60 cm&#13;
&#13;
Stile, 2002, gloss oil paint on oak, 130 x 120 x 142.5 cm&#13;
&#13;
White on White, 2004, polyurethane kite, 79.4 x 79.4 cm&#13;
Black Cross, 2004, polyurethane kite, 106 x 106 cm&#13;
Black Circle, 2004, polyurethane kite, 106 x 106 cm&#13;
Red Square, 2004, polyurethane kite, 53 x 53 cm&#13;
Black Square, 2003, polyurethane kite, 106 x 106 cm&#13;
&#13;
Suprematist Dress after Malevich l, 2004, linen, size 14&#13;
Suprematist Dress after Malevich ll, 2004, linen, size 14&#13;
&#13;
Greenhouse, 2009, wood, toughened glass, plants, tissue paper, 299.5 x 262.5 x 431 cm&#13;
&#13;
Modern Lovers, 2009, screenprint, 49 x 56 cm edition of 20</dc:description><dc:format>application/vnd.ms-powerpoint</dc:format><dc:identifier>http://radar.gsa.ac.uk/2159/1/s.nielsen_RedYellowBlue.ppt</dc:identifier><dc:language>en</dc:language><dc:source>Red Yellow Blue</dc:source><dc:title>Red Yellow Blue</dc:title><rioxxterms:author>Nielsen, Susanne Norregard</rioxxterms:author><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2168
Date: 2015-04-13

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:format>application/vnd.ms-powerpoint</dc:format><dc:identifier>http://radar.gsa.ac.uk/2168/1/Animal_Vegetable_Material.pptx</dc:identifier><dc:language>en</dc:language><dc:publisher>Scottish Poetry Library</dc:publisher><dc:source>978 0 9562191 2 1</dc:source><dc:title>Animal Vegetable Material</dc:title><rioxxterms:author>Bellingham, David</rioxxterms:author><rioxxterms:type>Book</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2170
Date: 2015-04-13

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      <datestamp>2015-04-13T10:29:39Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:format>application/vnd.ms-powerpoint</dc:format><dc:identifier>http://radar.gsa.ac.uk/2170/1/Meaning_is_an_Added_Ingredient.pptx</dc:identifier><dc:language>en</dc:language><dc:source>978-0-9558273-2-7</dc:source><dc:title>Meaning is an Added Ingredient</dc:title><rioxxterms:author>Bellingham, David</rioxxterms:author><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2185
Date: 2015-04-13

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    <header>
      <identifier>oai:radar.gsa.ac.uk:2185</identifier>
      <datestamp>2015-04-13T12:54:40Z</datestamp>
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    <metadata>
      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>A curated group exhibition of multiples and limited editions specifically made for ROOM, London. The works shown by Punton were the first two (of five) works in a series entitled "The Lightships Series".&#13;
&#13;
These works were subsequently shown at the exhibition "Back to the Things Themselves" for GI (Glasgow International) Festival of Visual Arts, and will feature in a monograph on the artist's work due for completion in Autumn 2013.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2185/7/ROOM_collaborators_REF_output_2.pdf</dc:identifier><dc:language>en</dc:language><dc:relation>http://www.exacteditions.com/exact/browse/334/351/5130/3/48</dc:relation><dc:relation>http://lesleypunton.com/page4.htm</dc:relation><dc:relation>http://lesleypunton.com/page3.htm</dc:relation><dc:relation>http://lesleypunton.blogspot.com/search/label/lightships</dc:relation><dc:relation>http://www.glasgowinternational.org/index.php/events/view/back_to_the_things_themselves/</dc:relation><dc:relation>http://www.glasgowinternational.org/index.php/artists/view/lesley_punton/</dc:relation><dc:relation>https://vimeo.com/44236583</dc:relation><dc:relation>http://dailyserving.com/2012/05/back-to-the-things-themselves/</dc:relation><dc:source>ISSN 0142 6702 (art monthly review)</dc:source><dc:title>ROOM collaborators</dc:title><rioxxterms:author>Punton, Lesley</rioxxterms:author><rioxxterms:publication_date>2009-05</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2188
Date: 2015-04-13

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    <header>
      <identifier>oai:radar.gsa.ac.uk:2188</identifier>
      <datestamp>2015-04-13T12:53:57Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>"We feel that even when all possible scientific questions have been answered, the problems of life remain completely untouched." -Ludwig Wittgenstein.&#13;
Part academic presentation, part performance, part discursive documentary, this presentation takes an alternative approach to the format of conference presentation in order to argue, by constructive example, that art arrives at its own unique forms of knowledge and knowledge generation through speculative experimentation with concrete reality, form and process. &#13;
The profound success of certain forms of epistemic enquiry - principally scientific research and academic thought - has resulted in a relative marginalization of creative and improvisatory forms of critical and analytical investigation and to a parallel adoption, within the arts especially, of aspects of the terminology of science in order to legitimate the processes and practices of art production and consumption. For example, the use of the term ‘experiment’ is itself predicated upon an implicit association with empirical science as opposed to the more abstract trials and even ‘play’ that are fundamental to art production. Drawing upon the experiments of Swiss artist Roman Signer (who’s work literally fuses the improvisatory and experiential with the more exacting necessities and laws of physics, often to explosive effect), this presentation seeks to propose that the language and significance of alternative forms of communication (situated knowledge, contemplation, humor, sex, reverie, narrative etc.) offer valuable ways to understand the indispensable contribution of experimental creativity (art) to our understanding of the world and our place within it.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2188/10/L_Punton_portfolio_1.pdf</dc:identifier><dc:language>en</dc:language><dc:relation>http://vimeo.com/27673860</dc:relation><dc:relation>http://lesleypunton.blogspot.com/2011/09/coffee-grounds.html</dc:relation><dc:relation>http://www.vaultartglasgow.com/</dc:relation><dc:source>NIEA Experimental Arts Double Conference</dc:source><dc:title>Experiments in Situated Knowledge</dc:title><rioxxterms:author>Punton, Lesley</rioxxterms:author><rioxxterms:author>Hamlyn, Jim</rioxxterms:author><rioxxterms:project funder_name="The Glasgow School of Art">GSA RDF fund award RD10117, budget code 21998, cost centre 595</rioxxterms:project><rioxxterms:project funder_name="Grays School of Art/Robert Gordon University">GSA RDF fund award RD10117, budget code 21998, cost centre 595</rioxxterms:project><rioxxterms:project funder_name="The British Council">GSA RDF fund award RD10117, budget code 21998, cost centre 595</rioxxterms:project><rioxxterms:project funder_name="Sydney College of the Arts">GSA RDF fund award RD10117, budget code 21998, cost centre 595</rioxxterms:project><rioxxterms:publication_date>2011-08</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2192
Date: 2016-05-05

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    <header>
      <identifier>oai:radar.gsa.ac.uk:2192</identifier>
      <datestamp>2016-05-05T10:01:27Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><ali:license_ref>http://creativecommons.org/licenses/by-nd-sa/4.0</ali:license_ref><dc:description>The National Advisory Council on Art Education report of 1961 - the Coldstream Report - contained recommendations to Government as to the constituent parts of the new Diploma in Art and Design which was to replace to a higher standard the existing National Diploma in Design. One recommendation was the inclusion in all Dip.A.D.-awarding programmes of ‘history of art and complementary studies’.&#13;
Coldstream recommended that an independent body be established to scrutinise content and structure of those institutions seeking to validate their provision at Dip.A.D. level. Following Coldstream’s guidance, the Ministry of Education set up the National Council for Diplomas in Art and Design, chaired by Sir John Summerson. In 1962, the Summerson Council visited institutions seeking the new accreditation, with the auditing carried out by five designated panels viz: Fine Art, Graphic Design, Three Dimensional Design, Textiles/Fashion, and History of Art and Complementary Studies (HACS).&#13;
While it can be said that the recommendations of the Coldstream Report saw traditional academic standards rise in keeping with the ambition of the new Dip.A.D., it is also true to say that the Report contributed in a significant way to a trajectory for history of art and complementary studies which ended up, in many HEIs, with a separation, both operational and psychological, between the disciplines of history &amp; theory and studio.&#13;
The Summerson Report of 1964, which reflected on the transition from N.D.D. to Dip.A.D., was particularly critical of institutions’ efforts in respect of History of Art and Complementary Studies. That assessment was perhaps unkind, as academic teams had had little more than a year post-Coldstream to implement new programmes in this area to meet the standards of Summerson’s visiting panels.&#13;
Whatever the case, the report was indeed sceptical, not only towards HACS, and many institutions did not at first secure approval for the award of Dip.A.D. At this point, for the purposes of securing Ministry approval, many programmes in HACS were devised expediently by newly recruited staff tasked to develop, and quickly, a discrete discipline area, one amongst five as described by Coldstream.&#13;
An unfortunate - although predictable - upshot of the strategic work in the 1960s was the adoption by HACS faculty members of the mantle of protector of academic standards, which served to establish and/or reinforce an ontological distinction between theoretical and conceptual work on the one hand, and practical and technical work on the other.&#13;
Counterforces to this authority were the far-reaching conclusions of poststructuralism and postmodernism in the academy of the 1970s and 80s. Not twenty years after Summerson, it became untenable to claim from the vantage point of ‘history of art and complementary studies’ that there was an inviolable form of culture that must be meted out in uniform ways to students of art, design and architecture. While it is beyond doubt, the poststructuralists said, that certain artworks, designed objects and buildings were brought into the world at certain times in our cultural history, what is undoubtedly a matter of doubt is the definitive meaning of those creative phenomena.&#13;
So, an omnipresent message in education of the late 20thC, for better or for worse, was (and still is in less militant form) that knowledge is not delivered beyond doubt by the HACS department nor for that matter by the productions of the creative practitioner. Rather, knowledge is a constructive process which involves the reader as much as the author; the artist as much as the theorist; the social as much as the individual; the student as much as the teacher, and so on.&#13;
An interesting consequence of this late-century challenge to accepted canons of knowledge was the pragmatist’s association of the working process of the artist and designer with the manner in which knowledge is brought into the world, namely, through a networked process of testing through practice.&#13;
Drawing, for example, was cited by commentators as a touchstone of new conceptions of knowledge production: all ‘marks’ or ‘facts’ are subject to erasure, overlay, rubbing out, and all marks are, in part, determined by the structure of the drawing itself as well as by factors external to its own logic. As blogging, wiki-ing and twittering now suggest, all individuals can ‘draw’, all individuals can make their mark in the fluid construction of fields of knowledge.&#13;
Acknowledging the epistemological and philosophical pressures outlined above, and taking cognisance of ‘open school’ discourse prevalent today, this paper looks at what shape a contemporary HACS operation might take in the art academy of the 21stC, with reference to contemporary policy priorities in the fields of art, design and architecture education. It looks to contemporary activity in studio and curatorial practice for explanatory models of knowledge production and dissemination, and reflects on the significance of the Coldstream and Summerson reports for art education today.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2192/1/AuthorityPragmatismNov27th10.pdf</dc:identifier><dc:language>en</dc:language><dc:source>'Constructing the Discipline', 3rd Annual Conference of Art Historiography</dc:source><dc:title>Authority and Pragmatism in the 21stC Art School</dc:title><rioxxterms:author>Neil, Ken</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2194
Date: 2016-05-05

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<record>
    <header>
      <identifier>oai:radar.gsa.ac.uk:2194</identifier>
      <datestamp>2016-05-05T10:15:07Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:license_ref start_date="2010-05">http://creativecommons.org/licenses/by-sa/4.0</ali:license_ref><dc:description>'The Archive and Critical Theory' is an invited contribution to 'Capturing Creativity: Exploring the Archives of Artistic Practice', a symposium organised by the GSA Archives and Collections Centre, May 2010. The paper presentation covers aspects of critical theory relevant to discourse on the archive. With a focus on artistic uses of the archive, the paper addresses points on a spectrum defined by the archive as indiscriminate accumulation and the archive as regulated and mandated collation. This analysis touches on an idea of the manic archive as a bittersweet essay on the fugitive dimension of life, at the same as it is emblematic of the power of the human spirit of creation and collection in the face of that temporality. This is balanced with a summary of theoretical positions on the archive as a (potentially disciplinary) mandated enterprise, with its own direct and indirect governing tenets. Contemporary artists appear to be making ever more use of archives: for reasons relating to the specific content of archival materials, of course, but also because of the abstract critical meanings which orbit any archive as a form of knowledge. With focused reference to artist Nicky Bird's current residency in Glasgow Women's Library, this talk thinks through some aspects of the prominent role that the archive plays in contemporary practice and in critical theory.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2194/1/ArchiveCriticalTheory%20KNeil%20May2010%20slides.pdf</dc:identifier><dc:language>en</dc:language><dc:relation>https://vimeo.com/59501387</dc:relation><dc:source>Capturing Creativity: Exploring the Archives of Artistic Practice</dc:source><dc:title>The Archive and Critical Theory</dc:title><dcterms:dateAccepted>2010-05-01</dcterms:dateAccepted><rioxxterms:author>Neil, Ken</rioxxterms:author><rioxxterms:publication_date>2010-05</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2196
Date: 2016-03-23

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<record>
    <header>
      <identifier>oai:radar.gsa.ac.uk:2196</identifier>
      <datestamp>2016-03-23T16:39:21Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>The Rules of Collective Art: Interpretation, Social Engagement and Authorship in Contemporary Community-based Art.&#13;
&#13;
The dramatic development of the field of socially engaged art over recent decades demands that new critical methods are developed to evaluate the status of art produced in this way. This session will build a frame of reference around these artworks by calling for papers from art historians, art critics, theorists, artists and educationalists involved in this field. The session will seek to map out the shifting boundaries of classification and meaning which arise from contemporary art production in collaboration with communities. We are interested in papers which make reference to new approaches to critical evaluation in this area that may be influenced by, for example, social geography, cultural sociology and social anthropology, as well as by contemporary developments in art theory. At stake in socially engaged artistic processes is the ‘consecrated value’ of the art object (modernist and postmodernist) and the definition of the authorship of contemporary artworks produced through community collaboration. The work of Pierre Bourdieu, for example, specifically his examination of 19th Century literary modernism in The Rules of Art, 1996 , has led to challenges to traditional modernist notions of the work of art, its intention and its audience. The collective nature of the process of socially engaged artistic production lays down a challenge to the individualism inherent in institutionally verified processes of artistic production, both in art college education and in the art market. Wider debates about social value, state patronage and creative entrepreneurialism are also directly engaged by this form of artistic practice, so too deeper notions of art as labour.&#13;
Ultimately these artworks and the processes out of which they are made require a reappraisal of the concepts and methods available to art historians in assessing their impact and artistic value. With its cross-disciplinary approach, this session will help further that investigation.</dc:description><dc:language>en</dc:language><dc:source>Association of Art Historians Annual Conference</dc:source><dc:title>The Rules of (Collective) Art</dc:title><rioxxterms:author>Neil, Ken</rioxxterms:author><rioxxterms:author>Baillie, Robin</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2204
Date: 2016-05-05

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      <identifier>oai:radar.gsa.ac.uk:2204</identifier>
      <datestamp>2016-05-05T10:45:56Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><ali:license_ref start_date="2009-06-23">http://creativecommons.org/licenses/by-nd-sa/4.0</ali:license_ref><dc:description>Ours is a discussion paper which addresses, chiefly, the conference themes of: ‘equity &amp; social justice’ and ‘theory &amp; methods’. The paper is based on long-standing professional expertise in the area of Widening Participation (WP) in Art, Design and Architecture (ADA) in Higher Education and on research interest in the traditions and conventions, both bureaucratic and linguistic, which serve the infrastructure of formal education in ADA.&#13;
The first part of the paper argues for a strategic approach to WP agendas within ADA to be informed by 1) the theory and methods of Pierre Bourdieu (1930-2002), specifically his work on the ‘aristocracy of culture’ and the operations of ‘cultural capital’ and 2) the recent work of James Elkins (b.1955) on the conventions of contemporary art education, in particular his application of Stanley Fish’s concept of ‘interpretive communities’ to ADA. The emergent strategy is one which recognises that socio-economic class remains the predominant obstacle to achieving credible diversity of student background in creative education at HE level. &#13;
As Bourdieu makes clear, the non-acquisition of the codes and behaviours of operative cultural capital creates an acute and erroneous sense of incompleteness on the part of a reflexive working class applicant to art school who inwardly registers his/her perceived difference in capital inheritance.  &#13;
Elkins is right, we argue, to draw our attention to the explicit and implicit sharing of bureaucratic and evaluative vocabularies within the art academy: he usefully demonstrates the ways in which such vocabularies reinforce a complacent sense of liberal tolerance while cementing interpretive positions in ADA familiar to those with an appropriate level of cultural and educational wherewithal.&#13;
For the second part of our presentation we will introduce to delegates GSA’s Prato Project: an international exchange programme between GSA and Monash University.  This unique project sees Scottish students from lower socio-economic backgrounds join Australian liberal arts students in Tuscany. An intensive project, it has a twofold impact – on both ‘non-acquisition’ and ‘decoding vocabularies’, following Bourdieu and Elkins – by helping to familiarise less culturally privileged students with world renowned examples of renaissance culture, and by offering them a discursive environment in which to share and decode cultural preconceptions, build confidence, and help them identify as genuine participants in local, national and international culture. Often lacking confidence in, and alienated from, the dominant culture that pervades UK art schools, the following quote is a typical example of the project’s impact: ‘I thought I was prepared for what was going to happen on the trip. I don’t think I knew exactly how much it would have contributed to the person I am today. It changed many things about me such as my confidence, independence and my hunger for learning. Since the trip I have been to Prague, Berlin, Barcelona and Riga. This is all because I now have the confidence to travel’. &#13;
In sum, our paper recommends that socio-economic class, and the ‘coding’ confidence issues which ensue, be kept in the foreground when addressing equity of participation in HE ADA. For open discussion we wish to hear of colleagues’ efforts in these areas, and share good practice, with the Prato Project as touchstone, to further test the insight and potential for institutional change which these theories and methods present.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2204/1/CRLL%20Conference%20Programme%20Book%202009.pdf</dc:identifier><dc:language>en</dc:language><dc:relation>http://www.crll.org.uk/</dc:relation><dc:source>Lifelong Learning Revisited: What Next?</dc:source><dc:title>Accessing and Decoding Communities of Cultural Capital</dc:title><rioxxterms:author>Neil, Ken</rioxxterms:author><rioxxterms:author>Reid, Eileen</rioxxterms:author><rioxxterms:publication_date>2009-06-23</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2206
Date: 2016-05-05

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>This presentation prefaced a conference strand at the ELIA-sponsored European Forum on Research Degrees in Art and Design (EUFRAD) on the tenets of artistic research that underpin higher research degrees by creative practice in the art academies. Covering tensions between textual and artistic outputs, the paper introduced the strand debate by positing that there is a particular epistemology to research degrees in art and design that might suggest that the dichotomy is less than useful to the art academy.</dc:description><dc:language>en</dc:language><dc:relation>http://www.elia-artschools.org/news/eufrad-at-the-glasgow-school-of-art-2</dc:relation><dc:source>European Forum for Research Degrees in Art and Design (EUFRAD)</dc:source><dc:title>Key Ideas in Artistic Research</dc:title><rioxxterms:author>Neil, Ken</rioxxterms:author><rioxxterms:publication_date>2009-09</rioxxterms:publication_date><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2213
Date: 2016-05-05

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      <identifier>oai:radar.gsa.ac.uk:2213</identifier>
      <datestamp>2016-05-05T09:38:48Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><ali:license_ref start_date="2008-09-12">http://creativecommons.org/licenses/by-nd-sa/4.0</ali:license_ref><dc:description>Pointing out en route that the Spanish verb for ‘reify’ is, cosificar, to ‘thingify’, Timothy Bewes, in his 2002 Reification or the Anxiety of Late Capitalism, coined the term ‘thingitude’ to take forward, after Lukács, discourse on reification. Bewes employs thingitude to register a possibly productive condition of reification, one which recognises something more than the basic and conventional alienation duly brought about by a concatenation of reified experiences in the face of modern living. &#13;
Bewes sees thingitude (in the spirit of Aime Cesaire’s usage of ‘negritude’) as more usefully expressive of a “‘poetics of objectification’ arising out of a willingness to name that process as such, and a refusal to accede to its logic.” Thingitude does not rest, then, on a counter position of essence in the face of reification, and thus avoids the bind of inevitable complicity with the “cycle of capitalist accumulation and appropriation”. &#13;
The illusionistic picturing of the everyday in Photorealist painting can be easily read as an illustration of an all-too-recognisable urban alienation, which might encourage a beholder to feel nostalgic for a ‘warmer’ engagement with the world. On the other hand, the everyday in Photorealism might embody a poetics of objectification which does not counterpoise reification with an intimation of essence or alterity; indeed, such painting, at first glance, works in exactly the opposite direction through its own demonstrable reification of phenomena by way of mechanistic mark making. &#13;
This paper, then, analyses American Photorealist paintings as touchstones in an exploration of thingitude and seeks to discover a poetics in line with Bewes which reveals a philosophical pragmatism at the heart of Photorealism which can, in turn, temper normative assumptions about reification and capitalism.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2213/1/Provisional%20programme%20RepresentingEverydayAmericanVisualCulture2008.pdf</dc:identifier><dc:language>en</dc:language><dc:source>Representing the Everyday in American Visual Culture</dc:source><dc:title>Realism, Reification, Pragmatism: Photorealist Painting and the Limit of Common Sense</dc:title><rioxxterms:author>Neil, Ken</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2222
Date: 2016-07-13

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      <identifier>oai:radar.gsa.ac.uk:2222</identifier>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>Visual art performance. I was a performer in this one off event in the Tramway. The two artists collaborated with me on a musical accompaniment to a Dada-inspired poem that used Genet inspired language and onomatopoeia.</dc:description><dc:language>en</dc:language><dc:publisher>Performer in a performance by Clare Stephenson and Sophie Macpherson</dc:publisher><dc:source>Shoplifters, Shopgirls’</dc:source><dc:title>‘Shoplifters, Shopgirls’</dc:title><rioxxterms:author>Pollard, Alex</rioxxterms:author><rioxxterms:publication_date>2011-05-21</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2246
Date: 2016-08-29

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>This research investigates the role of the designer educator in the development of digitally created and digitally printed textiles. The term designer educator has been created and defined for this research to describe individuals who engage in their own creative design practice and work in design education. Creative practice is defined as a designing or making based activity. This thesis argues that, for textile designer educators, working in an increasingly digital age, undertaking creative practice is of critical importance, due to the significant benefits that engagement in this activity provides for the individual, students and education institution. &#13;
&#13;
The rationale for undertaking this research arose from personal observations and experiences, supported by situations existent in contemporary textile design higher education (HE) in the United Kingdom (UK). This thesis responds to pressures placed upon educators by the contemporary education system which can be counterproductive to undertaking own creative practice. As equipment and processes are continually evolving, this situation is considered particularly problematic for individuals involved with teaching digital technologies. Designer educators’ creative practice is seen as a means to update skill and understanding, which can be used to enhance teaching and curriculum content. A self case study, quantitative survey and case studies with other designer educators, primarily consisting of qualitative interviews are used to investigate the role of the designer educator and in particular those working with digital technologies. The project centres on textile design HE in the UK, although it is anticipated that findings and conclusions will be transferable to other art and design disciplines.&#13;
&#13;
This thesis increases understanding surrounding the nature of the contemporary textile designer educator role operating in UK HE; in doing so the multifarious nature of the term is exposed. The importance of designer educators’ creative practice has been identified in view of the benefits that participation in this activity brings to the individual, students and educational institution. In particular, engagement in creative practice has been found to be critically important for those involved with teaching digital design and printing technologies, due to the need to keep pace with technological developments. Although forms of support exist for designer educator creative practice, issues and difficulties are encountered. This thesis proposes a series of strategies directed towards individuals, educational institutions and organisations to enhance support for the maintenance and development of designer educators’ creative practice.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2246/1/A-2.pdf</dc:identifier><dc:language>en</dc:language><dc:title>Practising to Teach: an investigation into the role of the designer educator in the development of digitally created and digitally printed textiles.</dc:title><rioxxterms:author>Britt, Helena</rioxxterms:author><rioxxterms:publication_date>2008-09</rioxxterms:publication_date><rioxxterms:type>Thesis</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2253
Date: 2015-02-16

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>'Cooperation Collaboration' (Bremner &amp; Britt 2009a) features in the publication 'Awaken: New Textiles Inspired by the Archives and Collections at The Glasgow School of Art' (Stephen-Cran 2009a).</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2253/1/C%26Cs.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>The Glasgow School of Art</dc:publisher><dc:source>978-0-9560317-4-7</dc:source><dc:title>Cooperation Collaboration</dc:title><rioxxterms:author>Bremner, Elaine</rioxxterms:author><rioxxterms:author>Britt, Helena</rioxxterms:author><rioxxterms:publication_date>2009-01-24</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>SMUR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2254
Date: 2015-10-26

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      <datestamp>2015-10-26T12:03:17Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>Examining all areas of Louise Hopkins's practice, from the early painting on the reverse of everday fabrics to later work using maps, photographs, sheet music and comic books as a support structure for her painting. Essays by Fiona Bradley, Greg Hilty, Ulrich Loock.</dc:description><dc:language>en</dc:language><dc:publisher>The Fruitmarket Gallery, Edinburgh</dc:publisher><dc:source>0947912 98 3</dc:source><dc:title>Freedom of Information: Paintings and drawings 1996-2005</dc:title><rioxxterms:author>Hopkins, Louise</rioxxterms:author><rioxxterms:author>Bradley, Fiona</rioxxterms:author><rioxxterms:author>Hilty, Greg</rioxxterms:author><rioxxterms:author>Loock, Ulrich</rioxxterms:author><rioxxterms:publication_date>2005-10-03</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2255
Date: 2015-02-16

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      <datestamp>2015-02-16T10:09:12Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>'Shadow, Surface, Geometry &amp; Perspective' features in the publication 'Awaken: New Textiles Inspired by the Archives and Collections at The Glasgow School of Art' (Stephen-Cran 2009a).</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2255/1/SS%26G_s.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>The Glasgow School of Art</dc:publisher><dc:source>978-0-9560317-4-7</dc:source><dc:title>Shadow, Surface, Geometry &amp; Perspective</dc:title><rioxxterms:author>Britt, Helena</rioxxterms:author><rioxxterms:author>Bremner, Elaine</rioxxterms:author><rioxxterms:publication_date>2009-01-24</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2259
Date: 2016-05-04

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    <header>
      <identifier>oai:radar.gsa.ac.uk:2259</identifier>
      <datestamp>2016-05-04T15:49:16Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><ali:license_ref start_date="2012">http://creativecommons.org/licenses/by-nd-sa/4.0</ali:license_ref><dc:description>This is an edited selection from Ken Neil's report on, and discursive response to, the three October colloquia, Mapping the Future: Public Art in Scotland; supported by Creative Scotland and PAR+RS and hosted by Duncan of Jordanstone College of Art and Design's Visual Research Centre, based at Dundee Contemporary Arts. The full report is accessible through the website of Public Art Scotland, http://www.publicartscotland.com/</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2259/1/Public%20Art%20Future%20Scotland%20Drouth%202012.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Creative Scotland</dc:publisher><dc:source>1474-6190</dc:source><dc:title>Art: Public: Scotland: Future</dc:title><rioxxterms:author>Neil, Ken</rioxxterms:author><rioxxterms:publication_date>2012</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2260
Date: 2016-04-21

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      <datestamp>2016-04-21T10:16:58Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Abstract&#13;
&#13;
This dissertation presents a critical study of the development of technical drawing in Britain 1790-1850 in relation to wider visual culture. Technical drawing is often perceived as being an inexpressive, de-natured style and has been largely neglected within art history. Indeed, the images that make up the distinct genre of technical drawing and illustration were produced within distinctive organizational structures such as factory drawing offices and illustrated mass-market publications outside the framework of recognized fine art practices.  Nevertheless, I argue that the development of technical drawing and illustration in this period has direct relevance to the discipline of art history, not least because of the rapid growth and spread of this style within wider visual culture.&#13;
&#13;
Using an interdisciplinary approach, I ask how the conditions of production of this style affected its later reception. Particular emphasis will be given to the materiality of production in relation to discursive practices in order to address these questions:&#13;
-Why is technical drawing now seen as inexpressive and inartistic?&#13;
-How was technical drawing made to seem authoritative with its viewers?&#13;
&#13;
The dissertation moves through three areas, subdivided into pairs of chapters. The first area covers questions that relate to current disciplinary boundaries, and their connections to the cultural politics of the period around 1800. The middle section is concerned with the symbolic and expressive aspects of technical drawing and its characteristic linear markings, and proposes that meaning and expression are read by the viewer as much through an awareness of the embodied practices and the materiality of surfaces and production methods used as much as in the depicted content of the image. The final most substantial section of the dissertation is concerned with the ways in which different groups within engineering hierarchies sought to use drawing skills both as a means of self-presentation and for professional formation in the period to 1850. &#13;
&#13;
The first section, consisting of Chapters 2 and 3, is concerned with art, industry and cultural politics up to and around 1800 in order to question the various narratives and assumptions that formed my starting point. Chapter 2, ‘Civil engineers and Royal Academicians’ examines how accounts of drawing in art and industry in this period have become separated.  Chapter 3, ‘Provincials, pupils and print’, expands this framework.  While Chapter 2 will question accounts of drawing practice for art and industry in relation to familiar and specific locations of cultural production this chapter by contrast addresses accounts of both production and reception of drawing practices within wider visual culture in the decades around 1800. It poses the question of where else, beyond the Royal Academy or in engineering practices, might one have learnt to draw in Great Britain, and to what end? &#13;
&#13;
Chapters 4 and 5, ‘Fabricating the line’ will ask what aesthetic and symbolic meanings can be taken from styles of mechanical drawing adopted in the first half of the nineteenth century. The argument uses, but also criticises, art historical methods of interpretation based on techniques of visual descriptive analysis and stylistic comparison. Chapter 4, ‘Purity, progress and labour’ examines the meanings that can be attributed to the use of fine uniform ruled lines, and compositional formats of technical drawings on the page, while Chapter 5, ‘Multiplying marks’, examines technical illustrations in print, in order to argue that in the period 1800-c.1830 technical drawing and technical illustration developed in tandem to create a visual style that displayed the industrial system to viewers outside the factory. &#13;
&#13;
In my two final chapters 6 and 7 I build on contextual supporting arguments in order to investigate in more detail the social relationships around technical drawing, in the workplace and in professional formation in competition with other occupational groups. I examine questions of professional formation and occupational fragmentation both in relation to elite engineers in Chapter 7 (‘Professional engineers in the world of industrial readers’) and in relation to technical draughtsmen in Chapter 6 (‘Social networks: Artisans, draughtsmen and working relationships’). Draughtsmen comprise a social group that is poorly documented and barely researched in the Britain of this period, in contrast to the scholarship and evidence that relates to the situation in our near industrial neighbour, France. Chapter 6 considers draughtsmen as industrial workers. My findings allow me to argue that the relative invisibility of draughtsmen was not so much the result of their non-elite status, but rather because their status was disputed and problematic. In the first half of the nineteenth century, draughtsmen were squeezed in conflicts about control and autonomy in the workplace, in public anxieties about worker education, and in cultural conflicts about the alleged deficiencies of taste in design for the products of British manufacture. &#13;
&#13;
Chapter 7 complements the discussion of professional fragmentation in engineering in Chapter 6 by discussing the visual practices of elite engineers in the first half of the nineteenth century in relation to professional formation, self-presentation, and authorship, and explores aspects of the tensions involved in engineers’ attempts to gain status by making a claim to special expertise and at the same time of popularising their knowledge and achievements in a milieu of competition with other elite professional groups within a culture of display. &#13;
&#13;
 My research demonstrates that in the period to 1850 in Britain, engineers and technical draughtsmen absorbed, selected, and appropriated expressive practices and discourses from fine art in their work and in their self-fashioning as technical artists, and on that basis they developed new and distinctive conventions of composition, mark making and presentation. In training themselves, technical draughtsmen and engineers developed their visual styles through copying from a wide range of examples and conventions. Draughtsmen could thus reflect on their own selections, and create pictures that reflected their own making. &#13;
&#13;
I show that the methods of art history are necessary and relevant in informing the analysis of a topic that is usually confined to histories of technology or science, but these must be integrated with methods and ideas from the history and science and technology. Moving inside the artworld of technical drawing gives a textured account of the ways in which groups of practitioners sought to gain authority by visual means, either with their immediate peers and rivals, or with more general viewers, thus breaking down topic of ‘technical drawing’ into a much more differentiated field of human activity where visual descriptive analysis begins to have a purchase on issues of the social history of ‘arts and manufactures’ in Britain in the period to 1850. Approaches from the history of technology and science inform my examination of the social and technical negotiations for status in visual production; in addition, two particular topics from the history of science have developed this dissertation towards future research questions I will follow as an art historian interested in visual communications: first, questions about how truth claims have been established and contested through demonstration, and second, in relation to ‘print culture’ how areas of specialist expertise are constructed and presented to general readers</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2260/1/Full_length_thesis_for_pdf_printing%2Backnowledgements.pdf</dc:identifier><dc:language>en</dc:language><dc:title>Ruling the line: learning to draw in the first age of mechanical reproduction</dc:title><rioxxterms:author>Robertson, Frances</rioxxterms:author><rioxxterms:type>Thesis</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2261
Date: 2015-02-06

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      <identifier>oai:radar.gsa.ac.uk:2261</identifier>
      <datestamp>2015-02-06T10:05:08Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Many commentators agree that artistic and scientific approaches to visual knowledge suffered a split in the latter half of the nineteenth century along an axis that has been loosely characterised as subjective—objective (Daston and Galison 2007: Kemp 1990: Crary 1991). But other practices of non-observational drawing for design for example in engineering also sought to produce knowledge through visual means. At the same time, however, engineering was often promoted as a rational public enterprise through techniques of spectacular display, and although engineers had been recruited as allies of the BAAS in order to proclaim an attachment to the ‘idea of progress’ (Morrell and Thackray 1981: 266) they were often kept in a subordinate position. In the intellectual hierarchy of science, elite engineers had to negotiate the danger that they were possibly too visible. These dilemmas can be examined in the two separate visual practices that mark the career of the engineer David Kirkaldy. &#13;
&#13;
Kirkaldy began his career as a bravura naval draughtsman in the firm of Robert Napier &amp; Sons, but later negotiated his status as a serious experimenter in material testing science by making a stylistic break in his practice whereby he rejected the impressive drawing skills he had developed earlier in his life. Instead he contrived methods by which nature could be made to represent herself graphically in his laboratory of material testing. Although the notion of nature representing herself was most often applied to the adoption of photographic data in science in the last decades of the nineteenth century, Kirkaldy used the same concept in the medium of massive real-world materials such as rolled steel plate. My interest in engineers such as Kirkaldy is in his ability to select from and use a range of visual styles to communicate with different audiences, and in his rhetorical use of technologies of inscription, from hand drawing, to the use of mechanical drawing aids, print techniques, and photography.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2261/3/1-s2.0-S0160932713000215-main.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Elsevier</dc:publisher><dc:relation>http://www.sciencedirect.com/science/article/pii/S0160932713000215</dc:relation><dc:source>ISSN: 0160-9327, ESSN: 1873-1929</dc:source><dc:title>David Kirkaldy (1820-1897) and his museum of destruction: the visual dilemmas of an engineer as man of science</dc:title><rioxxterms:author>Robertson, Frances</rioxxterms:author><rioxxterms:publication_date>2013-08-14</rioxxterms:publication_date><rioxxterms:type>Journal Article/Review</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version><rioxxterms:version_of_record>http://dx.doi.org/10.1016/j.endeavour.2013.03.002</rioxxterms:version_of_record></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2263
Date: 2015-04-13

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    <header>
      <identifier>oai:radar.gsa.ac.uk:2263</identifier>
      <datestamp>2015-04-13T10:30:37Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>This photographic project (2007-10) investigated the physical and emotional effects of economic change and regeneration. This involved close collaboration with individuals and communities across Scotland whose surroundings have undergone significant upheaval - whether caused by a decline in heavy industry, or housing regeneration. The resulting body of work consisted of 26 digital montages, which deployed two kinds of photographic language in articulating change to place: the family snap, and a contemporary landscape photograph. The contribution to knowledge is embodied, in the first instance, within these images. Location photography was completed by 2009; the touring exhibition produced in 2008 with new works added 2009-10. The 2008 exhibition consisted of 17 87 x 57cm prints, framed, unglazed; 7 57 x 35cm prints, framed, unglazed; 2 tables 2ml x 1mw x 77cmh with painted wooden tops of redrawn maps, family photographs and contact strips under glass.&#13;
&#13;
A publication was realized in 2010: fully illustrated, with an interview with the artist-author which discussed the project’s processes and conceptual concerns;  an essay on Commemoration and Loss by Ray McKenzie; reproductions of selected exhibition images in addition to previously unseen images; also responses from three collaborators reflecting on their experience of the project. Dissemination of the project, its contribution to knowledge and the critical questions that emerged from a specific practice experience was realized through a series of key conferences (2009-2013). For example, ‘regeneration’ indicates a loaded territory; add to this, family photographs with their relationship to personal histories whose physical traces are on the brink of erasure: and recent critiques that interrogate the trend in contemporary art photography depicting places in terms of sublime dereliction.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2263/1/Nicky_Bird_Beneath_the_Surface-Hidden_Place.pdf</dc:identifier><dc:language>en</dc:language><dc:publisher>Stills</dc:publisher><dc:relation>http://www.stills.org/exhibition/past/nicky-bird-beneath-surface-hidden-place</dc:relation><dc:relation>http://nickybird.com/projects/beneath-the-surface/</dc:relation><dc:relation>http://extra.shu.ac.uk/transmission/papers/BIRD%20Nicky.pdf</dc:relation><dc:relation>http://www.stills.org/news/talks-and-events/whither-roots</dc:relation><dc:relation>http://www.h-net.org/announce/show.cgi?ID=185580</dc:relation><dc:relation>http://stillsgallery.myshopify.com/collections/books/products/nicky-bird</dc:relation><dc:source>978-096458-07-5</dc:source><dc:title>Beneath the Surface / Hidden Place</dc:title><rioxxterms:author>Bird, Nicky</rioxxterms:author><rioxxterms:author>McKenzie, Ray</rioxxterms:author><rioxxterms:author>Lloyd, Kirsten</rioxxterms:author><rioxxterms:author>Warwick, Rhona</rioxxterms:author><rioxxterms:project funder_name="Creative Scotland">Beneath the Surface / Hidden Place</rioxxterms:project><rioxxterms:project funder_name="The Kraszna-Krausz Foundation">Beneath the Surface / Hidden Place</rioxxterms:project><rioxxterms:publication_date>2010-12</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>VoR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2274
Date: 2015-04-13

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      <identifier>oai:radar.gsa.ac.uk:2274</identifier>
      <datestamp>2015-04-13T12:56:38Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>Three of my collaborative video works, made with John Beagles, were included in this survey exhibition, dedicated to Scottish artist films, that took place at the Dean Gallery, Scottish National Gallery of Modern Art, Edinburgh. The exhibition featured a selection of over one hundred film and video works by over sixty artists, created in the past fifty years.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://radar.gsa.ac.uk/2274/1/runningtime.jpg</dc:identifier><dc:language>en</dc:language><dc:relation>http://www.guardian.co.uk/artanddesign/2009/nov/08/running-time-dean-gallery-review</dc:relation><dc:relation>http://www.heraldscotland.com/arts-ents/stage-visual-arts/rewinding-50-years-of-scottish-video-art-1.925779</dc:relation><dc:relation>http://www.list.co.uk/article/21281-running-time-artist-films-in-scotland/</dc:relation><dc:relation>http://www.thetimes.co.uk/tto/arts/visualarts/article2423540.ece</dc:relation><dc:source>'RUNNING TIME: ARTIST FILMS IN SCOTLAND FROM 1960 TO NOW'</dc:source><dc:title>Running time: Artist films in Scotland from 1960 to now</dc:title><rioxxterms:author>Ramsay, Graham</rioxxterms:author><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2275
Date: 2015-04-13

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      <identifier>oai:radar.gsa.ac.uk:2275</identifier>
      <datestamp>2015-04-13T12:57:25Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>A retrospective exhibition of collaborative video works made with John Beagles between 1996 - 2009 at the Margaret Lawrence Gallery, Victoria College of the Arts, Melbourne. This project also included a commission to make a new video work. I was also invited to deliver a lecture on my work to staff and students of the Victoria College of the Arts and took part in a live performance event at the gallery.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://radar.gsa.ac.uk/2275/1/cockbullinstall1.jpg</dc:identifier><dc:language>en</dc:language><dc:relation>http://www.theage.com.au/news/entertainment/arts/arts-reviews/bloody-good-or-simply-silly-sausages/2009/03/17/1237054818721.html</dc:relation><dc:source>Cock and Bull</dc:source><dc:title>Cock and Bull</dc:title><rioxxterms:author>Ramsay, Graham</rioxxterms:author><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2280
Date: 2015-10-13

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    <header>
      <identifier>oai:radar.gsa.ac.uk:2280</identifier>
      <datestamp>2015-10-13T13:01:32Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>'Pearlescence and Patience' is a fictional narrative specially commissioned by Zoe Williams and Spike Island Bristol to accompany Williams' exhibition, 'The Flight of O' which took place at Spike Island (30th April – 6th June 2010).  The text, included in the publication 'The Flight of O,' designed by Modern Activity, was written in the form of a literary fairy tale and responded obliquely to images and materials used or emulated in Williams’ work.  The text was informed by research into Williams’ use of the craft of inlaying, its historical practice in the applied arts and the themes of flight, transformation and material luxury versus nature, as developed in fairy tales by the Brothers Grimm and Charles Perrault.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://radar.gsa.ac.uk/2280/1/flight_of_o001.jpg</dc:identifier><dc:language>en</dc:language><dc:publisher>Spike Island</dc:publisher><dc:relation>http://www.spikeisland.org.uk/products/flight-o/</dc:relation><dc:source>978-0-9560856-2-7</dc:source><dc:title>Pearlescence and Patience</dc:title><rioxxterms:author>Figgis, Laurence</rioxxterms:author><rioxxterms:publication_date>2010</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2291
Date: 2016-03-14

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      <datestamp>2016-03-14T00:43:00Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:license_ref start_date="2008-02-09">http://creativecommons.org/licenses/by-nd/4.0</ali:license_ref><dc:description>Solo exhibition comprising of painting, sculpture, video and sound works. This featured a 5 channel video and audio installation entitled 'Rising Resistance'. This exhibition event  was held simultaneously with Grandes Et Petites Machines at The Mackintosh Museum, The Glasgow School Of Art.&#13;
 &#13;
Craig Mulholland - Grandes Et Petites Machines&#13;
&#13;
Grandes Et Petites Machines refers to the Grande Machines of the French salon, large-scale history paintings, which focus on the physical mechanics of human struggle or violent revolution usually set against the crumbling architecture of authority.&#13;
&#13;
This exhibition  endeavored to dramatically highlight  issues raised by various information theories and their related technologies, focusing on their contribution to ideas of progress, entropy and their social, cultural and legal impact. In particular it sought to expose the coercive role of such technologies in representations of sensationalism, secrecy and encoding in art, along with the expansion of governing institutions and patterns of detection and surveillance. An installation of paintings, sculpture and video (spanning the Mackintosh Gallery at Glasgow School of Art and Sorcha Dallas Gallery)  reflected on the changing ubiquity of digital zones, where the virtual and physical coexist, whilst exploring concepts of the artist/creator/viewer as being complicit in the surveillance and division of objects. The concrete artworks in Grandes Et Petites Machines also functioned virtually as animated components in the accompanying video work Peer to Peer,  screened during the exhibition period. Peer to Peer is an Artists Film and Video production supported by the Scottish Arts Council and Scottish Screen.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://radar.gsa.ac.uk/2291/1/3952-craig-mulholland-grandes-et-petites-machine.jpg</dc:identifier><dc:language>en</dc:language><dc:relation>http://www.list.co.uk/article/6715-craig-mulholland/</dc:relation><dc:relation>http://mapmagazine.co.uk/map-13/feature/craig-mulholland-viral-transm/</dc:relation><dc:relation>http://www.spinscotland.co.uk/events/view/craig_mulholland_grandes_et_petites_machines/</dc:relation><dc:relation>http://findarticles.com/p/articles/mi_m0268/is_10_46/ai_n32067592/</dc:relation><dc:relation>http://www.theskinny.co.uk/art/reviews/41711-craig_mulholland_grandes_et_petites_machines</dc:relation><dc:relation>http://www.frieze.com/shows/review/craig_mulholland/</dc:relation><dc:relation>http://www.youtube.com/watch?v=GhOE_mfQ7r0</dc:relation><dc:relation>http://www.artreview.com/forum/topics/craig-mulholland-grandes-et</dc:relation><dc:source>Grandes Et Petites Machines</dc:source><dc:title>GRANDES ET PETITES MACHINES - Sorcha Dallas Gallery</dc:title><rioxxterms:author>Mulholland, Craig</rioxxterms:author><rioxxterms:project funder_name="Scottish Arts Council">Grandes Et Petites Machines</rioxxterms:project><rioxxterms:project funder_name="Sorcha Dallas Gallery">Grandes Et Petites Machines</rioxxterms:project><rioxxterms:project funder_name="Scottish Screen">Grandes Et Petites Machines</rioxxterms:project><rioxxterms:publication_date>2008-02-09</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>SMUR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2293
Date: 2016-03-13

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      <datestamp>2016-03-13T23:21:28Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:description>Solo exhibition at SWG3 Gallery, Glasgow&#13;
This presentation will comprised of a multimedia installation&#13;
using drawing, painting, sculpture video and sound.&#13;
&#13;
The entire installation will become part of the Twodo collection, Germany and tour, in a reconfigured and extended version, to LGP Gallery, University of Coventry and NAK, Neuer Aachener Kunstverein, Aachen in late 2012.</dc:description><dc:language>en</dc:language><dc:relation>http://www.neueraachenerkunstverein.de/twodo/index.php</dc:relation><dc:source>Dust Never Settles</dc:source><dc:title>DUST NEVER SETTLES</dc:title><rioxxterms:author>Mulholland, Craig</rioxxterms:author><rioxxterms:project funder_name="Creative Scotland">Dust Never Settles</rioxxterms:project><rioxxterms:project funder_name="Glasgow Life">Dust Never Settles</rioxxterms:project><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2296
Date: 2015-07-28

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    <header>
      <identifier>oai:radar.gsa.ac.uk:2296</identifier>
      <datestamp>2015-07-28T14:15:21Z</datestamp>
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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>To what extent does cycling need myth? The ICHC has, since its inception in 1990, set out to question accepted factual history. Its successes have been significant and it seems appropriate that as the conference ‘comes of age’, it does so on the 150th anniversary and on the native ground of the oft claimed ‘invention’ of the front-driven velocipede, an anniversary that is now discredited at academic level, but is still ‘live’ in the public mind. It is not the only one. Almost all cycling myths live on in popular accounts regardless of revisionism. Once they have been established they seem almost impossible to eliminate.&#13;
&#13;
The nature of myth and constructed history for popular consumption has been a topic of academic debate since the rise of the theme park and costume drama as significant disseminators of popular history in the 1980s. It was an interesting coincidence that the first ICHC was organised at the close of a decade that more or less opened with the publication of  Michael Thompson’s Rubbish Theory (1979)  and then had seen the publications of works such as Hobsbawm and Trevor-Roper The Invention of Tradition (1983), Patrick Wright On Living in An Old Country (1984), David Lowenthal The Past is a Foreign Country (1986) and a host of others, including the polemic by Robert Hewison The Heritage Industry (1987). In all of these works, in spite of their questioning stance, there is an underlying acceptance that myth is both an embedded part of culture and a saleable commodity.&#13;
&#13;
This paper does not set out to enter the debates surrounding the sequence of historical events, but rather considers the nature of myth as it relates to cycling. By exploring the constructs of the heroic individual, the seminal invention and the machine in use, it examines the nature of popular history and the development of simple, linear narratives punctuated by events as a key tool of understanding.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://radar.gsa.ac.uk/2296/1/Dandy_Chargers_Meeting.jpg</dc:identifier><dc:language>en</dc:language><dc:publisher>Cycling History (Publishing) Ltd (Cylnig History &amp; Educational Trust)</dc:publisher><dc:source>978-09573427-1-2</dc:source><dc:title>Legend, Myth and Fraud in Cycling Culture.</dc:title><rioxxterms:author>Oddy, Nicholas</rioxxterms:author><rioxxterms:publication_date>2012</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2297
Date: 2015-09-21

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ID: oai:radar.gsa.ac.uk:2299
Date: 2015-09-21

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      <identifier>oai:radar.gsa.ac.uk:2299</identifier>
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ID: oai:radar.gsa.ac.uk:2301
Date: 2015-07-28

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><dc:description>The rapid decline of the ordinary bicycle in the period 1886-92 was to see the machine as branded old-fashioned and obsolete by the mid 1890s, if not before. Remarkably, however, it was soon to enjoy a type of currency as an icon of the quaint as a pioneer ‘bygone’. Today, in the context of collectibles and a developed market for antique consumer durables, this would be unremarkable, but in the early 20th century it was a pioneer in demonstrating that old manufactured products might have antique value. By the end of the 1950s it had been joined by such things as the veteran car, and horn gramophone as emblematic of a picturesque past in the context of modernity. &#13;
Today, the public identity of the high wheel machine that accompanied it in the transition from ‘bicycle’ to ‘ordinary’ to ‘penny farthing’ is one that many in cycling culture find embarrassing. In particular the machine’s use in parades at town fetes and village fairs in the first half of the 20th century is seen to denigrate it,  yet it should not been seen in this way. As with so many other areas of material culture, in this process we find the bicycle at the forefront. &#13;
This paper sets out to explore the implications of the ‘bygone bicycle’ not only in terms of cycling history, but as a more significant cultural artefact in establishing that the consumer goods of the industrialised era have an intrinsic value beyond that of their initial currency.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://radar.gsa.ac.uk/2301/1/Howe%2C_Retford002.jpg</dc:identifier><dc:language>en</dc:language><dc:publisher>Cycling History &amp; Educational Trust</dc:publisher><dc:source>978-0-9573427-0-5</dc:source><dc:title>LET BYGONES BE BYGONES</dc:title><rioxxterms:author>Oddy, Nicholas</rioxxterms:author><rioxxterms:publication_date>2012</rioxxterms:publication_date><rioxxterms:type>Book chapter</rioxxterms:type><rioxxterms:version>SMUR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2302
Date: 2016-03-09

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><ali:license_ref start_date="2008-02-09">http://creativecommons.org/licenses/by-nd/4.0</ali:license_ref><dc:description>Solo exhibition comprising of painting, sculpture and video. This exhibition event was held simultaneously with Grandes Et Petites Machines at Sorcha Dallas Gallery, Glasgow.&#13;
&#13;
Craig Mulholland - Grandes Et Petites Machines&#13;
&#13;
Grandes Et Petites Machines refers to the Grande Machines of the French salon, large-scale history paintings, which focus on the physical mechanics of human struggle or violent revolution usually set against the crumbling architecture of authority.&#13;
&#13;
This exhibition endeavored to dramatically highlight issues raised by various information theories and their related technologies, focusing on their contribution to ideas of progress, entropy and their social, cultural and legal impact. In particular it sought to expose the coercive role of such technologies in representations of sensationalism, secrecy and encoding in art along with the expansion of governing institutions and patterns of detection and surveillance. An installation of paintings, sculpture and video (spanning the Mackintosh Gallery at Glasgow School of Art and Sorcha Dallas Gallery) reflected on the changing ubiquity of digital zones, where the virtual and physical coexist, whilst exploring concepts of the artist/creator/viewer as being complicit in the surveillance and division of objects. The concrete artworks in Grandes Et Petites Machines were also incorporated, virtually as animated components, into the accompanying video work Peer to Peer, screened during the exhibition period. Peer to Peer is an Artists Film and Video production supported by the Scottish Arts Council and Scottish Screen.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://radar.gsa.ac.uk/2302/1/4026-craig-mulholland-grandes-et-petites-machine.jpg</dc:identifier><dc:language>en</dc:language><dc:relation>http://www.list.co.uk/article/6715-craig-mulholland/</dc:relation><dc:relation>http://mapmagazine.co.uk/map-13/feature/craig-mulholland-viral-transm/</dc:relation><dc:relation>http://www.spinscotland.co.uk/events/view/craig_mulholland_grandes_et_petites_machines/</dc:relation><dc:relation>http://findarticles.com/p/articles/mi_m0268/is_10_46/ai_n32067592/</dc:relation><dc:relation>http://www.theskinny.co.uk/art/reviews/41711-craig_mulholland_grandes_et_petites_machines</dc:relation><dc:relation>http://www.frieze.com/shows/review/craig_mulholland/</dc:relation><dc:relation>http://www.youtube.com/watch?v=GhOE_mfQ7r0</dc:relation><dc:relation>http://www.artreview.com/forum/topics/craig-mulholland-grandes-et</dc:relation><dc:source>Grandes Et Petites Machines</dc:source><dc:title>GRANDES ET PETITES MACHINES</dc:title><rioxxterms:author>Mulholland, Craig</rioxxterms:author><rioxxterms:project funder_name="Scottish Arts Council">Grandes Et Petites Machines</rioxxterms:project><rioxxterms:project funder_name="The Glasgow School Of Art">Grandes Et Petites Machines</rioxxterms:project><rioxxterms:publication_date>2008-02-09</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>SMUR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2303
Date: 2015-09-21

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ID: oai:radar.gsa.ac.uk:2304
Date: 2016-03-13

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:free_to_read/><ali:license_ref start_date="2008-04-12">http://creativecommons.org/licenses/by-nd/4.0</ali:license_ref><dc:description>Solo exhibition comprising of painting, sculpture and video. Co-curated with Marie Anne McQuay and Lucy Byatt.&#13;
&#13;
Grandes Et Petites Machines refers to the Grande Machines of the French salon, large-scale history paintings, which focus on the physical mechanics of human struggle or violent revolution usually set against the crumbling architecture of authority.&#13;
&#13;
This exhibition endeavored to dramatically highlight issues raised by various information theories and their related technologies, focusing on their contribution to ideas of progress, entropy and their social, cultural and legal impact. In particular it sought to expose the coercive role of such technologies in representations of sensationalism, secrecy and encoding in art along with the expansion of governing institutions and patterns of detection and surveillance. An installation of paintings, sculpture and video (spanning the both galleries at Spike Island, Bristol) reflected on the changing ubiquity of digital zones, where the virtual and physical coexist, whilst exploring concepts of the artist/creator/viewer as being complicit in the surveillance and division of objects. The concrete artworks in Grandes Et Petites Machines were also incorporated, virtually as animated components, into the accompanying video work Peer to Peer, screened during the exhibition period. Peer to Peer is an Artists Film and Video production supported by the Scottish Arts Council and Scottish Screen.</dc:description><dc:format>application/pdf</dc:format><dc:identifier>http://radar.gsa.ac.uk/2304/1/Spikepublication.pdf</dc:identifier><dc:language>en</dc:language><dc:source>Grandes Et Petites Machines</dc:source><dc:title>GRANDES ET PETITES MACHINES - Spike Island</dc:title><rioxxterms:author>Mulholland, Craig</rioxxterms:author><rioxxterms:project funder_name="Scottish Arts Council">Grandes Et Petites Machines</rioxxterms:project><rioxxterms:project funder_name="The Henry Moore Foundation">Grandes Et Petites Machines</rioxxterms:project><rioxxterms:publication_date>2008-04-12</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>SMUR</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2305
Date: 2015-09-21

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><dc:language>en</dc:language><dc:source>Workshop on CAAD</dc:source><dc:title>Understanding the Past : Predicting the Future</dc:title><rioxxterms:author>Maver, Tom</rioxxterms:author><rioxxterms:type>Conference Paper/Proceeding/Abstract</rioxxterms:type><rioxxterms:version>NA</rioxxterms:version></rioxx></metadata></record>
ID: oai:radar.gsa.ac.uk:2308
Date: 2016-03-16

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      <rioxx xmlns="http://www.rioxx.net/schema/v2.0/rioxx/" xmlns:ali="http://ali.niso.org/2014/ali/1.0" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:dcterms="http://purl.org/dc/terms/" xmlns:rioxxterms="http://docs.rioxx.net/schema/v2.0/rioxxterms/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.rioxx.net/schema/v2.0/rioxx/ http://www.rioxx.net/schema/v2.0/rioxx/rioxx.xsd"><ali:license_ref start_date="2011">http://creativecommons.org/licenses/by-nd/4.0</ali:license_ref><dc:description>Strange Loops, an exhibition curated by Craig Mulholland. &#13;
&#13;
In oblique reference to Douglas Hofstadter's theory of 'tangled hierarchies',  Strange Loops sought to create a platform for the study of irresolute hierarchical distinctions, where the artists/designers were each  invited to create a series of works following a particularly rigorous production directive. The use of a recursive curatorial method was intended to heighten the effects of regressive and self referential processes often used by these practitioners, with the potential of generating some unpredictable formal and contextual distortions.</dc:description><dc:format>image/jpeg</dc:format><dc:identifier>http://radar.gsa.ac.uk/2308/1/9961-strange-loops-generator-dundee-2011.jpg</dc:identifier><dc:language>en</dc:language><dc:relation>http://www.artreview.com/forum/topics/strange-loops</dc:relation><dc:relation>http://www.theskinny.co.uk/art/reviews/101867-strange_loops_generator_projects</dc:relation><dc:source>Strange Loops</dc:source><dc:title>STRANGE LOOPS</dc:title><rioxxterms:author>Mulholland, Craig</rioxxterms:author><rioxxterms:project funder_name="Generator Projects">Strange Loops</rioxxterms:project><rioxxterms:publication_date>2011</rioxxterms:publication_date><rioxxterms:type>other</rioxxterms:type><rioxxterms:version>SMUR</rioxxterms:version></rioxx></metadata></record>

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