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Environment Template (REF5) GOLDSMITHS – Art & Design Environment template (REF5) GOLDSMITHS – Art & Design Institution: Goldsmiths, University of London Unit of Assessment: 34 – Art & Design: History, Practice and Theory a. Overview Goldsmiths’ Departments of Art, Design and Visual Cultures are recognised internationally as distinctive and distinguished contributors to contemporary research. Their work in the period under review has led the field in the production of scholarly, artistic, environmental, curatorial, moving image, digital and computational research, and in the development of significant new approaches to processes and methods in these areas. Core to our ethos is a commitment to material and formal investigation of the highest standard. Our research culture is informed by an ethos of experimentation and innovation in terms both of the types of work we produce and the range of audiences and social situations we address. We invest in new forms of public engagement for academic work through resourceful configurations of collaboration and co-production. Our research environment supports the close connection and interdependence of practice-based research and scholarship, encouraging proactive engagements with the institutions and professions with whom we work. Our research embodies an ethos of critical and conceptual affinity with the social contexts we inhabit; we are committed to the civic role of aesthetic and scholarly production. These core attributes, detailed below, are manifest not only in our artworks, design artefacts, publications and curatorial projects, but also in partnerships with collaborating institutions and funding organisations. They fundamentally guide our recruitment processes, our doctoral research programmes and research strategy. b. Research Strategy The three departments are united in a strategic commitment to the development of innovative practice-based and scholarly research that challenges typical forms of investigation and opens up new publics for research. The development of what we do is underpinned by four strategic themes: Supporting material and formal investigation of the highest standard from initiation to production and dissemination by providing staff with research time and facilities, financial support and research training as well as providing a robust and critical peer-led and globally engaged culture of discussion and debate. In particular, research in this UoA is informed and shaped by novel combinations of speculative and practical experimentation in which ideas for research projects require and lead to both practice-based and scholarly outcomes; Enabling proactive engagements with the institutions and professions with whom we work, through recognising their importance in the development of our research outputs. Most of our research outputs are co-produced in collaboration with organisations outside Goldsmiths: museums and galleries, academic and non-academic funding bodies, NGOs, community groups, industrial and commercial partners. This is enabled through flexible teaching arrangements and internal seed- funding that emphasises the seriousness of our endeavours and encourages partnership financing; Encouraging new forms of public engagement through the development of artworks, design processes, curatorial and architectural projects that seek out new users and stakeholders for cultural production. This strategy is supported through both collaborative grant applications for co-produced international projects and networks and through the specialisms of our academic staff, whose active engagement with different communities is reflected in a range of work; Committing to the civic role of aesthetic and scholarly production. Much of our research is underpinned by direct and indirect engagements in civic culture, in the UK and internationally, supported strategically by encouraging and funding staff and research students to investigate contemporary critical issues. All three departments are porous: we provide fora for discussion and production with external agencies, maintaining openness to local and international interest and investment as a strategic priority. In these ways we develop a research culture that reaches towards new standards of civic higher education in art and design. The following sections illustrate some of the achievements made since 2008 in relation to each of these priorities, and indicate some of our ongoing research in these areas. Page 1 Environment template (REF5) GOLDSMITHS – Art & Design Supporting material and formal investigation of the highest standard All three departments encourage and support scholars and practitioners to investigate new approaches to research, whether through testing new artistic and design-based methods, experimenting with new processes, or bringing together ideas from different disciplines. For example, early career researchers Atkins, Martin and Carpenter (Art) were supported to create works to which interdisciplinary investigation and open exploratory processes are central. Carpenter’s Open Source Embroidery is a curatorial and artistic research project investigating the relationships between craft and code. Initiated in 2007 with funding from Art, it involves computer programmers, coders, bloggers, web designers, crafters, textile artists, and those interested in open methodologies of production and distribution. Outputs include published articles, a research blog, curated exhibitions, international workshops, and an exhibition of 30+ artists at Sweden’s Bildmuseet and then the Museum of Craft and Folk Art in San Francisco. Other projects supported by Design and Visual Cultures have explored the worth and possibilities of ‘unfinished’ and ‘open’ research processes, drawing attention to the public benefits and values that accrue to on-going activity as well as defined outcomes. Kerridge (Design) led the EPSRC-funded Material Beliefs project which focused on the lab as a site for collaborations between scientists and engineers, designers, social scientists and the public; these led to the design of prototypes, such as the Vital Signs system, which have been exhibited to stimulate debate about the relationship between science and society. The AHRC-funded Performance Matters project led by Butt (Visual Cultures) has likewise spearheaded process-based performance research through creative dialogues, performance events and symposia curated in specially devised festival-like public events. The project convened temporary communities of interest which foregrounded performance’s public contributions in affective and experiential engagement. Our environments all actively support new configurations of practice-based and scholarly research: Art staff have combined in-depth research in fields such as philosophy, literature, psychoanalysis and economics to create installations, films and performances that have received widespread international recognition. Examples include Kosuth’s neon installation Neither Appearance, Nor Illusion at the Musee du Louvre in 2010; Turner Prize winner Leckey’s performance In the Long Tail at MOMA in 2009; and Seer’s 2012 film installation Nowhere Less Now at the Tin Tabernacle London, commissioned by Artangel. Visual Cultures has developed innovative combinations of practice and theoretical analysis, typified by The Otolith Group, a film-making collective co-founded by Eshun. Short-listed for the 2010 Turner Prize, its practice develops a sustained analysis and creative deformation of documentary film and archival investigation; it has been exhibited at Tate Britain, commissioned by Documenta 13, and featured on Channel 4 television. A well-respected and influential contemporary philosopher, O’Sullivan also co-directs the art and performance group Plastique Fantastique. Design’s practice-led Interaction Research Studio routinely publishes social analysis and conceptual work in the fields of Human Computer Interaction (Gaver) and Sociology/Science and Technology Studies (Wilkie). This work builds on their experience developing and deploying computational devices, many of which later go on to be exhibited in venues such as MOMA and the National Media Museum in Bradford [see Impact Case Study]. Our international reputation for formal and aesthetic innovation has recently been recognised in the selection of work by ten of our staff for exhibition in Assembly at Tate Britain, a major survey of film and video by single-screen artists nominated by 36 international film specialists. Enabling proactive engagements with the institutions and professions with whom we work Our collaborations with institutions, biennials, NGOs and community groups often develop across sustained periods in which bodies of work are produced and disseminated internationally. Thus the Documents of Contemporary Art series, published by the Whitechapel Gallery and MIT Press, was inspired by and developed through themes investigated on the critical studies programme of BA Fine Art. Five volumes, edited and introduced by Art staff Williams, Johnstone, Noble, Batchelor, and Le Feuvre, collate writings by artists, historians, critics and theoreticians. Page 2 Environment template (REF5) GOLDSMITHS – Art & Design Craighead’s (Art) A Short Film About War was commissioned by Alt-w/NewMedia Scotland and screened internationally. It is a two-channel documentary artwork made from information found online that considers new models of documentary-making, focusing on how information is distorted as it is mediated through globally networked digital communications systems. Atkins’ (Art) The Trick
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