tag:blogger.com,1999:blog-5374689687365534932024-03-13T19:40:02.047+00:00ARThinkingThoughtsResearch along the lines of art and creativity
Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.comBlogger15125tag:blogger.com,1999:blog-537468968736553493.post-76437042471165364292018-08-29T11:24:00.001+01:002018-08-29T11:29:18.092+01:00The Craft of Captioning Artworks<div>
My article for ArtsProfessional based upon my psychology research, and its application in museums and gallery practice.<br />
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<a href="https://www.artsprofessional.co.uk/magazine/article/craft-captioning-artworks" target="_blank">https://www.artsprofessional.co.uk/magazine/article/craft-captioning-artworks</a><br />
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<span style="color: blue;"> <b><i>If artists want an authentic response to their work, they need to give viewers a way in.</i></b></span></div>
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<i>How do you caption a deliberately ambiguous object?</i></div>
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One question eternally asked by artists goes as follows: is what I am putting into this work actually what the audience experiences? And the answer to that will always elicit diverse responses.</div>
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<b><i><span style="color: blue;">‘Untitled’ is not an open door to many viewers, and is in fact a closed door</span></i></b></div>
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As an artist myself, I have always been fascinated by the creative process and the mechanisms going on when making, looking at or thinking about work. It’s a form of reflective practice that I took further by taking an MSc in psychology. The learning curve into science was considerable, but I was able to direct my final project back to the arts. I made a study comparing artists and non-artists in a series of tasks about the meaning of objects. Study conditions made my results statistically reliable, and I found differences in how objects are understood.</div>
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<b><i><span style="color: blue;">Research study</span></i></b></div>
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My experiment was a series of tasks where participants had a choice in a triad of objects, starting with a scientific standard: What goes in the same category as milk – cow or lemonade? If you choose cow, that’s the thematic choice, because the link is by narrative association in that milk comes from a cow. If you choose lemonade, the choice is taxonomic, because milk and lemonade are only linked by sharing certain physical properties in that they are both liquids.</div>
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Subsequent tasks were deliberately more ambiguous, and did not neatly divide into thematic and taxonomic choices. They were mixed, or ambiguous, as objects are in life and in art.</div>
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My study included measures for ambiguity. My current, non-scientific, working definition of art would be ‘deliberately ambiguous objects’. After the study, there were conversations with participating artists who thought, or realised, that ambiguity was the key to their art. This is what the art-crit really explores – the thematic, taxonomic and ambiguous properties of work. In other words: is this thing what I think it is, and does it mean what I want it to mean? In even plainer words: does it do what it says on the tin?</div>
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It doesn’t matter how abstract or conceptual the art is, these are the fundamental concepts and practicalities artists grapple with in their practice, and by extension, art institutions when they present art.</div>
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My study simply provides evidence that artists overwhelmingly access stories or personal memories when deciding what an ambiguous object is, whereas none of the non-artists did. Artists were better able to ‘read’ an object and offer more interpretations, whereas non-artists were more stumped.</div>
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Many artists want people to apprehend their work honestly, to encounter it with an authentic response, but my study shows that you have to give people an opening. Artists and galleries have to provide titles, clues, ways in and things to relate to.</div>
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<b><i><span style="color: blue;">Titling and styling</span></i></b></div>
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The title, like that of any book or film, gives the first clue to the audience, and is a signpost towards, or away from, what it’s supposed to mean. The title is what’s written on the tin. My research suggests that art should be titled. ‘Untitled’ is not an open door to many viewers, and is in fact a closed door. As an artist, I always thought titling work was part of the fun, and part of the work.</div>
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Art institutions should also think less about sticking to a house style, where assumptions are unconsciously adopted throughout. There is no one clear, universal font, and no one style that can cover all bases. Therefore, it makes sense to interpret and caption in a diversity of styles.</div>
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What this means in practice is simply shaking things up every so often and loosening up rigidity. Different types of text or layout will speak to someone who has been missed out before. It needn’t be chaotic, only diverse.</div>
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<b><i><span style="color: blue;">Making assumptions</span></i></b></div>
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Psychology study results are often counter-intuitive – we don’t always do what we think we do. I have subsequently talked to some participants who assure me they always tell themselves a story when looking at work. I don’t contradict them, but sometimes I remember what their response was and I’ve gone back to check and the results speak differently.</div>
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We think we have thought through inclusivity, but miss out aspects beyond our assumptions. We all make assumptions – that’s part of human nature, but arts professionals make art assumptions, and don’t usually see outside that paradigm.</div>
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In my career as an artist, I’ve participated in exhibitions, reviewed and written about hundreds, and assessed them for various schemes. I use galleries for meetings with colleagues and students and love to visit them with friends, family or by myself. I’m something of a professional visitor. So I look out for these things, and yet I still find myself sometimes confounded by access, layout and captioning. I’m tuned in, but sometimes it doesn’t speak to me and I don’t get it. And so what of someone who doesn’t really speak the language?</div>
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My approach for more diversity would be for galleries and institutions to welcome in the occasional external perspective. If I was a gallery director, I would note the observations of new staff and interns who still have a fresh eye. I would do a walk-through of my space with an outside professional such as a retail expert who specialises in customer flow. And I would invite independent assessors for a ‘does-it-do-what-it-says-on-the-tin’ walk-through.</div>
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First published at www.artsprofessional.co.uk, 28/Aug/2018.</div>
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Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-537468968736553493.post-40915046021635077812018-08-29T10:47:00.001+01:002018-08-29T11:07:04.838+01:00The Language of Textiles<b><i>Catalogue piece to accompany Bow Arts Raw Materials exhibition</i></b><br />
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The English language is a great melting pot of borrowed phrases and words, influences from invaders and explorers, and the legacy of thousands of years of cultural and social life. Even many years after working terms and practices have died out, they linger on in the language, becoming part of the way we express ourselves every day.<br />
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In this richness of words and phrases, expressions and words relating to textiles are deeply woven through the language. It wasn’t so long ago that many cardigans were home-knitted, that clothes were more usually sewn on the sewing machine than shop-bought, and before that, many households were industrial units, completing piecework. Sewing, knitting, weaving, embroidery and related skills were part of everyday life for most people over centuries, and still remain so for many, for work or personal passion.<br />
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It’s no surprise, then that our language is so embroidered with phrases referencing textiles and fabrics, and they are so knitted into our ways of expressing ourselves, you may say, that they are hard to avoid.<br />
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<b><i>Textile-related sayings</i></b><br />
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We embroider the truth when we try to make something more interesting by adding details which may be untrue.<br />
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We attempt to weave lies but get caught out. Sir Walter Scott, from his 1808 poem Marmion:<br />
<i>Oh, what a tangled web we weave When first we practice to deceive.</i><br />
<b><br /></b><b><span style="color: blue;">Fag end</span> </b>has nothing to do with smoking. In the textiles trade, the last part of the piece of cloth was made of coarser material than the rest and left hanging loose. It came to be known as the fag end, possibly as a corruption of flag, meaning hang down.<br />
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<b><span style="color: blue;">Tent</span></b> The name of a portable shelter supported by poles or a frame came from the Latin <i>tenta/tentus/tendere</i> - to extend or stretch, through Old French, and 13th century Middle English <i>tente</i>, when it usually referred to stretched animal skins.<br />
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<b><span style="color: blue;">Tender hooks</span> </b>The phrase <i>on tenter hooks</i> derives from the 14th century term for a wooden frame where wet clothes were hung out to dry. Now we use the term when we feel our nerves are being stretched beyond endurance: today the phrase is often said as <i>on tender hooks</i>.<br />
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<b><span style="color: blue;">Glad rags</span> </b>Best party clothes. This term for dressing up in our finest is not new. Glad is a word that seeped into the English language through several sources, including Old English <i>glæd</i> (bright, shining, pleasant) and Old Saxon <i>gladmod</i> (cheerful). Glad used to mean more being more splendidly happy and radiant with joy than it does in today’s definition of being moderately pleased. It is first recorded as referring to a smashing outfit in 1902. There are other slang meanings, such reusable material for periods and cloths used to wipe down after sex!<br />
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<b><span style="color: blue;">Clobber</span> </b>In the 19th century, clobber was a dark, mud-like paste used to cover the breaks in leather of old shoes, possibly from the Gaelic <i>clabar</i> (mud). Dressing your best was <i>clobbering up </i>- to patch old clothes to cover up defects. Clobber was recorded as British Air Force slang meaning clothes and personal effects in 1941.<br />
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<b><i>Other everyday words and phrases speak of past practices</i></b><br />
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<b><span style="color: blue;">Milliner</span> - hatmaker </b>Milan in Italy used to be famous for its manufacture of fancy goods, which <i>Milaners</i> or travelling salesmen took all over Europe. Eventually, the term became specific to those who sold hats and then those who made them, whether they came from Milan or not.<br />
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<b><span style="color: blue;">(In) fine fettle</span> </b>In good health or good condition.<i> Fetel</i> is an Old English word for girdle or belt, so when you were dressed in your best clothes and belt, you were<i> in fine fetel</i>. From there, the word developed an association with tidying up other things, such as cleaning off stray fragments that stuck to iron castings or china mouldings. When the process was finished, the piece had been<i> fettled.</i><br />
<i><b><br /></b></i><b><i>Textiles are also woven into the language in more metaphorical ways</i></b><br />
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<span style="color: blue;"><b>Subtle</b> </span>is from the Latin <i>sub</i> (under, below), and <i>tela</i> (delicate tissue, web-like structure): beneath the threads on a loom, meaning finely woven. The modern meaning of subtle as clever and indirect is perfectly described as a delicately complicated and understated web of meanings.<br />
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<b><span style="color: blue;">Text</span> </b>is from the Latin past participle of <i>texere</i>, meaning to weave, join, fit together, interweave. The concept of text as interwoven ideas, thoughts, nuances and meanings, creates a beautiful and insightful definition, as so much of what we say and write communicates at those layers of meanings that make up the fabric of language.<br />
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<b><i>And more cat-agorical ways</i></b><br />
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<b><span style="color: blue;">Tabby cat </span></b>In the 14th century there was a textile manufacturing suburb of Baghdad, <i>al-‘Attābīya,</i> named after <i>Prince Attāb</i>. The cloth made there was known as <i>attābī </i>and the term passed via Old French <i>atabis</i> and modern French<i> tabis</i> into English as <i>tabby</i>. This originally denoted a sort of rich silk taffeta.<br />
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<i>This day put on my false tabby waistcoat with gold lace</i>, Samuel Pepys diary, 13 October 1661.<br />
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Since the cloth was usually striped, by the 1660s the word was being applied to brindled cats - brownish or tawny with streaks of other colours. And so tabby cats were so-called because they looked like they were wearing silk waistcoats.<br />
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<i>English sleeved silk waistcoat 1676-1699, Museum of London catalogue, 'Men's Costume, 1580-1750', Cat. No. 28. In time, waistcoats got shorter and became sleeveless.</i><br />
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<i>Jeff the tabby cat 2018</i></div>
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<b><i>Some textile-based terms have spread into wider use, with poor quality associated with lack of morality or low principle</i></b><br />
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<b><span style="color: blue;">Shoddy</span></b> is cloth spun from left over and shredded fabric. Made from short staple yarn, the fabric is cheap, weak and poor quality. Now of course, the term shoddy can be used for any inferior item or practice.<br />
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<i>Old Rags into New Cloth - Salvage in Britain, April 1942 A textile worker rakes newly-made ‘shoddy’ out of the “blow ‘ole” (the receiving chamber of the rag grinding machine) at this factory somewhere in Britain. The shoddy will be combined with new wool to produce new cloth. Image Imperial War Museum © IWM (D 7447)</i><br />
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<b><span style="color: blue;">Sleazy</span></b> is a loosely woven cloth, such as cheesecloth. Cheesecloth is also by definition a shoddy cloth. So a cheesecloth dress is thin, flimsy and poor quality, and sleazy of course. Further connotations of sleazy meaning disreputable, low and contemptible come from this original definition of poor quality. Sleazy did not take on a sense of seediness, corruption and immorality until the 1940s.<br />
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<b><span style="color: blue;">Tawdry</span> </b>In the 17th century tawdry was developed as a shortened form of tawdry lace or St Audrey’s lace, a necktie or ribbon which was sold annually at Ely fair. Tawdry eventually lost its original sense and developed an association with the showy and sordid.<br />
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<b><span style="color: blue;">Seamy</span></b> Now more used in the term seamy sex scandal, seamy once referred to clothing that had the rough edges of its seams visible, and is now tabloid code for sordid or disreputable.<br />
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<b><span style="color: blue;">Drab</span></b> was a natural, undyed cloth but gained another meaning since the late nineteenth century: a dirty, untidy woman or prostitute. Now of course, drab is anything plain, colourless or boring.<br />
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<b><i>Cockney language</i></b><br />
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This article accompanies the Bow Arts research and exhibition project <i>Raw Materials: Textiles</i> which traces the textile heritage of the East End, which roughly corresponds with the Cockney area. Every place on Earth has its area-specific language, references and slang, and the Cockney slang is a wonderfully rich mixture of terms and jokes, Yiddish and other influences, and the intricacies of rhyming slang.<br />
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In the densely populated East End, of the early 19th century, in the fast-paced growth of the city during the industrial revolution, it was said that rhyming slang evolved from codes used amongst thieves so that law enforcers would not understand them, and other codes used within trades and business. Partly they were ways of speaking which deliberately excluded outsiders, whether the police or Peelers, or unsuspecting customers in the market place. Crucially, in rhyming slang, the rhyme is inferred but not said, unless explained to non-Cockneys, so a suit is a whistle, meaning whistle and flute: <i>Nice whistle, mate!</i><br />
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<b><span style="color: blue;">Whistle – suit</span> </b>However, these rhymes didn’t come about without meaning just because they rhymed, but evolved through interweaving other sayings and references, some of which may be traced and unravelled, although much of this language was not written down - it’s a marvellously inventive and still evolving language. Whistle and flute is thought to refer to the phrase - clean as a whistle, because steam train whistles needed to be kept clean of grime in order to work. A suit was a Sunday-best type of clothing supposedly kept cleaner than other clothes, therefore: clean as a whistle, whistle and flute, suit.<br />
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<span style="color: blue;"><b>Weasel – coat</b> </span>The nursery rhyme Pop goes the weasel is based on Cockney rhyming slang - <b>weasel and stoat - coat</b><br />
<b><br /></b><i>Up and down the City Road In and out the Eagle, That’s the way the money goes, Pop! Goes the weasel.</i><br />
<i><br /></i>It's fairly well-known that the Eagle is a still-existing pub on City Road, and the ne’er-do-well of the rhyme was constantly having to pop his weasel - pawn his coat, in order to fund drinking there - a common practice for the poor in early 19th century London. However, in cloth making, the machine that wound the yarn was called the<i> weasel</i>. Every 80 yards of yarn, or 40th revolution, the machine made a popping sound to tell the spinner that the skein was completed. This witty blending of meanings is typical of the imaginative weaving together of phrases in Cockney rhyming slang.<br />
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<i>Eagle Tavern, City Road. Print by T. Bowyer and John Shury, 1841. The Eagle Tavern stood on the corner of City Road and Shepherdess Walk. It was formerly a tea garden but became an early music hall in 1825 and features in Dickens' Sketches by Boz. It was sold in 1883 to the Salvation Army, and later demolished in 1901. © Museum of London.</i><br />
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<i>The Eagle, now on the site of the old Eagle Tavern</i></div>
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<b><span style="color: blue;">Uncle Bert – shirt</span></b> <i>I’ve got to iron my Uncle.</i><br />
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<i>Uncle</i> meant a pawnbroker (although there are plenty of other meanings for Uncle). Bert meant either an impressive and popular fellow, or an attractive guy: <i>Wow! That guy is such a Bert!</i><br />
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It’s hard to establish the earliest use of Bert in the shirt context - suggestions range from reference to Bertie - King Edward VII, to Dick Van Dyke’s mockney Bert from the film Mary Poppins, both of which would make the term 20th century. A shirt anyway is still an everyday smart item. Bert can also stand in for any temporarily forgotten noun, much like<i> thingumajig</i>, or to replace a noun when you don’t want someone else to know what you’re talking about. <i>Pass me over that bert quick before she sees it!</i><br />
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<b><span style="color: blue;">Uncle Bertie</span></b> adjective meaning angry, especially if only temporarily, or characteristically ill- tempered. Extended from Uncle Bert – shirt: <i>What are you getting all Uncle Bertie about?</i><br />
At any rate, Cockney rhyming slang is an ever-evolving language which continues to absorb references from popular culture, and to spread its phrases into everyday language used far from the original Bow Bells, and to suggest otherwise would be to tell porkie pies.<br />
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<b><i>Textile-related place names in the East End</i></b><br />
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<i>Cable Street mural</i></div>
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<span style="color: blue;"><b>Cable Street</b> </span>The scene of the famous Battle of Cable Street, 1936, where the locals stood up to Oswald Mosley and his fascists, Cable Street is a long road, originally named because it was a straight path along which hemp ropes were laid out and twisted into full-length shipping cables.<br />
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<b><span style="color: blue;">Petticoat Lane</span></b> A petticoat was originally a little coat - <i>pety coote</i>, the padded coat worn by men under armour, only later describing the underskirt worn by women. In the 15th century the area was where second-hand clothes and bric-a-brac were traded. By the 17th century incoming Huguenots established weaving and dyeing industries, and the fields all around were <i>tentergrounds</i>, where cloth was stretched out to dry. Despite being renamed Middlesex Street in 1830, the area is still known as Petticoat Lane and is still the site of a clothing and bric-a-brac market.<br />
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<i>Petticoat Lane Market, 1975</i></div>
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Once the seams of words and phrases are unpicked, metaphors and references begin to spill out and unravel, and so often these are related to textiles, to clothing, and working with fabrics.<br />
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<b><i>References</i></b><br />
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Copley, J. (1961). Shift of meaning. London: Oxford University Press.<br />
Ekwall, E. (1954). Street names of the City of London. Oxford: Clarendon Press<br />
Macdonald, A. M. (1956). Chambers's Etymological English Dictionary. Edinburgh; London: W. & R. Chambers, Limited.<br />
Museum of London online archive: https://www.museumoflondon.org.uk/collections<br />
Scott, W. (1810). Marmion: A Tale of Flodden Field: Edinburgh: Printed by J. Ballantyne and Co. For Archibald Constable and Company, Edinburgh; and William Miller, and John Murray, London, 1808.<br />
V&A online archive: https://collections.vam.ac.uk/<br />
1000 English Idioms Explained (English Language). (2008). UK: Foulsham & Co. Ltd.<br />
<br />
Eleanor MacFarlane, April 2018, first published Bow ArtsEleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-537468968736553493.post-57092227393639162912018-08-28T23:00:00.001+01:002018-08-28T23:01:18.613+01:00Raw Materials - Textiles Heritage in the Lea ValleyI was involved as researcher/ steering group in this fascinating project which culminated in an exhibition.<br />
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<a href="https://bowarts.org/nunnery/raw-materials-textiles" target="_blank">https://bowarts.org/nunnery/raw-materials-textiles</a>Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-537468968736553493.post-37378977723636019912018-08-28T22:47:00.003+01:002018-08-29T11:07:31.425+01:00The invention of purple by Victorian teenage genius in Cable Street<div class="separator" style="clear: both; text-align: center;">
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<i>William Perkin</i></div>
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<b><i>William Perkin was 18 when he accidentally produced a substance with an intense purple colour - mauveine - the first synthetic dye.</i></b><br />
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William Perkin was a teenage prodigy – a student and assistant at the Royal College of Chemistry, now Imperial College. He had a makeshift laboratory in his family home in Cable Street east London, and it was here, when he was just 18, that Perkin accidentally invented the first synthetic dye in 1856. He had been working on making a substitute for quinine, an expensive natural substance used in the treatment of malaria, when he discovered that a compound he had been using, aniline, produced an intense purple colour when extracted with alcohol. History does not record the smells coming from the young Perkin’s room, but aniline has the strong odour of rotting fish.<br />
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Until Perkin’s discovery, all cloths and material were dyed using natural substances – sometimes these were expensive and required long processes. Purple was especially costly and laborious, made from the glandular secretions of certain molluscs. Extracting this mucus from sea snails involved tens of thousands of creatures and substantial labour, and as a result, the dye was highly valued. Purple’s elite status grew from its rarity and costliness. Through the centuries purple has been associated with royalty, with laws about who could wear it – Elizabeth I forbade it for anyone except immediate members of the royal family.<br />
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By Perkin’s time in Victorian London, purple was still a colour associated with wealth and privilege due to its high cost. Colours often lacked stability and fastness, and so would fade easily, but William’s new purple substance did not fade. William recognised the commercial potential of his discovery, and worked with his brother Thomas and friend Arthur Church in developing it into a dye for silk which he called mauveine.<br />
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Perkin patented the dye and set to work in adapting it for use with cotton, setting up manufacturing in the Greenford area, and promoting the novel idea of synthetic dye, an entire industry which started in his room in Cable Street.<br />
<br />
Website pin written for Bow Arts Raw Materials project<br />
<a href="https://rawmaterials.bowarts.org/collection/william-perkin/" target="_blank">https://rawmaterials.bowarts.org/collection/william-perkin/</a>Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-537468968736553493.post-71522038278927733182018-08-28T22:40:00.000+01:002018-08-29T11:07:57.964+01:00Meldola’s Blue - a new way to dye in Hackney Wick in 1878<div class="separator" style="clear: both; text-align: center;">
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<b><i>Scientist Raphael Meldola discovered synthetic dye Meldola’s Blue in 1878 at Atlas Works, Hackney Wick, but neglected to take out the patent.</i></b><br />
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Raphael Meldola (1849-1915) was the grandson of the Chief Rabbi of London during the early 19th century and a friend of the evolutionist Charles Darwin. He was one of those all-round scientists, still possible in the Victorian age, with interests and publications in chemistry, natural history, anthropology, evolution, astronomy, photography and technical and scientific education. Meldola made his living as a chemist, and had some particularly fruitful years as ‘scientific chemist’ at Atlas Colour Works, Hackney Wick, for the firm of Brooke, Simpson and Spiller.<br />
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Colour drove the industrial field of chemistry at the time, and the making of synthetic dyes was the first science-based industry. Meldola was given free reign at Atlas to explore and publish research, and during this exploration he discovered Meldola’s Blue, the first oxazine dye. This was a significant finding as there was a growing commercial appetite to find stable chemical processes to produce colour for cloth that could replace the natural substances used until that point.<br />
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Despite the enormous commercial potential of this innovation, Meldola published the process for Meldola’s blue in 1878 without he or the firm having taken out a patent. German chemists later developed the colour for cotton and produced the dye. Meldola’s firm, however, did take out a patent on his discovery of the first alkali green, which they exhibited at the Paris Exhibition in 1878 under the name of viridine.<br />
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Many people lived close to the factories around Hackney Wick. Six thousand people lived there in 1879, in cramped housing built on top of rubbish tips. The nearby River Lea was horribly polluted from all the chemicals the factories tipped into it, including, presumably, Atlas Works.<br />
<br />
Website pin written for Bow Arts Raw Materials project<br />
<a href="https://rawmaterials.bowarts.org/collection/meldola-blue/" target="_blank">https://rawmaterials.bowarts.org/collection/meldola-blue/</a>Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-537468968736553493.post-49445964998189556112018-01-29T21:08:00.004+00:002018-08-29T10:40:48.010+01:00Investigating objects, meanings and associations: A comparison between artists and non-artists - a summary<div class="MsoNormal" style="text-align: left;">
This research study
was my final project for the Msc psychology, University of Hertfordshire, 2017</div>
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<o:p></o:p></div>
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I asked artists and non-artists to participate in a study to
find out if they understood objects differently, if that was measurable, and
what any differences might mean in terms of art. The most significant finding was
that artists tend to refer to their own memories, or think up a story, when
they are deciding what an ambiguous object is, whereas non-artists don’t. This
means that when artists look at or present those ambiguous objects which are
artworks, they are already thinking in different ways to non-artists. If
artists and curators want viewers to see and understand their work fully, they
could provide titles, narratives and ways that viewers can personally relate to
art.<o:p></o:p></div>
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Artists are a relatively under-researched demographic in
psychology. Artist training usually includes the <i>art crit</i> - critique sessions where student artists debate the
intrinsic and implied properties of objects and concepts, and artists typically
continue similar critique throughout professional practice, suggesting that as
individuals, artists may have an atypical approach to concept formation which
could be compared to non-artists. A group of 30 adult professional artists was
compared to a group of 30 adult non-artists in a series of tasks and trials.
Everyone who participated completed the same tasks in the same order, under
similar conditions and with the same instructions, so that results could be
compared.<o:p></o:p></div>
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My supervisor, Sue Anthony, remembers our first meeting as
me plonking down the paper/brick/box object on the table and stating that
artists would immediately be able to tell me all sorts of implied narratives
about it. I remember that meeting rather differently, but Sue and I ended up
spending many hours over the next few months thrashing out how we know what
things are when we look at them, and how anything means more than its
constituent parts.<o:p></o:p></div>
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When I first started studying psychology, I was rather
excited about the bit where we would get around to creativity, what it is and
what its mechanisms are thought to be. I’ve always loved that part of art
practice - analysis of the self and the impulse to make things, and how we
think we are imbuing objects and images with meanings and implications. Well, I
was rather disappointed that my Msc didn’t really cover that until I could
devise my final project.<o:p></o:p></div>
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I’d never been very convinced by the measures that attempt
to quantify creativity by how many uses for a thing, like a brick or some wire,
a person can think up: a doorstop, a pair of earrings, a weapon, and so on. Yes,
it’s some sort of test of some sort of creativity, but I had anecdotal and
instinctive reasons to think that conversely, artists may tend to limit
themselves in their thinking, away from squandering thought in endless variety,
to choosing a few and then thinking more deeply about them. Artists tend to
specialise, to have recurring themes and imagery, to reiterate the same train
of thought in new ways, rather than have a scattergun approach. Perhaps an
artist could think up more uses for the brick - it may or may not tell us
something. I am more interested in the depth of creativity rather than its
width. <o:p></o:p></div>
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Sue Anthony is a specialist in the wonderful mechanisms by
which we know what a thing is when we look at it, even though we may never have
seen that particular object before. Once it’s broken down, it’s a wonderfully
complex process, applicable to myriad applications in science - psychology, cognition, semantics, and in art
- curation, fine art practice and education.<o:p></o:p></div>
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<b><span style="color: blue;">Background -
categories</span><o:p></o:p></b></div>
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<i>Concept formation and
how we know what things are even if we have not seen them before. </i>Categorisation
is the process by which we recognise and understand objects, and how concepts
are grouped together in our understanding. A concept is a general term used to
group together objects, events or ideas. Concepts typically have a set of
defining ideas, and probabilistic concepts define the concept in terms of
features likely to be found, for example, the concept of tree might include
such features as having branches and green leaves, but not every tree has all
these features. When we see a novel object, we make predictions about it
through features and similarities it shares with already familiar concepts and
categories, and so we know it by grouping it together with similar types of
things. This study investigated the relationship between concepts, objects and
categories, and how people form a concept about objects so that they decide
which category it belongs in.<i><o:p></o:p></i></div>
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<b><span style="color: blue;">Framework of
psychology tests</span><o:p></o:p></b></div>
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To make my study measurable in the context of other psychology
research, I adapted and devised new formations of existing scientific
experiments and more real-life handling of objects.<o:p></o:p></div>
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<b><span style="color: blue;">Quantitative and
qualitative research</span><o:p></o:p></b></div>
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<i>Quantitative -
measurements and statistics. Qualitative - understanding reasons and
motivations.</i><br />
There is a
paradox inherent in measuring human behaviour - <i>quantitative </i>research deals in statistical analysis - the numbers. <i>Qualitative</i> research can be just as
rigorous and precise, but deals in the more subjective area of decoding meaning.
One without the other is meaningless or mere speculation, and so methodology
that combines both methods is preferable to me, especially in the realms of art
research.<i><o:p></o:p></i></div>
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<b><span style="color: blue;">Group size,
demographic, artist criteria</span><o:p></o:p></b></div>
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<i>Numbers of
participants in which to get a significant result, statistical norms. </i></div>
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Studying psychology gave
me an appreciation of statistical analysis. I didn’t exactly take to statistics
like a duck to water, but I could follow the logic of scientific research
methods. Two groups of thirty participants is a large enough group for any
comparative differences to be statistically significant and not by chance. I
matched the groups of participants as evenly as possible for age, gender and educational
background. Artists were defined by criteria borrowed from AN The Artists
Information Company, and AUE Artists Union England - both professional artists
organisations which give several criteria for memberships such as having a
visual arts degree, exhibiting publicly and participating in residencies.
Artists, then, were defined not by having or commenting upon any artistic
tendency or appreciation, but by measurable professional training and
experience of the art crit.<i><o:p></o:p></i></div>
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<b><span style="color: blue;">Ambiguity</span></b></div>
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The study included a measure of individual tolerance for ambiguity
(McLain 1993), as ambiguity is a key component in looking at artworks, and
decoding the meaning of objects. The study also went further in investigating
ambiguity, by presenting deliberately ambiguous choices in the object triad
tasks, and by measuring how difficult it was to make those choices. There was
an expectation that artists and non-artists would respond differently, with
artists more accustomed to contemplating ambiguous properties through their art
crit practice.<o:p></o:p></div>
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Ambiguity is clearly an essential component in art, layered
in different ways by various artists. An object in a frame or on a plinth
implies that is it art and that it represents something. Even the most
photo-realist art is always a representation of a way of seeing - we do not
even see our surroundings as clearly as photography. We really see in a
sequence of moments, some of which are blurred of focussed, or implied, and all
subject to our own understanding. The more abstract art becomes, the less it
looks like categories of things we already know. What does red mean? What does
a shadow say? Or a line, or a splash? <o:p></o:p></div>
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<span style="color: blue;"><b>Triad tests </b><i>- established scientific method</i><b> </b></span></div>
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In a triad of one key and two choices, the choice reveals
tendencies in how objects and concepts are understood. I used triads from Linn
and Murphy, 2001. For example, in the triad Sapphire, Ring, Emerald - for the
key Sapphire, Ring is the thematic choice as it is linked to Sapphire only by a
narrative association, and Emerald is the taxonomic choice as it shares some gemstone
properties with Sapphire. These triads are usually given on paper but I decided
to make them into a cards task to<i> </i>prime
my participants towards handling objects, and to familiarise them with the format
of choosing one to match the key, so they would know what to do with the later
ambiguous choices. Participants gave their choice without being asked for their
reasons in this task, but were asked to explain their choices in the later
object triads.<b><o:p></o:p></b><br />
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<span style="color: blue;"><b>Thematic </b>-
themes, narrative, meanings. <b>Taxonomic </b>-
properties</span></div>
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It’s thought that participants’ choices reveal their
tendency to think about objects in certain ways - thematically - creating
categories by narrative, or taxonomically - creating categories by properties. In
the cards triad task, a score of 14 or more choices out of 20 indicates that is
not by chance.<b><o:p></o:p></b></div>
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<span style="color: blue;"><b>Results</b> </span> </div>
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Thematic
(score 14 or more): all participants 24(40%), artists 9(30%), non-artists
15(50%)<br />
Taxonomic (score 14 or more): all participants
2(3%), artists 2(7%), non-artists 0(0%)<br />
No tendency (score
less than 14): all participants 34(40%), artists 19(63%), non-artists 15(50%)</div>
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The art crit is central to art training, where art is
discussed and debated thematically and taxonomically. In other words, artists go
through group critiques, explaining to others what they are doing and what they
intend it to mean, while fellow students and tutors challenge and suggest
alternatives. It can be harsh criticism and yet enlightening. It’s part of the
training allowing artists to deepen understanding of their own work, and to
show it without feeling personally exposed.<o:p></o:p></div>
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<b><span style="color: blue;">Object triad: Cow
Milk Lemonade</span></b></div>
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The first object triad choice was Cow Milk Lemonade, a Linn
and Murphy triad presented in the study as objects which were given to the
participants to handle. The key is Milk, and the choice Milk and Cow indicated
a thematic choice, where the link is through a narrative, whereas Milk and
Lemonade is taxonomic, as the two share properties - liquid, drinks, glass, bottles.
There are no shared properties between the small plastic cow, and a miniature
bottle (seemingly) of milk.<o:p></o:p></div>
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<b><span style="color: blue;">Results:
Cow Milk Lemonade <o:p></o:p></span></b></div>
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<b><span style="color: blue;"><br /></span></b></div>
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<b>Milk Cow: all participants 44(73%), artists
24(80%), non-artists 20(66%) </b></div>
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Artist
- <i>Eh, colour. Form. Milk. Eh, milk
bottles, dairy, herds. This, this one's all citric and would make milk go
funny, but they're both in bottles and you can drink, so this one, the cow,
they just look right together. They're both really pleasing, they’ve both got
sort of white, solid, thing. Monotone. Em, they're both charming things I would
put in my studio</i>.<br />
Non-artist - <i>It's the bottle of
milk, so it's the milk associated with the cow rather than the other bottle. So
it's what's inside the bottle rather than, the bottle, the fact of the bottle
itself. Also, lemon juice would tend to curdle milk, so I would tend to think
that you would not have these things together unless you wanted something else</i>.</div>
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<o:p></o:p></div>
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<b>Milk Lemonade: all participants 16(27%), artists 6(20%), non-artists 10(33%) </b></div>
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Artist - <i>Because I like the
arrangement, of the bottle with the lemon, in the rectangle. I think it's very pleasing.</i><br />
Non-artist
- <i>I think, I think maybe if it was
different drinks I would categorise them together, but I'm thinking it's
obviously cow comes from milk but I think it's connotations in my head of the
milk, and lemonade would be in different places in a shop.</i></div>
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<i><br /></i></div>
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<o:p></o:p></div>
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<b><span style="color: blue;">Objects triad: Brick
Paper Box</span></b></div>
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The second object triad was Brick Paper Box, and the key was
Box. If you have participated in the study, you will already know that the Box
was light and made of paper, shaped like a small brick and printed with
small-scale brick walls. The Brick was not a full brick, but clearly part of
one, and Paper, was a small lined notebook without a cover. The thematic and
taxonomic choices, then, were not so clear - Box and Paper shared properties of
paper, and the lines referred to lines of the brick images, however, Box
inferred links to bricks and walls, creating narrative links to Brick. These
and other complex overlapping properties made this triad choice deliberately
ambiguous, and so the choice and reasons for choosing revealed much more about
how participants think about and categorise objects.<o:p></o:p></div>
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<b><span style="color: blue;">Results:
Box Paper Brick</span><o:p></o:p></b></div>
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<a href="https://www.blogger.com/null" name="_Hlk504985859"><b><br /></b></a></div>
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<b>Box Brick: all
participants 44(70%), artists 18(60%), non-artists 24(80%)</b><b> </b></div>
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Artist - <i>This one. The brick,
Because I like the juxtaposition of the forms. They're very different. I like
the, this, brick, I don't know, what is brick made out of? (Clay, I think) It's
rather lovely isn't it. Yeah, the clay, with the paper. I like it. So the
contrast between the clay, and the paper, and the shapes, I like too, the
contrast in the shapes.</i> </div>
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Non-artist
-<i> Because that represents a brick wall,
and, that is a component of them. I don't think I'd associate that (the paper)
with it at all actually</i>.</div>
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<br /></div>
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<o:p></o:p></div>
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<b>Box Paper: all participants 18(30%),
artists 12(40%), non-artists 6(20%) </b><b> </b></div>
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Artist - <i>Doesn't look like brick to me, 'cause it consists of bricks. It's a
little, oh, it's the box, made of a bricks surface, oh, interesting. It's a
mausoleum! I've no idea what you gave me in the first place. So these, as the
potential, it's these really, because this is how I keep knowledge, or you know
it's something that is able to contain information, because of that ability to
contain information. </i></div>
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Non-artist -<i> </i><i>The brick has associations, but the notebook
is cuboid with straight lines</i>.<o:p></o:p></div>
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<br /></div>
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<b><span style="color: blue;">Variety of responses</span></b></div>
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It was so interesting how many people indicated their object
choice by saying something like:<br />
<i>Oh, I’ll just go for the
obvious one.<o:p></o:p></i></div>
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There were too many responses and types of responses to
reflect here. They are reported in full in my project paper, and are a great resource
of interesting and enlightening reactions. There were other findings, results
and responses from this study to be written about, made into articles, and
which suggest further development and related research.<o:p></o:p></div>
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<span style="color: blue;"><b>Uncertain object</b><span style="text-align: center;"> </span></span></div>
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<span style="text-align: center;"><br /></span></div>
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I found this object near my home at the beginnings of my
discussions with Sue. When I saw it, I immediately understood it as some
marvellous solid painting, and a three-dimensional manifestation of
impressionism. It reminded of the image for the Monet exhibition, which I had
happened to keep from the previous year. When I dug out the leaflet and saw it
with the roller, the colours, forms and markings were outstandingly similar. I
did not see that the object was originally a roller for some time, and thought
it was some sort of seaside driftwood. So for myself, this was a truly
ambiguous object, at once both art and natural. Sue called it an <i>uncertain</i> object. In psychological
terms, that made a great platform to consider why people understand things
differently, to trace through those cognitive processes, and to design a study
which could present ambiguity to any participant while asking the same
question.<o:p></o:p></div>
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<br /></div>
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Not immediately obvious, I presented this uncertain object and
asked participants what they thought it was. Out of the 60, 3 participants
recognised that this was an old paint roller.<o:p></o:p></div>
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<br /></div>
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Artist - <i>So, the two
things that stand out are, one, it could be quite poo-like. And the second one
is it looks like a big stick of ganja. And I instantly made up a story of how
it's ganja, and how it's smuggled, you know, and I've got the whole script
written already in my head.</i><o:p></o:p></div>
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Non-artist - <i>I think
it's some kind of seaweed. It might be some kind of shell. It might actually be
some kind of real sponge. I mean, I thought it was a courgette.</i><o:p></o:p></div>
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<i><br /></i></div>
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<b><span style="color: blue;">Objects triad: Roller
Handle Monet</span></b></div>
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Presenting the other two choices to the Roller key, the
Handle and the Monet exhibition leaflet, made it obvious to (almost) everyone
what the Roller was. Both Handle and Monet have thematic and narrative
implications relating to the roller, making this a task of a different sort of
ambiguity to the Box Brick Paper triad. Again, the reasons for choices provided
more clues as to how people decode the meanings of objects. <o:p></o:p></div>
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<b><span style="color: blue;">Results: Roller
Handle Monet</span><o:p></o:p></b></div>
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<b><br /></b></div>
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<b>Roller Monet: all
participants 38(65%), artists 17(57%), non-artists 21(70%) </b></div>
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Artist - <i>I'm going to have to
go with the painting of the modern garden. It's a very interesting one. Partly
because of, just visually, the correlation between, Monet's water lilies and
the flowers, which have the same colours as the bits of plastic inside what I
consider to be a giant mouse poo, eh, now I can clearly see is actually
probably a very well used paint roller, ah, or misused paint roller. Em, but
you're more likely to find a giant mouse in painting of the modern garden, than
in a paint roller.</i> Non-artist
- <i>Em, It has the same colours, this is
like a ... I guess they could both be like arty representations of the same, em,
pondy thing, I think it is. So it makes more sense than the roller.</i></div>
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<o:p></o:p></div>
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<i><br /></i></div>
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<b>Roller
Handle: all participants 22(35%), artists 13(43%), non-artists 9(30%)</b><b> </b></div>
<div class="MsoNormal">
Artist
- <i>Hmm I think these are clearly two bits
of the same thing now I look at them, 'cause I'd already noticed there was that
little red end, which means that that goes in there, so I suppose I'd
categorise those two together 'cause they're part of the same, overall object.
Although that is the same colour as that, and that, and it has got some nice
red in it, hasn't it? No. I'm going that way – (indicates handle)</i>.<br />
Non-artist
- <i>Eh, this explains this. So this is
obviously a hardened, eh, em, a, a once used, eh, roller, paint roller. So that
explains it. Eh, this would be, eh, probably used for painting, perhaps. But
this is a more direct association. Or practical association.</i></div>
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<i><br /></i></div>
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<o:p></o:p></div>
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<b><span style="color: blue;">Reasons and coding</span></b></div>
<div class="MsoNormal">
I coded all the responses into related categories, so all
the poo-related comments were collated, as were the food, manufactured, stone
references and so on. It was during this coding stage that unexpected themes
emerged - the differences in whether participants thought the roller was
naturally formed or artificially made - the majority of non-artists thought the
roller was natural - some poo, mouldy food or sea-side related, while artists
mostly thought it was artificial - either made to look the way it did
deliberately, or as a consequence of some other manufacturing process. <o:p></o:p></div>
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<br /></div>
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<b><span style="color: blue;">Ambiguity results</span></b></div>
<div class="MsoNormal">
There were various measures for ambiguity during the study.
My own expectation was that artists would be more comfortable with higher
levels of ambiguity, and that this would mean making a choice, and thus
lessening the ambiguity, would be more difficult because they would <i>prefer </i>the ambiguity. This was somewhat
evident in the results.<o:p></o:p></div>
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<span style="color: blue;"><br /></span></div>
<div class="MsoNormal">
<span style="color: blue;"><b>Thematic and
taxonomic results</b> - <b>differences
between artists and non-artists?</b></span></div>
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If thematic is <i>what it
means</i>, and taxonomic is <i>what it is</i>,
then the combination somewhat defines the elements of art. In some ways, I
expected artists to be both more thematic and more taxonomic, as the art crit
encourages focussed analysis on both aspects. This study was innovative in
several ways, one of which was asking for and coding the <i>reasons</i> for triad choices. Many responses in the study demonstrated
that people gave more than one association, at times several associations, and a
variety of thematic, taxonomic and narrative reasons for their decisions. This
complexity would seem to more realistically represent concept formation than
simply recording the choice without further explanations. Results showed that artists
had a more taxonomic tendency but used a thematic associations strategy -
narrative or memory - when making an ambiguous decision. Artists were more
analytical and more likely to understand that a novel object was constructed.<o:p></o:p></div>
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<b><span style="color: blue;">Future research</span></b></div>
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Future research may look at an integrated model of category
formation which includes reasons, associations and indicators given to explain
triad choices. Category depends on prediction, and this study points towards a
model where category concepts are formed by an interaction of strategies and associations.
It would be fascinating to continue this study comparing different groups with
the artists rather than a general population - scientists, writers, and so on,
or to further subdivide the artists into painter, sculptors, etc. <o:p></o:p></div>
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<span style="color: blue;"><br /></span></div>
<div class="MsoNormal">
<b><span style="color: blue;">Research applications</span></b></div>
<div class="MsoNormal">
This research is applicable to several fields - as a contribution
to the psychological study of category formations and to research in creativity,
art practice and education. There are implications in the presentation and
curation of art - if artists are making a set of assumptions not shared by
non-artists, then different approaches and communication can bridge this gap.
Many artists are interested in reflective practice, and in education, this insight
can filter through, right into the fulcrum of professional art practice - the
art crit.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Comparing any groups can give insight to the field of
concept formation and creative thinking. Results from specific groups gives
more insight into the overall cognitive processes of concept categorisation, or
how we know what things are. Furthermore, several of the innovative scientific
methods this study employed in this study: the structured and scripted interview,
the handling of objects, the use of ambiguous and uncertain objects, and the analysis
of reasons and meanings, contribute to possible methodologies.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<b><span style="color: blue;">Art and psychology research,
personal and thanks</span></b></div>
<div class="MsoNormal">
Metacognition is thinking about thinking, an awareness which
is fostered in art practice. For my own practice, this project allowed me to
search deeply into the core of my thinking and make new discoveries. Although I
had to become a very part-time artist while studying psychology, it felt like a
long but essential way round to go to where I want to be as an artist/writer/researcher.
This study was clearly within the realms of psychology, and my interest is in
creativity and fine art, however I believe the crossover of disciplines tends
to be very fruitful.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
I’m very grateful to all my participants who so kindly gave
me their time and thoughts. Many sessions developed into fascinating
conversations that I hope to continue. I’d also like to thank my family for
their endless support, my tutors and fellow students at Hertfordshire for an
enjoyable and challenging two years, and Dr Sue Anthony for inspiring and
fascinating supervision of my project.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>About - I am an artist, writer and researcher. I make moving
image and sound, and often set up projects through my popup theViewergallery. I have an BA
(Middlesex) and MA (Open College of the Arts) in fine art, and an Msc in
psychology (Hertfordshire). I also work as an academic mentor and arts mentor.<o:p></o:p></i></div>
<i><br /></i>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<div style="text-align: left;">
<i>Eleanor MacFarlane
2018</i><o:p></o:p></div>
</div>
Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-537468968736553493.post-16525540277119413362016-07-28T14:42:00.002+01:002018-08-29T10:57:45.026+01:00Wearable Art<div class="separator" style="clear: both; text-align: center;">
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<br />Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-537468968736553493.post-9653702936858378302016-07-28T10:22:00.000+01:002018-08-31T08:28:36.037+01:00Archive Project<div class="separator" style="clear: both; text-align: center;">
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Shadow residency. An investigation into the nature of shadows and echoes</div>
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<i>When I was a child I believed in shadows. I believed they copied us deliberately, and played tricks on us, the way they stretched out or hid secrets deep within them.</i></div>
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Shadow Catcher</div>
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Crypt Gallery, London 2016</div>
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The Facsimile Box</div>
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Covert Artist in Residence project</div>
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<a href="http://covertartistinresidence.blogspot.co.uk/search/label/Facsimile%20V%26A%202015" target="_blank">covertartistinresidence.blogspot.co.uk</a></div>
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The Facsimile Box</div>
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Nordic Museum, Stockholm 2015</div>
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The Facsimile Box</div>
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Victoria & Albert Museum, London 2015</div>
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Embedded </div>
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Installation</div>
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Embedded</div>
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Bank street arts, Sheffield 2014</div>
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Embedded</div>
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Bank Street Arts, Sheffield 2014</div>
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Embedded</div>
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APT Gallery, London 2014</div>
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Absolute Magnitude is an international travelling art project. It started as an idea in exhibition collaboration between MA fine art students, studying online with the Open College of the Arts, and largely coincided with the launch of theViewergallery itself. </div>
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<i>Absolute Magnitude is the measure of a celestial object's intrinsic brightness, or an expression of a star’s luminosity. </i></div>
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<i>It allows the true brightnesses of objects to be compared without regard to distance.</i></div>
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Absolute Magnitude I Sun</div>
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Original Gallery, London 2011</div>
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<a href="https://2.bp.blogspot.com/-V7N45kZB0C0/WHuBQgcolCI/AAAAAAAAGB0/kkbEgJtrpl0DaaVifwM9L_SQ3kp_UNlOwCLcB/s1600/Absolute%2BMagnitude%2BII%2BEarth%2B2014%2BTate%2BBritain.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="226" src="https://2.bp.blogspot.com/-V7N45kZB0C0/WHuBQgcolCI/AAAAAAAAGB0/kkbEgJtrpl0DaaVifwM9L_SQ3kp_UNlOwCLcB/s320/Absolute%2BMagnitude%2BII%2BEarth%2B2014%2BTate%2BBritain.jpg" width="320" /></a></div>
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Absolute Magnitude II Earth</div>
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Tate Britain, London 2014</div>
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Myriad</div>
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Slaughter & May, London 2013</div>
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Vessels</div>
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Gallery of Wonder, University of Newcastle, 2012</div>
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Paradigm</div>
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2011</div>
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theLongLine</div>
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Original Gallery, London 2011</div>
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<a href="https://2.bp.blogspot.com/-pSpasCmC138/WHuBQ3XYZ5I/AAAAAAAAGB4/_C_Qh5N0JlEsqNjDkvzpXOwU7qMntNe8wCLcB/s1600/Chairism%2BInstallation%2BEleanor%2BMacFarlane%2B2007%2BCandid%2BGallery.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://2.bp.blogspot.com/-pSpasCmC138/WHuBQ3XYZ5I/AAAAAAAAGB4/_C_Qh5N0JlEsqNjDkvzpXOwU7qMntNe8wCLcB/s320/Chairism%2BInstallation%2BEleanor%2BMacFarlane%2B2007%2BCandid%2BGallery.jpg" width="320" /></a></div>
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Chairism installation </div>
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Candid Gallery, London 2007</div>
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Oddlong 3 </div>
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Viewer exhibition 2007</div>
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Consequences 1 </div>
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Viewer exhibition 2007</div>
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Consequences 1 </div>
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Viewer exhibition 2007 </div>
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<a href="https://2.bp.blogspot.com/-xbqZv8HY7j4/WHuBU4fgoVI/AAAAAAAAGCc/OmuXZaB-qSMr7Yc-jIgLWayA4UQMglnJgCLcB/s1600/Embedded%2Bat%2BBank%2BStreet%2B2014%2B109.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://1.bp.blogspot.com/-3IDrB9G-_28/WHuBUqXFaYI/AAAAAAAAGCU/a8dWAsiQ1Io6QpDk6xcNBE_rFMsEsyJhACLcB/s1600/Echo%2B1%2BEleanor%2BMacFarlane%2B2007%2BViewer%2Bexhibition.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://1.bp.blogspot.com/-3IDrB9G-_28/WHuBUqXFaYI/AAAAAAAAGCU/a8dWAsiQ1Io6QpDk6xcNBE_rFMsEsyJhACLcB/s320/Echo%2B1%2BEleanor%2BMacFarlane%2B2007%2BViewer%2Bexhibition.jpg" width="320" /></a></div>
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Echo</div>
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Viewer exhibition 2007</div>
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Influence 1</div>
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Viewer exhibition 2007</div>
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Influence 2 </div>
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Viewer exhibition 2007</div>
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Objectify 1 </div>
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Viewer exhibition 2007</div>
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Objectify </div>
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Viewer exhibition 2007</div>
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Oddlong 1 </div>
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Viewer exhibition 2007</div>
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Oddlong 2 </div>
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Viewer exhibition 2007</div>
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<a href="https://3.bp.blogspot.com/-mYVwn5Xwa8o/WHuBYSkpUFI/AAAAAAAAGC8/fCjdqu9djAUYg4dajDFwhYe9IFk-Uo2_wCLcB/s1600/Oddlong%2B3%2BEleanor%2BMacFarlane%2B2007%2BViewer%2Bexhibition.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-mYVwn5Xwa8o/WHuBYSkpUFI/AAAAAAAAGC8/fCjdqu9djAUYg4dajDFwhYe9IFk-Uo2_wCLcB/s320/Oddlong%2B3%2BEleanor%2BMacFarlane%2B2007%2BViewer%2Bexhibition.jpg" width="213" /></a></div>
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Oddlong 3 </div>
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Viewer exhibition 2007</div>
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Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-537468968736553493.post-44899000277975393792015-08-21T12:53:00.000+01:002015-08-21T13:06:47.136+01:00Psychology - Artists/MusiciansLong story very short - I am about to start an Msc Psychology at the University of Hertfordshire. Lot's of reasons, naturally, but it turns out to be a progression rather than a leap to the side, and I fully intend to take my art practice with me and out the other side. In psychological features and reports there are always studies where they use classical musicians - psychologists seem to bloody love musicians because their brain activity and responses are so defined and differentiated form those who are not musicians. I can well understand that - the mathematical basis of music, the repeat practising, the training to learn, remember and perform. In fact I started off training as a classical musician myself, and I still know what it did for me, brainwise.<br />
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However, although they may well be more diverse, I am interested in the artist's brain and response. I haven't looked much as yet as to what studies have been done, but I start off from a place of believing that artists too have a particular set of responses, and I have ideas to develop and explore about that. Vaguely something to do with an external locus in interpreting the world to self. In other words, an artist has to remake an aspect of the world externally, through making or whatever their practice is, in order to then reinternalise it and thus understand it. Cognition requires this process of breaking down and building up.<br />
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The point is, surely, that musicians and artists are people too, and many non musicians/artists go through similar cognitive processes.There is too much overlap between people to separate them out - we all have a relationship to art and to music.<br />
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I make art partly in order that I may then see aspects of the world through the lens I have created. For example, I have worked with clouds a lot, and cannot separate my views of them now between nature imitating art and art imitating nature. I always look at clouds and find a parallel between what is in the sky and photographs I have taken, moving image I have made, paintings I have seen, and future artworks I imagine. I look at the cloud artworks, and imagine the places I have been, the cloudscapes I have seen, the feel of wind and atmosphere, the sense of the time. It's inextricably interchangeable and interlinked. This is such a necessary joy for me. It's the same process with trees, puddles, water, bottles, bricks, shadows, windows, and so on.<br />
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I feel a life's mission to capture and recapture these reinterpretations, to make new forms for my understanding, to be able to identify and build a library of what it all is, how I see things, and how it all points to what I call meaning. Another great pleasure and joy is that this is shareable and somewhat transferable - in other words, I can share these things with an audience so that they can have their own experiences of meaning through this mechanism or lens. Each artist has a lens to offer - it may take a life to define that lens. It's a necessary joy because that is what culture is and how it is shared - I take in other art and music created by others, and select and add to my repertoire. I create my own art which I show and offer to others. What a marvellous exchange.<br />
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The reason I know that this is so necessary is because it is not an unproblematic exchange. That is mild way of saying that it is an enormous set of frustrations and challenges, unhappinesses and difficulties in approaching anything near an equilibrium. Developing and maintaining an art practice, going through the gauntlet and exposure of art education, trying to forge a career while making a living and family life - I know too well these things take artists beyond the edge of their resources in every way. So why, what drives artists to make art, what makes it so necessary, and so uncomfortable to stop.<br />
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From here I imagine that there may well be common indicators for artists as there are for musicians. I know anyway about the common experiences, frustrations and joys of artists, which may be a place to start. Such research, when it happens, may of use both to artists and non artists, because everyone shares some creative compulsion and goes through similar processes of frustration and realisation of projects.<br />
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21st August 2015Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-537468968736553493.post-61041134125380205002015-02-12T12:21:00.002+00:002016-09-06T22:13:57.434+01:00Admitting defeat<div class="separator" style="clear: both; text-align: center;">
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As a self employed freelance artist, I have come to realise that I have to take charge of my continuous professional development, and make sure I pick up the sort of useful qualifications and training which I would get if I were employed in an organisation. I have done a lot of courses in IT, Equality and Diversity, Health and Safety, etc. Without these it's so much harder to get the freelance positions in the first place. Sometimes these courses lead me into new and interesting pathways, and they have all come into real use at some time or another in CVs and job applications.<br />
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I rather collect free qualifications - there are a lot out there, and I have ploughed my way through several level 2 courses from Vision to Learn:<br />
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<a href="https://www.vision2learn.com/default.aspx" target="_blank">https://www.vision2learn.com/default.aspx</a><br />
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It has not always been easy, or pretty. At times it's ridiculously frustrating. But such courses have trained me to better answer the question that is actually being asked, to understand the question, and to respond in the expected language. Naturally this is applicable in other areas and really helped me in being able to complete my MA in fine art.<br />
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And now the dyslexic bit. I recently had to admit defeat and withdraw from the Lean Organisation Management Techniques course:<br />
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<a href="http://www.vision2learn.net/channels/courses/lean-organisation.aspx" target="_blank">http://www.vision2learn.net/channels/courses/lean-organisation.aspx</a><br />
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I think I can be a rather stubborn person. Once I have decided that something is a good idea to do, I will make sure it happens and find a way, but this time, I had to realise and admit that I just couldn't do it. It would have taken me all year to finish this bloody course, so many dyslexia-unfriendly features did I find. I think it has given me a great place to start upon writing about dyslexia, as I can consider my own history, the knowledge I have gleaned, and move into new insights, using that focus.<br />
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The point is that I may have an MA, a first class BA, and many other equivalent qualifications to the Lean Organisation Management Techniques, but my dyslexia still exists. I found strategies and mechanisms to negotiate those other academic pathways, through help, experience and insight. I find that water is a great analogy for most things, dyslexia included. The flow of water may be impeded by obstacles, but the obstacles can be rearranged, and the flow of understanding can resume. Academic course are built environments like channels or mazes to flow through - the pattern just happens to be made to fit the way that works for most people. Dyslexic people can negotiate the maze, perhaps with a little rearranging of the pattern, or change of direction - you get the idea. However, the dyslexic flow of understanding always has its natural tendency, and when it learns to negotiate one pattern, is not changed or cured or overcome - it flows into another anomaly. No matter how many strategies I learn - and I have learned a lot, to the extent that I work as an academic notetaker for students including dyslexic students, I am still dyslexic and will always find new and wonderful ways to be dyslexic.<br />
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When I cannot use my strategies, when the course is inflexible, I have to go against type, cut my losses and realise that all those hours already spent are not getting me anywhere. I couldn't do it. Fascinating really. Frustrating, but let's make lemonade out of Lean Management. I learned something about dyslexia, or was reminded, that strategy does not necessarily overcome all.<br />
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Last night I happened to meet the artist Bob and Roberta Smith (aka Bob) at an Artists Union England Hustings:<br />
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<a href="http://www.artistsunionengland.org.uk/hustings/" target="_blank">http://www.artistsunionengland.org.uk/hustings/</a><br />
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Nice bloke to meet and chat to and unusually we got onto dyslexia - he said he was sure he was dyslexic, but did all the tests and passed. Hilarious! Perhaps he's right - it's changeable.<br />
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12th February 2015Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-537468968736553493.post-85278632438112270002015-01-07T22:18:00.003+00:002015-01-14T14:06:35.926+00:00Thinking Thoughts<div style="text-align: center;">
I thought of the thought</div>
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That I thought I would think.</div>
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An unthinkable thought</div>
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But I thought it – I think.</div>
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I thought of the thought</div>
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But did the thought think</div>
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That I ought to have thought it?</div>
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I ought to, I think.</div>
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No, I think the thought thought</div>
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That I could NOT think</div>
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An unthinkable thought,</div>
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But I thought it – I think.</div>
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I wrote this poem when I was a girl aged 10 - I've always liked a paradox. How often the thoughts we ponder in childhood become the themes of our lifelong quests.Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-537468968736553493.post-7143122357764601502015-01-07T22:14:00.002+00:002015-01-07T22:14:55.475+00:00Dyslexia in Art and EducationEleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-537468968736553493.post-42306150476871140102015-01-07T21:44:00.000+00:002015-01-07T22:09:07.029+00:00Open ResearchMuch of research in any discipline seems to start of by researching research is itself - what is research, what are the methods, the language, terminology, and so on.<br />
<br />
I recently in 2014 participated in a splendid course about Open Research:<br />
<a href="https://p2pu.org/en/courses/2377/open-research/" target="_blank">https://p2pu.org/en/courses/2377/open-research/</a>Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-537468968736553493.post-20065695504174080392015-01-07T21:09:00.004+00:002015-01-23T13:26:27.925+00:00A M Micholls<b><span style="font-size: large;">From the Royal Academy to Obscurity</span></b><br />
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Some years ago, probably around the year 2000, I helped out at a stall in a Summer Fair at my daughter’s primary school in Finsbury Park, North London. At the end of clearing up, I bought a framed picture which had been unsold, probably because it was too large to carry around a playground with children running about. I remember I gave what money I had left, which I think was 63p.<br />
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<a href="http://4.bp.blogspot.com/--jXVhnHegyk/VK5dtsHkPNI/AAAAAAAADtQ/7DI55L92uZg/s1600/Micholls%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/--jXVhnHegyk/VK5dtsHkPNI/AAAAAAAADtQ/7DI55L92uZg/s1600/Micholls%2B1.jpg" height="320" width="254" /></a></div>
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An unusual item for a bric-a-brack stall: an incredible bargain: a lucky acquisition.<br />
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The frame had its glass intact, but this was broken a little later when some child visitor slammed into it, sliding down stairs to where the picture was propped up against a bookcase. Thankfully it was alright. And so was the child.<br />
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<a href="http://1.bp.blogspot.com/-geA5AUF37J4/VK5cXonA3-I/AAAAAAAADsg/AvZcmKuBsUA/s1600/Micholls%2B11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-geA5AUF37J4/VK5cXonA3-I/AAAAAAAADsg/AvZcmKuBsUA/s1600/Micholls%2B11.jpg" height="320" width="267" /></a></div>
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The drawing of a girl has since moved with me. It sits where we hang our coats, in what I hope is a dim and sympathetic light and atmosphere. The frame could certainly do with renovating – it is held together with masking tape at the back. The gold mounting shows signs of some years of neglect, probably somewhere damp. The drawing, though, is in great condition – from afar it looks like a painting, yet up close the delicate pencil marks and skilled use of colour and shading are visible.<br />
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<a href="http://2.bp.blogspot.com/-_TQVdz2M--A/VK5dzFm3LSI/AAAAAAAADt8/K75t_krIMsY/s1600/Micholls%2B16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-_TQVdz2M--A/VK5dzFm3LSI/AAAAAAAADt8/K75t_krIMsY/s1600/Micholls%2B16.jpg" height="164" width="320" /></a></div>
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The drawing, and the frame, deserve better. They deserve to be properly renovated and shown to advantage where others can see and appreciate them. They deserve a little background, a little provenance. Should one wish to know who, where and when, that ought to be available.<br />
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<a href="http://4.bp.blogspot.com/-EZLQ0BfxxPc/VK5d68vu5KI/AAAAAAAADuk/gC_agqYlDfI/s1600/Micholls%2B5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-EZLQ0BfxxPc/VK5d68vu5KI/AAAAAAAADuk/gC_agqYlDfI/s1600/Micholls%2B5.jpg" height="240" width="320" /></a></div>
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A M Micholls is written on the right side. The writing is careful, and a little tentative. The signature is legible and not a flourish. It is controlled and considered, like the drawing, without gesture of movement. The girl, I imagine, is about twelve, with long dark hair, a fringe, and a white dress of the Edwardian era with a ribbon at the hips. She looks out straight at the viewer, with clear brown eyes, a stylised glowing pattern of gold behind her. The drawing is in the style of late Pre-Raphaelite or Arts and Crafts. My initial guess is that it was made around 1900.<br />
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<a href="http://3.bp.blogspot.com/-z6GA5zvigCM/VK5d91XL3DI/AAAAAAAADus/EADGeaRD7s8/s1600/Micholls%2B6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-z6GA5zvigCM/VK5d91XL3DI/AAAAAAAADus/EADGeaRD7s8/s1600/Micholls%2B6.jpg" height="240" width="320" /></a></div>
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The drawing is beautiful, intriguing and expert, perhaps a portrait. The girl carries with her something of the faraway look of the pre-Raphaelite style, as if she knows something. Already, from over a century distant, childhood is clothed differently, and the way of life suggested by the girl, of a sort of affluence in nurseries, and a properly designated and differentiated structure of childhood, is as gone as the early twentieth century.<br />
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<a href="http://2.bp.blogspot.com/-4GALAQRcj5k/VK5d-4e9r3I/AAAAAAAADu0/-DRHMPXTXDw/s1600/Micholls%2B7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-4GALAQRcj5k/VK5d-4e9r3I/AAAAAAAADu0/-DRHMPXTXDw/s1600/Micholls%2B7.jpg" height="240" width="320" /></a></div>
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The girl is a little doll-like, drawn very much within a style.<br />
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A M Micholls. Occasionally over the years I browsed for her, assuming she was a she. She eluded books, libraries and search engines. Results suggested I really wanted to look up Nicholls. I found one possible link to another painting from 1916 by an AM Micholls, and then a listing from the Royal Academy Exhibition of 1911, which was its first open to submissions. A painting entitled Outward Bound by Ada M Micholls, and even an address: II Queen's-gate, S.W.<br />
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Mrs Ada M Micholls. And no more. No more that I could find in more specialised art and educational libraries. I realised that while searching for her, I felt I already knew Ada. I can imagine her now, a progressive woman in an age of change, pursuing her voice in art while the world shifts. I imagine her through the films I have seen of that era, of books I have read, and paintings I have seen. I imagine her through the ideas of Virginia Woolf, of EM Forster, and images of actresses enacting the personas and roles afforded of the age.<br />
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Skirts, material. The fabrics of a time and the feel they give to the body, the shape they carve. This is an age of elegance, of flowing fabrics and elongation. Of course there were still restrictive undergarments, corsets and hobble skirts, but the women who only a few years before had been derided for their rational dress, abandoning construction for the natural unrestricted shape of the body, had allowed later women to breathe, lacings to loosen.<br />
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Ada lived at the time of the emancipation of women and the rise of the suffrage movement. It was the swell of the tide of mechanisation, the dawning of electricity in the home, the rise of domestic paraphernalia. Women living in London at that time went to emancipating lectures. Ada was an artist, and exhibited at the Royal Academy. Fiction and history tell of such women being flummoxed by institutions or systems or men.<br />
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Such as it always is. The progress of education and the surprise at how backwards the world still is when it comes to what a woman has in her remit.<br />
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How is it that she is so lost, so elusive. So non existent. I am reminded of a character in George Elliot’s Middlemarch who realises that living a great life and doing great things may be to be lost in the multitude of others. We are all lost in the multitude in time, no matter how bright our spark.We all know some who died young, who were taken before they had their chance to make their mark, to do their thing, write their novels, have their children. We are poorer without them and their works, and yet, the impact of their personalities seems to me to be already complete. We remember them as complete people, not as unfulfilled people.<br />
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From where I am now, as I write this, I know that Ada must be dead. Perhaps I will find out no more about her than I do now.<br />
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Life is not really a narrative. We look back and can tell the story of our life, but we look back later, or when something else happens, and the emphasis completely changes. It may be a different story. Even facts change. Each version may be true, and there may not be one definitive version, even by the end. Events happen that change everything, even the past.<br />
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Even today, a century on from Ada, in a digital age which is infinitely more recorded and scrutinised than before, I know that any biography complied, for example, of myself, could not possibly build up to a complete and definitive version, even of the bare facts. Times and parts of ourselves are divided like horcruxes amongst people we knew, places we visited, things we did. All those parts and times could never meet up in the same room and do not even know of each other, like unaware multiple personalities.<br />
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We spend time with people we cannot ever really grasp, yet we can read a biography or look at a face in a painting, and we get a sense of a person. Something of a person comes through their work, from the subject matter, the style and time, and the way we can read their workings with a forensic approach or interpret their signature with graphology. We get a sense of their pace and sensibility. We borrow their thoughts and have them in our minds for a while.<br />
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I hope to find out more about Ada M Micholls. I hope to get a sense of her, and discover some facts about her life that I wish for her. I hope she lived a fulfilled life. And I hope it ended well, or at least not badly. I hope she was not disappointed or disillusioned. Does it matter to her whether or not she is forgotten? Does it matter if everything a person has made turns to dust so quickly?<br />
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Perhaps a person’s best work and best contribution to the world were their internal thoughts, or their influence on others, or their appreciation of music, or other qualities.<br />
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<i>and if thou will, remember, and if thou will forget</i> Christina Rossetti.<br />
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..........<br />
<br />
Micholls, A. M. (Mrs.), II Queen's-gate, S.W. 1046<br />
1046 OUTWARD BOUND Ada M. Micholls<br />
London. Royal Academy of Arts<br />
The exhibition 1911<br />
<a href="http://www.archive.org/stream/exhibitionofroy143londuoft/exhibitionofroy143londuoft_djvu.txt" target="_blank">http://www.archive.org/stream/exhibitionofroy143londuoft/exhibitionofroy143londuoft_djvu.txt</a><br />
accessed 6/3/2012<br />
<br />
..........<br />
<br />
Whistler correspondence<br />
<br />
Miss Micholls[193]<br />
39 Princes Gate - S W<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><br />
Miss Micholls, probably the daughter of Frederica (b. ca 1818) and Henry Micholls, merchant.<br />
<a href="http://www.whistler.arts.gla.ac.uk/correspondence/recno/display/?cid=12714#mm12714" target="_blank">http://www.whistler.arts.gla.ac.uk/correspondence/recno/display/?cid=12714#mm12714</a><br />
accessed 7/3/2012<br />
<br />
..........<br />
<br />
Christie's: British and Continental Pictures and Watercolours: Lot 1857<br />
A.M. Micholls (c.1916)<br />
<br />
Portrait of a young girl, three-quarter-length, wrapped in a red blanket, holding a doll<br />
signed and dated 'A.M. Micholls/1916' (centre left)<br />
pencil and watercolour<br />
19 x 13 1/2 in. (48.2 x 34.3 cm.)<br />
<a href="http://www.invaluable.com/auction-lot/a.m.-micholls-c.1916-1-c-z1qo8bepar" target="_blank">http://www.invaluable.com/auction-lot/a.m.-micholls-c.1916-1-c-z1qo8bepar</a><br />
accessed 7/3/2012<br />
<br />
..........<br />
<br />
book 1911 RA exhibition<br />
<a href="http://www.abebooks.co.uk/Royal-Academy-Pictures-1911-Illustrating-Hundred/6271687831/bd" target="_blank">http://www.abebooks.co.uk/Royal-Academy-Pictures-1911-Illustrating-Hundred/6271687831/bd</a><br />
accessed 7/3/2012<br />
<br />
...........<br />
<br />
Royal Academy Exhibitors 1905-70: A Dictionary of Artists and their Work in the Summer Exhibitions of the Royal Academy of Arts Vol. V LAWR-SHER<br />
Other Authors: Compiled and edited by Angela Jarman<br />
Publisher & Place of Publication: E.P. Publishing, East Ardsley, Wakefield, West Yorkshire<br />
Publication Date: 1981<br />
Volume Number: 3, LAWR-SHER<br />
Number of Pages: 484<br />
<br />
<a href="http://sculpture.gla.ac.uk/view/reference.php?id=ann_1246991871" target="_blank">http://sculpture.gla.ac.uk/view/reference.php?id=ann_1246991871</a><br />
accessed 8/3/2012<br />
<br />
..........<br />
<br />
THE LONDON GAZETTE, 25 J A N U A R Y, 1927<br />
<br />
NOTICE is hereby given, that ADA MONTEFIORE MICHOLLS, heretofore called and<br />
known as Ada Rachel Micholls, of 11, Queen's Gate,<br />
Kensington, in the county of London, Widow, a<br />
natural born British subject on the 5th day of<br />
January, 1927, absolutely renounced, relinquished<br />
and abandoned the use of her said second Christian<br />
name of Rachel and then assumed and adopted and<br />
determined thenceforth on all occasions whatsoever<br />
to use and subscribe the second Christian name of<br />
Montefiore instead of the second Christian name<br />
of Rachel; and further notice is given by a deed<br />
poll dated the 5th day of January, 1927, duly<br />
executed and attested and enrolled in the Central<br />
Office of the Supreme Court on the 12th day of<br />
January, 1927, she formally and absolutely renounced, relinquished and abandoned the said<br />
second Christian name of Rachel and declared that<br />
she had assumed and adopted and thenceforth<br />
on all occasions whatsoever to use and subscribe the<br />
second Christian name of Montefiore instead of<br />
Rachel so as to be at all times thereafter called,<br />
known and distinguished by the name of Ada<br />
Montefiore Micholls exclusively.—Dated the<br />
twenty-first day of January, 1927.<br />
MONTAGUS, 86-88, Queen Victoria-street,<br />
E.G. 4, Solicitors for the said Ada Monte-<br />
(015) fiore Micholls, formerly Ada Rachel Micholls.<br />
<br />
<a href="http://www.london-gazette.co.uk/issues/33242/pages/554/page.pdf" target="_blank">http://www.london-gazette.co.uk/issues/33242/pages/554/page.pdf</a><br />
accessed 8/3/2012<br />
<br />
..........<br />
<br />
Birth: <span class="Apple-tab-span" style="white-space: pre;"> </span>Jun. 1, 1882<br />
Death: <span class="Apple-tab-span" style="white-space: pre;"> </span>Dec. 19, 1949<br />
<br />
Daughter of E. Montefiore Micholls and Ada Beddington, she married Walter Horace Samuel, 2nd Viscount Bearsted, son of Marcus Samuel, 1st Viscount Bearsted and Fanny Elizabeth Benjamin, on 23 July 1908 at West End Synagogue, West End, London, England. From 23 July 1908, her married name became Samuel. As a result of her marriage, Dorothy Montefiore Micholls was styled as Viscountess Bearsted on 19 January 1927. Died aged 66 years.<br />
<br />
<a href="http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=47067161" target="_blank">http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=47067161</a><br />
accessed 8/3/2012<br />
<br />
..........<br />
<br />
E. Montefiore Micholls1<br />
<br />
Child of E. Montefiore Micholls and Ada Beddington<br />
1.<span class="Apple-tab-span" style="white-space: pre;"> </span>Dorothy Montefiore Micholls+1 d. 19 Dec 1949<br />
Ada Beddington1<br />
Ada Beddington is the daughter of Maurice Beddington.1<br />
Child of Ada Beddington and E. Montefiore Micholls<br />
1.<span class="Apple-tab-span" style="white-space: pre;"> </span>Dorothy Montefiore Micholls+1 d. 19 Dec 1949<br />
<br />
<a href="http://thepeerage.com/p11828.htm#i118272" target="_blank">http://thepeerage.com/p11828.htm#i118272</a><br />
accessed 8/3/2012<br />
<br />
..........<br />
<br />
Ada Rachael Micholls (Beddington) (1857 - 1922)<br />
Birthdate:<span class="Apple-tab-span" style="white-space: pre;"> </span>July 11, 1857<br />
Birthplace:<span class="Apple-tab-span" style="white-space: pre;"> </span>Clapham, Surrey, England<br />
Death:<span class="Apple-tab-span" style="white-space: pre;"> </span>Died August 17, 1922<br />
<span class="Apple-tab-span" style="white-space: pre;"> </span><br />
Immediate Family<br />
Edward Micholls husband<br />
<br />
Maurice Micholls son<br />
<br />
Lieut-Col Wilfred Horatio Micholls son<br />
<br />
Sybil Hamilton daughter<br />
<br />
Maurice Beddington father<br />
<br />
Hannah Beddington mother<br />
<br />
Esther Samuel sister<br />
<br />
Mary Micholls sister<br />
<br />
another possible birth year is 1858 and another possible death year is 1933 (same dates)<br />
<a href="http://www.geni.com/people/Ada-Micholls/6000000015188571426" target="_blank">http://www.geni.com/people/Ada-Micholls/6000000015188571426</a><br />
accessed 8/3/2012<br />
<br />
..........<br />
<br />
H. L. Micholls, of 6, lKenslngton-gardens-tevrace, to Ada Rtachel, daughter of Maunrice Beddington, of 91, Lancaster-gate. DFEATHS. Dec. 20th, at 12, Hyde-park-place. Comber- land-gate, T. Bonhote, Esq., aged 586.-Dec. 1D, ast 02, Margaret-street, Ca ...<br />
<a href="http://www.britishnewspaperarchive.co.uk/search/results?basicsearch=ada%20micholls&frontpage=false&exactsearch=false" target="_blank">http://www.britishnewspaperarchive.co.uk/search/results?basicsearch=ada%20micholls&frontpage=false&exactsearch=false</a><br />
accessed 8/3/2012<br />
<br />
...........<br />
<br />
Edward Montefiore Micholls (1852 - 1926)<br />
Birthdate:<span class="Apple-tab-span" style="white-space: pre;"> </span>July 27, 1852<br />
Birthplace:<span class="Apple-tab-span" style="white-space: pre;"> </span>Manchester, Lancashire, England<br />
Death:<span class="Apple-tab-span" style="white-space: pre;"> </span>Died September 11, 1926 in Golders Green, Hendon, Middlesex, England<br />
<br />
Ada Micholls wife<br />
<br />
Maurice Micholls son<br />
<br />
Lieut-Col Wilfred Horatio Micholls son<br />
<br />
Sybil Hamilton daughter<br />
<br />
Rebecca Micholls mother<br />
<br />
Horatio Micholls father<br />
<br />
Rose Pike sister<br />
<br />
..........<br />
<br />
<i>From email correspondence with the Royal Academy Library, March 2012:</i><br />
<br />
Ada Montefiore Micholls was trained at the Royal College of Art where she won 2 prizes for her work. She was active (publicly showing her work) between 1903 and 1923 exhibiting here, at the Society of Women Artists, The Glasgow Institute of Fine Arts and the Royal Institute of watercolour artists. She was known for both her portraiture and landscape painting.<br />
<br />
I have attached a list of works of art shown by the artist at the annual Royal Academy Exhibition. The list is made up of artist's name, year of exhibition, exhibition catalogue number, address of the artist and title of the work of art. It is interesting to see another female artist (perhaps a daughter) showing from the same address. We do not have illustrations of these pieces.<br />
I hope that this is of some help.<br />
<br />
..........<br />
<br />
<br />
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<a href="http://1.bp.blogspot.com/-9AWMv8HMZYM/VK5dySVju6I/AAAAAAAADts/k9KqVHHvB30/s1600/Micholls%2B14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-9AWMv8HMZYM/VK5dySVju6I/AAAAAAAADts/k9KqVHHvB30/s1600/Micholls%2B14.jpg" height="240" width="320" /></a></div>
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<a href="http://3.bp.blogspot.com/-ziGaXdgXi4w/VK5d_oT7iTI/AAAAAAAADu4/pP9YjRMRx20/s1600/Micholls%2B8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-ziGaXdgXi4w/VK5d_oT7iTI/AAAAAAAADu4/pP9YjRMRx20/s1600/Micholls%2B8.jpg" height="240" width="320" /></a></div>
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All images A M Micholls, about 1916, in the possession of the writer.<br />
<br />
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I since found more references to A M Micholls at the National Art Library at the V&A - to follow.</div>
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Eleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0tag:blogger.com,1999:blog-537468968736553493.post-63721725628298021562015-01-07T21:09:00.002+00:002018-08-29T10:56:56.273+01:00Reflective Learning CycleEleanor MacFarlanehttp://www.blogger.com/profile/16875852710248681342noreply@blogger.com0