Drawing Analogies: Diagrams in Art, Theory and Practice

My new book Drawing Analogies: Diagrams in Art, Theory and Practice, co-authored with David Burrows, Dean Kenning and Mary Yacoob, is available as Open Access here. The print edition will be available to buy here from 6th Feb 2025.

Informed by Charles Sanders Peirce’s understanding of a diagram as an analogy of relations, Drawing Analogies draws on its authors’ creative use of diagrams as artists, educators and arts researchers, and on fields of inquiry that bring the arts into alignment with other disciplines, most notably anthropology, critical theory, pedagogy, philosophy, psychology, semiotics and the physical and life sciences.

By taking an artistic approach to diagrams and diagramming, by incorporating diagramming as a method of enquiry within chapters, and by exploring their interdisciplinary and multi-perspectival potentials, Drawing Analogies proposes giving new life to the art of diagramming and widening the arena of artistic practice and creative research.

Re-Imagining Aesthetic Education for Creative Health

I will be presenting my paper ‘From the Education of the Senses to Creative Health: Re-Imagining Aesthetic Education for the 21st Century’ at the Northern School of Contemporary Dance’s annual conference ‘Igniting Creativity’ on the 8th of January in Leeds. Tickets for the event can be booked here and you can see the schedule here.

Here’s a summary of what I’ll be addressing in my talk:

‘Contemporary British culture is wrought with seemingly intractable economic conflicts and social inequities, particularly in the areas of education, health and the arts. Yet despite poor prospects of future financial rewards, young people still choose creative arts degrees all over the UK.

The values that bring young people into arts education – improving mental health, meaning, non-conformity, play, self-expression, social critique, social justice – have all been embedded in the arts since the beginning of 20th century, but they fall outside accountable metrics of the socio-economic good.

Paradoxically, as regional arts programs struggle to survive, the government’s Creative Health agenda is gaining national momentum. Is there a way for us to revitalise the 19th century ideal of art as an “education of the senses”, reconnect it to the broader project of improving individual and social wellbeing though increased sensory awareness and embodied cognition, and align it more closely with Creative Health?’

I will also be involved in workshops and discussions led by Friends of the Future, a newly established community interest company supporting, educating and offering connection to mental health professionals and community artists who are providing creative activities to individuals and communities in and around the Yorkshire region. We will be launching our website at the event.

NAFAE Annual Conference 2024: The Art of Resistance | UCA Canterbury, Kent

This year’s National Association For Fine Art Education Conference – The Art of Resistance – will take place at UCA Canterbury on Wednesday September 4th from 10.00 – 16.00. Tickets are free but places are limited. You can reserve your place here.

NAFAE has put aside a small amount of reserve to assist with travel costs for those colleagues who may have concerns about the expenses associated with the conference. To enable this first book your place via the link above and then submit a request for assistance to admin@nafae.org.uk before Wednesday August 14th. NAFAE will pay agreed reimbursements at the conference in September.

International Symposium on Participatory Research in Migration, Community and Aesthetics

I will be co-chairing the International Symposium on Participatory Research in Migration, Community and Aesthetics with my colleague Dr. Azadeh Fatehrad on Tuesday June 11th at Birkbeck College, 373 Euston Road (London) from 9.15 am to 5 pm. The event is free and open to all but booking is required. You can reserve your place here.

The symposium will explore how aesthetic methodologies can intertwine with participatory research to address pressing issues in migration, community development and aesthetics. Speakers include Emily Miller from the Migration Museum, Professor Nishat Awan from University College London and Professor Lucy Orta from the Centre for Sustainable Fashion at UAL London College of Fashion (LCF).

BC Time-Slip 1: Flight

[This is the first section of my novelisation of Philip K. Dick’s visit to Vancouver in 1972 written in the style of the author.]

 “Would you like a cold beverage Mr Dick?” the voice asked.

From the depths of his Luminal slumber Phil Dick adjusted his vision to focus on the figure standing before him. She seemed familiar, as people you’ve never met before do in dreams. Early 20’s, about 5” 4’, dark hair tucked neatly inside a cap that matched her grey uniform.

“Erm….yes please. Bourbon on the rocks.”

“Certainly Mr Dick. Your drink will be with you in a moment” the woman beamed before shimmering out of view.

Where am I he thought? In the distance, beneath snow-capped mountains, he saw a glimmering white city of high-rise apartments hovering over a vast river that flowed into to the sea. To his left, where a forest of pines met the water, the sand gradually transformed itself into great boulders. He could hear the sound of waves gently lapping the shore and the cry of distant seagulls. To his right a crow bobbed about on one of the many logs that lay on the empty beach.

The words ‘DRINK READY’ flashed into his field of vision. He instantly recognised the familiar notification ping of Freegle, the giant tele-computing company that now controlled almost all the virtual entertainment and personalised data services on the planet. Forcing his eyes to the very upper left he clocked the tell-tale company logo that confirmed he was inside one of their Virtual World packages.

His hands moved nervously as they reached for the device that covered his face.

Until recently removing the Freegle vid goggles had been as automatic as turning off the ignition of a car. But over the last few months the Freegle logo had been appearing in his dreams, especially the most terrifying ones. Then, instead of returning him to the predicable certainties of waking life, clicking on the icon delivered him to a deeper level of nightmare running parallel to it.

Taking a deep breath he lifted the goggles slowly and looked around.

He was on a flight. The passengers around him were either asleep, wearing their goggles or both. All the window screens were drawn but here and there shafts of daylight broke through beneath them. Slowly it came back to him.

He was on his way to Vancouver to be guest of honour at a major science fiction convention. The invitation had arrived six weeks ago and could not have come at a better time. Life in California Free State was a living hell. His home in Marin County had become a half-way house for runaway teenagers, local drug users, their dealers and male in-laws, thrown out by their wives. Phil had welcomed them into his home with open arms. The make-shift community misfits loved listening to Phil’s crack-pot theories about life, death and politics and he adored their adulation. They spent their hours, days, weeks high on weed and blitzed on speed while Phil Indulged them with his peerless collection of classical music recordings. Maybe they would fill the void left when his fourth wife Nancy walked out with their daughter two years ago. His sort-of girlfriend Donna, a teenage biker chic who he believed could save the world, baled on him at the last minute and he had boarded the plane despairing and alone. By the time he found his seat the barbs he’d downed in the waiting area had begun to take effect.

Breathing a sigh of deep relief he sunk back into the reassuring solidity of the business class seat the organisers had paid for.

Continue reading “BC Time-Slip 1: Flight”

Generative AI and Arts Education: The Case of Fine Art

Here is the outline for the presentation I will be giving at the Homo ex MachinAI event in Athens next week.

In this presentation I will discuss my use of generative AI tools for teaching BA Fine Art and their implications for arts education more widely.

In his influential essay ‘The Work of Art in the Age of Mechanical Reproduction’ (1935), the German art critic Walter Benjamin famously argued that the meaning and social function of art would be irrevocably transformed by photography’s erosion of the unique art object and its “aura”. Almost a century later, and despite major changes in the way art is made, discussed and experienced, contemporary fine art remains essentially a studio-based activity through which individuals versed in art history, theory and philosophy, create unique, singular artworks that are publicly experienced by humans using their full range of senses. 

Using examples from my teaching, I will argue that generative AI tools like Midjourney and ChatGPT will impact the practice and teaching of those arts more closely tied to business and screen-based media (advertising, animation, game arts, illustration, marketing, photography, etc.) more significantly than those that create unique artefacts and events based on the lived experience of individuals and groups, encountered by other humans in real space and time (dance, fine art, performance, theatre, etc.).

The peculiarly anachronistic, experiential and deeply humanistic character of fine art and fine art education, and a long history of highly-evolved philosophy and critical theory reflecting on its paradoxical nature, mean that: i) fine art is less likely to be impacted by generative AI than more commercially-orientated practices and ii) having already ridden out and survived several perceived existential threats posed by new technologies and the social environments they create, it is well-prepared for ‘the coming wave’.

Arts education and education more generally, however, are already being impacted and transformed by generative AI tools. How fine art education will fare in an environment of hybrid teaching methods, AI-enhanced personal learning tools and AI-assisted grading and feedback is another matter. 

Therapeutic Landscapes: Program and Registration

The two-day program of talks and performances for the Therapeutic Landscapes: Ritual, Folklore and Wellbeing event at the University of Worcester on March 9th and 10th in now viewable here. There will also be an exhibition of artworks and video accompanying the event. The waged price for both days is £90, the concession price £30. You can purchase your tickets here. For more information about the panels and exhibitions check the Folk Cultures Instagram feed

Therapeutic Landscapes: Call for Papers

Below is the call for papers for Therapeutic Landscapes: Ritual, Folklore and Wellbeing, a two-day event taking place at the Art House in Worcester on the 9th and 10th of March 2024. It has been organised by Desdemona McCannon of the Folk Cultures Special Interest Group at the University of Worcester and myself as leader of the Arts and Health Research Group there. It will be accompanied by an exhibition at the Art House and a publication.

300 word proposals for 20 minute presentations should be sent to therapeutic_landscapes@worc.ac.uk by December 1st.

Please share the call with your networks.