Narrative Memory Perception
- Submitting institution
-
The University of Huddersfield
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 41
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- Multi-component: Artefacts and Book Chapters including Contextual Information
- Open access status
- -
- Month
- -
- Year
- 2014
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- With reference to textiles, this multi-component submission titled Narrative: Memory: Perception explores viewer perception and cultural memory, considering readings of content, cloth and context, and how dominant cultural codes impact on audience interpretation. The outputs contribute to an ongoing semiotic-based visual research practice that positions textiles within a communication paradigm (Andrew, 2008, 2013, 2014, 2018). They build on investigations involving two earlier textile works, The Ties That Bind (I) and (II), designed to test viewer interpretations of a WW1 conscientious objection narrative via a range of exhibitions.
The artefact We Regret To Inform You (2015) represents the loss faced by women who received War Office ‘killed or missing in action’ letters during WW1, whilst the pattern books assemble ‘micro narrative’ textile tests from the ongoing research development. A book chapter examines readings of The Ties That Bind (II) narrative textile panels, and collates extracts from West Yorkshire newspapers, previously unpublished diary entries, and recently digitised National Archives documents, contributing new material to enhance our understanding of cultural perceptions of WW1 conscientious objectors and their families in that period.
Other outputs reflect, in part, on readings of WW1 narratives, but focus on perceptions of authenticity in relation to the textile object. The book chapter ‘Dichotomies of Textile Making: Exploring Technology and Retaining Authenticity’ argues that the value of textiles is still weighted towards perception of the hand skills involved in its production. The findings from positioning textiles within a communication paradigm via exhibited artefacts, and critical reflection in two book chapters, were further disseminated at an invited lecture and workshops for designers at Adidas headquarters, Germany. Focusing on semiotic readings of textiles and fashion, and also aroma, sound and image as mnemonic triggers, the influence of individual and shared cultural memory on viewer perceptions was examined.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -