OCA Writing Skills and Scriptwriting tutor Guy Mankowski’s novel ‘An Honest Deceit’ has been chosen as a New Writing North Read Regional 2018 title. As a part of this scheme he will be undertaking talks, library events and book groups across the North of England.
OCA tutor and assessor Liz Cashdan looks at the work of BA (Hons) Creative Writing student Lindsay Peaston.
My love-affair with Soviet cinema was cemented at film school when, literally frame by frame, we dissected Sergei Eisenstein’s 1925 propaganda masterpiece Battleship Potemkin. Back in the late sixties and early seventies as British cinemas fell into decline one or two flee-pits survived in some small towns, included mine, Reigate. It was there I first saw Andrei Tarkovsky, starting with his 1966 classic, Andrei Rublev, showing to an empty theatre. At film school I spent seven hours watching – and dozing – through Sergey Bondarchuk’s epic War and Peace and of course, plenty of Tarkovsky.
Sketchbooks are personal and can reveal much about how a student goes about the business of discovering and learning. I like to see books that are bursting with work as it is generally evidence of a submission full of speculation and discovery.
OCA music students are required to submit digital versions of their scores for assessment, and a proportion of the marks are given for the quality of typesetting and presentation of notation. It is important that the assessors are experienced in the choice of software used, allowing them to judge the student’s original work and to recognise how much of the presentation is automatically generated within the program.
If you’re going to write disabled characters, try putting one arm in a sling or wearing an eye-mask or ear plugs all day. Remember everything. And then feel thankful that your disability was only temporary.
It has given me the confidence to believe in my work and my ability as a composer, justifying the efforts I made in the writing, developing and refining this score. Also, as mentioned above, it fulfilled my dream of hearing one of my compositions performed live, by other musicians.
OCA Visual Communications tutors and assessors look at the work of Brian O’ Carroll, Harry Kidd and Lina Homer.
If you aren’t too busy and find yourself at a loose end in New York, the exhibition runs until the 25 January, and as an added bonus, for the same entry fee you can see the “Demoiselles d’Avignon” by Picasso, “Starry Night” by Vincent and a host of other modern masterpieces too numerous to mention, five floors above “Greenberg Contradictions 1”, Mickos is on the low floor, of course, to catch the passing trade.
If we think of art only as visual – and not as something that can address all the senses – we miss fundamental parts of the way sensation in representation generates space and meaning. Multisensory, interactive experiences of art can create innovative imaginative environments, and artists, designers and researchers are increasingly looking for new ways to understand and explore the creative significance of the senses. So how are practitioners and galleries today making the most basic perceptions of sonic communication and scented air visible to the mind of their audience?
This simple presentation meant the samples were easy for assessors to go through; the logic of the development was clear and any collections of samples were grouped together, either on one sheet or on a series of sheets.
Throughout the time that David has been emailing his work to me I have been impressed by his organisational skills, the development of his written and visual work and his willingness to take on board my suggestions for developing the work.