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On 29 December 2021 as the Omicron variant of SARS-CoV-2 settled in to its rampage across the UK, my party of three managed to visit Coventry and spend much of the day in the delightful Herbert Gallery and Museum . We tentatively booked our free tickets a couple of weeks before, unsure until the morning of 26 December that we'd even get away to the West Midlands to visit family. Testing negative on the Wednesday morning, Andrew, his mum (textile artist Jacky Shail ) and I struck out east from Malvern to the 2021 UK City of Culture and found the Herbert. The staff were welcoming, informative and helpful. We felt as secure as could be from seeing them regularly cleaning surfaces and kindly but firmly putting across a message of 'no mask, no entry' to anyone not covering their germ-holes. I'm going to mostly focus on the Turner Prize show in these notes, but it's also worth pointing out the venue's other offerings. The Herbert's museum section traces Coventry...

On 17 June I had the great pleasure of returning to an art gallery for the first time since early March 2020. With lockdown restrictions easing, spaces have been able to open up again with measures in place aiming to keep visitors safe while they encounter the work. As exciting as it was for me to get back out - I've been voluntarily isolating as much as possible since 12 March last year - the Delta variant is rampaging through England, and in that week in Newcastle alone known cases had risen by nearly 800 from the week before. So it was not without a degree of angst and caution that I entered the Hatton Gallery for the Newcastle University Fine Art Degree Show . While it was great to be in the presence of art objects placed in space again, and as much as I enjoyed the nostalgia the degree show always gives me for the heady opening nights at the Belfast School of Art equivalent, the hyper-awareness of other people and everyone's aerosol entering the space - because masks only ...

I wanted to highlight my latest lecture video about Shirley Clarke because she's a film-maker who represents a lot of what I feel is my unfinished business in film studies. I had so wanted to research her in depth and some day visit the UCLA archives of her work. Never say never, I guess, but I'm sure there are people working on her and doing a fine job of progressing what scholars such as Lauren Rabinovitz initiated in redressing the shameful marginalising of Clarke's work in film histories. I use plural histories here because she crossed the too-oft gate-kept boundaries of documentary, social realism, experimental, independent and avant-garde cinemas. I find her work utterly fascinating, and I've only been able to see a little of it first-hand. It has galled me since I learned of Clarke (after my own formal film education I might add, and from my mentor Dr Des O'Rawe who was doing his own 'decolonising' of his knowledge and teaching, which he passed onto m...

I recently embarked on a personal project I've been meaning to undertake for a while now, and that is to reboot my archived lectures from years of teaching fellowships here and fixed-term lectureships there and distribute them online. Back in 2017 I started this with screencasts of my conference papers uploaded to YouTube and intended to do the same with lectures.  A number of reasons led to avoidance. One is that only the older ones that (I feel from experience) are less robust have full notes while the stronger, more recent ones have scant notes, because that's where I had got with knowledge and retention at the time. I also got really into audio and wanted to have a go at making the podcast , which I've been doing for three years now. Another reason was simply that it dredges up memories, many of them painful, from my times at different universities in different cities. There were tough experiences everywhere I taught, but also incredible friendships, communities and ac...

In part procrastination, in part showing off some skills and trying to promote myself on no budget, I present this film I made showing my mask-making process. I'm struggling hard with brain fog and tiredness lately (more than the usual base levels that are my constant companions) and part 6 of my series on Good Vibrations and No is the section that needs the most work and requires reading theory that I just don't have the headspace for. I suppose I didn't anticipate being as busy as I have been when I started out. A good thing about managing your own deadlines is you can go easy on yourself when you recognise the possibility of crashing and burning. Plus I'd rather work well when I can than forcing it and producing nonsense. Anyway, this film, I hope, shows that I did indeed learn a few things in undertaking three film degrees. It's hardly a masterpiece, but given the production environment and ah hoc nature of it, I hope you'll agree that it's not bad. An...