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	<title>pennyhartley</title>
	<link>https://pennyhartley.com</link>
	<description>pennyhartley</description>
	<pubDate>Fri, 12 Mar 2021 12:30:37 +0000</pubDate>
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		<title>Home Image Scroll</title>
				
		<link>https://pennyhartley.com/Home-Image-Scroll</link>

		<pubDate>Sat, 07 Nov 2020 16:36:43 +0000</pubDate>

		<dc:creator>pennyhartley</dc:creator>

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	<item>
		<title>Model Village</title>
				
		<link>https://pennyhartley.com/Model-Village</link>

		<pubDate>Fri, 12 Mar 2021 12:30:37 +0000</pubDate>

		<dc:creator>pennyhartley</dc:creator>

		<guid isPermaLink="true">https://pennyhartley.com/Model-Village</guid>

		<description>
	Model Village(2020-)
Soft buildings,&#38;nbsp;sewn
with&#38;nbsp;recycled materials,various sizes

	
&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/e1c5481a0872ed7ad17948082382552082b782041b5ac79ad4fb0f18aefa367f/Me-at-model-village-2.jpg" data-mid="135077753" border="0"  src="https://freight.cargo.site/w/1000/i/e1c5481a0872ed7ad17948082382552082b782041b5ac79ad4fb0f18aefa367f/Me-at-model-village-2.jpg" /&#62;
&#60;img width="2000" height="1498" width_o="2000" height_o="1498" data-src="https://freight.cargo.site/t/original/i/00b54adee340d4a2b20d2bdb959618b3171ec28bcbf56cd1442e3bab90e06c24/Model-village-still-from-LGES.jpg" data-mid="135077755" border="0"  src="https://freight.cargo.site/w/1000/i/00b54adee340d4a2b20d2bdb959618b3171ec28bcbf56cd1442e3bab90e06c24/Model-village-still-from-LGES.jpg" /&#62;
Miniature model villages1.

	The term Model Village refers to communities once built by wealthy landowners to house their workers, as well as the miniature model village tourist attractions I visited as a child. It may once have evoked an idealised community, but over time these associations have become clouded and contradictory. The inexorable rise in housing inequality, insecurity and homelessness raise questions about what it even means to be part of a physical community now.
	

	
Model village extract from Land Ground Earth Soil (2019).

	
My interest in this springs from previous research for Land Ground Earth Soil, which includes a theory in evolutionary psychology that 150 is found to be the optimal number of people who can live in a community together, based on trust and moral obligation.&#38;nbsp;Historic records reveal that 150 was not only the average village size in the 18th century, but also in the Domesday Book of 1086. Interestingly this is also found to apply to social media, irrespective of how many ‘friends’ or ‘followers’ a person appears to have.&#38;nbsp; &#38;nbsp;Unlike digital communities, which pervade so much of our collective consciousness; physical communities, as in the geographic places where people dwell, can seem arbitrary and undynamic by comparison. I use the word ‘dwell’ here advisedly to mean where a person lives, works, resides or exists.
	
 
	

&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/0caae9bf30b1d854a2930436739e6c21a925be46287f7713a42c49a8baca065f/Sketchbook-spread.jpg" data-mid="126978063" border="0"  src="https://freight.cargo.site/w/1000/i/0caae9bf30b1d854a2930436739e6c21a925be46287f7713a42c49a8baca065f/Sketchbook-spread.jpg" /&#62;
Sketchbook pages.

	The project uses abstracted forms of buildings and structures, stripping away as much detail as possible while retaining recognisable proportions.&#38;nbsp;This process of creating building shapes that are abstract yet familiar also explores the prevalance of the pitched roof as an important symbol of shelter, and includes temporary static structures like tents, whose uses range from emergency housing to festivals and glamping.&#38;nbsp;

	

	
&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/da552be5a52ea1e19472587b02a918448d27df8444b2afadbe2bf2d4ca208828/Paper-prototypes.jpeg" data-mid="126977752" border="0"  src="https://freight.cargo.site/w/1000/i/da552be5a52ea1e19472587b02a918448d27df8444b2afadbe2bf2d4ca208828/Paper-prototypes.jpeg" /&#62;
&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/f47fa9c0fbd2137310c2f107045acf5d92c16875e4a652d8cc38fde314a29d07/Patterns-on-table-landscape.jpg" data-mid="101882348" border="0"  src="https://freight.cargo.site/w/1000/i/f47fa9c0fbd2137310c2f107045acf5d92c16875e4a652d8cc38fde314a29d07/Patterns-on-table-landscape.jpg" /&#62;
Early paper models and patterns.

	The models represent types or categories of buildings and structures (with the occasional specific exception). They are out of scale with their counterparts in the real world yet retain their recognisable proportions. The absence of scale strips away the power that comes with size from the larger buildings. It allows them to viewed objectively as mere shapes, as objects that can now relate directly with each other - in this new model village.
 
	

	
&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/659e9156d65781c40560265aeb45be800065e6555be1c4d5ce23c3999b87ce33/Blue-buildings-isometric_1.png" data-mid="133665518" border="0"  src="https://freight.cargo.site/w/1000/i/659e9156d65781c40560265aeb45be800065e6555be1c4d5ce23c3999b87ce33/Blue-buildings-isometric_1.png" /&#62;
&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/1d87ba5b7248e40e01c773b5fc627675b938af4c0c0c35ce05615a3fde100fd1/Blue-buildings-isometric_2.png" data-mid="133665389" border="0"  src="https://freight.cargo.site/w/1000/i/1d87ba5b7248e40e01c773b5fc627675b938af4c0c0c35ce05615a3fde100fd1/Blue-buildings-isometric_2.png" /&#62;
&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/3402e69e2f6f769822e9ed7f705e23a56b56bc93810799af5bcef52a2068e468/Blue-buildings-isometric_3.png" data-mid="133665205" border="0"  src="https://freight.cargo.site/w/1000/i/3402e69e2f6f769822e9ed7f705e23a56b56bc93810799af5bcef52a2068e468/Blue-buildings-isometric_3.png" /&#62;
&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/725d65e11455051d68117e017f9e81fc3f01b8c2c4f8d68cc2f2c7347fa10b6e/Blue-buildings-isometric_4.png" data-mid="133665206" border="0"  src="https://freight.cargo.site/w/1000/i/725d65e11455051d68117e017f9e81fc3f01b8c2c4f8d68cc2f2c7347fa10b6e/Blue-buildings-isometric_4.png" /&#62;
&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/3bbe6895417da58c235544ae303de77df809b31234d742a8c5cdae264c517e12/Blue-buildings-isometric_5.png" data-mid="133665207" border="0"  src="https://freight.cargo.site/w/1000/i/3bbe6895417da58c235544ae303de77df809b31234d742a8c5cdae264c517e12/Blue-buildings-isometric_5.png" /&#62;


	Themes of impermanence in temporary structures like tents informed my approach of making soft buildings, with materials that address related issues of unsustainable consumerism such as fast fashion and textile waste.&#38;nbsp;
	

	
&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/31a558e0b502453d0fd2003ef2d5ac07d6adab8358b6a591bbe9d2301b97fcb2/Shelter-bag-of-denim.jpg" data-mid="133666474" border="0"  src="https://freight.cargo.site/w/1000/i/31a558e0b502453d0fd2003ef2d5ac07d6adab8358b6a591bbe9d2301b97fcb2/Shelter-bag-of-denim.jpg" /&#62;
&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/615200dcf8148bac4e795d5837a4fc9c28fc6fea60a4e81ad25c7af4f0d8f7b3/Denim-rack.jpg" data-mid="133666712" border="0"  src="https://freight.cargo.site/w/1000/i/615200dcf8148bac4e795d5837a4fc9c28fc6fea60a4e81ad25c7af4f0d8f7b3/Denim-rack.jpg" /&#62;
&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/b01342b6264018864d7760c670ab70215491455c8a86b0ec5bf882d8e4076ca0/Box-of-wool-filler.jpg" data-mid="133666560" border="0"  src="https://freight.cargo.site/w/1000/i/b01342b6264018864d7760c670ab70215491455c8a86b0ec5bf882d8e4076ca0/Box-of-wool-filler.jpg" /&#62;


	The buildings are made with reused denim taken from clothing bought at homelessness charities such as Shelter and Crisis, and filled with recycled knitting wool from a Scottish social enterprise.
	

	
&#60;img width="2000" height="1334" width_o="2000" height_o="1334" data-src="https://freight.cargo.site/t/original/i/4b31eaced4f85ee2e8acddfff5d59d15030e6ecfa77796d6b68246fb70484929/Denim-shorts-front-exterior.jpg" data-mid="133666589" border="0"  src="https://freight.cargo.site/w/1000/i/4b31eaced4f85ee2e8acddfff5d59d15030e6ecfa77796d6b68246fb70484929/Denim-shorts-front-exterior.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/c2e06d1d96a486fba4adc4877243df63748b64b955e04fd9a4bf6ef490785554/Denim-shorts-back-interior-diagonal.jpg" data-mid="133667660" border="0"  src="https://freight.cargo.site/w/1000/i/c2e06d1d96a486fba4adc4877243df63748b64b955e04fd9a4bf6ef490785554/Denim-shorts-back-interior-diagonal.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/ea1cb27ed8f82fbc1cc45200c0cf9b8d0ec62e85b6408ea0d248b18e63e0b3a4/Denim-seams.jpg" data-mid="133667653" border="0"  src="https://freight.cargo.site/w/1000/i/ea1cb27ed8f82fbc1cc45200c0cf9b8d0ec62e85b6408ea0d248b18e63e0b3a4/Denim-seams.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/0f22fb36ec82323129619fd2e778d912d2692b2c19e49a356f7f9f442c27118d/Denim-rack-exterior.jpg" data-mid="133667674" border="0"  src="https://freight.cargo.site/w/1000/i/0f22fb36ec82323129619fd2e778d912d2692b2c19e49a356f7f9f442c27118d/Denim-rack-exterior.jpg" /&#62;


	I remove the fronts and backs of the denim jean legs, leaving behind the waistband, pockets and seams. Collected together, the remaining short shorts take on a comedic uniformity. I keep all the offcuts, and this process of cutting and removing brings to mind the graphic posters I see of butchers’ meat cuts, so I make my own version. 
	

	&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/089b4426eab6f82e91bc12bf0d748069d2de82113adc7834ec841662befab298/Denim-Offcuts-sq.png" data-mid="133667710" border="0"  src="https://freight.cargo.site/w/1000/i/089b4426eab6f82e91bc12bf0d748069d2de82113adc7834ec841662befab298/Denim-Offcuts-sq.png" /&#62;
Denim jean ‘cuts’.&#38;nbsp;
	

	The denim bears the marks and scars of previous lives, and is patched together to reduce waste. The buildings look like soft furnishings, reminiscent of fancy homeware shop cushions that speak to our desire for cosiness and wellbeing, for hygge - perhaps as comfort in these divided and insecure times. They purposefully embrace the project’s ambiguity between art and product, reflecting my own practice as artist and designer.
	

	
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/9744e6989ee1a3064c891a87fb96b125ed7a5338f2f8814f504296b153af4139/8-buildings-composite-pic.png" data-mid="126741091" border="0"  src="https://freight.cargo.site/w/1000/i/9744e6989ee1a3064c891a87fb96b125ed7a5338f2f8814f504296b153af4139/8-buildings-composite-pic.png" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/1277ee4936b1e1472c90fae9ce20bccc1fb199f71e0803e2ff9ef96118ea6841/Denim-houses-detail.jpg" data-mid="126741521" border="0"  src="https://freight.cargo.site/w/1000/i/1277ee4936b1e1472c90fae9ce20bccc1fb199f71e0803e2ff9ef96118ea6841/Denim-houses-detail.jpg" /&#62;


	
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/3f1733dcc042beaf567848d392f1670073d8a6c1a4fdfa425145dffd5256996f/Denim-set-1-cr.jpg" data-mid="133699018" border="0"  src="https://freight.cargo.site/w/1000/i/3f1733dcc042beaf567848d392f1670073d8a6c1a4fdfa425145dffd5256996f/Denim-set-1-cr.jpg" /&#62;
&#60;img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/9eaaceef1acb956cbc66bbaeb842d4ddab0ee3f180bae1e0f7726314e215a8aa/Denim-set-3-cr.jpg" data-mid="133699023" border="0"  src="https://freight.cargo.site/w/1000/i/9eaaceef1acb956cbc66bbaeb842d4ddab0ee3f180bae1e0f7726314e215a8aa/Denim-set-3-cr.jpg" /&#62;


	These are some of the work in progress pictures. They will be regularly updated as the model village grows. You can also view project updates in Process and by following _model_village_.



	

	
1&#38;nbsp;Family photo and still from Land Ground Earth Soil (2019).
	
</description>
		
	</item>
		
		
	<item>
		<title>Land Ground Earth Soil</title>
				
		<link>https://pennyhartley.com/Land-Ground-Earth-Soil</link>

		<pubDate>Tue, 24 Nov 2020 15:44:00 +0000</pubDate>

		<dc:creator>pennyhartley</dc:creator>

		<guid isPermaLink="true">https://pennyhartley.com/Land-Ground-Earth-Soil</guid>

		<description>
	Land Ground Earth Soil
(2019)

Film, 17 mins, 4:3Book, A6, 80ppExhibition/screenings



	My final MA project looked at British land ownership and our disappearing democratic spaces - against the backdrop of Brexit, rising inequality and climate change.&#38;nbsp;&#38;nbsp; &#38;nbsp;The project sprang from my interest in the UK’s broken housing market and how its effects reach further into our everyday lives than we realise. Land ownership is notoriously secretive, and&#38;nbsp; largely kept out of the public eye. Even the different language we use to talk about the ground beneath our feet has helped to perpetuate this.&#38;nbsp; &#38;nbsp;For example, we use the word ‘earth’ when talking about climate change, ‘ground’ for roadworks and ‘soil’ for agriculture. While ‘land’ is used when talking about ownership, whether perceived or real.&#38;nbsp;The gaps that open up between the use of these words effectively silo pressing issues that should be seen as part of a whole, like homelessness, tax-avoidance and climate change.
&#38;nbsp; &#38;nbsp;The project uses montage and juxtaposition to challenge this dissonance and to draw out overlooked connections and contradictions.&#38;nbsp;It urges the viewer to remember that we are all stakeholders in our land, ground, earth, soil - whichever word we use. It is a common good, and public dialogue about its ownership is long overdue.

	



	
&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/102c4b7601c6254c9f714bdcde790e879ec1ab019517a7279a6f6dc9d5ede08c/LGES-film-stills.jpg" data-mid="126964759" border="0"  src="https://freight.cargo.site/w/1000/i/102c4b7601c6254c9f714bdcde790e879ec1ab019517a7279a6f6dc9d5ede08c/LGES-film-stills.jpg" /&#62;
Stills from the Land Ground Earth Soil film.&#38;nbsp;

	The focus of the project is the film essay Land Ground Earth Soil. It combines my narrated prose with footage that includes protests, timelapses, thought-experiments, sign interventions and interviews1.&#38;nbsp; &#38;nbsp;These elements are woven together with clips from movies, tv, news, city-building video gameplay and 20th century public information films.

	


	
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&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/6a9efd703ccce59fa775380ad065004ad258c649385c54fae6fd0fbac4647b29/LGES-thought-experiment-2.png" data-mid="126968594" border="0"  src="https://freight.cargo.site/w/1000/i/6a9efd703ccce59fa775380ad065004ad258c649385c54fae6fd0fbac4647b29/LGES-thought-experiment-2.png" /&#62;
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&#60;img width="2000" height="1498" width_o="2000" height_o="1498" data-src="https://freight.cargo.site/t/original/i/9093c3f0611b27f813f6e808f6c2a7a6361a343f092011fa373e06d5d45797e1/LGES-thought-experiment-6.png" data-mid="126968730" border="0"  src="https://freight.cargo.site/w/1000/i/9093c3f0611b27f813f6e808f6c2a7a6361a343f092011fa373e06d5d45797e1/LGES-thought-experiment-6.png" /&#62;

Stills of thought-experiments on how we share space2 and the materiality of soil and its relative ‘values’ in different parts of one London borough.


	
&#60;img width="2000" height="1501" width_o="2000" height_o="1501" data-src="https://freight.cargo.site/t/original/i/3896458abad7f3a03934638b086bf6a645a1d00cbd4a638debb37a6cf1ba04ce/LGES-Who-owns-this-land-.png" data-mid="126971831" border="0"  src="https://freight.cargo.site/w/1000/i/3896458abad7f3a03934638b086bf6a645a1d00cbd4a638debb37a6cf1ba04ce/LGES-Who-owns-this-land-.png" /&#62;
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&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/1e24c19c29f1b1e999338354b67aaace04e00bcd82ee309629ac807d59861460/LGES-Solvitur-ambulando.png" data-mid="126971876" border="0"  src="https://freight.cargo.site/w/1000/i/1e24c19c29f1b1e999338354b67aaace04e00bcd82ee309629ac807d59861460/LGES-Solvitur-ambulando.png" /&#62;

Stills of sign interventions using makeshift, manufactured or digitally animated signs.




The film can be viewed here︎︎︎
	The book of the same name accompanies the film. It is intentionally pocket-sized, like a travel guide, and provides a transcript of the narration and subtitles. They run alongside my written text, which is drawn from wider research and analysis; as well as notes and references.

	

	
&#60;img width="2000" height="1410" width_o="2000" height_o="1410" data-src="https://freight.cargo.site/t/original/i/029428ff59299137a7dfc054150238c7c63eb7ae2396ee00832298ccd4cb6590/LGES-book-cover.jpg" data-mid="126975189" border="0"  src="https://freight.cargo.site/w/1000/i/029428ff59299137a7dfc054150238c7c63eb7ae2396ee00832298ccd4cb6590/LGES-book-cover.jpg" /&#62;
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	If you would like to purchase a printed and bound copy of the book for £10+pp please email me via the link on the info page.
	

	&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/ab4acb07a79a27da009b4d1a905ffc921d4628f781b1488dd28c795d5d73da9a/LGES-screenings.jpg" data-mid="126972498" border="0"  src="https://freight.cargo.site/w/1000/i/ab4acb07a79a27da009b4d1a905ffc921d4628f781b1488dd28c795d5d73da9a/LGES-screenings.jpg" /&#62;


	The film screened for the MA show in its own mini-cinema - a garden shed3. It was adapted for gallery use, with a monitor, speakers, seating for four, and copies of the book for browsing.&#38;nbsp;&#38;nbsp; &#38;nbsp;The project gained an MA Distinction, nomination for the MullenLowe NOVA Awards and commendation by the Maison 0/Green Trail (CSM/LMVH) 2019. The film went on to be screened in further group shows:
Designing in Turbulent Times at the Lethaby Gallery, London.
The Next Thing Moving Image Award at Bury Art Museum, Bury.
 Depictions of Living at The Art Pavilion, London.


	

	1 Grateful thanks for the kind participation of Central St Martins staff and students.
2 Filmed interviewees include: Mike Carter, Guardian journalist and author of All Together Now? One Man’s Walk in Search of his Father and a Lost England (2019) Guardian Faber; Brett Christophers, Professor of Human Geography and author of The New Enclosure: The Appropriation of Public Land in Neoliberal Britain (2019) Verso; Scot, homeless, King’s Cross; Ben Wilson ‘Chewing Gum Man’, ground artist.
3 The shed was kindly donated by Forest Garden Ltd, and now resides in Central St Martins’ Graphic Communication Design studio.

	

	&#60;img width="1696" height="2000" width_o="1696" height_o="2000" data-src="https://freight.cargo.site/t/original/i/5345607cb909130148b8b639e91b692670e88aeae042934acd5fde12e8da184f/The-shed-in-GCD-studio.jpg" data-mid="126973128" border="0"  src="https://freight.cargo.site/w/1000/i/5345607cb909130148b8b639e91b692670e88aeae042934acd5fde12e8da184f/The-shed-in-GCD-studio.jpg" /&#62;
	
</description>
		
	</item>
		
		
	<item>
		<title>Obstructions</title>
				
		<link>https://pennyhartley.com/Obstructions</link>

		<pubDate>Tue, 05 Jan 2021 20:42:17 +0000</pubDate>

		<dc:creator>pennyhartley</dc:creator>

		<guid isPermaLink="true">https://pennyhartley.com/Obstructions</guid>

		<description>
	Obstructions
(2018)

Publication, A5, 100pp
Book/MA dissertation,
110x210mm, 56pp
Blog
Film, 7 mins, 16:9
Symposium/screenings


	My MA dissertation examined the presence - and proliferation - of actors that control and monitor public behaviour in our urban spaces. The project started life through the publication&#38;nbsp;A Field Guide to The Semiotics of No, a study of objects and signs encountered along a one mile stretch of the A1 in nearby Islington.

	


	
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Pages from A Field Guide to The Semiotics of No.


	The publication catalogued its subjects’ locations, along with a visual record - in most cases a close-up, contextual shot and the object/sign’s POV - and a speculative translation of their presence and meaning.&#38;nbsp;

	

	
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Blog images.&#38;nbsp;



	The project developed through workshops, studio experiments, discussion groups and presentations, which I recorded on my Process Blog.
&#38;nbsp; &#38;nbsp; It interrogated what we understand about the term ‘public realm’ and homed in on the presence and visual language of prohibitive objects and people, rather than written signs, in our urban landscape. This culminated in the dissertation publication Obstructions and short film Obstructions of King’s Cross.
	

	
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&#60;img width="2000" height="1909" width_o="2000" height_o="1909" data-src="https://freight.cargo.site/t/original/i/0d34eebe7f0443a63a31da38b33c7e4bcab33fd3654fde804b0d31eaf91a9677/Obstructions-book-7.jpg" data-mid="126963796" border="0"  src="https://freight.cargo.site/w/1000/i/0d34eebe7f0443a63a31da38b33c7e4bcab33fd3654fde804b0d31eaf91a9677/Obstructions-book-7.jpg" /&#62;
&#60;img width="2000" height="1909" width_o="2000" height_o="1909" data-src="https://freight.cargo.site/t/original/i/7de7e0ed24e13ad490b722516c63163175b86b120ba84c051f3495952fb8bcb8/Obstructions-book-8.jpg" data-mid="126963807" border="0"  src="https://freight.cargo.site/w/1000/i/7de7e0ed24e13ad490b722516c63163175b86b120ba84c051f3495952fb8bcb8/Obstructions-book-8.jpg" /&#62;
&#60;img width="2000" height="1909" width_o="2000" height_o="1909" data-src="https://freight.cargo.site/t/original/i/474b8bd7a6efe6315931cb20f098baf8bb2bd2c308baaeee28dcdd8bb3540519/Obstructions-book-9.jpg" data-mid="126963818" border="0"  src="https://freight.cargo.site/w/1000/i/474b8bd7a6efe6315931cb20f098baf8bb2bd2c308baaeee28dcdd8bb3540519/Obstructions-book-9.jpg" /&#62;
&#60;img width="2000" height="1909" width_o="2000" height_o="1909" data-src="https://freight.cargo.site/t/original/i/af78115e65e4b9e6b7b154910ecbdbf3a4419a432246b87e7c78cbc37ba14775/Obstructions-book-10.jpg" data-mid="126963826" border="0"  src="https://freight.cargo.site/w/1000/i/af78115e65e4b9e6b7b154910ecbdbf3a4419a432246b87e7c78cbc37ba14775/Obstructions-book-10.jpg" /&#62;
&#60;img width="2000" height="1909" width_o="2000" height_o="1909" data-src="https://freight.cargo.site/t/original/i/91796ac78d517411f8aee15c6f941601d6b7bfe03065d4401d7cbb564f776715/Obstructions-book-11.jpg" data-mid="126963831" border="0"  src="https://freight.cargo.site/w/1000/i/91796ac78d517411f8aee15c6f941601d6b7bfe03065d4401d7cbb564f776715/Obstructions-book-11.jpg" /&#62;
&#60;img width="2000" height="1909" width_o="2000" height_o="1909" data-src="https://freight.cargo.site/t/original/i/16c00b2615c0801bac001355afd4fcaef4c9905fe7f19cb09cb31da8b5465c8f/Obstructions-book-12.jpg" data-mid="126963872" border="0"  src="https://freight.cargo.site/w/1000/i/16c00b2615c0801bac001355afd4fcaef4c9905fe7f19cb09cb31da8b5465c8f/Obstructions-book-12.jpg" /&#62;
Pages from the Obstructions dissertation publication.

	Obstructions proposes that public space can be divided into categories and sub-categories, and it examines the level of ‘transaction’ within each as well as the presence of obstructions. &#38;nbsp;&#38;nbsp; The gallery pages contain pictures of obstructions informally grouped by their intentions, or ‘prescriptions’ as Bruno Latour described them; as well as their primary material, ie, signs, plastic, tape, wood, glass, planting, stone or human in uniform. The images are placed closely together as typologies to reveal their variety and ubiquity, and to highlight their normalisation and subsequent invisibility.


	




	


	Obstructions of King’s Cross concentrates on a London area that has undergone rapid gentrification in recent years. It compares the presence and purpose of obstructions within the area’s three distinct zones: its major transport hubs, privately-owned public spaces, and edges - where signs of its former deprivation can still be seen.

	

	
</description>
		
	</item>
		
		
	<item>
		<title>No Ball Games</title>
				
		<link>https://pennyhartley.com/No-Ball-Games</link>

		<pubDate>Sat, 07 Nov 2020 16:35:21 +0000</pubDate>

		<dc:creator>pennyhartley</dc:creator>

		<guid isPermaLink="true">https://pennyhartley.com/No-Ball-Games</guid>

		<description>
	No Ball Games
(2018)


Branding

	No Ball Games, along with&#38;nbsp;Idle Free Zone and Permit Holders Only were the winning set of beer names and label designs for the Central St Martins’ 2018 competition for its first ever limited edition beer collaboration, with London craft brewer Hammerton. Ready in time to celebrate the first of the college’s two annual degree shows.
&#38;nbsp; &#38;nbsp; The idea came from research I was doing into the proliferation of local street signs that tell us NO and DON’T for my MA project Obstructions, and I shortlisted these three. Swapping the context of these normally prohibitive messages from urban streets to beer labels for a creative institute renowned for breaking boundaries offered playful new meanings.
	


	&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c2080fbbf52ecb09445d81359e7cfa442e9519878d3c1a253bac58c8c5c0c823/Beer-labels-line-drawing_on-a-diagonal.png" data-mid="126876615" border="0"  src="https://freight.cargo.site/w/1000/i/c2080fbbf52ecb09445d81359e7cfa442e9519878d3c1a253bac58c8c5c0c823/Beer-labels-line-drawing_on-a-diagonal.png" /&#62;

	No Ball Games / Noise Nuisance / Idle Free Zone / No Left Turn / Permit Holders Only / Keep Clear / Exit Only / Do Not Climb / No Alcohol / No Stopping / No Pedestrian Access /No Rollerblading Or Skateboarding / No Dumping / Dog Free Area / Bill Stickers Will Be Prosecuted / Controlled Zone / No Ball Games / Noise Nuisance / Idle Free Zone / No Left Turn / Permit Holders Only / Keep Clear / Exit Only / Do Not Climb / No Alcohol / No Stopping / No Pedestrian Access /No Rollerblading Or Skateboarding / No Dumping / Dog Free Area / Bill Stickers Will Be Prosecuted / Controlled Zone / No Ball Games / Noise Nuisance / Idle Free Zone / No Left Turn / Permit Holders Only / Keep Clear / Exit Only / Do Not Climb / No Alcohol / No Stopping / No Pedestrian Access /No Rollerblading Or Skateboarding / No Dumping / Dog Free Area / Bill Stickers Will Be Prosecuted / Controlled Zone / No Ball Games / Noise Nuisance / Idle Free Zone / No Left Turn / Permit Holders Only / Keep Clear / Exit Only / Do Not Climb / No Alcohol / No Stopping / No Pedestrian Access /No Rollerblading Or Skateboarding / No Dumping / Dog Free Area / Bill Stickers Will Be Prosecuted / Controlled Zone /&#38;nbsp;
 
	
&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/3901c3e18071ff321c61e833b7d23c22a2e9935247f3695091acb19ff528eeb2/Beer-labels.jpg" data-mid="126876636" border="0"  src="https://freight.cargo.site/w/1000/i/3901c3e18071ff321c61e833b7d23c22a2e9935247f3695091acb19ff528eeb2/Beer-labels.jpg" /&#62;
</description>
		
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	<item>
		<title>Global Art Project (GAP)</title>
				
		<link>https://pennyhartley.com/Global-Art-Project-GAP</link>

		<pubDate>Sat, 07 Nov 2020 16:35:21 +0000</pubDate>

		<dc:creator>pennyhartley</dc:creator>

		<guid isPermaLink="true">https://pennyhartley.com/Global-Art-Project-GAP</guid>

		<description>
	Global Art Project (GAP)
(2018)

Study tour/residency
Publication, A2 (folded to A4)
Exhibition poster, A3
Book/essay, A5, 16pp
Film, 5:20 mins, 16:9

	Organised by Central St Martins and Tokyo University of the Arts, this programme spanned London, Tokyo and Hong Kong. Our small group explored themes around history and identity through visits, trips, screenings and talks; as well as collaborating in workshops and public exhibitions in each location.&#38;nbsp;
	

	
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/6076a550afafdaaa60e66642243765d699060b1691e24ed77d4d77340658e032/GAP-workshopsstudios---exhibitions.jpg" data-mid="126872535" border="0"  src="https://freight.cargo.site/w/1000/i/6076a550afafdaaa60e66642243765d699060b1691e24ed77d4d77340658e032/GAP-workshopsstudios---exhibitions.jpg" /&#62;
Workshops in London and Tokyo, and pop-up public event in Hong Kong.

	The programme culminated for me in this printed poster/essay #Seeds, which draws on parallels between native tree seeds and trending social media hashtags as ‘ingredients’ of the natural and social landscapes of both the UK and Japan. 
	

	&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/9c1477d5d6ea02566189aa3271c6b89a32e768143b5635d4f2d0ba82a807f7d7/GAP--Seeds-poster-front.jpg" data-mid="126873165" border="0"  src="https://freight.cargo.site/w/1000/i/9c1477d5d6ea02566189aa3271c6b89a32e768143b5635d4f2d0ba82a807f7d7/GAP--Seeds-poster-front.jpg" /&#62;

	&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/c9bf8340ad5de9f823fdb70f684d30c45ae0227b6ed2c735b57bc892c7468fe1/GAP--Seeds-poster-back.jpg" data-mid="126873176" border="0"  src="https://freight.cargo.site/w/1000/i/c9bf8340ad5de9f823fdb70f684d30c45ae0227b6ed2c735b57bc892c7468fe1/GAP--Seeds-poster-back.jpg" /&#62;#Seeds, the A2 printed publication, folded to A4.



	The first of our three public exhibitions took place in Hong Kong, on the final leg of the trip. We gathered together material and put on Re:mind the GAP in our gallery space at Hart Haus. This was my poster for it.
	


	&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/343d9b5f72edbac38c277700f835acdc4fd226922c8d8fb7ccbd9876c0a70cee/Remind-the-GAP-poster.jpg" data-mid="126873456" border="0"  src="https://freight.cargo.site/w/1000/i/343d9b5f72edbac38c277700f835acdc4fd226922c8d8fb7ccbd9876c0a70cee/Remind-the-GAP-poster.jpg" /&#62;


	My film 3 Moments was screened in the show, using footage I had shot along the way. The film reflects on cultural narratives and gaps between what is remembered and what gets forgotten or overlooked. 
	

	&#60;img width="2000" height="1125" width_o="2000" height_o="1125" data-src="https://freight.cargo.site/t/original/i/97eab50f088c7aad7528186a74595e4292a275a9ceaa3666085e2b630e7bfb1b/3-Moments-screening-HK.JPG" data-mid="126873656" border="0"  src="https://freight.cargo.site/w/1000/i/97eab50f088c7aad7528186a74595e4292a275a9ceaa3666085e2b630e7bfb1b/3-Moments-screening-HK.JPG" /&#62;

	The film is in three parts, each one filmed on a Sunday in the three different locations.

&#38;nbsp; &#38;nbsp; Shrine, studies visitors’ contemplation and remembrance at the Ueno Tōshō-gū shrine in Tokyo, with the unexpected presence of Dvorak’s Symphony No.9 playing on outdoor speakers.


&#38;nbsp; &#38;nbsp; Field gazes out across a grassy field in Dorset and reflects on the rise of extremism in the modern world to an extract from Charlie Chaplin’s 1930s speech from The Great Dictator.


&#38;nbsp; &#38;nbsp;Maids observes hoards of low-paid domestic workers in central Hong Kong on their Sunday off. In makeshift cardboard villages outside the luxury brands, they hang out with friends, video-call their families and trade goods.&#38;nbsp; &#38;nbsp;The film was shot on the go and I cut it quickly together in my Hong Kong hotel room the night before the event, so please forgive its roughness!

	



	
The film can be viewed here︎︎︎

	



	
&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/22f26960f5aabda5333f77408070facf1ade6d6b405d2dd6cb603673a36a6fc1/GAP-Tokyo-exhibition.jpg" data-mid="126874429" border="0"  src="https://freight.cargo.site/w/1000/i/22f26960f5aabda5333f77408070facf1ade6d6b405d2dd6cb603673a36a6fc1/GAP-Tokyo-exhibition.jpg" /&#62;
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&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/75c973b7539806135ece838b70a5854da40586edb8f8a9aa02ed37571f19588d/GAP-London-exhibition-close-up.jpeg" data-mid="126874488" border="0"  src="https://freight.cargo.site/w/1000/i/75c973b7539806135ece838b70a5854da40586edb8f8a9aa02ed37571f19588d/GAP-London-exhibition-close-up.jpeg" /&#62;


	After Hong Kong, our work was subsequently exhibited in group shows at Embracing Borders at the Chinretsukan Gallery, Tokyo, and Transcending Borders at Central St Martins, London.
	

	
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/75b978037443e75b33612099b8b722cb2c6edddd209f793163db0e0014063886/GAP-Reflective-Essay-cover.jpg" data-mid="126875558" border="0"  src="https://freight.cargo.site/w/1000/i/75b978037443e75b33612099b8b722cb2c6edddd209f793163db0e0014063886/GAP-Reflective-Essay-cover.jpg" /&#62;
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/17e3f8e7d75cefddfe6b25c33b3d745d5e2d6181ec48de6009c716f25f30087f/GAP-Reflective-Essay-spread-2.jpg" data-mid="126875588" border="0"  src="https://freight.cargo.site/w/1000/i/17e3f8e7d75cefddfe6b25c33b3d745d5e2d6181ec48de6009c716f25f30087f/GAP-Reflective-Essay-spread-2.jpg" /&#62;
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/1cdb204e6516e2a57f5cf676238467a546af39270a0de57b1ee38146390623a2/GAP-Reflective-Essay-spread-3.jpg" data-mid="126875637" border="0"  src="https://freight.cargo.site/w/1000/i/1cdb204e6516e2a57f5cf676238467a546af39270a0de57b1ee38146390623a2/GAP-Reflective-Essay-spread-3.jpg" /&#62;
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&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/ee16a6cff6148a70de15279fadbae82cf4b664d44112db6c532186fd6a1ec677/GAP-Reflective-Essay-spread-5.jpg" data-mid="126875646" border="0"  src="https://freight.cargo.site/w/1000/i/ee16a6cff6148a70de15279fadbae82cf4b664d44112db6c532186fd6a1ec677/GAP-Reflective-Essay-spread-5.jpg" /&#62;
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/5132387fe3ca8feadfc41e413890ddb467f0be4048b7b9f16334dd06169562bf/GAP-Reflective-Essay-spread-6.jpg" data-mid="126875649" border="0"  src="https://freight.cargo.site/w/1000/i/5132387fe3ca8feadfc41e413890ddb467f0be4048b7b9f16334dd06169562bf/GAP-Reflective-Essay-spread-6.jpg" /&#62;
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&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/a58239256cd0315cdf1ab044d0b918bd3d3953b08262cdd043a3c509943dc202/GAP-Reflective-Essay-spread-9.jpg" data-mid="126875662" border="0"  src="https://freight.cargo.site/w/1000/i/a58239256cd0315cdf1ab044d0b918bd3d3953b08262cdd043a3c509943dc202/GAP-Reflective-Essay-spread-9.jpg" /&#62;
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/48d8f94d0e9fb476aed2d89784fff1e380b7c6fefde54fc6d5a7a29207ee6923/GAP-Reflective-Essay-spread-10.jpg" data-mid="126875705" border="0"  src="https://freight.cargo.site/w/1000/i/48d8f94d0e9fb476aed2d89784fff1e380b7c6fefde54fc6d5a7a29207ee6923/GAP-Reflective-Essay-spread-10.jpg" /&#62;
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/b77b296a8f9863801aaeb9a259cf991f0658af2aaa43603dff4c3dae0961a3d3/GAP-Reflective-Essay-spread-11.jpg" data-mid="126875713" border="0"  src="https://freight.cargo.site/w/1000/i/b77b296a8f9863801aaeb9a259cf991f0658af2aaa43603dff4c3dae0961a3d3/GAP-Reflective-Essay-spread-11.jpg" /&#62;


	On my return I gathered all the experiences, thoughts and inspirations from the study tour/residency and distilled them down into this reflective essay book Feel the Distance.&#38;nbsp;


	

	Picture/translation credits:
#Seeds publication Japanese hashtags, translations and cultural interpretations with the kind help of GAP friends. Re:mind the GAP poster photography by Fajrur Rahmat; Japanese &#38;amp; Cantonese translations by the GAP team.&#38;nbsp;Screening of 3 Moments film photography ©Global Art Joint Curriculum 2018 CSM (UAL) and TUA.&#38;nbsp;Gallery and window exhibition photography by Giulia Cacciuttolo, Nanaka Adachi and Penny Hartley.
	
</description>
		
	</item>
		
		
	<item>
		<title>By Opening this Publication</title>
				
		<link>https://pennyhartley.com/By-Opening-this-Publication</link>

		<pubDate>Wed, 20 Jan 2021 16:50:47 +0000</pubDate>

		<dc:creator>pennyhartley</dc:creator>

		<guid isPermaLink="true">https://pennyhartley.com/By-Opening-this-Publication</guid>

		<description>
	By Opening&#38;nbsp;this&#38;nbsp;Publication(2019)
MA group project
Publication packPamphlet, A6
Stickers


	&#60;img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/4c3836194285a92c86230dd9060bb15be9208fb3edd505ae078c51e0377ad8ae/Ideation.jpg" data-mid="126871307" border="0"  src="https://freight.cargo.site/w/1000/i/4c3836194285a92c86230dd9060bb15be9208fb3edd505ae078c51e0377ad8ae/Ideation.jpg" /&#62;

	This project is a comment on the iniquitous conditions attached to our digital engagement. We all tend to click ‘agree’ but barely read the conditions because we continue to feel we have little choice anyway.

 
	

	
&#60;img width="2000" height="729" width_o="2000" height_o="729" data-src="https://freight.cargo.site/t/original/i/63b5d3801155bdfc21a1875c14df9406b704f23ff10a4f34d88fe4d07cccc697/By-Opening-this-Publication-front.jpg" data-mid="126871135" border="0"  src="https://freight.cargo.site/w/1000/i/63b5d3801155bdfc21a1875c14df9406b704f23ff10a4f34d88fe4d07cccc697/By-Opening-this-Publication-front.jpg" /&#62;
&#60;img width="2000" height="729" width_o="2000" height_o="729" data-src="https://freight.cargo.site/t/original/i/5b530f8f1312c4031f9800ce98da14b9c1928e2675138d3837db2e4643001303/By-Opening-this-Publication-back.jpg" data-mid="126871114" border="0"  src="https://freight.cargo.site/w/1000/i/5b530f8f1312c4031f9800ce98da14b9c1928e2675138d3837db2e4643001303/By-Opening-this-Publication-back.jpg" /&#62;
Pamphlet.


	
&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/932dc6b1eb0788300069aef499db39fba48971ec165f3f81528414b562f9e4f8/By-opening-this_.jpg" data-mid="126871360" border="0"  src="https://freight.cargo.site/w/1000/i/932dc6b1eb0788300069aef499db39fba48971ec165f3f81528414b562f9e4f8/By-opening-this_.jpg" /&#62;
The publication pack.

	

	The focus of the project’s physical presence is the pamphlet1 entitled&#38;nbsp;By Opening this Publication you are Agreeing to... which challenges the reader to break the seal of the transparent pack that contains it.&#38;nbsp; &#38;nbsp; The pamphlet’s text appropriates the language that exists in the grey area between implied and informed consent. It adapts extracts of Facebook and Google’s own terms &#38;amp; conditions, with the catch-all disclaimer We reserve all rights not expressly granted to you given its own special page.&#38;nbsp; &#38;nbsp; This is because if it were de-jargoned it would probably say something like ‘We reserve the right to deny or refute anything else with you that we haven’t already covered here, and which might come up later’.&#38;nbsp; &#38;nbsp; The pack, which contains the pamphlet and stickers, formed the physical material of P Group’s2 output; gathered together and exhibited with other groups’ work in the MA Work-in-Progress publication, which took the form of an A5 box.&#38;nbsp; &#38;nbsp; The pack also provides the means to connect to the group’s corresponding digital material on a local pirate box. On this we recorded conversations about shared themes in our recent dissertation work and how they had culminated in this publication.


	
 
	
&#60;img width="2000" height="1124" width_o="2000" height_o="1124" data-src="https://freight.cargo.site/t/original/i/fcdf914238d1326e9df934ce173518471fe9b023171a0aa26891cfc66333d8d8/WIP-show-floor.jpg" data-mid="126871657" border="0"  src="https://freight.cargo.site/w/1000/i/fcdf914238d1326e9df934ce173518471fe9b023171a0aa26891cfc66333d8d8/WIP-show-floor.jpg" /&#62;
&#60;img width="2000" height="1124" width_o="2000" height_o="1124" data-src="https://freight.cargo.site/t/original/i/e677acf2463e99b3253f618170b260522a42bf4a806089fd0eee93046ce09888/WIP-show-table-top.jpg" data-mid="126871669" border="0"  src="https://freight.cargo.site/w/1000/i/e677acf2463e99b3253f618170b260522a42bf4a806089fd0eee93046ce09888/WIP-show-table-top.jpg" /&#62;
Exhibition of the publication.



	1The writing and design of the pamphlet were my principal contributions to the group project.

2&#38;nbsp;Fellow P Groupers were Hannah Kelly, Karthik Sowbaghyanathan, Likando Kumoyo and Jiyong Ahn.
	
</description>
		
	</item>
		
		
	<item>
		<title>mixed_massages</title>
				
		<link>https://pennyhartley.com/mixed_massages</link>

		<pubDate>Sat, 07 Nov 2020 16:35:31 +0000</pubDate>

		<dc:creator>pennyhartley</dc:creator>

		<guid isPermaLink="true">https://pennyhartley.com/mixed_massages</guid>

		<description>
	mixed_massages
(2018)

Stationery project
Greetings card, A6
Animated content

	The name of the project is a play on Marshall McLuhan’s The Medium is the Massage1, which in turn is his play on his own often-quoted phrase ‘The medium is the message’. &#38;nbsp;&#38;nbsp; &#38;nbsp; The project’s first output was #tickboxexercise1, a tongue-in-cheek all-in-one greetings card, to cover all of the recipient’s predicted celebrations for the coming year.

	

	
&#60;img width="2000" height="1874" width_o="2000" height_o="1874" data-src="https://freight.cargo.site/t/original/i/4f275ca0c451c4f3cb0a0a3211ce9f5b3a133c22c06e5f16f74df648cb6f8e37/Open-card-front.jpg" data-mid="126870088" border="0"  src="https://freight.cargo.site/w/1000/i/4f275ca0c451c4f3cb0a0a3211ce9f5b3a133c22c06e5f16f74df648cb6f8e37/Open-card-front.jpg" /&#62;
&#60;img width="2000" height="1874" width_o="2000" height_o="1874" data-src="https://freight.cargo.site/t/original/i/6a3a15354663090bd80d3178a0ae5e5f311bdd755f87b5ed2fdadf6aacdc258b/Open-card-back.jpg" data-mid="126870089" border="0"  src="https://freight.cargo.site/w/1000/i/6a3a15354663090bd80d3178a0ae5e5f311bdd755f87b5ed2fdadf6aacdc258b/Open-card-back.jpg" /&#62;
#tickboxexercise concertina greetings card with 18 sides.


	

	
&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/74db1d4adf65d437ad484baab80123bf6022a59048a595bc8f521a318a6f520b/-tickboxexercise-packs.jpg" data-mid="126869943" border="0"  src="https://freight.cargo.site/w/1000/i/74db1d4adf65d437ad484baab80123bf6022a59048a595bc8f521a318a6f520b/-tickboxexercise-packs.jpg" /&#62;
The printed and wrapped card and envelope.2


	



Animated content for social media.


	
	

	1McLuhan, M. (1967) The Medium is the Massage.

2If you would like to purchase a card for £5+pp please email me via the link on the info page.
	

	
</description>
		
	</item>
		
		
	<item>
		<title>Places &#38; Spaces</title>
				
		<link>https://pennyhartley.com/Places-Spaces</link>

		<pubDate>Sat, 07 Nov 2020 16:35:25 +0000</pubDate>

		<dc:creator>pennyhartley</dc:creator>

		<guid isPermaLink="true">https://pennyhartley.com/Places-Spaces</guid>

		<description>
	Places &#38;amp; Spaces
(2018)
MA research inquiry
Timelapse film studyData visualisation
Publication, A4, 20pp
Physical computing


	
The introduction in my publication probably sums up best what prompted this research inquiry:
&#38;nbsp; &#38;nbsp;In public places you must constantly negotiate your share of the space with others.&#38;nbsp;In these places, you might know some of the people around you, or you have seen them before and are accustomed to seeing them there but you have never spoken to them. For example in a workplace or educational institution, or on your daily commute. Or you may be sharing space with complete strangers.
&#38;nbsp; &#38;nbsp;Like all sentient beings, you are inately territorial. You make conscious and unconscious choices when you enter a place about the space within it that you want for yourself. Your own temporary piece of real estate.
&#38;nbsp; &#38;nbsp;These choices are determined by many factors, including the purpose of the visit, time to be spent there and even any desired outcome from the visit.
&#38;nbsp; &#38;nbsp;The project started with an 8 hour timelapse in a local coffee shop, to map how people used the space on a typical weekday. It revealed how popular seats depend on factors such as time of day, how many in a group, and the reason for the visit.

	


	From this I developed an animated schematic, with the tables/bar in yellow and the seats/customers around them represented as coloured squares. Each colour being determined by the number of people in the group.
	

	


&#60;img width="1200" height="1200" width_o="1200" height_o="1200" data-src="https://freight.cargo.site/t/original/i/c49c1b3363abf962301a625715171caa40dbfbf39b7b7111f9010eeead384ff5/Schematic.gif" data-mid="88045379" border="0"  src="https://freight.cargo.site/w/1000/i/c49c1b3363abf962301a625715171caa40dbfbf39b7b7111f9010eeead384ff5/Schematic.gif" /&#62;
Animated schematic of customer seating in the coffee shop over an 8 hour period.
	

	
Coffee shop interior
Grey: floor
Yellow: Table/bar
Red/pink: pillar
Pink: shelves

	Seats/number of customers in group

Pale pink: 0 people
Blue/green: 1 personBlue/grey: 2 people
Purple: 3+ people


	
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/cf10c9d5270ab8abb4804456f65fb419cdb426fc2f10008bb7c9775b09e032b2/Places---Spaces-publication-cover.jpg" data-mid="126868372" border="0"  src="https://freight.cargo.site/w/1000/i/cf10c9d5270ab8abb4804456f65fb419cdb426fc2f10008bb7c9775b09e032b2/Places---Spaces-publication-cover.jpg" /&#62;
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/01a53b08f27b5ef870cab584e761def4d2f664d296480da62fc0a9351890b6ec/Places---Spaces-publication-spread-3.jpg" data-mid="126868374" border="0"  src="https://freight.cargo.site/w/1000/i/01a53b08f27b5ef870cab584e761def4d2f664d296480da62fc0a9351890b6ec/Places---Spaces-publication-spread-3.jpg" /&#62;
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/c7816cce2cc29a2504a2788c7c57e17f7b2fc673949c5627086c7e193a8b19be/Places---Spaces-publication-spread-4.jpg" data-mid="126868376" border="0"  src="https://freight.cargo.site/w/1000/i/c7816cce2cc29a2504a2788c7c57e17f7b2fc673949c5627086c7e193a8b19be/Places---Spaces-publication-spread-4.jpg" /&#62;
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/69dd24f9b434c72e6041236795b4b0eb9e0d7f1cbccfd6c2fb28ca3f232a64a7/Places---Spaces-publication-spread-7.jpg" data-mid="126868397" border="0"  src="https://freight.cargo.site/w/1000/i/69dd24f9b434c72e6041236795b4b0eb9e0d7f1cbccfd6c2fb28ca3f232a64a7/Places---Spaces-publication-spread-7.jpg" /&#62;
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/92a42d5021a75b9a6870f319ec7d87af9b0d0b1e59260712e53624bd165f86b6/Places---Spaces-publication-spread-8.jpg" data-mid="126868406" border="0"  src="https://freight.cargo.site/w/1000/i/92a42d5021a75b9a6870f319ec7d87af9b0d0b1e59260712e53624bd165f86b6/Places---Spaces-publication-spread-8.jpg" /&#62;
&#60;img width="2000" height="1414" width_o="2000" height_o="1414" data-src="https://freight.cargo.site/t/original/i/3341eeecc93d0f2f5f116f5e3fcd997fe9707c85b25f877f5cc25ceee57a8275/Places---Spaces-publication-spread-9.jpg" data-mid="126868441" border="0"  src="https://freight.cargo.site/w/1000/i/3341eeecc93d0f2f5f116f5e3fcd997fe9707c85b25f877f5cc25ceee57a8275/Places---Spaces-publication-spread-9.jpg" /&#62;

Pages from the Places and Spaces publication.


	I recorded the process, along with my writing from wider research, in this publication. The project so far, though, had relied on the filming of people in a space, in order to record their seating choices. What if I switched it around, so that the seat itself did the recording, with the data anonymised?
	

	


&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/52f6a9d58bb31175780f3291a366959195584572e688684a694d7ea9aea1e993/Seat-in-situ.jpg" data-mid="126868747" border="0"  src="https://freight.cargo.site/w/1000/i/52f6a9d58bb31175780f3291a366959195584572e688684a694d7ea9aea1e993/Seat-in-situ.jpg" /&#62;
&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6cb2e41c620e41830f33580c9bd96b584a4319c2945b52af568638cfdf9157f7/Seat-cushion-front.jpg" data-mid="126868760" border="0"  src="https://freight.cargo.site/w/1000/i/6cb2e41c620e41830f33580c9bd96b584a4319c2945b52af568638cfdf9157f7/Seat-cushion-front.jpg" /&#62;
&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/d5969e394132a235d7d5f739d76e8364b89c393f38d6772f35ec5c87f8590c3a/Seat-cushion-inner-front.jpg" data-mid="126868763" border="0"  src="https://freight.cargo.site/w/1000/i/d5969e394132a235d7d5f739d76e8364b89c393f38d6772f35ec5c87f8590c3a/Seat-cushion-inner-front.jpg" /&#62;
&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/78c141cd774fa8955b71802e243370c3c3c4bc4e0b6655c0d2e533fffb52b822/Seat-cushion-sensor-and-microcomputer.jpg" data-mid="126868771" border="0"  src="https://freight.cargo.site/w/1000/i/78c141cd774fa8955b71802e243370c3c3c4bc4e0b6655c0d2e533fffb52b822/Seat-cushion-sensor-and-microcomputer.jpg" /&#62;
&#60;img width="2000" height="2000" width_o="2000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/805d9a59d5aa3eb98677d9369a9b00f760c57054ccfc5a6823afa1ca1f39bdee/Seat-cushion-inner-rear.jpg" data-mid="126868768" border="0"  src="https://freight.cargo.site/w/1000/i/805d9a59d5aa3eb98677d9369a9b00f760c57054ccfc5a6823afa1ca1f39bdee/Seat-cushion-inner-rear.jpg" /&#62;




	This smart seat counts its sitters. Its cushion conceals a pressure sensor, connected to a wireless wifi-enabled micro-controller.&#38;nbsp; &#38;nbsp;The micro-controller is connected to an IO and Javascript node, with a dashboard to display the number of individual sitters, individual sitting times, and total sitting time.


	

	


</description>
		
	</item>
		
		
	<item>
		<title>Sleepwalkers</title>
				
		<link>https://pennyhartley.com/Sleepwalkers</link>

		<pubDate>Sat, 07 Nov 2020 16:35:23 +0000</pubDate>

		<dc:creator>pennyhartley</dc:creator>

		<guid isPermaLink="true">https://pennyhartley.com/Sleepwalkers</guid>

		<description>
	Sleepwalkers
(2017)

Film, 3:25 mins, 16:9

	
This film1&#38;nbsp;invites the viewer to contemplate the tension between our physical lives and our online lives - on our ever-present mobile phones.&#38;nbsp; &#38;nbsp; It is a mashup of original and found footage, graphic flash cards and zombie film clips, combined with a digital narration of my adapted extract from Georges Perec’s&#38;nbsp;The Street2.&#38;nbsp;This is the script:

Observe the street, from time to time, with some concern for system perhaps./
Apply yourself. Take your time./
Note down the place, the time, the date, the weather. Note down what you can see. Anything worthy of note going on. Do you know how to see what’s worthy of note? Is there anything that strikes you?/
Nothing strikes you. You don’t know how to see./
You must set about it more slowly, almost stupidly. Force yourself to write down what is of no interest, what is most obvious, most common, most colourless./
The street: try to describe the street, what it’s made of, what it’s used for. The people in the street. The cars. The buildings. The shops. The cafés. Make an effort to exhaust the subject, even if that seems grotesque, or pointless, or stupid. You still haven’t looked at anything, you’ve merely picked out what you’ve long ago picked out./
Force yourself to see more flatly./
Detect a rhythm: the passing of cars. Count the cars. Look at the number plates./&#38;nbsp;
Read what’s written in the street: newspaper kiosks, posters, traffic signs, graffiti, discarded handouts, shop signs./
Decipher a bit of the town. Its circuits: why do buses go from this place to that? Who chooses the routes, and by what criteria?/
The people in the streets: where are they coming from? Where are they going to? Who are they?/
People in a hurry. People going slowly. Parcels. Prudent people who’ve taken their macs. Dogs: they’re the only animal to be seen. You can’t see any birds – yet you know there are birds - &#38;nbsp;and can’t hear them either. You might see a cat slip underneath a car, but it doesn’t happen./
Nothing is happening, in fact./
Time passes./&#38;nbsp;
Carry on./
Until the scene becomes improbable./
Until you have the impression, for the briefest of moments, that you are in a strange town or, better still, until you can no longer understand what is happening or what is not happening, until the whole place becomes strange, and you no longer even know that this is what is called a town, a street, buildings, pavements.../

	 






	
	

	1 All found footage is credited at the end of the film.
2 Perec, G. ([1974]1999) ‘The Street’ from ‘Species of Spaces’ in Species of Spaces and Other Pieces. London, UK: Penguin.
	
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