This PhD research project investigates the significant narratives in the history of artists' moving image (AMI) in Scotland since the mid-1960s through a curatorial, practice-led approach. The project has two key objectives. Firstly, it seeks to identify and analyse this history's key custodians, map infrastructures of funding and support for AMI, and develop an understanding of how AMI archives and collections have interfaced with audiences. The research will also contribute an assessment of forms, subjects, and exhibition and distribution methods which are particular to the context of Scotland. My approach outlines a social art history, understanding cultural production through its power structures, with an interest in generating equitable and inclusive narratives that encompass both well-known and marginalised groups. Secondly, the project will develop and employ a curatorial methodology capable of advancing different, overlapping and distinct, historical narratives in a variety of audience encounters. The project contributes to the current rethinking of curatorial practice's interface with research, audience and narrative, asking how working curatorially can institute broad-scale historical research that is democratised, polyvocal, equitable, sustainable and internationally visible. This will be manifest in a programme of public editorial meetings and screenings.

Building Curatorial Knowledges of Glasgow's Urban Landscape with artists' moving image.

Living still with injury: writing reparative Midrash as an act of feminist resistant memory making. Note that student transferred from University of Glasgow, joined Glasgow School of Art at start of their 2nd year.

The research broadly addresses the question of the impact of digital technologies on improvisational working methods in the labour of artist animators. More specifically, the research questions the directional influence of digitisation on animators' use of improvisation as a generative approach defined in terms of features of open-endedness and indeterminacy (Peters, 2009). Key factors of subjectivity, skill, contingency and chance will be investigated through a practice-based testing apparatus of animation production in order to fully explore the implications of the embedded constraints presented by digital tools.

This research will draw on conceptions of style in queer feminist and Black performance studies to examine whether working-class women's dress in late 1970s and early 1980s Glasgow performed a subversive historical function. This approach will challenge the notable absence of women's subcultural style in British academic discourse by broadening the terms by which such subcultures are read and understood. Considering a range of archival sources, the personal histories and cultures registered on subjects 'dress will be interpreted as forms of unofficial citation, allowing individuals to construct a past and present self at the margins of official British history.