{ Introduction } 3 # OCD. CO. 5 # Ongoing Project 7 # Sub-projects { Organisation } 9 # Make Sense Project 11 # Marketing Research 15 # Management { Sensory Evnents } 21 31 43 57 67
# # # # #
Seeing Smelling Hearing Tasting Touching
{ Conclusion } 81 # Summary 83 # Evaluation { References }
Organisation of City Discovery Cooperation (OCD. Co) is a new start-up multidisciplinary culture social enterprise based in the UK. We aim to improve urban development and enrich people’s arts and cultural engagement in local societies. We help and encourage cities to employ art and culture as a toolkit for city branding or development plan by offering arts and cultural strategies and projects. Arts and cultural industries play an increasingly important role in urban development plan or city branding plan. In the modern world, the market has moved onto creative and knowledge economy, and there is a resource competition between countries, cities and neighbourhoods in terms of labours, tourism, inward investments and businesses. It has been suggested that arts and cultural industries attract those resources and improve competitiveness of a region (Richards, 2010).
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Through various kinds of cultural programmmes in this Leeds Tourism development plan, local artists and small or local-centric business owners would be promoted. This will contribute to the vibrancy of arts market as well as local business, and to arts and culture equality. Many researchers (e.g. National Endowment for the Arts: Research Division, 1981) claim that the demographic conditions of arts and cultural event audiences are interrelated to the frequency of their
participants. They argue that most of the audiences are highly educated and have high income. However, Connolly (2013) states that the more cultural activities and accesses, the better educational and economic status. We are also eligible to apply International Showcase Fund. Our aims of the plan focus on creating, producing and presenting the arts and cultural features in Leeds, and we build on a not-for-profit basis with charitable
objectives (International showcasing, 2015). Furthermore, we attempt to attract international promoters and invite local artists to be involved in our arts and cultural events with a clear artistic approach to the development of the showcase.. The aim is to make a significant contribution to tourism in the city of Leeds as well as positive impacts on both regional and international development of UK’s art and cultural industries.
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‘Make Sense’ is a festival consisted of five sensory events (seeing, smelling, hearing, tasting and touching) in various activities, aiming at providing novel ways for exploring Leeds city.
The familiar stranger team aims to improve local environment in Leeds and continue to broaden the impacts of the project to wider areas. In this event of regenerating Tetley and Leeds Corn Exchange, both of them maintained meaningful stories of Leeds. The transformation of their original functions and present their stories could attract tourists from different regions as well as bring benefits to local citizens at the same time.
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Hide & Seek team aims at helping people to experience a city entirely, rather than just being a tourists. It will be divided into two parts. First part is identifying local hidden places, interesting events, secret stories, or ‘little things’ that are often ignored. The other part is to make local people and tourists experience their city life and journey differently, rather than just walking around a city.
> Event type: Annual festival > Period : April (Around Easter Holidays) > Place : various venue in central city of Leeds > Opening times: Varies upon venues > Target audience: Families having children, International students staying Leeds and coming to Leeds to travel during Easter.
Bonami (2005) asserts that “our memory is composed of varied, mostly irrelevant, short experiences: new images, new flavors, new sounds, new touches, and new smells. Yet in their irrelevance, they shape the way we think and how we see the world (p. 11).” From this point of view, we seek to create a new form of art experience through full of our senses, linked in local business and mood. As Watelet states, the art experiences is the “most perfect relationship among external objects, the senses, and the state of the soul (cited in Corbin, 2006, p.178).” 10
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Extraordinary project in Leeds
Support by Arts Council England and Leeds City Council
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No previous experience
Too many festivals in Leeds. Unfamiliar to people
https:// somewhereto.com
Flashmob
Flyers and Programmes Local networking Word of Mouth Press Release Website Banners SNS DM
Monthly upload
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To hire public venues like parks, we should be equipped with “public liability insurance with £ 5 milion indemnity (Leeds City Council, no year, p.5)”. All contractors (artists) and performers engaged in the event have to have “their own public liability cover (Leeds City Council, no year, p.5)”.
We will make a list for budget such as artists contract, public liability insurance, fist aid cover, alcohol license, performance license, artwork cost, venue hire, pomotion, infrastructure, electric generator, etc. To use Leeds City Council land, in our case they are Roundhay park, Hyde park, and Victoria Garden, we need to pay required fee by Leeds City Council.
Certain types of performances or alcohol sales needs proper licenses.
We will have the event safety checklist provided by Leeds City Council Booking and Licensing team to inspect facilities, equippments and event venues by ourselves to secure people in the event from any hazard.
All details from Park and Countryside Community and Charity Event guide: A guide to organising community events in Leeds Parks and Green Spaces (Leeds City Council, no year)
We will ask a first aid provide to St John’s Ambulance. With regard to emergency and safety, we will get advised by following services and ask supports to them. The contact information below is from Leeds City Council guideline (no year). + Yorkshire Ambulance Service : www.yas.nhs.uk + West Yorkshire Fire Service : Leeds.district@westyorkshirefire.gov.buk + West Yorkshire Police : Neleeds.logistics@westyorkshire.pnn.police.uk Aaleeds.opsplanning@westyorkshire.pnn.police.uk + The Health and Safety Executive http://www.hse.gov.uk/event-safety/index.htm + British Red Cross http://www.redcross.org.uk Tel: 0113 2015240 + St. John Ambulance http://www.sja.org.uk/sja/default.aspx Tel: 08700 104950
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Since our members are too limited to run this event on our own, volunteers are essential to effectively manage. They can guide participants and quickly act in any situation. We will have a brief meeting with them a week before the event to let them know key things that they should be aware of during the event.
When the event venues are hired, we will make the site plan for the event to distribute to participants to guide them. Also, there would be emergency plan as well. They will be marked on the map back side of site plan. Electric generator is vital to be equipped mainly for the craft workshop of touching event and sound exhibition of hearing event. The generator is very vunerable to water and dangerous to people. Thus, the safety around the generator must be secured. 17
All details from Park and Countryside Community and Charity Event guide: A guide to organising community events in Leeds Parks and Green Spaces (Leeds City Council, no year)
Basic infrastructure such as toilets and food vendors will be set around the event venue. We will have public liability insurance and risk assessment as it is required.
In case that we need a stage for opening and closing event, stage setting is considerable. This also needs public liability insurance and risk assessment.
We will make a contract and arrange the schedule with Associated Waste Management Limited (AWM) to deal with our waste in the event venues during and after the event by contacting to them on 0845 4567 128.
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Balm and Holcomb (2003) highlight the importance of imagery and historical sources in tourism.
They agree to Bryson’s claim in terms of the relationship between the past and present space and time. They argue that:
To consider simultaneously both historical source (an image’s past life) and cultural work (an image’s present and future life) implies that an image has the potential power to transcend the time and place of its creation but also that an image may be examined relative to that original time and place. In other words, an image as an artifact is both fluid and fixed. (p.158)
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Therefore, we were looking for the image from the history
of Leeds to re-interpret and to let the tourists experience visual images of both past and present Leeds. Among many contents related to Leeds and Yorkshire(in wider range), we found that ‘Cottingley Fairies’ is still an interesting topic, even though the fairies in the pictures turned out man-made fairies. The idea of ‘Cottingley Fairies’ would be emerged as a new content in Leeds, albeit ‘Cottingley Fairies’ are originated from Cottingley near Bradford next to Leeds but still in West Yorkshire.
Fairies will be decorated all
around Hyde park and Roundhay park to imagine the time that ‘Cottingley fairies’ was issued and everyone in the world believes in this as genuine living fairies. For durable fairies against raining and heavy wind, they would be made of limited materials. The artists in Yorkshire Sculpture Park will be invited to make them and advise. We will post official notification of recruitment for the artists online such as ArtsCouncil Jobs webpage. Also, Tim Water’s artwork, fairies’ house, is chosen to draw our direction of ‘fairies in park’. To set the faries in both of Hyde and Roundhay park, the booking confirmation by Leeds Council is essential.
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Tim Water waterst@sky.com He is a photographer working based on Scotland. This Faries Castle is made of three stumps taken from Killiecrankie (Water, 2010). He hired stock architecture to put some details on it and painted it himself. We will invite him to work with us.
Sally J. Smith
She is an environ scultures. Her art of faerie houses, o them up in parks o
www. greenspiritarts.com
nmental artist in the US. On her website, she sells her pictures of pieces are mostly about faerie houses. Inspired by her scultures our local artists can make this kinds or purchase her pieces to set on our own. 26
According to the booking policy, as we hold the festival, we are eligible to hire the park from Leeds City Council. To book the venue, we need to contact to 01133957400 by phone or eventsinpark@leeds. gov.uk by E-mail with the online application form on website. It should be applied eight weeks before the event at least. The application form includes basic information of applicant and the event, target participants, public liability insurance, and safety. We will considerably follow the guideline and checklist uploaded on the council website before, after, during the event. 28
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The Fairies are made of paper cut after printing out from Google image. We were trying to mimic Cottingley Fairies in colour version as like the time of issue. However, in the event, for the durability against the rain and the wind, it would be created by other materials.
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S
melling is often neglected among other senses (Corbin, 2006; Keller, 2006). However, Corbin (2006) believes that the sense of smell is the most important one when people feel “the harmony of the organization of the universe (p.178).” Hirsch (2006) also argues that:
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More than any other sensations, odors are particularly effective in inducing a vivid recall of an entire scene or episode from the past. A special odor may revive a clear image of the past and, more important, the enhanced emotional state associated with that image.
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”
He describes the smelling process that every individual smells differently depending on their environmental background such as their living area, circumstances, and memories. It is common fact that individual’s favorable odours please them and it is not in reverse way. Herz (2006) illustrates that this phenomenon is because of previous emotional experience but the “innate influences on us (p.200)”. In this sense, such aromatherapy and perfume affects “ (Herz, 2006, p.199)” in pleasant emotion (Herz, 2006; Corbin, 2006).
mood, cognition and health
Therefore, the ‘scent maze’ would play a significant role in
audiences’ experiences toward this event, family time, friendships, and the arts and cultural elements. For the tourist, this uncommon experience would be remained in their memories as the great moment of spending time at Leeds.
In the ‘Scent Maze’, we will hide different kinds of scent
which are found around us easily and make us happy. The scent in the maze will be consisted of three kinds: tea, coffee, and soaps. Each exit will show the information of products and brands hidden in the maze. As Herz (2006) claims that the sense of smell is not sustained longer than 20 minutes – all of us have experience of this kind that a certain odour is disappeared after a while –, the ‘Scent Maze’ will be designed to spend less than 20 minutes inside there by considering this fact. The products will be sponsored by local based business such as La Bottega Milanese, Moments Coffee Co.Ltd, and Yorkshire Soap Company. We will hire local-based set and lighting designers and technicians to set up the maze from the website of Stagejobspro and Linkedin. 34
Dan Dainter He is a multi-skilled theatre designer and technician based in Leeds. He has professional knowledge of sets, lighting, etc. This ability is beneficial to efficiently work and communicte with the event venue staffs to understand the space. We will hire him to design this maze inside either Howard Asembley Room in the Grand Theatre or Central Arena in Leeds City Museum.
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Did you choose which scent you will follow in the maze? Well, I will take Darjeeling Tea. I am confident at this.
Umm... I one after these sam
1. Audiences read the guideline which introduce what kinds of scent the maze has. 2. Choose the one to explore 3. Learn the scent on the table before start. 4. Follow the yellow brick
I see. This one was the one I confused. Even this exit doesn’t have lavender soap haha I was correct. I followed right one!
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will choose smelling mples here OK, then I will try lavender soap! we might have the different wayout.
Sniff, Sniff. This seems not that one. Sniff, Sniff. Oh yes this one!
7. When they are out of the maze, they can check what they have smelled whether it was right one they chose or not. 8. They can learn more about the scent objects and the sponsored brand.
5. Sniff the yellow brick to find the chosen scent and find the way out. 6. During the process, audiences can explore other scents as well and reconise the scent they didn’t care in routine.
Oh my god. This is so confusing. I think I lost mine.
HOw to explore the scent maze. 38
Yorkshire Soap Company is a local business based in Yorkshire including Leeds. This shop has amazingly authentic products to sell. Also, the scent are various to choose.
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Since 1919, Betty’s has a variety of tea kinds such as Tea room blend Leaf Caddy, Lapsang Souchong Leaf Tea, Pure Ceylon Leaf Tea, Jasmine Blossom Green Tea, Bettys Blue Sapphire, Bettys Tea Room Blend Leaf Tea, Bettys Special Rare Green Tea Bettys pai Mu Dan White Tea, Afternoon Dajeeling, etc. Betty’s is a tea company only located York, Harrogate, Northallerton, and Ilkley. This tea brand can shows Leeds’ culture and proud.
La Bottega Millanese has their own blended coffee bean. Now they are about to launch their online shop selling the customized blended coffee beans as individual tastes. Moment Coffee has sold their coffee bean which has autehntic flavour from Brazil.
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We found the information of this venue hire at http:// www.operanorth.co.uk/howard-assembly-room/venue-hire. For further information on availability and suitability of the space for your event, we will contact to contact@HARhire.co.uk or 0113 243 9999.
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Central Arena in Leeds City Museum is our plan B to hold the scent maze event. If Howard Assembley Room is not available, we will consider here. To book this place to use, we will contact to 0113 224 3728 or make an enquiry on the website: http://leedsvenues.org.uk/rooms/centralarena/
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A
soundscape
ccording to Landry (2006), it is claimed that sounds are combined together but are difficult to pick up individually in cities where are always full of various sounds. People broaden their “ ” (Landry, 2006, pp. 45) within culture to perceive the sounds of the city. In order to explore the sensory landscape of the city, we would like to collect different sounds in Leeds through recording various sounds within the sonic environment, including the busy sounds of commercial districts in the city centre, a repetitive beat from the pub music, the sounds of transport vehicles, the choirs in Leeds Cathedral, and even the varying wind sounds in the city through the sense of hearing.
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W
hen people hear a sound, and then they listen and make sounds differently. Because of the differences of interpretation, there are diverse perceptions of the sounds in different cities, so that every city has its own sound atmosphere (Landry, 2006). To explore cultural differences through sensory experience, we will record the most types of British Accents to present the varieties of language within different regions in the United Kingdom, namely Received Pronunciation, Cockney, Estuary English (Southeast British), West Country (Southwest British), Midlands English, Northern England English, Welsh English and Scottish English (TrawickSmith, 2011). As such, it is meaningful to experience regional differences through hearing various types of British accents to understand their own specialized features of sounds of cultures.
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The UK’s largest free festival of sound art and experimental music
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The festival offered visitors the chance to reengage with the city in new, creative ways and to experience space, time and the urban setting through the art of listening. -Expo Leeds
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Expo Leeds was hold in Leeds in September 2009 to take over venues and public spaces across the city. This sound and music festival aimed to illustrate the powerful, creative and playful nature of hearing, discovering and listening to sonic art. We will cooperate with digital artists to perform at the Light and Millennium Square. This Soundscape event would be supported by Arts Council England, and our partnership included Leeds City Council, Opera North Howard Assembly Room and University of Leeds. 47
Through connecting with “Expo Leeds”, we will design an interactive activity in cooperation with German-artist Christina Kubisch to create a new installation at The Light, Leeds, inviting passersby to record the sounds by using their smartphones through the shopping centre, and mix sounds together in creative ways. We will transform various sounds from original ones into artistic forms, creating sound art to present for audiences. 48
The Headrow, Leeds, LS1 8TL
We will hire the courtyard space in the Light which acts as the perfect space for us to design “the electronic walk” in the busiest space in Leeds. According to their official website, we will download their brochure and contact the events team through email info@thelightleeds. co.uk to ask them the date of our event will be available or not for using.
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In the mid-1970, a musician and composer, R. Murray Schafer introduced the notion of acoustic ecology (Schafer 1977, pp. 205). He stressed the significance of the value of listening and the quality of the soundscape. Schafer describes the world as “a vast musical composition” which is extending continuously. Sounds can evoke emotions, they have meaning, and they reflect the cultures through mediating experiences of stimuli. Although the “buzz” of the city refer to its noise which might be harmful to health or welfare for human, many sounds still attract people, creating pleasurable experiences and emotions (Newman & Lonsdale 1995, pp. 34). Exploring with the senses can trigger action by interaction with environment, discovering the beauty of a city, starting with sound.
d n u o S s d e e In L
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Click pictures to listen the sounds and mouse out of the picture to stop playing
Leeds City Centre
Corn Exchange
Moment Cafe
Leeds Cathedral
Gym at the Plaza
Strong Wind in Leeds
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The United Kingdom is probably the most dialectobsessed nation in the world. With countless accents shaped by thousands of years of history, there are few Englishspeaking nations with as many varieties of language in such a small space. - Trawick-Smith, B. 2011.
”h
s t i n t e i c r c B A
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We will make a list of the most important types of British English according to the dialect blog, “British Accents and Dialects”. During our festival, we will present these British Accents and provide each speech samples for our audiences to better understand the differences in each region in the United Kingdom. While this is not a completed list, this blog provides an overview of the accents most often discussed on this site and elsewhere.
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Margaret Thatcher Received Pronunciation
Received Pronunciation is the closest to a “standard accent” in the UK.
Ray Winstone Cockney
Cockney is probably the second most famous British accent.
(Southwest British)
Estuary is an accent derived from London English which has been recognized as slightly similar to “General American” in the US. (Trawick-Smith, 2011).
Midlands English can be divided into East Midlands and West Midlands, and it is one of the more characterized of Englishes.
West Country refers to a large area of accents heard in the South of England.
Cheryl Cole
Rhys Ifans
and dialects in Northeast England in general.
This refers to the accents and dialects spoken in the country of Wales.
Ewen Bremner
Peter Mullan
Northern England Geordie English Geordie usually refers to accents
Scottish English (Edinburgh) This is the broad definition used to describe English as it is spoken in the country of Scotland.
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(Southeast British)
Midlands English
West Country
These accents are spoken north of the midlands, in cities like Manchester, Leeds, and Liverpool.
Estuary English
Geezer Butler
Stephen Merchant
Bernard Sumner
Gordon Ramsey
Welsh English
Scottish English (Glasgow)
Click pictures to listen the accents and mouse out of the picture to stop playing 56
T
he connection between ‘the sense of tasting’and ‘food dishes’ is regarded as an acceptable concept, and there is also a correlation between the sense of tasting and culture (Stringfellow. 2013). In addition, different types of food dishes are often taken as evidences of cultural development in different areas. Not to mention of the history of food and its representation of a field throughout the centuries. To encourage the engagement of participants in experiencing and realising local culture and arts through the sense of tasting, two activities are designed for the achievements and will be held at Corn Exchange.
Taste Through History Inspired by the exhibition held by The Stanley & Audrey Gallery in University of Leeds displaying recipes of baking through eras, the first activity for ‘City Taster’ will be an exhibition about the development of food in Yorkshire. Yorkshire historic food recipes will be presented along with several selected handmade cuisines followed by the steps of chosen recipes. Cuisines will be presented in numbers of dishes based on recipes written in different eras to show the development and change of the cuisines in the past, including Roast with Yorkshire Puddings, Yorkshire Curd Tart, Parkin, and Liquorice.
Exhibition of ‘The Art of Baking: Cake Making and Bread Baking through the Ages’
(Counter Clockwise) Yorkshire Puddings Yorkshire Curd Tart Parkin Liquorice.
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Janine Denby
http://www.janinedenby.co.uk/contactform.html http://www.janinedenby.co.uk/
Janine Denby is trained at Graphic Arts in Leeds Metropolitan University and has lots of exhibition experiences for her art works. Known for different cities’ painting especially in illustrating urban night, we will invite Janine Denby for out city scenes illustration.
Carl Warner
+44 (0)20 7357 6353 +44 (0)7860 724681 carl@carlwarner.com http://www.carlwarner.com/
The second activity for tasting is Food Landscape, inspired by the project of ‘Foodscapes’ made by Carl Warner. People tent to visit historic and popular heritages far more then enjoying and experiencing ordinary surroundings that are often ignored in daily lives. As the first exhibition focuses on the whole area of England, the second activity for tasting will narrow the range of field from England to Leeds City. Buildings and surrounding scenes of Leeds City will be presented by different types of food ingredients such as bread, vegetables and fruits, created in forms of art pieces along with photographs and paintings of the chosen buildings and scenes. Through the collections of ‘landscapes’ made by food, participants can not only notice the surroundings in novel ways of presentation but also have a chance to ‘taste’ the ordinary scenery of Leeds City.
Ruth Lewis
Tom Hovey
+44 (0) 78 666 052 80 mail@ruthlewisillustrations.com http://www.ruthlewisillustrations.com/index.htm
Based in London, UK. Ruth Lewis is known for her different topics of illustration and has cooperated with various types of magazines. Her works of illustration include cuisines, landscapes, makeups, people, etc.
+44 (0) 772588 3674 tom@tomhovey.co.uk http://www.tomhovey.co.uk/
“A Welsh Illustrator in Bristol. Cake Illustrator to the stars.” As described by himself, Tom Hovey has many experiences in illustrating food such as cake baking, fruits, dishes. He was also cooperated with the baking exhibition held by Stanley and Audrey Gallery in University of Leeds, which enlightened the idea of ‘City Taster’.
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Two of the activities for tasting will be held at Corn Exchange. The recipes exhibition will be set at the first floor surrounding the area, and the collections for the Food Landscape will be placed at the basement. Contact for renting the space: http:// www.leedscornexchange.co.uk/lettings Julie FawleyFawley/ Watson & Booth Tel: 0113 234 7900 Email: Julie@fawleywatsonbooth.com Adrian Johnson/ Rawstron Johnson Tel: 0113 2042048 Email: adrian@rj-ltd.co.uk
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T
he sense of touching is one of the direct ways to feel surroundings through the interactions between body and objects in society. An interactive exhibition will be held at Victoria Gardens with a series of touchable art pieces made of natural materials collected in Leeds city. Participants are invited to touch these art pieces to experience the shapes of the city, and are expected to recall the impression of the city after activity.
I
n the book “The Image of the City”, the author mentions that moving in a city is recognized as the physical part in our daily life. We are not only observers in a city, but ourselves are a part of it, particularly, our activities have become physical parts in a city (Lynch, 1960). Shaping the natural materials or inhabit necessities for sensuous enjoyment is not only an artistic activities but the stimulation and reflection to care for the environment. Sometimes, we experience the city at a low level of awareness and are not accustomed to those things we don’t need. In order to deal with this happening, Landry (2006) suggests that we need to encourage our minds to be wider in any opportunities to perceive a city, exploring the environment and cultures by using the sense of touch. Although five senses have relative importance, Manske (1999) points out that only a few would consider touch is the most necessary of the senses since it is not until we are without the ability to experience “ ” (Manske, 1999, pp. 213)—hot or cold, pain or pressure—that we become fully aware that touch is essential to our wellbeing. Therefore, the relationship between the sense of touch and a city refers to explore the environment with our hands. At the same time, we experience a city when the external object touching our skin and also our body itself.
stimuli 69
tactile
In 2015, an art exhibition that applying 3D printing technology into artworks was first created by The Prado Museum, aiming at providing visually impaired an opportunity to experience historical paint-
ings through touching, such as Leonardo da Vinci’s “Mona Lisa”, “Don’t touch me” by Antonio da Correggio, and “Still life with Artichokes, Flowers and Glass Vessels” by Juan Van Der Hamen. Inspired by The Prado Museum, The Louvre, London’s National Art Gallery and the other well-known art galleries have also created touchfriendly programming for people to touch arts pieces by their hands.
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Connection
to the https://www.ukcraftfairs.com/
City
From this inspiration, we will invite the crafts people in West Yorkshire of “UKCraftFairs� to produce handmade crafts made of natural materials such as woods, plants, and stones which are collected in Leeds. During this art exhibition, people can not only perceive and experience the art items through their touching sense but explore the relationships with the ordinary necessities we use and inhabit every day. 72
“
Craft and Design Month was first launched in 2011 by craft&design magazine, the project receives no funding or grant aid. Its ever growing support and success is entirely the result of hundreds of people working together to promote the amazing creative talent that we have in the UK. (Design & Print Consultants Ltd., 2015)
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”
Apart from presenting the art exhibition, inspired by Craft and Design Month, we will organize the Arts and Crafts Workshop for people to learn handmade crafts. Within the workshop, we will invite artists of The Craft Centre and Design Gallery in Leeds to teach crafts skills in the community. People have to register on the official websites, and it will be set a series of workshop for participants to enjoy the city atmosphere with their hands. h t t p : / / w w w. c r a f t c e n treleeds.co.uk/
Artists of The Craft Centre and Design Gallery to invite Contact: craftcentreleeds@btconnect.com
+ + + + + + +
Hannah-May Chapman Joanne Haywood Yu-Ping Lin Mandy Nash Kathryn Partington Liz Willis Julia Usel
Be inspired to be creative
Victoria Gardens is a civic space located in front of Leeds Art Gallery and the Henry Moore Insitute on The Headrow in Leeds city centre.
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We will contact Leeds Visit Centre through an email tourinfo@leeds.gov.uk to get an approval to use this space.
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Summary Research & Analysis Market Research SWOT Promotion Strategies
Licence & Insurance Safty & Secure Infrastructure Waste Disposal
Management
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Smelling
Scent Maze Venue : Haword Assembley Room (Grand Theatre) OR Central Arena (Leeds City Museum) Activity : Tracking scent to find wayout in maze
Venue : Roundhay Park AND Hyde Park Activity : Visiting fairies’ world
Fairies in Leeds Seeing MAKE SENSE Hearing
The Voice Venue : The Light
Activity : Experiencing Leeds by sounds and languages in all around Bratain.
Venue : Victoria Gardens Activity : Participating creative workshop and fair
Sense it Touching Tasting
City Taster
Venue : Corn Exchange
Activity : Exploring Leeds traditional food in history
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Along with OCD. co. creteria of evaluation, Make Sense team will have additional evaluation plan considering the festival feature. 83
Evaluation is very important to reflect participant’s feedback on the next event. Since we are new company and this is the first event holding, feedback from participants and critique comments from staffs and volunteers will be a key guideline to find things to improve.
FEEDBACK
> Feedback card for hand-writing > Poist-it wall > Filming interviews > Verbal comments to staffs or volunteers. > App or SNS use
DEBRIEF MEETING
> Discuss the events done with artists, volunteers, etc. > Informal style of meeting to freely suggest their comments. > Appreciate their contribution
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References Balm, R. and Holcomb, B. 2003. Unlosing Lost Places: Image Making, Tourism and the Return to Terra Cognita. In: Crouch, D. and Lubbren, N. eds. Visual culture and tourism. Oxford: BERG. Bonami, F. et al. 2005. Universal Experience: Art, Life and the Tourist’s Eye. Chicago: Museum of Contemporary Art. Connolly, M. G. 2013. The ‘Liverpool model(s)’: cultural planning, Liverpool and Capital of Culture 2008. International Journal of Cultural Policy. 19(2), pp.162-181. Corbin, A. 2006. The New Calculus of Olfactory Pleasure. In: Drobnick, J. ed. The Smell Culture Reader. Oxford: BERG. Sound and Music. 2009. Expo Leeds. [Online]. [Accessed 27 March 2015].Available from: http://www.soundandmusic.org/projects/expo-leeds Herz, R. S. 2006. I Know What I Like: understanding odor preferences. In: Drobnick, J. ed. The Smell Culture Reader. Oxford: BERG. Hirsch, A. R. 2006. Nostalgia, the Odors of Childhood and Society. In: Drobnick, J. ed. The Smell Culture Reader. Oxford: BERG. Arts Council England.2015.International showcasing. [Online]. [Accessed 10 March 2015]. Available from: http:// www.artscouncil.org.uk/funding/apply-funding/funding-programmes/international-showcasing/ Keller, H. 2006. Sense and Sensibility. In: Drobnick, J. ed. The Smell Culture Reader. Oxford: BERG. Landry, C. 2006. The art of city making. London : Earthscan Publications Ltd. Leeds Arts Council. [no date]. Park and Countryside Community and Charity Event guide: A guide to organizing community events in Leeds Parks and Green Spaces. [Online]. [Accessed 18 April 2015]. Available from: http://www. leeds.gov.uk/docs/guidelines.pdf Lynch, K. 1960. The image of the city. Cambridge, Mass.: M.I.T. Press. Manske, P. R. 1999. The sense of touch. The Journal of Hand Surgery. 24(2), pp.213-214. Newman, P. S., and Lonsdale, S. 1996. The Human Jungle. London: Ebury Press. National Endowment for the Arts. Research Division (NEA). 1981. Audience development: an examination of selected analysis and prediction techniques applied to symphony and theatre attendance in four southern cities. Washington, D. C: National Endowment for the Arts. Richards, G. 2010. CRITICAL REVIEW. INCREASING THE ATTRACTIVENESS OF PLACES THROUGH CULTURAL RESOURCES. Tourism, Culture & Communication. [Online]. 10(1), pp.47-58. [Accessed 18 March 2015]. Available from: http://www.academia.edu/download/30333152/increasing_the_attractiveness_of_places_through_cultural_reosurces.pdf. Schafer, R. M. 1977. The Tuning of the World. New York: Knopf. Stringfellow, L. et al. 2013. Conceptualizing taste: Food, culture and celebrities. Tourism Management. [Online]. 37. Pp.77-85. [Accessed 30th March 2015]. Available from: http://0-ac.els-cdn.com.wam.leeds.ac.uk/ Trawick-Smith, B. 2011.British Accents and Dialects. [Online]. [Accessed 10 March 2015]. Available from: http:// dialectblog.com/british-accents/
Image references Most images from Google image (Image.google.com) and Pinterest (www.pinterest.com). The others are from below: Anstey, T. 2013. Liquorice. [Online]. [Accessed 30th March 2015]. Available from: http://www.leisureopportunities. co.uk/detail.cfm?pagetype=detail&subject=news&co Baker, G. 2010. Yorkshire Curd Tart. [Online]. [Accessed 30th March 2015]. Available from: http://www.bbcgoodfood.com/recipes/749642/yorkshire-curd-tart Cook, S. 2012. Parkin. [Online]. [Accessed 30th March 2015]. Available from: http://www.bbcgoodfood.com/recipes/1940684/parkindeID=305910 Craft Centre and Design Gallery. 2015. Information for Designers. [Online]. [Accessed 28th March 2015]. Available from: http://www.craftcentreleeds.co.uk/ Denby, J. [No Date]. Leeds City Markets: End of the Day 2. [Online]. [Accessed 28th March 2015]. Available from: http://www.janinedenby.co.uk/photo_9418406.html Hovey, T. 2010. Mary’s Layered Tiramisu Cake. [Online]. [Accessed 28th March 2015]. Available from: http://www. tomhovey.co.uk/the-great-british-bake-off/ Hovey, T. 2010. Victoria’s Tropical Fruit Tart. [Online]. [Accessed 28th March 2015]. Available from: http://www. tomhovey.co.uk/thebakedprintshop/ Kerridge, T. [No Date]. Treacle-cured beef with Yorkshire puddings and roast potatoes. [Online]. [Accessed 30th March 2015]. Available from: http://www.bbc.co.uk/food/recipes/treacle_cured_beef_with_35837 Lewis, R. 2010. [No Name]. [Online]. [Accessed 28th March 2015]. Available from: http://www.ruthlewisillustrations.com/index.htm Lewis, R. 2014. Crispy outside and custardy inside, Yorkshire pudding is one of the few dishes that elicits a gasp when it arrives at the table. [Online]. [Accessed 28th March 2015]. Available from: http://www.telegraph.co.uk/ foodanddrink/11041921/The-Kitchen-Thinker-the-history-of-Yorkshire-pudding.html Spence, A. 2011. My Cards and Crafts: Light Night Leeds-Crafts Gardens. [Online]. [Accessed 30th April 2015]. Available from: http://mycardsandcrafts.blogspot.co.uk/2011/10/light-night-leeds-craft-garden.html UK Craft Fairs. [No date]. The UK arts and crafts community. [Online]. [Accessed 30thMarch 2015]. Available from: https://www.ukcraftfairs.com/ Warner, C. [No date]. Breadford and Cheesedale. [Online]. [Accessed 28th March 2015]. Available from: http:// www.carlwarner.com/foodscapes/ Warner, C. [No date]. Ukraine meat factory. [Online]. [Accessed 28th March 2015]. Available from: http://www. carlwarner.com/foodscapes/
Copyrights at Hyoni (Jeong Hyeon Kim) for the following: - Design of e-book - Contents of management (pp.15-18 ), seeing (pp. 21-30), smelling (pp. 31-44), and evaluation (pp. 85-86) - The made objects for seeing, smelling, and touching samples. Emily (Ying Yeh) for the following: - Contents of hearing (pp. 45-58) and touching (pp. 69-80) - The recorded sounds for hearing.and the food of tasting samples. Evelyn (Sih-Chi Lin) for the following: - Contents of tasting (pp. 59-68) and touching (pp. 69-80) - The foods of tasting sample - Design of Prezi file (presentation material) All of three project members above share the copyrights of the rest. Presented on 8/May/2015. in the School of Performance and Cultural Industries at the university of Leeds