#visualisation handout

[veronicawalshcbt]

Self acceptance and embracing who you are - with CBT visualisation and new self talk

[peacemore-springs]

Everything

Why was he living on a petty government handout? Why had his life never been permitted its own creative establishment? If he had been born to the creative and intelligent people he was and the creative and intelligent habitat he was why was his life having to live from a charity handout? Was it because his life was born to acceptance? Was the trajectory of his life”s path born to encouraged acceptance onto any given path he chose to gain encouragement from? Had this been known to those surrounding him throughout the entirety of his lifetime. Had they and their competitors designed a system that kept his life disabled whilst it was used to furnish creative possibility for them? Had they used his birthright to achieve this for themselves? Had they used his surname to gain the attention of creative links to creative possibility? Had they surrounded and coveted him to maintain a hold to these paths? Had everyone he had ever known in life taken advantage of this acceptance to furnish their own paths with? What part of creative acceptance hadn’t he had stolen from him? Was it everything? Had his entire life had everything incrementally stolen from it?

‘My life’s not about these people man’, he said barely able to move. The constraints his surroundings had forced upon him had his entire body and thought crushed. ‘I’m part of an entire cosmos man’, he squelched from beneath their guard. Immobility was their game and immobility was what they would learn from. ‘You’ll see man. You’ll fucken realise’. He had woken with the sunrise this morning. The clock hadn’t yet touched seven. He turned his meditation bell to on, placed his hands on his abdomen, then began to visualise his breathing as he breathed in then out in time with the chimes. It was the beginning of spring and the outside air was warming. This was going to be a summer nobody was ever going to forget.

[ev-bell-logbook]

M. Chekov // Acting Skills // Sem 1 // Week 1

03/10/24

We started the session with a discussion and warm-up to get our brains and bodies settled after lunchtime. We looked at four exercises in the first half of the session.

Look at me - To overcome a human's worst fear - being looked at. Chekov believes that connection and awareness are the key to acting. As human beings we naturally cower away from being looked at but love to be on stage an perform. We got into partners and just looked at each other to get a sense for each other. We stared into their eyes, then we stared at their whole selves. Then we had to turn back to back and change three things about ourself to see if the other person noticed. This got us comfortable, and made as feel good when the other person noticed things about us (and vice versa).

Word association/unassociation - Simple word association game where you say the first word that pops into your head relating to the thing whatever you partner says. You go back and forth, some go full circle, some end up on completely different tangents. Then you can flip it and try and say something completely unrelated. The diffculty in this comes from trying to stop our brain from planning our next word, but as going against how we naturally think - by association.

Then we moved looked at some handouts on Chekov's guiding principles, and terms. Chekov's approach to acting is a psychophysical one. The body and the brain are one system entangled in one another and must work together for performance. He believes the means of expression are intangible. Actors must concentrate and become present in the scene to create atmosphere. One of his techniques, radiating, is key for this principle. The third principle is about creative spirit and higher intellect. Acting is spiritual (not religious or metaphysical) and connected to the unconscious imagination and ability to synthesise a role from ourselves and have less of an analytical approach. Chekov's technique is a whole creative state. As each component of the technique is practiced they work together to unlock all of Chekov's techniques at once. The final principle is artistic freedom. If one component of the technique doesn't work for you, you don't have to use it. Chose the techniques you have the strongest connection with and the other aspects will follow.

We then worked did some walking exercises to work on Chekov's techniques. We did a walking body scan to become aware of our body and the space we were in. We visualised that we were covered in 1000 eyes and those eyes could see every part of the room. This brought our attention into the space as well and really heightened spacial awareness. We took a moment to work on the 'imaginary body.' This technique says that in the same space we occupy with our physical bodies, there exists another body that you have created in your imagination that is boundless. We had to visualise our inner body raising it's arm, then let our physical body move when it felt right. We experimented with this a lot. One of the most interesting experiments was trying to go against our inner body. I felt that when my inner body was walking forward and I turned around to walk the other way it felt as though I was choking. The last walking exercise we did was to use our inner body to walk from one side of the room to the other, but then also imagine the whole of human history behind us. This exercise made me feel really emotional as I imagined a line of pure light faceless figures walking behind me with their hands on my shoulder.

Another of Chekov's techniques that we worked on was radiating and receiving. To radiate is to give/send out. We send out our energy. To receive means to draw oneself with the utmost inner power the things, persons, or events of the situation. You receive everything your scene partner(s)/audience radiate. Chekov believes that true acting is a constant focused exchange of the two. To practice this we lined ourselves opposite each other and tried to radiate one at a time to the people opposite us. Another way we practiced this was by enlarging and constricting. This practice worked hand-in-hand with our boundless inner body as well.

[ellesfolio]

Week 8 Homework:

Gesture thumbnails -

As I sat down in Pitt Street Westfield, I drew the movement of people throughout the shopping centre. I could further improve by adding more tonal qualities to each individual along with making the shapes more fluid.

Anatomy from handouts -

Through my studies of the arm and wrist, I gained an understanding of how movement affects the bones in those areas. Sketching the simplified features both inside and outside the arm's mass helped me visualise the appearance of each pose.

Still life: near and far -

I experimented with the mediums of ink on white paper and charcoal pencil on tonal paper to produce these drawings. I tried to capture areas of light and dark and how areas of this differ through a change in distance and perspective. I could further improve by sketching in more areas of dark to fully encapsulate the volume of each subject.

[riley5267247]

Studio 6 Reflection

This week we returned to hand drawing with a focus on perspective drawing of products. This is to be a useful skills for us as designers as it is a quick way of portraying your design ideas to colleagues and clients, in a way that describes the product better than a series of orthographic views. Our focus this week was on 2 point perspective, which means only one edge of your product or shape used for construction (we used a cube/ rectangular prism) is depicted as a true length. The other edges project back to 2 vanishing points.

The task was to use a prism to draw Marcel Breuer’s Wassily Chair in 2 point perspective, with the learning outcomes focussed on understanding how to draw in perspective, not necessarily creating a perfectly rendered product sketch. 

First I decided on a scale that I could fit on my A2 page. I chose to draw in 1:10 scale and drew my picture plane (PP) leaving enough room at the top for my top view. I then somewhat arbitrarily, somewhat guided by the handout, chose the location of my ground level (GL) and my viewing point. I then chose the rotation of my prism and drew my top and side views in true size, constructing a centre line down from the front point of the top view.

I then chose a horizon line (HL) and constructed my vanishing points by projecting from my viewing point to the picture plane at the same angle as my top view rotation and dropped that vertically down to the HL. I projected the corners of my top view toward the viewing point, drawing vertical lines from there they intersected the PP down to the GL in order to draw the other vertical lines in proper perspective. I then created the horizontal edges of my prism by projecting back to the vanishing points.

I then used some images from the internet to draw my side and top orthographic views. 

I also drew grids on the views as well as my prism in order to assist the drawing of the chair in the prism and preserving its proportions in perspective view.

Drawing the chair into the prism was a long slow process with lots of rubbing out and reassessing of position, proportion and angles as my visualisation skills aren't great yet.

After drawing the chair I attempted to do some basic hatching to show the leather panels of the seat.

Major Learnings:

I learned how to construct a cube for drawing in 2 point perspective.

I gained an understanding of how the proportions change based on the rotation you choose as well as the angles created by your vanishing points and the position of your viewing point.

I learned to draw on perspective grids to preserve proper proportions and perspective. 

Major Challenges:

I found it difficult having so many factors that can be arbitrarily chosen by the drawer as I wasn't sure what implications they would have on the final drawing. 

I found it difficult to use orthographic view to construct the perspective view as they really do supply a limited amount of information and they way they fit together is often very unclear. I instead referred to another perspective view image ands just adapted it to my specific proportions. 

It was difficult to keep track of what was visible and what wasn't. 

Overall I found this task very difficult but I plan to watch more videos and do much more sketching to help me improve.

[istick]

How are Customised Stickers Made in Simple Steps?

It is an uphill task to come up with a solid marketing plan that will win the hearts and minds of your target market in today’s competitive business world. Even if making flyers, handouts, and other marketing materials is simple, consumers are accustomed to seeing them from several other companies. One crucial element you must emphasise for your company to stand out is its individuality. Customization is the key.

Custom stickers are a fantastic method to promote your brand and communicate your company’s values. Designing custom decals is simple, and they can be applied to any project. Custom vinyl stickers are affordable and attach to practically any surface. They are a great method to promote your business, but you must ensure that they look attractive or else they will be ineffective. Additionally, you should make sure that your company has high-quality logo stickers that complement your brand identity and marketing strategy while also encouraging people to think of you whenever they require your product or service.

Why Should You Use Custom Stickers?

Stickers are a subtle medium to keep your brand name in the minds of potential customers. You can develop custom labels with the assistance of a talented graphic designer and use them for a variety of tasks.

For example, let’s say you recently acquired a mechanic business that has been in your family for a while but could use a little updating. If you have a personalised vinyl sticker that is strong enough not to tear off the window before their next service, folks who come in for an oil change in their cars will be able to remember where they went and tell their friends and coworkers where they got a fantastic bargain.

Another use for custom stickers is floor safety labels and warning stickers. We’ve all grown accustomed to seeing bright yellow circles on the floor at whatever place of business we visit, along with clear black wording informing us to keep a 6-foot distance between ourselves. These warning signs are intended to serve as a reminder that just because a store is open, it doesn’t necessarily mean that you should be ahead of the person in line behind them.

There are a lot of additional areas where stickers and vinyl letters can be produced. Imagine that you have a room in your company’s facility that requires a warning notice informing consumers to leave. In that case, vinyl lettering and personalised stickers are ideal for usage in this situation.

Cut vinyl decals and stickers will adhere to any flat surface, including the wall or floor of your place of business.

How Exactly are Custom Stickers Printed?

Before ordering custom vinyl stickers, it’s imperative to understand how they are made. Let’s look at the process of making custom stickers.

Design

The sticker is created on a computer as vector artwork to get the ball rolling. The sticker’s design, size, colour settings, print layers, and cut contour layers for die-cutting must all be perfect. It’s time to load the sticker design into the wide format printer once it is fully designed. When planning the design of custom stickers and decals, a more specific approach is necessary. Pen and paper are used very rarely by designers when creating designs. Nowadays, everything is digital! The majority of those who are involved in making the intended designs do so with the help of their computers. They can better visualise the final product thanks to that. The design task is made simpler by software. Whatever the situation, you must ensure that your sticker’s design is distinctive and attention-grabbing.

Choosing Colour

Without a question, picking the right colour palette for the design helps it stand out. Choose the colour you wish to represent your brand with. When choosing the combos, keep things in proportion. It shouldn’t have excessively raucous or subdued colour sequences. Maintain harmony and select combinations that will naturally bring the words to life.

Image Resolution

Nobody wants their vinyl stickers to have jagged edges. What is desired is a sleek appearance. All you have to do to accomplish this is choose a high-resolution image. This will guarantee that the final product will be an exact reproduction of what you imagined. The printing quality will be greater the higher the resolution of the image. It’s best to refrain from cropping or resizing the image. It’s possible that by doing this, the image quality will decline.

Printing

The only factor influencing the choice of printing material is the intended use of the stickers. Most stickers are made of vinyl because it is reliable, affordable, and simple to apply. They resist fading and tearing.

The printing choices you’ll most likely have are:

Flexographic printing

Hot-stamped stickers

Large format printing

Standard digital printing

High-end digital printing

Cutting

Cutting it into the proper shape is the last step. When placing an order for stickers, you have the option of picking standard shapes like squares or rectangles or bespoke shapes by selecting die-cut stickers.

Make Every Surface a Billboard!

Stickers are a great way to get your message to your audience. They’re affordable, they’re fun, and they’re perfect for making a mark. But for that message to be compelling, you need the right kind of sticker.

If you’re considering custom sticker printing in Australia after reading this blog, you don’t have to look any further than iStick. Apart from the best custom stickers in Australia, you also get fast turnaround times, free delivery, 20+ years of expertise and cost efficiency. Custom stickers from iStick are your perfect choice because they’re designed specifically to meet your needs, and they’re printed to order in the size and colour you need.

So, what are you waiting for?

Print your Stickers

Source: How are Customised Stickers Made in Simple Steps?

[miaclarkportfolio]

Raising understanding for Danish culture

Final Evaluation 

2020

I explored the societal and historical context of Denmark’s culture, specifically raising understanding as to why the systems in place function well, questioning why Denmark is considered the most content country in the world. My instant initial impression was to explore my Danish heritage;; I knew I would find passion within this cultural theme as I have an in-built affection for it.

I have shown understanding of the subject context of Danish culture by making my own judgments of my personal connection to the heritage. Placing my family at a table at the centre of the piece mirroring the communal role each Dane plays to construct Danish community, a tightly bound society in which everyone has trust and cooperation. This is supported by my use of continuous line inspired by Pablo Picasso, an underlying representation of the collective lifestyle. I have described my aims of raising understanding toward the culture through my construction of an informative explanatory device in the form of a hand-out leaflet for spectators. Inspired by Sgt. Peppers Lonely Hearts club band 1967 album cover designed by Peter Blake, it involves a numbered guide to each feature of my piece, where audiences can be included in investigating my intentions and why Danish culture is this way. My purpose is clarified through the emphasis of progressive areas of Danish economy, including illustrations of free healthcare and education, high wages, and sincere attempts at tackling climate change. I could have shown understanding of the subject context more effectively by exploring both positive and negative aspects of Danish culture to give a more valid approach on ‘raising understanding’. For example, due to Denmark being so tightly-knit as a community, racism often circulates the culture toward people of the non-white Danish background and they have built an intolerance for immigration. Instead I explored only the optimistic cultural qualities of Denmark in order to appeal and intrigue audience.

Initially I recorded primary research of my preceding knowledge on Danish culture, as well as my own opinions and experiences. Followed by some in depth secondary research, I was significantly impressed by how much I learnt and how little I had known beforehand. I gathered sufficient relevant information by researching Patrick Kingsley’s book, How to be Danish, a journey to the cultural heart of Denmark. Broken into 8 organised categories of Danish culture, it was crammed with useful information, yet it became excessive and I found it difficult to harvest the beneficial areas, and especially finding a way to document it. I recorded research from the BBC Documentary, Art of Scandinavia – Once Upon a Time in Denmark, which was useful in not only speaking of Danish artists, but more the historical importance of architects, authors, sculptors, even Kings, that played roles in the construction of modern Danish society. I tried to implicate my research of the 1864 empire collapse within my work through the illustration of a Danish Viking healing a map of Denmark with a plaster;; an allegorical representation of the maintenance of Denmark as they accepted and developed themselves as a small country. I further developed my research through devising ideas on how to convey it through illustration. I was successful in transferring my thought process into an organised table, a method I found very helpful. My research channeled through to the very final outcome, evident in my handout leaflet graphic product. However, I did fail to gather research from Danish manufactured sources, which in turn I now see is rather biased, as I only collected information from British bases.

Research into artist’s techniques proved to be most effective and beneficial to my project. As I had been informed from my life drawing lessons, my strongest skills involved illustration, so I wanted to explore artists Pablo Picasso and Henri Matisse who both use a fluid bold black line as a tool to create simplistic nonetheless powerful illustration. Their vision puts a twist on a child’s sketch, where one illustrates as simply as possible, what they see. This enforced me to keep my designs one-dimensional. Allison Kunath maintained my inspiration within these themes, as she used techniques of ‘blinded continuous line drawing’ resulting in these distorted facial expressions piercing through. She helped me to be free in my line work, and focus on areas that make an image recognisable. Her techniques benefitted in constructing the familiar faces in my family portrait. Christiane Spansberg put an influential spin on Picasso’s continuous line work for me, in which I learnt a new line style creating emotion through the placement and composition of facial features. I studied how she paths the lines specifically in a way that creates angles in the areas where line overlaps, and it assisted my approach to construct illustrations with a singular line. When researching into David Hockney’s work, not only did I love his line style, I was intrigued by his ability to convey powerful communications and meaning within his work. I was most inspired by his emotion captured in illustrations surrounding homosexuality and empowered me to ensure I embed hidden meaning in my work. My research into Danish artists following my visit to Midjyllands Kunstcenter reflected how they individually represented Danish culture into their work, be it intentionally or not. For example, Lil Thelin’s middle finger painting mirrored how raw Danish life is uncensored. It made me think of how Danish radio stations never blur out swear words, as it’s unnecessary and masks the reality of true life. Kim Phil was significant in prompting my stress on Danish patriotism, due to his constant use of flags and symbolism in his work. He denotes how the flag is used as a sign of celebration in Denmark, as a decoration, and focuses the pride Danish people confide in their country. I wanted to go into further analysis of Danish art culture to create a greater effect and knowledge of the subject context, and I therefore booked a trip to Copenhagen to explore urban Danish culture. Disappointingly, it was not possible as the trip was postponed.

Some of my research sources did not prove as useful as others. My visit to New York for example, was not completely beneficial in terms of my project themes. I tried to work around this and use the contrast in cultural differences between capitalist America and liberal Denmark to my advantage. Nevertheless, the trip brought about some interesting artefacts. I came across some Picasso originals in the MoMA, that were nowhere to be found online. I also stumbled across a Hans Wegner chair. The fact that a Danish designer, has been talented enough to place his work into one of the worlds most renowned artistic museums worldwide overwhelmed me (especially as I have his iconic Wishbone chair design in my own home). I also used a lot of time during my experimentation process on the research of different materials including pen type, inks, paper types, acetate, etc. But the research concluded to be futile as I would later switch to digital illustration. That is not to avoid that I learnt a great deal during this process and improved my illustration and line work in a diverse manner. If certain circumstances did not arise, I would have taken my hand illustration further onto larger workspaces and produced a professional tangible final piece. 

I demonstrated effective planning structure through my project proposal, developing into satisfactory results, bearing in mind problems came about consistently throughout the course. The most substantial and interruptive to my project was the covid-19 virus, instigating a worldwide quarantine. It obligated all schools to close, including Cambridge Regional College, and therefore disturbed the production of my final piece. I was unable to use the facilities of the college, therefore paused my ongoing material investigation. I was incapable of bringing my large-scale wall illustration vision to life, hence my shift in technique, where I began to continue my experimentation digitally in Affinity, a program which was unexpectedly successful in achieving the same tasks as Photoshop. I tried to express my visualisation through creating a mock-up of the final piece scale, giving the impression of how the piece was intended to appear. I would want this to make an individual feel overwhelmed, as if it was there in front of them. Although it was a disruptive process, I felt I worked around the difficulties as best as I could and was open to alternative ideas in order to solve creative problems.

I constantly admired the feedback from others: peers, tutors, family, social media following. Using it to power the decision making within my project, I overcame my own opinions and discovered new creative pathways. If I had not taken critical responses into account, my final piece would contain no colour, and would not reflect the celebration of Danish culture effectively. I was pleased to hear multitudes of applause and praises received from my family in Denmark when I sent off the final product. In future, had I known the responses I would receive from them, I would have included them in an ongoing feedback development of my final major project. 

Studying a Foundation course has allowed me to become more responsive to feedback and free with my approach/process. For instance, I advanced with illustration due to tutor judgment and consequently, I evaluated and rediscovered my strengths. I have learnt how to work around disruption and use it to my advantage by adapting my work digitally after the extents of coronavirus. I’m really happy with my final piece and how it successfully conveys the message of raising understanding for Danish culture. On a personal level, I have learnt so much more concerning my cultural heritage. This has sequentially shaped my outlook on the future, as it has further encouraged me to live there sooner.

[alfielaneart]

Soft Bodies Exhibition - Castlefield Gallery

This exhibition really took me by surprise, going in with just the name ‘Soft Bodies’ as a reference point, I was expecting a lot of work related to the body and figures. It was really enjoyable to see how the artist’s have approached the theme in such diverse and creative ways that I never would’ve considered. There were a number of works in the gallery that really appealed to me and I felt related a lot to my ideas within my own studio practise.

The paintings by Xiuching Tsay were my favourite of the exhibition. The paintings feel reminiscent of human forms and shapes, but the use of colours opposes the beiges, pinks and reds associated with the human body, making it feel almost alien. As well as appearing very Dali-esque, the paintings remind me of the work I’ve been looking at recently by Mr MK Ultra and Alex Grey. The smooth shapes and the way the different colours merge together, particularly in the work below, feels similar to the hallucinogenic influenced artwork of the Huichol people in Mexico as well as Ayahuasca artworks, but with less rigid geometric patterns and more abstract melting figures. Additionally, the handout given to me during the visit notes how the artists has incorporated “traditional references to water, sun and moon”, merging spiritual ideas and symbolism into the work also. The work feels incredibly natural and displays an interesting perspective of the human body that I think visualises the individual experiences of our own body and how we relate to it on a much deeper level than a scientific diagram or literal depiction of the human body. I would really like to work in a more abstract way to communicate my personal experience and perception of ideas around mind control, political opinions and ideas around consciousness that I’m exploring in my studio practise.

I also liked Megan Snowe’s ‘Body Drawings’. She has produced a number of small drawings which she considers as self portraits, that visualise sensations rather than physical human forms. The handout suggests the connotations of using graphite on paper, pointing out the fragility of the work anyhow it relates to the idea of trying to “grasp or give form to powerful but fleeting experiences”. It reminded me once again of the impact that the material worked on can have on the meaning of the work. I could move away from cardboard and onto even flimsier materials like thin paper or the idea of painting onto cling film or acetate that I thought of a few days ago.

I didn’t really like the video work by Sam Rushton in the exhibition that much. The short animation ‘Thus Spoke Zarathustra’ only made sense to me after reading a summary of the book and its plot. The handout explains how in the animation, reading the book causes people to mutate, supposedly reflecting “our increasingly polarised society where different ideological groups have such different points of reference that they no longer recognise each other as people they could communicate or reason with. The work ultimately asserts the power of words to change both mind and body.” I appreciate the message the artist is aiming to put across, though from the perspective of someone with no prior knowledge of the ideas in the book and without having read the handout, the work felt at times confusing and hard to follow without the explanation along with it.

[veronicawalshcbt]

The CBT of the 'Two Wolves' philosophy

Using the 'Two Wolves Within Us' as a CBT visualisation regulation exercise...

In CBT we try to develop awareness of how we are thinking – how we are explaining the world to ourselves – and to build the skill of awareness and regulation so that we can correct dramatic negative styles, and develop instead a cool calm rational style, that embraces reality but is also looking at the positives. If we change how we think, we can change how we feel and behave. I find it very…

[y1s22020]

Week 4

Floor Plan of WW, as I left my model in uni, I decided to make a virtual model as an alternative visualisation of the site. This something that will help me the interior of this project. It is not to scale but a rough estimate on how the site will look. This is taken from the handout we got in black board.

[bbcbreakingnews]

Could Canada’s worst mass shooting have been avoided?

Image copyright Getty Images

Three months after a gunman posing as a police officer went on a rampage across the province of Nova Scotia, questions still remain about Canada’s deadliest mass shooting, and why the Royal Canadian Mounted Police couldn’t stop it.

When police arrived at the first crime scene at 10:36pm on 18 April, in a quiet cul-de-sac in the the seaside community of Portapique, they found a bloodbath.

Several bodies were strewn in the street and buildings were on fire. Over the course of the next few days, police would find 13 victims across seven different locations in that single neighbourhood.

“Nobody really understands. Everybody knows it was am unimaginable thing that happened there,” Tom Taggart, a local politician in Portapique, told the BBC.

“You can’t visualise. You couldn’t possibly understand what it was like there that night.”

An hour later, RCMP tweeted they are investigating a “firearms complaint” in Portapique and that people in the area should lock their doors and stay inside.

It would take another eight hours before they sent another tweet, and another two after that for police to tell the public that the gunman was wearing a police uniform and driving a police cruiser.

At 11:26 am, police caught up with the gunman, Gabriel Wortman, at a gas station. He died in a shootout with police.

Over the course of that evening and early morning, Wortman would kill a total of 22 victims, including two frontline healthcare workers, an elementary school teacher and RCMP Constable Heidi Stevenson, a 23-year veteran of the RCMP and mother of two. All were adults, except for 17-year-old Emily Tuck, who was killed alongside her two parents.

The complexities of the case meant that it took several days to identify all the victims, and several more before the police could release a timeline.

From the outset, people have demanded an inquiry into the RCMP’s response to the shooting.

“I desperately want to know what led to this. And that’s what the inquiry needs to be and it should be happening now,” Mr Taggart said.

Why didn’t the RCMP send out an emergency alert as early as Saturday evening?

Why did they only alert the public that Wortman was impersonating an officer the following morning, hours after a witness told him he was driving a police cruiser?

How did he get access to a decommissioned police cruiser in the first place?

How did he amass a collection of illegal weapons from the US?

Image copyright Facebook / Handout

Image caption Victims of Canada’s largest mass shooting

“We need answers to heal, we need answers so we can find a way to live in this new normal that we’ve been forced into,” wrote the daughter of one of his victims, Heather O’Brien, in a letter published on Facebook on 31 May.

Darker questions have also emerged, such as why police ignored reports of the gunman’s violent behaviour towards women, or why they ignored warnings he was amassing an arsenal and wanted to “kill a cop”, and how he was able to liquidate C$475,000 ($350,000, £279,000) from his account in a single transaction.

Officials keep promising an inquiry is forthcoming, but so far it hasn’t materialised.

Nova Scotia Justice Minister Mark Furey declined an interview, but a ministry spokesperson said this:

“We recognize Canadians are looking for, and deserve, answers about the tragic events that happened in April. The Nova Scotia Department of Justice is actively engaged with the federal government on this matter and an announcement is forthcoming. We are committed to ensuring we take the necessary steps to support victims and families as we move toward an announcement.”

In the absence of an inquiry, several legal cases have emerged.

Image copyright Getty Images

Image caption The gunman was a denturist with a clinic in Dartmouth, Nova Scotia

Members of the media are going to court to release documents pertaining to the investigation. Wortman’s victims and their families have filed a class-action lawsuit against his estate, and another class action lawsuit has been filed against the RCMP, the federal attorney general and the Attorney General of Nova Scotia.

“We will review and consider any such claim once served. We do not anticipate having any further comment on this matter. Our primary focus continues to be on the ongoing criminal investigation, and supporting the victims of this tragedy as well as our members and employees,” RCMP spokesperson Corporal Jennifer Clarke said in a statement.

Mrs O’Brien’s husband, Andrew O’Brien, is one of two named plaintiffs in the case against the RCMP. The class-action lawsuit has not been certified by the courts yet, a procedure that can take up to a year.

The lawsuit alleges the RCMP “breached the standard of care expected of them” and behaved in a “high-handed, self-serving and disrespectful manner” to victims and their family during the course of their investigation, which is still ongoing.

This “disrespectful manner” is illustrated in one of the lawsuit’s most shocking claims, that the RCMP released a vehicle containing bullet casings and body parts back to the family member of a victim.

Cpl Clarke told the BBC exhibits are usually returned in the condition that they were found in.

‘They had no idea the hell they were going to face’

Nova Scotia gunman’s first victim was girlfriend, who survived

One of the biggest questions left unanswered is what the RCMP knew about Wortman before the shooting.

An explosive investigation by Maclean’s Magazine revealed that Wortman received a large cash withdrawal from a Brinks depot estimated at about C$475,000 on 30 March. Maclean’s quotes sources who say the transaction was consistent with the kind the RCMP would conduct to give a payout to a police informant.

Image copyright Reuters

Image caption The decommissioned patrol car driven by Wortman was bought at auction

The RCMP deny the police force was a source of his money, and have said they believe Wortman was concerned it would not be safe in a bank, possibly because of coronavirus.

A financial audit is taking place as part of their investigation.

“The RCMP was not the source of those funds, as has incorrectly been assumed in some recent media articles,” Cpl Clarke said in an email.

But the Maclean’s report has planted seeds of doubt amongst the community, who wonder if the police turned a blind eye to some of the gunman’s previous behaviour.

“If the RCMP allowed somebody that volatile to live amongst innocent people, then somebody needs to be looking for work,” Mr Taggart says.

Although Wortman didn’t have a criminal record, he was known to the police. He was charged with assaulting another man in 2001, and pleaded guilty. He received a conditional discharge, which meant he did not go to jail and his record was clean.

He was also frequently involved in civil disputes; in two cases, including one involving his own uncle, people claimed he tried to swindle them out of property, according to Global News Canada.

In 2011, a police bulletin was sent out warning that Wortman wanted to “kill a cop” and that he had a stash of guns.

The bulletin, which was obtained by CBC News and confirmed by the RCMP, was sent out after an anonymous tip to Truro police. Halifax Regional Police investigated, but determined that the guns were stored in his cottage in Portapique, which is under the jurisdiction of the RCMP, the CBC reported.

An RCMP spokesperson told BBC News police bulletins were typically wiped from the records after two years and the bulletin on Wortman was not accessible to police during April’s rampage.

“Investigators continue to look into the gunman’s previous behaviours and interactions, including those with police,” Cpl Clarke said in an email.

Two years after the police bulletin, his neighbour Brenda Forbes says she told the RCMP he was beating his girlfriend, and that she had seen illegal weapons on his property.

She told her story to various media after the shooting.

She says she had been wary of the gunman for years before she reported him to police. In about 2005, a year after the gunman moved next door, his girlfriend had run to Ms Forbes’ door, afraid he was going to kill her.

Ms Forbes says she tried to convince her to leave him, but she could not. She says the RCMP did not follow up, and nothing was done.

The RCMP confirmed they received a complaint from a neighbour in 2013, but that the file has since been purged.

“From the officer’s notes there is no indication of abuse or weapons but there is mention of names of the alleged involved parties, including the gunman,” Cpl Clarke said in an email.

That same girlfriend was Wortman’s first victim, the night before he went on the shooting spree. She survived by hiding in the woods, and had since become a key witness in the RCMP investigation.

The RCMP has called her assault significant, and said it “could very well have been a catalyst” for the subsequent murders.

After the shooting, Ms Forbes told her story to Linda MacDonald and Jeanne Sarson, co-founders of Persons Against Non-State Torture, a local organisation working to end domestic violence around the globe.

They say the police failure to take Ms Forbes seriously was because of implicit misogyny that made them ignore reports of domestic violence.

“It disappointed me, that the RCMP would dismiss such serious allegations. It left me feeling if something had been done a long time ago we wouldn’t be at this place now,” Ms MacDonald told the BBC.

Ms MacDonald believes that violence against women is often a warning sign of future violent behaviour. A recent analysis by Bloomberg of 2,358 mass shootings of four or more victims in the US by Reuters found that 60% of the perpetrators had a history of domestic violence.

“If they had acted earlier, my feeling is there would have been a prevention,” she says.

Ms MacDonald and Ms Sarson have called for a public inquiry “with a feminist lens”, gathering nearly 8,000 signatures in a petition submitted Monday.

“The mass murders in Nova Scotia were not ‘senseless.’ They were predictable,” the petition reads.

Ms MacDonald is especially concerned because Mr Furey, the provincial justice minister, has gone on the record saying the province is working on a “restorative” justice approach.

Image copyright Reuters

Image caption A photograph of Kristen Beaton, one of Wortman’s victims, at a memorial in Debert

A restorative justice inquiry is an approach sometimes recommended when all sides agree one party has been wronged. Usually the wronged party is given a chance to talk about how they were harmed, and the party responsible makes amends.

It often happens outside the court system, often behind closed doors.

“It really needs to be public – there’s nothing restorative when we make the horror in our communities silent,” Ms MacDonald said.

Mr Taggart, the local politician from Portapique, is not in favour of an inquiry that only focuses on feminism.

“The guy was a misogynist bastard… the way he treated women can be part of this inquiry, but it should not lead this inquiry,” he said.

And he’s not in favour of an inquiry that only looks at the tragedy in his own community – that would just re-traumatise people, he says.

What he does want is for the RCMP to answer his nagging questions about why Wortman was never investigated for weapons offences, and how he got away after the massacre in Portapique.

“The RCMP, I believe, needs to answer questions, under oath and before a judge,” he says.

The post Could Canada’s worst mass shooting have been avoided? appeared first on BBC BREAKING NEWS.

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[sandrafiler]

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Notes from 4 Creative Enterprise Week events at Chelsea, and a Creative Attributes Framework handout we were given in the Speed Network session. I found this to be a powerful tool with which I could visualise my strengths, weaknesses and potential for growth.

[professionalpracticeucbc]

Lancaster Visit

Research;

Professor Leon/ MA Jenna Gardner

Visiting Lansater Uni to get  an insight on Jenna (my tutor) Phd research project.  We are looking through a handout which we were given.

Stem new collaboration and install wellbeing centre in the Bwd area and 200 are being installed or trying and over 50 people who are living on their own will be having them installed and need to be signed documents to say they need this.

Student Researcher:

Observing their families and other students and network to establish a relationship and purpose and observe and to gain insights and what are sensors mean and what are the challenges.

Search the public health, age UK and other charities to say what the sensors do to create a awareness for this and research into all and document this.

Final creatives:

A series of visualisations and interpretations of the data retrieval  and the co-design research outcomes.

We will do to create via groups (students and staff) From both universities.

#ResearchProject