Outlandia is an off-grid artists' fieldstation, a treehouse imagined by artists London Fieldworks (Bruce Gilchrist & Jo Joelson) and designed by Malcolm Fraser Architects, situated in Glen Nevis, opposite Ben Nevis. It is performative architecture that immerses its occupants in a particular environment, provoking creative interaction between artists and the land. This book explores the relationship between place and forms of thought and creative activity, relating Outlandia and the artists there to the tradition of generative thinking and making structures that have included Goethe's Gartenhaus in Weimar, Henry Thoreau's cabin at Walden Pond and Dylan Thomas's writing shack in Laugharne. Based on a series of residencies and radio broadcasts produced by London Fieldworks in collaboration with Resonance 104.4fm, the Remote Performances project enabled twenty invited artists to consider and engage in transmissions, sound performances and dialogues on their artmaking strategies immersed in this specific rural environment of mountain, forest and river; flora and fauna. Some artists engaged in dialogue with people living and working in the area with a range of specialisms and experience in, for examples, forestry, mountain culture, wildlife, tourism, and local history. This book explores the ways in which being in the field impacts on artists and permeates through to the artworks they create. It considers the relationship between geography and contemporary art and artists' use of maps and fieldwork. It charts these artists' explorations of the ecological and cultural value of the natural environment, questioning our perceptions and relationships to landscape, climate and their changes. The book is an inspiring collection of ways to think differently about our relationship with the changing natural environment. The book includes essays by Jo Joelson, Francis McKee, Tracey Warr and Bruce Gilchrist, and texts, images and drawings by the artists: Bram Thomas Arn

The single largest category of Beowulf representation and adaptation, outside of direct translation of the poem, is children’s literature. Over the past century and a half, more than 150 new versions of Beowulf directed to child and teen audiences have appeared, in English and in many other languages. In this collection of original essays, Bruce Gilchrist and Britt Mize examine the history and processes of remaking Beowulf for young readers. Inventive in their manipulations of story, tone, and genre, these adaptations require their authors to make countless decisions about what to include, exclude, emphasize, de-emphasize, and adjust. This volume considers the many forms of children’s literature, focusing primarily on picture books, illustrated storybooks, and youth novels, but taking account also of curricular aids, illustrated full translations of the poem, and songs. Contributors address issues of gender, historical context, war and violence, techniques of narration, education, and nationalism, investigating both the historical and theoretical dimensions of bringing Beowulf to child audiences.

Outlandia is an off-grid artists' fieldstation, a treehouse imagined by artists London Fieldworks (Bruce Gilchrist & Jo Joelson) and designed by Malcolm Fraser Architects, situated in Glen Nevis, opposite Ben Nevis. It is performative architecture that immerses its occupants in a particular environment, provoking creative interaction between artists and the land. This book explores the relationship between place and forms of thought and creative activity, relating Outlandia and the artists there to the tradition of generative thinking and making structures that have included Goethe's Gartenhaus in Weimar, Henry Thoreau's cabin at Walden Pond and Dylan Thomas's writing shack in Laugharne. Based on a series of residencies and radio broadcasts produced by London Fieldworks in collaboration with Resonance 104.4fm, the Remote Performances project enabled twenty invited artists to consider and engage in transmissions, sound performances and dialogues on their artmaking strategies immersed in this specific rural environment of mountain, forest and river; flora and fauna. Some artists engaged in dialogue with people living and working in the area with a range of specialisms and experience in, for examples, forestry, mountain culture, wildlife, tourism, and local history. This book explores the ways in which being in the field impacts on artists and permeates through to the artworks they create. It considers the relationship between geography and contemporary art and artists' use of maps and fieldwork. It charts these artists' explorations of the ecological and cultural value of the natural environment, questioning our perceptions and relationships to landscape, climate and their changes. The book is an inspiring collection of ways to think differently about our relationship with the changing natural environment. The book includes essays by Jo Joelson, Francis McKee, Tracey Warr and Bruce Gilchrist, and texts, images and drawings by the artists: Bram Thomas Arn