15792 research outputs found
Sort by
Can fashion aesthetics be studied empirically? The preference structure of everyday clothing choices
Get PDFThe preference for everyday clothing styles boils down to four factors (Feminine, Essential, Comfortable, & Trendy), i.e. Everyday Clothing Preference Factors (ECPF).
Each of the four ECPF correlates with certain individual differences measures and with certain color preferences.
The work is published in Empirical Studies of the Arts (Hur, Etcoff, & Silva, 2023; please scan the QR code)
Mootookakio'ssin: Creating in Space Time
Get PDFThis exhibition explores creating in relationship to historical cultural material that is housed in British museums and features physical and digital artwork by uLethbridge students as well as artists living in the UK and in Ghana. Expanding from the Mootookakio’ssin research project, the exhibition spans the gap in space and time between contemporary artists and historical cultural material that is separated from homelands.
Mootookakio’ssin: Creating in Spacetime bridges temporal gaps between historical cultural material housed in museums and living contemporary artists. For the past few years, Blackfoot Elders, artists, scholars, and museum professionals living on Blackfoot Territory and in Britain have been working together, talking, and thinking about material culture, cultural capital, power, and estrangement. We’ve visited with historical cultural material in museum collections, survived the pandemic, jumped time zones, and calibrated calendars to make connections. Always guided by the Blackfoot principle that we have a responsibility to share and to care for knowledge, teaching and learning is at the core of our work.
Mootookakio’ssin: Creating in Spacetime is an exhibition as process, an exhibition that experiments with what an art gallery can be, and whom it serves. Students enrolled in Indigenous Art Studio (Fall 2024) at ULethbridge created their works in the gallery space, transforming the gallery into a Collective Studio. Over several weeks of discussion, self-reflection, study, and consultation, Indigenous Art Studio students chose projects that were personally meaningful to them. Critique of museum practices, healing from generational trauma, reimagining of culturally important stories and materials, the search for comfort and interactivity in the art gallery: these among others are topics which the Indigenous Art Studio classroom has taken on in this exhibition. While these themes are not always easy to engage with, it is the hope that by creating in spacetime around these stories, we can bring knowledge and healing to our many communities. Students expanded their project ideas from this with the support of the ULethbridge Art Gallery staff and visiting artist Louisa Minkin. We were open to the public as we created the exhibition and people were invited to drop by and visit with the artists.
This is an exhibition as conversation. Minkin brought artworks from students at Central Saint Martins, University of the Arts, London who have been working together on the Prisoners of Love project. Prisoners of Love: Affect, containment and alternative futures aims to connect UK museum collection items with their trans-national home peoples and bring emerging artists from diasporic communities in the UK, curators and researchers into conversation, to work responsively with complex histories and material practices. We have been working with the Economic Botany Collection and the Royal Botanical Gardens in Kew, Horniman Museum and Gardens and Compound 13 Lab in Mumbai, India; Pitt Rivers Museum, Oxford and the Department of Archaeology at the University of Ghana in Accra; Hastings Museum and Art Gallery and the Mootookakio’ssin project based on Blackfoot homelands at the University of Lethbridge. The travelling works shown here were put together during OST, our project residency in a derelict bank in the heart of the City of London this September.
Please be advised that the works in this exhibit touch upon subjects which visitors may find upsetting, and may bring up unexpected feelings, memories, and responses. While the works are intended to encourage reflection and conversation, it is important for visitors to be mindful of their own preparation to engage with topics having to do with the lasting effects of colonialism on Indigenous communities around the world, past and present
The Infinite Body
Get PDFThe Drawing of Our Lives in Berlin 2007-2022 (2022) and Narrating our Lines (2010) for the group exhibition 'The infinite body' at Ramat Gan Museum of Israeli Art, plan b are showing an installation combining two existing works - a large scale drawing and a video work
The Last Forever
Get PDFFamily photographs are no longer confined to photo albums and stored in shoeboxes. Instead, personal archives have become sites of public spectacle, easily distributed across geographies and shared through social media, resulting in the personal being accessible to total strangers. Traveling together through endless cosmologies of discarded family memories we are the strangers - as creators and as audiences. Together we become part of a story that unfolds live, before our very eyes.
During the pandemic, artists Kamila Kuc and Scott Stark perused hundreds of discarded 35mm family slides from garage sales, lab castoffs, flea markets, eBay, gifts from friends, as well as their own archives. In a shared Google Doc, the artists played a series of ‘exquisite corpse’ tennis sets, a back and forth exchange of images and captions, allowing mysterious characters and spontaneous plot twists to evolve into a playful narrative. In many of these seemingly mundane images, the artists discovered subtle indicators of interpersonal family dynamics captured by the camera during dinners, parties and travels. Who is standing next to who; who is looking at who; and who is absent all provided clues to the artists’ frisky ruminations on the complexities of human and more-than-human relations as mediated by technology.The artists have woven these latent intimations and subtle indicators into a sprawling narrative - about a spouse that’s gone missing - a story that is fanciful, poignant, occasionally illogical but always entertaining
Bentham and the Ethics of Hope
No full textThis paper was delivered at the the sixteenth conference of the International Society for Utilitarin Studies in Rome, held from 5-7 July 2023.
My first claim in this paper was that Bentham shifts the ethical question of hope from ‘can hope be virtuous?’, to ‘how can we talk about hope in a way that preserves and maintains hope?’ My second claim was that Bentham accomplishes this shift in the ethical orientation of hope through the identification of hope as a fictitious entity. Rather than continuing with an ethics of hope that asks us to face up to the illusion of enjoyment, Bentham’s ethics asks us to face up to the reality of enjoyment, that is, how the fictitious entity of hope structures our experience
Exploring the post-COVID lipstick effect: A short report
Get PDFThe ‘lipstick effect’ has been referred to as increased sales of beauty products post-crisis. The phenomenon happened after the Great Recession of 2007–2009 and even after the Great Depression of the 1930s. To date, no research focused on studying the post-Covid lipstick effect. Our study aimed to explore and quantify the post-Covid lipstick effect, with three studies exploring the long impact of the pandemic on clothing and beauty practices. Using qualitative analysis, Study 1 showed an impact of the first two lockdowns on fashion and beauty practices in women but not in men. Female students spent considerable time exploring their relationship with fashion and beauty products with a link to self-identity, while male students did not change their fashion and beauty practices. Our Study 2 showed that female participants chose a more vivid and wider range of colours since the Covid pandemic. Our Study 3 highlighted that female participants used a lower quantity with less frequent makeup since Covid. Our report highlighted, for the first time, a specific lipstick effect post-Covid, namely the ‘self-centred lipstick effect’
The Art of the Bodge: Understanding bodging as a methodology when working with themes of sexual violence in the mediums of sculpture and writing
Get PDFThis practice-based research focuses on experiences of sexual violence expressed through autobiographical writing and sculptures. These experiences are explored in Headstone, a collection of writing that draws on memories that seem only half-real. Extending from this reflective writing practice, sculptural works respond to insitutional hierarchies and engage with the aftermath of sexual violence.
The definitions of nonviolence in Judith Butler’s The Force of Nonviolence (2021) underpin the methodological approaches in this research. The thesis reflects on intuitive responses to being within the ‘forcefield of power’, and this is understood as ‘bodging’. The methodology of ‘bodging’ has developed in a hodgepodge way through intense periods of research practised in different states of being ‘outside’ – away from my birth country, away from the institution, in the loft of my home, escaping paid work into a relationship with creative writing. This methodology of ‘bodging’ has led to reaching an understanding of the place of protest in this art practice. Working both as a way to access a state of ‘not knowing’ and also concurrently undermining power and revealing vulnerability, I have developed the methodology of the bodge in my approach to sculptural works as well as writing and academic research.
This experimental way of conducting research has shown the importance of revealing a combination of aggression and vulnerability, both in myself and in the sculptural works, to express a subjectivity that reflects my lived experiences. This research has come to position experiences of sexual violence as central to the intuitive responses and solutions that are relied upon in this kind of rushed sculptural practice. Embodied yet doubted memories become central to the sense of loneliness invoked by the position of exile that the research is practised from. Through placing myself in a position of unfamiliarity, as a researcher, writer and sculptor I am able to work on the edges of each medium, within an area I have defined as the bodge. The words in my thesis are presented as an ongoing reflection which moves with you as you travel through the text. Welcome
Tacit to Explicit: How Can ‘Gan Jue Cinema’ be Illuminated?
No full textThis practice-based research unveils and enriches Gan Jue as a moving image practice. Gan Jue is a concept diffused in Chinese culture whose exact essence is debated and elusive. It does not translate to English easily, and is approximated as ‘feeling’, ‘sensation’, or ‘perception’. It has ancient roots and is tacitly acknowledged to occupy a dynamic position within Chinese art, including cinema. Nevertheless, few scholarly investigations shed light on its manifestations, performances, and power either in indigenous community or international. This research addresses this scholarly gap through the production of my own video works, a curatorial practice, and a written thesis. It is a journey through my own experiences in exploring a form of felt presence of Gan Jue as it entangles my own audio-visual practice. It’s original contribution to knowledge includes new works: Inhabitation (2020), A Gaze Game (2020), A Truth Hunter (2021),Water: Life (2021) and The Tale of Catching the Wind: The Evil Woman’s Magnificent Duel (2022–2023) as well as a virtual exhibition Chinese Gan Jue (2021-2022) that exchanges works and ideas on the cinematic practice and communication of Gan Jue with a broad group of practitioners around the world
Introduction: Negotiating the Everyday
Get PDFOrdinary clothes have extraordinary stories. In contrast to academic and curatorial focus on the spectacular and the luxurious, Everyday Fashion makes the case that your grandmother's wardrobe is an archive as interesting and important as any museum store. From the moment we wake and get dressed in the morning until we get undressed again in the evening, fashion is a central medium through which we experience the world and negotiate our place within it. Because of this, the ways that supposedly 'ordinary' and 'everyday' fashion objects have been designed, manufactured, worn, cared for, and remembered matters deeply to our historical understanding.
Beginning at 1550 – the start of an era during which the word 'fashion' came to mean stylistic change rather than the act of making – each chapter explores the definition of everyday fashion and how this has changed over time, demonstrating innovative methodologies for researching the everyday. The variety and significance of everyday fashion cultures are further highlighted by a series of illustrated object biographies written by Britain's leading fashion curators, showcasing the rich diversity of everyday fashion in British museum collections. Collectively, this volume scratches below the glossy surface of fashion to expose the mechanics of fashion business, the hidden world of the workroom and the diversity and role of makers; and the experiences of consuming, wearing, and caring for ordinary clothes in the United Kingdom from the 16th century to the present day. In doing so it challenges readers to rethink how fashion systems evolve and to reassess the boundaries between fashion and dress scholarship
Slainte: Would you Drink Beer from 1574
No full textIn September 2021, after several years of preparation, the FoodCult team recreated a beer last brewed in the sixteenth century. In Ireland and across early modern Europe, beer was central to social life and a vital source of nutrition. But up to now we have had little sense of what that beer was like, how strong it really was, and how much energy it provided. By reconstructing the recipes, equipment, and techniques used at Dublin Castle four hundred years ago, the team set out to answer these important questions.
Undertaking this project was an immense interdisciplinary effort, bringing together historians, archaeologists, scientists, craftspeople, and also storytellers and creative audiovisual artists. Each step of the journey was documented by a film crew who followed the adventure through archives, fields, kitchens and laboratories, capturing the rich atmospheric sound and visuals sights of the experiment.
Join for the launch of Drunk? Adventures in Sixteenth-Century Brewing, followed by a discussion with the film’s director, Shreepali Patel, renowned food and drinks historian, Marc Meltonville, and Susan Flavin, the FoodCult project leader. The event is also features an opportunity to hear from Maurice Deasy, a brewer who is working to bring heritage skills and ingredients to the modern brewing industry, and to taste some of the beers produced by Canvas Brewery using heritage Irish grains.
This film is an output of the FoodCult Project (Grant Agreement 803486), funded by the European Research Council (ERC) under the European Union’s Horizon 2020 Research and Innovation Programme. This event is organised as part of the Trinity Arts & Humanities Research Festival 2023