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Partial Self-Portrait of Critical Practice
Get PDFThis text takes the form of a timeline. Introduced by Marsha Bradfield, it tracks the research and production of Critical Practice (London, UK). Like pencil lines marking growth spurts on the kitchen door frame, the visual and verbal entries mark events that have constituted and transformed the cultural-based research cluster. This account reflects on the uneven flow of members, decision making and practice-based activities that have constellated and reconstellated Critical Practice. As a partial self-portrait, this text is only one possible narrative of how value, values, valorisation and evaluation became leitmotifs over the cluster’s formative phase of development. From this perspective, this timeline follows the long season of value-related research (2010 - 2015) that led the cluster to the project that was TransActing (2013 - 2015). A list of the people who at one time or another have been members of Critical Practice caps off the self-portrait to acknowledge the cluster’s membership over its first decade of activity (2005 - 2015)
Sponsored Editorial Content in Digital Journalism
No full textFor advertisers and news publishers, brand sponsored content has offered attractive solutions to problems of ad-avoidance and financing journalism. This book is an investigation into the practices, possibilities and problems of sponsored editorial content across various national and regional contexts.
Sponsored editorial content is material with similar qualities and format to content that is typically published on a platform or by a content provider, but which is paid for by a third party. Brand sponsored content may not be the remedy for ad-dependent media some advocates predicted but its expansion has impacted on the organisation, practices and identities of journalism in profound and far-reaching ways. This book explores the features and implications of content that blends, merges and disguises material that is sponsored with material that is or appears to be independent editorial.
The chapters range across countries and regions from China and Israel to Europe and North America. Following a general introduction, authors address political and commercial sponsorship across production, content and audience research, developing and combining these in innovative ways to advance the study of paid-for content in contemporary digital journalism. This book was originally published as a special issue of the journal Digital Journalism
Unlearning, learning, learner: a provocation for super vision
Get PDFConsidered and effective supervision of practice-based PhDs requires an expansion of, and challenge to, established modes of hierarchical academic and peer relationships. The production of knowledge, especially in this form-breaking field, cannot be separated from the means by which that output is assessed and circulated. This paper explores these tensions through case studies based directly on the writer’s experience. It proposes embodied learning –a revisioning of earlier parameters of scholarship –and an informed overhaul of the perspectives, positions and priorities of institutional expectation. It proposes instead a spectrum-wide inclusivity, one whose radical generosity and creative openness benefits all involved.
Context: My research interests are co-existence (including non-human subjectivities), filmmaking as engaged social and political practice, participatory re-enactment, military/spectacular relations, imaginative hybridity and narrative de-framing in documentary practice, forms of reverie, class and culture, place and senses of belonging.
I completed a practice-based and led PhD at CSM in 2006 on the idea of ‘secreting history’, exploring the spectacular and spectral relationship between Hollywood cinema and secret military operations, between personal history and public narrative on that history. This space in-between informs my research-based work.
Practice-led PhDs have increased since my completing it, however, the discussions concerning what constitutes practice as research are as alive now as they were then. This text is a provocation along with a thinking through approaches to knowledge production and in particular PhD supervision, which, I believe, are ongoing processes that cannot be laid to rest if we aim to partake in a worldmaking whose focus is not simply ‘the way it is’, in particular in relation to western dominant, binary and capitalist normative trajectories of knowledge production
Ultrasound-assisted sustainable and energy efficient pretreatments, dyeing, and finishing of textiles – A comprehensive review
Get PDFTraditional pre-treatments, dyeing, and finishing of textiles have high environmental impacts because of the high usage of energy, water, and chemicals, and the production of effluent containing leftover harmful dyes and chemicals. In this comprehensive review article, the advances in applications of ultrasound in the sustainable pre-treatments, dyeing, and finishing of various types of textiles to reduce their environmental impacts are discussed and the advantages/disadvantages of such processes are outlined. The enhancement of pre-treatment, dyeing, and finishing performances along with a reduction in processing time, temperatures, and chemical usage by applying sonication has been summarized. The effect of sonication on dye adsorption isotherms, adsorption kinetics, and dye adsorption mechanisms of various fibers dyed with different dyes are also discussed. Moreover, challenges and prospects for ultrasound in the chemical processing of textiles are projected. The application of ultrasound considerably reduces processing time, temperature, and chemical usage and also enables low-liquor ratio dyeing of textiles. However, the lack of availability of convincing data on savings of energy, water, and chemical usage of using ultrasound in actual industrial production machinery is one of the key reasons that the textile industry is slow in adopting sonochemical processes
Thinking beyond circles: developing visual research methods for circularity
Get PDFThis presentation presents a case study of a material-lifecycle design project developed between educators, researchers and industry. Communicating and conceptualising circularity presented an opportunity to expand the reach of the research into a curriculum intervention. The project invited graphic design students to visualise a product lifecycle for a circular textile industry client. This paper explores the challenges of communicating circular lifecycles to non-expert audiences.
It is acknowledged that there is a need for new kinds of designers in practice-based research. Therefore, the presentation presents examples of new knowledge that visual communication methods, more traditionally taught in graphic design programmes can bring to research. Drawing on practice-based iconic research methods, which in contrast to theory-driven research enabled the production of images as a means producing knowledge about visual communication. Through an after-action review, the research demonstrated three surprising approaches to communication of circular processes that typically creates diagrams with icons in a circular shape. Through working with non-experts, the research exposed the client and the research team to range of visual approaches, namely, symbolic, non-circular and quantitative visuals. The research found that visual communication methods have the potential to play a pivotal role in development of new visual languages for circularity. It concludes that visual research methods can bring different design disciplines closer and build a stronger educational base for the transition to a circular economy
Unerasable Images
Get PDFThe artwork Unerasable Images presents screenshots from Google Image Search results for the search term “六四” (“64”), a reference to the date of the student-led Tiananmen Square Protest in Beijing in 1989. The most iconic image of that day depicts an unidentified protestor referred to as ‘Tank Man’ facing down a column of advancing tanks. This photograph is routinely censored by authorities and blocked from any search results in China. In 2013, a Lego reconstruction of the Tank Man image started circulating before it, too, was quickly erased. Nevertheless, the image was later found beyond China, and it occasionally appears in the first few rows of a Google image search.
With more than 300 screenshots taken in 2017, this project aims to create a temporal and empty networked space where the thumbnail image(s) move within the hidden infrastructural grid and beyond the screenshot’s frame, thereby examining the geopolitics of data circulation, internet censorship and the materiality of image (re)production through a complex entanglement of human and nonhuman parameters
Listening Session: Echoes of Elsewhere
No full textIn this session, Annie Goh will present sounds and reflections into archaeoacoustics, or acoustic archaeology which draw on her fieldwork in Isturitz and Arcy-sur-Cure in France and Chavín de Huantar in Peru.
As part of All the Birds Sing Bass, this listening session attempts to understand the echo – from its dominant conceptualisation in patriarchal Eurocentric histories – as a feminist and decolonial material-semiotic sonic figuration. Weaving a narrative from field recordings and other sounds to theorisations of sounding situated knowledges, Goh explore the ‘elsewheres’ that echoes can open up for knowledge itself
CYBERFEMINISM INDEX X SONIC CYBERFEMINISM
No full textCo-hosted by PUBLICS as part of its year-long program focusing on The Voice as Practice within the framework of its Open Up Program, CYBERFEMINISM INDEX X SONIC CYBERFEMINISM is the first in the new event series ‘Cyberfeminism(s) to proto-feminism’. As part of this event we will be launching the Cyberfeminism Index by Mindy Seu and immersing ourselves in Sonic Cyberfeminisms with a listening session led by Annie Goh
Curating’s Technological Unconscious: The History of Cybernetics and the Gaian Transformation of Curation
Get PDFIn his essay Curating’s Technological Unconscious: The History of Cybernetics and the Gaian Transformation of Curation, Adeena Mey examines what he and philosopher Yuk Hui have termed the “cybernetization of the exhibition.” This phrase describes the historical transformation of the exhibition and institution into informational and communicational media. The process is closely tied to the writings and institutional experiments in the 1970s of figures such as curators Peter Althaus, Jorge Glusberg, and Pontus Hultén, and philosophers like Vilém Flusser. Interestingly, the 1970s also marked the emergence of a distinction between “first-order cybernetics”— which views living and technological beings as regulated by “feedback” processes—and “second-order cybernetics”—which sees systems as self-organizing and self-reflective. The former largely inspired these curatorial and theoretical attempts to transform museums and the form of exhibitions. The essay elaborates on the difference between first- and second-order cybernetics. It posits that we can attribute the prevalent curatorial logic to first-order cybernetics, while the recent and evolving changes in the exhibitionary complex might be related to the second order. Second-order cybernetics provides us with the tools necessary to reconsider the role of biennales in the Anthropocene. These tools can aid in addressing what philosopher Isabelle Stengers terms the “Intrusion of Gaia” (the activation of planetary and environmental forces that surpass human control). Mey suggests that, to effectively address the current intersection of environmental, political, and scientific urgencies, we need to rethink institutions and curating through the lens of second-order cybernetics, viewing them as self-organizing systems
An Education in Letterpress: Charting the History of Letterpress Education in the United Kingdom and Ireland
Get PDFThis 8,000 word chapter in an edited volume outlines the current breadth of letterpress practice within contemporary art and design pedagogy across the UK and Ireland. It is developed from a previous research project that identified all institutions with functioning letterpress workshops — both their scope and the nature of their use. The authors were on the Advisory Board for the AHRC Funded Research Network that gave name to this book.
'Letterpress Printing: Past, Present, Future' brings together scholars, curators, collectors and printers to assess the current state of letterpress printing. It acknowledges the decline of letterpress as a commercial printing technique and considers the risks this poses for letterpress’s future. However, in describing the many uses to which letterpress is put and the diverse communities of printers who still work with it, the book celebrates the tenacity of letterpress as a process which continues to thrive despite such challenges. Letterpress Printing examines the continuing life of letterpress and applauds its revival through describing the circumstances in which it flourishes and the many ways it is now used. By setting this revival in the context of its ostensible decline, the book sets out the ways in which current practice draws upon and preserves the history of printing while taking it in new and unexpected directions