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Can fashion aesthetics be studied empirically? The preference structure of everyday clothing choices
No full textCAPTTTTCHA (traffic light)
No full textPresented in the solo exhibition Gross Motor Skills. Referencing logistics and its history as a term for the activity of organizing, equipping, and moving troops, the exhibition offers an ambivalent terrain through which we can circulate ourselves amidst other sausage-bodies, fragmented architectures, and the sundries of a poorly-equipped mobile military corps. Gross Motor Skills gleefully confronts the increasing use of artificial intelligence to advance logistics across supply chains, data analysis, moving people, and more. Even as our intersubjectivities dissipate into quantifiable data-byte-bites, laboring bodies still need to eat.
Another edition of this work, CAPTTTTCHA (palm), 2022 was exhibition in the solo exhibition G.O.R.P. (good old raisins and peanuts) at Local-int
216 Westbound: A Topography of Latent Fear
Get PDFIn this essay, the authors reflect on Shona Illingworth's film, 216 Westbound (2014), made in collaboration with John Tulloch, a survivor of 7/7 London bombings. They examine the effect of a terrorist attack as embodied experience, media reporting and state control. The essay reflects the authors extensive conversations and their different positions in relation to Illingworth's film through its intentional layered structure
Valuation through Narrative Intelligibility
Get PDFNarrative intelligibility is central to making sense of valuation. Narrative intelligibility is a framing device that combines empirical observation and situated interaction with teleological, purpose-oriented, normative inquiry. Thus understood, narrative intelligibility provides a useful analytical frame to explain how the phenomenon of valuation is practised. At the same time – and on the level of research – it bridges synthetically different traditions of thought, including actor–network theory’s descriptive accounts of valuation practices and humanities-grounded, normative theories of value. As such, narrative intelligibility offers a way of avoiding the alleged weakness of overstating the agency of devices and material actors in actor–network informed approaches, without however seeking to relocate analysis into the ‘ineffable’ realm of purely theoretical constructs, the way some humanities scholars are said to have done. The argument shows that the humanities-derived understanding of values, approached in terms of standards of justification and norms of criticism, can be combined with the vernacular concepts of valuation from actor–network theory in a way that promises a unified research agenda going forward
Transacting as Art, Design and Architecture: A Non-Commercial Market
Get PDFTransacting as Art, Design and Architecture: A Non-Commercial Market re-performs the original event #TransActing: A Market of Values as a printed text with the ambition of investing in the published word and image at least some of the original market’s depth and liveness. Holding fast to the experimental ethos of Critical Practice, this anthology does not shy away from risk when the aim is expanding the fields of art, design and architectural research. The authors’ distinct but also overlapping forms (practical, poetic, analytical, etc.) track with the plurality of voices, the processes that have nurtured the cluster as it has worked internationally for more than a decade to produce unique projects.
The book opens with contributions that reflect on TransActing as collaborative practice-based research. The introduction contextualizes this popup market within London’s long history of local marketplaces. Cued by emerging government policy on market sustainability, the tripartite of place, people and prosperity helps to frame TransActing. Taking a different approach, a partial self-portrait of Critical Practice traces TransActing’s becoming over more than a decade of activity and five years of research on value. This is followed by an account of the market’s physical infrastructure: the prototyping of bespoke stalls which were built from recycled materials, an approach inspired by an early example of open-source furniture design. This comes to life in the next section: polyphonic observations on the stalls in use and the market more generally. The stallholders’ reflections capture the experience of those directly involved and are richly illustrated with images of or related to their stalls.
The second part of Transacting as Art, Design and Architecture is composed of commissioned texts to contextualise the market by weaving together references from various fields. These include celebrating the value system of TransActing, especially its critique econometrics. Closely connected to the latter, which was occasioned by Critical Practice’s tenth anniversary, is the subsequent paper's consideration of invisible, feminized labour, which is as undervalued as it is indispensable to cultural production. Taking a slightly different tack is the use of architectural theory (past and present) to trace the transforming nature of the public market, especially as an arena of consumerism. This is followed by an account that looks at the experience of TransActing from the perspective of its local currency. This story is followed by a conversation on the art market and/or the markets of art. This brings the reader to a manifesto-like text that calls for solidarity through publishing, understood as the co-production of meaning through a distributed social process. The penultimate contribution to this collection considers TransActing as a built environment with reference to the market’s shelters and platforms. Finally, a glossary rounds off and opens up the publication as a resource. This compilation of key terms adds nuance to the language used throughout this publication to indicate its resonance in the discourse of Critical Practice.
The collection aims to prioritize practice-based insights as an alternative to knowledge-based ones. In this way the book aims to be a refreshing take, one that moves art-research discussions beyond the creation of knowledge. As such, this book will appeal to all those involved in the ‘research turn’ in contemporary cultural production, including those working in institutions and organizations, especially ones with strong community engagement programmes, as well as independent practitioners working in social and socially engaged practice.
Primary readership will be practitioners of art, design, curating and architecture and students studying in these fields. The secondary audience will include cultural producers, theorists, educators and others who are interested in how art and other forms of creative practice can challenge the ‘usual’ financial circuits of value and open up alternatives
Introduction: Trading in Social Good
Get PDFThis text introduces ‘#TransActing: A Market of Values', an event that marked the end of five years of collaborative research on value, values, valorisation and evaluation realised by Critical Practice Research Cluster in association with University of the Arts London. As an event, Transacting took place in central London in July of 2015 and used the distinguishing features of a market (traders/stallholders, stalls and a milling crowd) to evaluate its many and varied benefits as a social form. TransActing is contextualised with reference to several bodies of knowledge. These include education and art fairs as well as the burgeoning field of practice-based/led art research. The publication also considers market cultures in London and beyond as well as critical art and other forms of not-for-profit cultural production. This introduction concludes with briefly summarizing each text in the anthology and the unique contribution they make to our understanding of Transacting
Yes We Cannibal: Capitol Offense
No full textConflictual Circulation in Yes We Cannibal: Capitol Offense
LMFS is the name of the collaboration between Louisa Minkin and Francis Summers. We have been making banners sometimes since 2012.
Recurring themes include: agitation, solidified memory, forgetting, allusions, technologies, image-text relations, poetic dispersal and concretion, social art-work as patchwork archaeology of failed forms, the lumpen-vectoral…
Some methods: Historical research, sudden leaps, churned seas of associations. The thud of the rock from our ancestors hitting the back of our heads, smelling the chilled sweat of the sublime as it slumbers in a cardboard box at the amazon depot [thanks Tyler Coburn]
We think about chalk on the fence, the impermanence of the public sphere
Queering Code Manual
Get PDFQueering Code is written in Bash, which is a command line interface and a scripting language developed in 1989 as a piece of free software for Unix Systems (Linux and Mac OS but it has been also ported to Windows). The bash script is a plain text file that contains a series of commands for computer execution. Queering Code is both a work of “software art” (software as artwork, not software to make an artwork) and a “codework” (where the source code and critical writing operate together) produced to embody "queer code” as a form of code poetry. The piece explores the material and linguistic tensions of writing, reading and printing computer code
The Little Book of Burberry: The Story of an Iconic Fashion House
No full textFrom their heritage trenches and ubiquitous check to experimental red carpet looks, the House of Burberry is known worldwide for its covetable designs.
Sophisticated, simple, and quintessentially British, Burberry is beloved for its remarkable ability to straddle tradition and innovation. The allure of the 'Burberry Girls', like Cara Delevingne, Kate Moss or Naomi Campbell, epitomizes just what Burberry is about: aspiration, elegance and grace.
Featuring an exquisite range of photographs, from finished designs to close-up details and beautifully styled shots, this book pulls back the curtain on the story behind the brand. Touching on its humble beginnings in 1856, all the way up to its current designs, this invaluable reference is the definitive word on all things Burberry