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Critical Digital Pedagogy in Higher Education
Get PDFRecent efforts to solve the problems of education—created by neoliberalism in and out of higher education—have centred on the use of technology that promises efficiency, progress tracking, and automation. The editors of this volume argue that using technology in this way reduces learning to a transaction. They ask administrators, instructors, and learning designers to reflect on our relationship with these tools and explore how to cultivate a pedagogy of care in an online environment. With an eye towards identifying different and better possibilities, this collection investigates previously under-examined concepts in the field of digital pedagogy such as shared learning and trust, critical consciousness, change, and hope
Challenging perceptions of fast and slow fashion: 1960s paper dresses and the concept of disposable garments
No full textIn this talk, Liz and Hannah explored how historic models of fashion and textile manufacture can inspire new sustainable models for both manufacture and consumption. Using the paper dress trend of the 1960s as a starting point, they discussed how garments with purposeful short-term life-cycles could offer new sustainable opportunities - matching a garment's use phase to the longevity of the material it is made from.
This talk used a material culture approach to explore original 1960s paper garments, alongside a critical analysis of the sustainability of their manufacture and disposal.
Liz and Hannah argued that the current paradigm of slow fashion as the only antidote to fast fashion must be challenged. Instead, the fashion and textile sector must consider a range of solutions to the environmental burden of fast fashion that are human-centred and sympathetic to all consumer demographics and needs
The Undiscussed University: Art practice and institutional transformation towards ecopedagogy
Get PDFIn this essay, I refer to my earlier collaborative practice as half of the artist duo Cornford & Cross, and then describe a series of interventions I have made at UAL since 2012. To situate them, and interpret the responses, I draw on Pierre Bourdieu's model of ‘Doxa’ and Discourse, which articulates the relationship between the field of knowledge production, and the power relations that bound it
Takoradi
No full text'Takoradi' is a 2022 painting which was first shown in the 2023 solo exhibition 'Kimathi Donkor: Helix/Idyl' at the Niru Ratnam gallery in London, England
The Hikers
No full text'The Hikers' is a 2022 painting by Kimathi Donkor which was first exhibited at the Niru Ratnam gallery in London for the 2023 solo exhibition, 'Kimathi Donkor: Helix/Idyl'
Disrupt the Discourse: An eLearning Course and Digital Toolkit to Aid the Development of an Anti-Racist Pedagogy
Get PDFKevin J. Brazant presents Disrupt the Discourse, a digital tool kit of resources and content inspired by Critical Race Theory, values of social justice and anti-racism practice. This toolkit incorporates a web-based eLearning course builder that allows the development of online courses for any device. This toolkit has been purposefully designed and developed, cognisant of the challenges of digital poverty (i.e. lack of access to laptops and the adoption of mobile learning, such as using smartphones and smaller devices and navigating intermittent and unstable internet connections). It serves as a reference point and guide for educators seeking to facilitate courageous conversations relating to both staff and students who identify as Black Indigenous People of colour (BIPOC) and their lived experiences as they navigate colonial and white spaces both figuratively and physically. Users of the toolkit will gain an understanding of issues of racial discrimination, oppression and structural inequality whilst equally fostering white allyship and critical consciousness for self-actualised activism and praxis for racial and social justice. Using this toolkit, educational activists can find creative ways to collaborate with each other and students across schools of thought and subject disciplines, and by sharing their practice for the evolution of racially conscious learning and teaching. The Disrupt the Discourse Toolkit fosters agency, promotes resilience and builds capacity for anyone to become an agent for racial justice. Through the process of co-creation and collaboration, the toolkit combines contributions from academic research and teaching innovation in a bid to mobilise a community of disruptors, using digital technology to create accessible content that informs and facilitates critical dialogue
Spilled Milk
No full textA lenticular print consists of an image, sliced into two or more parts, which when placed behind a lenticular lens can appear to change when the viewer moves before it. This allows binary possibilities to appear simultaneously - a momentary possibility may be done and undone infinitely. 'Spilled Milk' is an expression that refers to things that are in the past and no longer worth concern. Up-ending the 'British' cup of tea felt like a challenging proposition in response to some of the questions raised by the Horniman exhibition, reflecting on the value of readdressing issues from the past in the present day.
Part of the Tea's Times exhibition at Camberwell Space.
Tea is enjoyed across the globe by individuals and communities every day. It inspires cultural customs and national identities. It is medicinal, cleansing, addictive, it speaks of home, community, ritual, and an extractive and painful history of trade. The Horniman Museum’s origins in the profits of the tea trade are being reconsidered through a decolonial lens in their new exhibition: 茶, चाय Tea. Students, staff and alumni of UAL, through a project led by Fine Art Photography at Camberwell, have made this work in response. Their artwork explores individual and specific relationships to tea and photography
Trinity Buoy Wharf Drawing Prize 2023/24
No full textI exhibited my drawing 'Shift Sleep' in the Trinity Buoy Drawing Prize 2023/24.
Shift Sleep shows a private space where two men sleep. The cramped shared mattress is place of sanctuary used on in shifts depending on work schedules. The image comes from memory that was told to us by my father about his early experiences of when he first arrived in the UK from India. In my work I reconstruct stories that I have heard through photography and collage, which is then translated into drawing or painting.
I deliberately wanted this drawing to appear ambiguous. It is not clear at first why the two men are sleeping in the same bed, but the paper that it has been drawn on is from an old passport and the text Visa indicates that this is related to migration.
The folded page now open reveals this intimate scene, these pages would usually be closed from view unless inspected revealing the owner’s journeys through validated stamps. The post-war struggles that South-Asian (and African-Caribbean) migrants had, would not necessarily be shared with younger members of the family as they are painful and best left in the past. The drawing attempts to show the lived experiences of migrants that are still a reality for many today.
The Trinity Buoy Wharf Drawing Prize project is led by founding Director, Professor Anita Taylor, and supported by the Trinity Buoy Wharf Trust.
The Trinity Buoy Wharf Drawing Prize 2023 was selected by Laura Hoptman, Executive Director of The Drawing Center, New York; Dennis Scholl AM, Collector, Arts Patron, President & CEO of Oolite Arts; Barbara Walker MBE RA, British Artist.
Selected from original artworks, the Trinity Buoy Wharf Drawing Prize and exhibition has an established reputation for its commitment to championing excellence and promoting and celebrating the breadth of contemporary drawing practice. The open exhibition provides a platform for drawing practitioners to showcase their work alongside other leading artists and makers in the field. The exhibition is launched each year, and the awards announced in London before touring in the UK. While offering emerging, mid-career and established artists a platform to exhibit their work, the project has developed new insights into the role and value of drawing in creative practice today
The End of Reference
No full textThe Arctic has captured the human imagination for centuries. In the nineteenth century, its inhospitable landscape and polar exploration became an obsession in the West, with the Arctic framing narrative inspiring literary fiction, photography, and painting. Mary Shelley’s Frankenstein, published in 1818, begins and ends in the ice pack of the Arctic Ocean, with the Arctic used as a space for the critique of heroic masculine endeavour and as metaphor for the creature’s internal trauma. This far North in ancient mariner’s maps marked the end of reference.
At only 650 miles south of the North Pole, Longyearbyen in Spitsbergen in the high Arctic Svalbard archipelago, is the world’s northernmost permanent settlement. Built into the permafrost in Spitsbergen, is the Global Seed Vault, the world’s largest backup facility storing over one million crop samples from almost every country in the world. Known as the doomsday vault, its genebank collection secures the world’s future food supply. Yet the Svalbard archipelago is warming six-times faster than anywhere else on our planet; it is ground zero of climate change.
In the words of Canadian Inuit activist Sheila Watt-Cloutier, the Arctic is the ‘health barometer for the planet’. What happens in the Arctic does not stay in the Arctic; it is the reference point and repository of the past and for all future life on Earth. As the seasonal rate and extent of Arctic sea ice melt increases, more sunlight is absorbed by the Arctic Ocean leading to further changes in our global climate. In addition, approximately 60% of Svalbard is covered by glaciers. Formed out of falling snow compressed into ice over thousands of years, glaciers cover approximately 10% of the Earth forming the largest reservoir of fresh water. They are melting at an alarming rate causing rising sea levels and flooding of coastal areas, extreme weather events, loss of species and freshwater. Glaciers are the sentinels of climate change.
Featuring an audio/video installation, this exhibition bears witness to the melting ice cover and receding glaciers of the high Arctic. The shores are an iceberg graveyard; this is where ice goes to die. The death of glacial ice is the end of reference, the death of our planet and all of us in it
Personal Objects and Dress as Instruments for Anchoring the Self, Remembering the Past, and Enhancing Well-Being
Get PDFThis chapter discusses the relationship that personal objects and dress have with individuals’ autobiographical memories, sense of self, and psychological well-being. The first part of the chapter introduces the psychological literature on autobiographical memory. It then presents theories and empirical evidence suggesting that autobiographical memories influence the self, as well as emotions, behaviours, and psychological well-being both over time and immediately upon retrieval. The second part of the chapter draws on psychology and disciplines such as anthropology and material culture studies to demonstrate how personal objects and dress can serve as powerful reminders of past experiences and past selves. It also attempts to elucidate the mechanisms through which personal objects and dress may influence psychological well-being. The chapter concludes by highlighting the need for further research in this area and how this research may help enhance vulnerable individuals’ well-being while reducing the environmental impact of the fashion industry