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Tell Me Where Your Freedom Lies
No full textGroup show with
Mick Finch
Nick Jones
Hilary Prosser
Diana Taylor
Jeffrey Bligh by David Thorp
Tom Wolseley
‘Freedom Lies’ video/film
Finch currently works with an archive of some 3000 images scanned from a set of 1950s encyclopaedias entitled The Book of Knowledge. He has made 200 digital prints from these appropriated images since 2014. Since 2022 he has worked these images as video montages, exploring both their contextual resonance and their impact on the present. The screened video, Freedom Lies, has been made especially for this exhibition and explores through image montage, text and music the lyrics of the 1967 Doors song, The Crystal Ship which is a lucid reflection on distraction and spectacle and from which the exhibition’s title is taken
Ethno-Racial Capitalism in Contemporary Fashion: Forced Labour and the Uyghur Crisis
Get PDFThis contribution explores ethno-racial capitalism within contemporary fashion, by dissecting the complex case of the Uyghur minority and China’s north-western Xinjiang Uyghur Autonomous Region (XUAR), which only recently reached the public attention. With references to institutional reports, human rights platforms, and testimonies (United Nations 2022; Byler 2022; Human Rights Watch 2021; Murphy et al. 2021; Tobin et al. 2021; ASPI 2020), the study problematises the Uyghur crisis in relation to the global scenario, interpreting the case of XUAR as fashion latest ‘sacrifice zone’ (Niessen 2020). In particular, the role of XUAR for fashion’s global supply chains and the treatment of the Uyghur minority are analysed within the broader theoretical context of ‘racial capitalism’ (Robinson [1983] 2000; Vergès 2017, [2019)] 2021), with the study bringing in conversation Black Marxism (Robinson [1983] 2000) and Marxist feminism (Federici 2004, 2021), in addressing the impact of racism, sexism and nationalism on the organisation of labour under capitalism. The contribution argues that, alongside unveiling complex power dynamics within the capitalist-nationalist world order, and highlighting the need of new mandatory standards, this complex case allows us to draw crucial considerations on the convergence of social, racial and environmental justice for a revolutionary politics of sustainability
Image Quotation of Past Events to Enforce Storyworld Continuity in John Byrne’s Fantastic Four
Get PDFThis paper looks at the way that the writer and artist John Byrne used ›image quotation‹, in the form of direct and indirect quotation of panels by other artists to disrupt existing storyworld continuity and enforce his own version during his lengthy run on Marvel’s Fantastic Four series. This was done by embedding previous continuity into stories through image quotation, but also by introducing new elements of his own devising within these pre-existing panels, and then reinforcing the ›canonicity‹ of this revised history through further quotation.
First it will define what is meant by ›image quotation‹, before considering the idea of different types of authorship in corporate-owned texts. It will then use three examples from Byrne’s run – This Land Is Mine in Fantastic Four #247 (Byrne 1982), Interlude in Fantastic Four #258 (Byrne 1983) and True Lies in Fantastic Four #278 (Byrne and Ordway) – to show how he skilfully used the practice of image quotation to manipulate and add to the backstory of Doctor Doom and thus assert his own claim to ownership of the character
Painted Copies, Digital Reproductions, and Originals: A Case Study of Copying Frank Bowling’s 'Lent'
Get PDFThis paper presents a case study of copying Frank Bowling’s lost painting 'Lent'(1963) with his permission to examine the relationship between physical copies and digital reproductions of a painting. The original painting was one of the most important of Bowling’s early career paintings, but it no longer exists, having gone missing from his studio in the early 1980s. Consequently, the copy was made based on Bowling’s description, his memory of his process, and through using (poor quality) digital reproductions of the painting. The paper focuses on the challenges in replicating texture, gesture, and colour from a limited reproduction, and raises questions about certain inherent characteristics of paintings that cannot easily be captured by reproductions, while also highlighting the ways in which digital reproductions can be manipulated to uncover new aspects of the original work. Drawing upon an agreement between Bowling and the author regarding the copy’s destiny and the relationship to the original, the paper raises issues about the ontological status, function, and value of the painted copy and the digital reproductions in relation to the original painting
Standing on the Shoulders of Giants: The Evolution of the Irish Space Sector from an Institutional Perspective
Get PDFThis article focuses on Ireland's potential as a space actor and the role that the space sector can play in contributing to Ireland's future development. By embracing the metaphor of ‘standing on the shoulders of giants’ and by reconciling an institutional perspective of entrepreneurship with the triple/quadruple helix model, the article describes the journey of the Irish space sector that has capitalised on the experience of the major space players already established in the space arena in order to successfully carve its own niche
Disrupting the discourse: Applying critical race theory as a conceptual framework for reflecting on learning and teaching in higher education
Get PDFThe Higher Education Sector in Britain, United Kingdom (UK) is currently being taken to task regarding issues of structural inequality and unfair outcomes for student learners from non-white backgrounds, also referred to as the degree awarding gap. How do we disrupt the narrative concerning race, and more specifically as part of our learning, teaching and assessment practices? Using Critical Race Theory, a project, ‘Disrupt the Discourse,’ an initiative launched in 2021 is a small scale case study piloting the application of the aforementioned theory as part of learning and teaching in a Higher Education Institution based in London. The project explored issues of curriculum design, and assessment practices in response to the issue of the degree awarding gap. The initiative explicitly explores uncomfortable conversations about race as part of learning and teaching practice and by working with a team of anti-racist scholars, a curriculum framework and digital toolkit to explore the lived experiences of student and staff was created. Feedback from the pilot was encouraging, academics from different curriculum disciplines and cultural backgrounds saw the initiative as instrumental in re considering assessment practices, curriculum content and pedagogy as part of learning and teaching practice
Our Hybrid Bodies: A Sociological Experimental Film
Get PDFOur Hybrid Bodies, is a short Sociological Experimental Film that consolidates conceptual and critical developments across three experimental collaborations between a sociologist, artists, and our scientific partners (roboticists, biologists, and chemical engineers). Sociological Experimental Filmmaking is a mode of inviting audiences to engage with possible social and sensorial futures. This novel audio-visual approach has been develop as a way to turn social science insights from experimental collaborations with artists (see Martínez 2021) into an engaging audio-visual research output. The approach contributes to sensory futures ethnography (Pink 2023) and more-than-representational ethnographic films that seek to be affective/sensuous and resonate with audiences evoking rather than reporting (see Vannini 2015). Through blending ethnographic and artistic practices, we explored current and future ‘hybrid bodies’ – becoming immersed in scientific fields (e.g., biomimetics, biohybrid robotics and synthetic biology). Three distinct but complimentary critical concepts emerged that cut across our collaborative projects and our disciplinary interests. Broadly these were hybrid: (1) life (with Burd); (2) breath (with Janowitz); and (3) movement (with Peng). These art-sociology collaborations have led to the co-creation of immersive installations, interactive sculptures, and performances that seek to interact with audiences’ bodies and senses directly. Sociological Experimental Filmmaking refers to a secondary process of reflecting on concepts, themes, and questions generated through experimental collaborations – turning these into an audio-visual piece that brings critical attention to sociosensorial implications for future societies and the bodies that inhabit them. Our Hybrid Bodies is not a documentary of the collaborative projects, nor does it place co-produced artworks into film, rather it intimately follows the complimentary critical concepts (hybrid life, breath, and movement). It places these future bodies within social worlds
Talking Toys
No full textAn exhibition of objects from Benjamin Pollock’s Toyshop and responses from the ‘In-heritage Group’: Gabriele Brambilla, Jason Cleverly, Geoff Coupland, Peter Maloney, Colin Priest, Jar Sukthana, and Rachel Emily Taylor.
The ‘In-heritage Group’ was established over the pandemic by University of the Arts London academics and technicians from across the Design School at Camberwell, Chelsea & Wimbledon College of Arts, seeking to expand disciplinary research and knowledge exchange activity between heritage objects, sites, and settings to stir narratives in place.
‘Talking’ is tied to storytelling, communication, and conversation. As children, we talk to our toys and ventriloquise their wishes through our own voices. We change the pitch, intonation, and volume of our voices to compliment the toys’ imagined personalities.
In the ‘Talking Toys’ exhibition, the work is arguably silent. But there is a conversation occurring between the toys from Benjamin Pollock’s toyshop, which provided inspiration for the ‘in-heritage group’, alongside the new objects that have been made in response. They have been exhibited side-by-side in the shop display cabinet.
The exhibition could be considered as a ‘call-and-response’ between selected toys in the shop and the objects made by the In-heritage Group.
If the toys could talk, what would they say?
Taken from a text on Pollock's Toyshop website by Dr Rachel Emily Taylor, September 202
Trust and Safety on Social Media: Understanding the Impact of Anti-Social Behavior and Misinformation on Content Moderation and Platform Governance
Get PDFThe Special Issue on Trust and Safety on Social Media delves into two pressing and interlinked concerns: the growing prevalence of anti-social behavior and the widespread presence of misinformation within and across various social media platforms. The collection of articles featured in the issue collectively examines factors that contribute to these concerns and proposes potential strategies to mitigate their negative impact on social media users and society. The articles included in the issue are extended versions of research first presented at the 2022 International Conference on Social Media & Society (#SMSociety), organized by the Social Media Lab at Toronto Metropolitan University
Worlding ontologies. Towards more ethical museum databases
No full textThe need to address the legacy of colonial pasts and Western-centric visions of the world has led museums to strive for social justice and address the troubled narratives they tell about their objects. These problematic narratives live in the databases museums use to provide access to their collections. As museums grapple with knowledge gaps and misrepresentations about the “Global” in the digital domain, researchers and museum practitioners claim that existing frameworks used to catalogue objects in databases reinforce a biased view of reality. And when data science is used to analyse data from these catalogues, outputs reinforce existing colonial dynamics and knowledge biases.
Worlding Public Cultures (WPC) is a project that proposes worlding as an activating concept and analytical tool. The concept goes beyond current top-down models of “inclusion,” “diversity” and other representations of the “global”. Worlding grounds the global within local worlds and allows entangled histories to emerge, opening pathways to decolonise “universal” Western narratives and epistemologies. Challenging and generating new forms of knowledge in the digital domain is considered a worlding exercise by decolonial digital humanities, a research field that can inform data-centric practices in the museum sector.
A key element of the project is a database that shares a structured set of curated data about exhibitions that address “Global” arts and culture worldwide. The database structure is mapped on the CIDOC CRM and database entries often include terminology from structured vocabularies and authority files such as the Getty Vocabularies and VIAF. As part of a critical and worlding exercise, we are interrogating the frameworks that shape ontologies like CIDOC CRM and exposing implicit biases of our database structure in the graphical interface. In worlding database ontologies we propose a first step towards decolonisation that is applicable not only to our project but also to museum databases