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Rejected By My Own Robot: Studying the Potential for Artists to Subvert Technological Expectations Using Critical Design
Get PDFThis paper provides a framework for how artists can use critical design to subvert deeply ingrained expectations around technology. I begin by defning the technological understanding of being as introduced by Martin Heidegger and break down expectations of technology into efciency, control, and pleasure. I then ask if the burgeoning HCI practice of critical design could be an efective tool for artists in subverting these expectations. My methodology to study this question is to install a provocative object, in my case a disobedient kissing robot, in a public space and analyze participants’ reactions to it using both video and survey analysis. Results show over 70% of users experienced some degree of surprise, friction, or disappointment with the device due to broken expectations about how they assume technology should work. Our study concludes with a discussion of what value there is in challenging the status quo, how artists can take this work further, and what element humor has in provocative critical design
Re-creation and recreation: playful sustainable fashion textile projects with school children
Get PDFThe socio-environmental impacts created by the fashion industry have been well documented. At this time of increasing global climate anxiety and the rising costs of living, the need for pleasure, escape and joy from our daily lives is also keenly felt. This chapter considers how might we bring about change through play with young fashion users. The author reflects on a body of practice research and discusses a range of workshop approaches using discarded clothing. The three small, informal projects that were conducted with school children in London, UK, are considered in terms of how the current sustainability curriculum models might be extended through ‘recreation’ – play – and ‘re-creation’ - to make again (in this case items of discarded school uniform). ‘Re-creation’ is also considered in terms of how we as design researchers must be ready to change ourselves – our own direction of travel and the focus of our efforts - when working with urgent wicked and complex challenges
Vestimentary Possibilities: the styling of Caroline Baker and Debbi Mason
Get PDFAn article featured in issue 49 of the French fashion publication Encens. It profiles the careers and creative output of two fashion stylists: Caroline Baker, who as fashion editor of Nova magazine gained a reputation for her unconventional approach to dressing women, and Debbi Mason, who started her career with Elle magazine in the mid-1980s, and whose styling work acknowledged Baker's ethos and methodology
Language-Art Project: a curatorial collaboration
No full textThe annual UAL Language-Art Project brings students together from across the University, to explore the intersection of art and language. Cross-college, cross-disciplinary and open to all students, it culminates in an online gallery which goes live in the early summer. This year (2023) there will also be a physical exhibition held at LCC.
This presentation focuses on the staff-student collaboration that is a key component of the project - with reflections from the student curators who have been a crucial part of the decision-making. Ultimately, it asks whether projects such as this could form a blueprint for further staff-student initiatives
'So, you recorded your Teams presentation, what next?': Developing a mixed delivery approach for a professional development project about language
Get PDFThis talk discusses how the 'What do we mean when we talk about language?' project moved from being solely a synchronous form of delivery into one that also incorporates asynchronous aspects in order to allow colleagues to better participate in the project
Strategizing Decolonial Subversion: A Dialogue.
Get PDFAfterword: Suresh Canagarajah interviewed by Victoria Odeniyi and Gillian Laza
Tea's Times
No full textThe Tea’s Times student and staff exhibition took place in Camberwell Space at Camberwell College of Arts from the 27th of November to the 3rd of December 2023. As a starting place for the research of the Museum Arts Fellowship, it was conceived as a way to open discussion around relationships between tea and photography and provide the opportunity to share research processes between staff and students of Fine Art Photography at the college.
Leading into the exhibition was a short intensive research phase. Participants were initially invited to visit and respond to the Horniman’s 茶, चाय, Tea exhibition in a discussion with the curator, Navjot Mangat. Staff also visited the Horniman’s Collection Archive to view selected tea related objects ranging from lantern slides to teapots. Melanie King was invited to speak to participants about her environmental photographic practice and introduce a workshop on toning cyanotypes with tea. Artists Lydia Dique and Josef Konczak ran workshops on using tea to develop film, and participants were invited to take part in discussions and tutorials about their artworks in process.
The exhibition was conceived as a shared project. Curation, publicity, installation and organisation were collaboratively decided amongst the participants. The project also generated collaborations within artworks by Lydia Dique and Chelsea Coats, Maia Conran and Cerys Roberts, Amelia Butterworth, India Pears, Aurora Karati and Beckett Guilmaraes-Tolley, Haohao Zhang and Shengu Chen, Cietisoo Nguyen and Leonara Peace. It made other spaces for social sharing in the tea’s shared by Katarína Čačíková, and by Ruilin Li, and in the participatory artworks by Yutong Wang and Synchar Pde.
Parts of this exhibition were then remade at the Horniman Museum and Gardens in the Take Over Space of the 茶, चाय, Tea Exhibitio
Challenging Grading Practices: Grading, Ethics and Harm
No full textShould universities consider the emotional aspects of their systems of grading? Do our grading practices cause harm? How might compassionate pedagogies be used to support student learning? All these questions and more will be considered based on research conducted at the University of the Arts London (UAL) evaluating the impact of removing letter grades and instead using pass/fail during the first year. Our research found that pass/fail helped reduce student stress and anxiety, helped them express themselves more authentically and creatively, and allowed for a more cooperative rather than competitive learning environment
no odonata
No full textSolo exhibition at Belmacz, London.
Moonlit glimpses, intruding shadows. Delicate moments rendered in dust. Toby Christian’s solo exhibition at Belmacz, no odonata, brings together a series of iPhone photographs taken by the artist while looking in through the window of his studio-garage in Lewisham. These small giclée prints not only chart the passing of days and weeks — a labour of stone carving — but hold within their grain multiple dimensions and points of view. Here looking — looking out, in, at and beyond — is produced with gestural sojourns of light and shadow. Not speckled, but smothered in tiny flecks of almost - and white limestone and marble, Toby’s window crops bare traces of an unknown presence tip-tapping across vertical sands. Perhaps a winged insect looking for light, for an escape, these choreographic markings imbue the black and white scenes with an exposed sense of lyricism. Indeed, set within capacious surrounds and brushed silver frames, shadowed impositions linger within each of the delicate compositional panes; fugitives conserved behind their own glass. And where do we stand as interlopers peering in here? This collection of frames not only holds a poetic intrigue for viewers but conveys a certain sense of Toby’s artistic sensibility. Elsewhere, drawn entangled forms show another aspect of Toby’s current practice. Since early 2020, he has been developing a work called ‘Stringer’ — software which produces a unique, temporary, digital floating string sculpture in response to a user’s speech. The ethereal drawings in no odonata are pencil studies of recent and unpredictable outcomes of Stringer; emerging after the artist spoke each photograph’s title into the software, then witnessing and learning its translation
“A knife without a blade, for which a handle is missing”; on the pleasure of photographic violence
Get PDFThis article explores the role of photography in the assassination of the Russian Ambassador to Turkey in 2016. The photography exhibition titled Russia through Turkish Eyes was the background for the assassination. The author argues that photography occupies a paradoxical position of a metalanguage of an event that it simultaneously announces, records, destroys and celebrates while assuming the role of an impartial observer. Photography operates as a counter-factual, exceeding the documentary, and assuming the function not of a witness but of an active participant. The author suggests that in a primitive culture like ours, some objects acquire the status of a portal that facilitates the transformation between symbolic, imaginary and real forms of existence. A camera is one such object. The article concludes that the assassination of the Russian Ambassador cannot be easily separated from the photographic event that preceded it, accompanied it and immortalized it