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Understanding Co‐Design Practice as a Process of “Welldoing”
Get PDFCo-design and other associated design approaches often deploy creative and making approaches in facilitating collaborative practices. In a therapeutic setting, engagement in creative and making activities have been associated with improvements in people's well-being, yet when deploying these as part of co-design practices, these outcomes are often overlooked. This paper presents the results from a series of workshops that focused on the well-being benefits of participating in co-design practices. The research uses Max-Neef's (1991). Theory of Needs to explore how innate human needs might be satisfied through participation in co-design practices, and demonstrates how this framework might be used for planning and evaluating co-design practices through a wellbeing lens. Finally, it suggests that future generations of design practitioners would benefit from exposure to the consideration of co-design as a process of “welldoing.
Technical Pedagogy - Materialness/Thinking through materials
No full textThe idea that ‘materialness’ can help relate artistic expression is not new but the idea that a technician is teaching the student this is. The technician encourages expression of the students work through their material choices. Inspiring and stimulating their creative process through experimentation, exploration and interrogation of various materials before the final choice is made. The technical staff spend more time with the students, often one-to-one, than the academic staff. Researching this relationship and the learning that occurs could lead to developments in the students learning experience
Precarious Solidarities: Artists for Democracy 1974–77
No full textEdited publication with introduction and c.10,000 words essay contribution.
This publication takes Artists for Democracy as a starting point to explore the entanglement of artistic practices with transnational solidarities shaped by migration and political mobilisation.
Artists for Democracy formed in London in 1974 to give ‘material and cultural support to liberation movements worldwide’. Precarious Solidarities addresses the far-reaching actions of this group of cultural workers – whose personal/artistic trajectories span Asia, Africa, Europe and the Americas – and the entanglement of artistic practice with transnational solidarities shaped by migration and political mobilisation. Through a range of new commissions, contributions from AFD members, and extensive archival documentation, Precarious Solidarities highlights the group’s multiple agencies and conditions of possibility – artistic, social, political, historical and geographic – and the potentials of these histories today. Contributors include: Rasheed Araeen, Guy Brett, Virgil Calaguian, Wing Chan, Cường Minh Bá Phạm and George Clark, Charles Esche, Hannah Healey, Susan Hiller, Eileen Legaspi-Ramirez, María José Lemaitre Mujica and Caroll Yasky, David Medalla and Brandon Taylor, David Morris, Annabel Nicolson, Nii Kwate Owoo, Vijay Prashad and Cecilia Vicuña
Invisible Voice - 'Rewiring Our Communication Systems,' International Symposium of Electronic Art, ISEA (Group Exhibition)
No full textThe exhibition, Nobody Sees Us: Rewiring Our Communication Systems explores the hidden structures of communication networks and the ways in which they can be rebuilt, reconstructed, and reshaped through the digital medium. This exhibition is titled after Sylvia Plath's poem Mushrooms. Textiles link nature to the digital world, and computers expose hidden internet structures. Through these works by artists Kate Geck,and Mark Farid, we can see things that have become visible, to imagine and reimagine communication in new ways. The exhibition juxtaposes physical and virtual worlds, exploring the similarities in the structures of nature and culture, and the trinity of waves, frequencies, and physics. The exhibition invites us to explore our complex networks and rethink the ways in which we communicate with each other
The Materialities of Working, Wearing and Caring for Clothes in the Brazilian Amazon
No full textThis paper is concerned with the relationship between fashion, time, global experiences of modernity and the complexity of transnational relations within the context of early twentieth-century United States-Brazilian visual culture. It presents a set of glass plate negatives which document the global migrant workforce who helped to build the Madeira-Mamoré railroad deep in the Amazon jungle between 1907 and 1912. Taken by New York fashion photographer, Dana B. Merrill, the click of the camera’s shutter marks a literal pause in the working day. Merrill’s intricate documentation of worn and weathered overalls and dungarees, cotton shirts, functional trousers, and utilitarian jackets are punctuated with occasional global accents, whether a Balkan waistcoat or an Indian turban, that cast light upon the geographic networks of industrial modernity. Nicknamed the ‘Devil’s Railroad’, due to the vast numbers of workers who died from a catalogue of disaster and disease, the railroad was an American-Brazilian venture intended to expedite the global exportation of rubber and other tropical commodities from landlocked Bolivia.
The anonymous workforce elevated within these portraits had travelled to the Amazon from over 52 nations. They were exposed to all the elements, while responsible for the hard manual labour of culling the jungle, laying the tracks, building bridges and maintaining the right of way. Given the considerable dearth of everyday and working dress preserved in museum collections in the U.S. and Brazil, this paper uses poetry, diary extracts and memoirs to breathe life into the visual. Personal accounts of life in frontier societies such as the Madeira-Mamoré railroad and Panama Canal facilitate our understanding of the embodied and experiential memories of wearing, working and caring for clothes, but also highlight how salient aspects of dress were for social distinction and identity construction
"Great minds don't always think alike": Advocating for a Collaborative Approach to Interpreting and Re-constructing Historic Theatre Costume
Get PDFThis paper highlighted the important role that collaboration can play in unpicking the multiple meanings historic costumes carry in their fibres. Taking a project to rigorously recreate the costume actress Ellen Terry (1847-1928) wore as Imogen in the 1896 production of Cymbeline as its focal point, it demonstrated the cumulative knowledge and deeper understanding gained through uniting a range of specialist skillsets to examine and document a single garment. In this instance, as the paper showed, bringing together the triumvirate of maker, conservator and researcher has not only facilitated a re-consideration of the on-stage life of this costume, but also illuminated its original construction, and complex afterlives
Hungary
Get PDFContemporary theatre and performance in Hungary have continued to operate within pre-1990 institutional frameworks, and the change of regime has not altered the overall structure of the theatre system. On the whole, cultural policy is under state control, most recently leading to the introduction of a new model of governance at the University of Theatre and Film Arts (SZFE), which led to the resignation of the former administration and to the Free SZFE movement. This unprecedented protest has since become emblematic for dissatisfaction with political control per se. Despite growing discontent and the precarious state of theatre institutions, however, it is important to signal the vitality of writing for the stage and to acknowledge the role of independent platforms in shaping Hungarian cultural life
Pedrosa em Londres
Get PDFChapter in collected writtings on art critic Mario Pedrosa discussing his role in securing Helio Oiticica's exhibition at the Whitechapel in London and his contemporary thinking on art and the Brazilian neo-avant-garde in the 1960s. (published in Portuguese
Blue! Probably?
No full textIn this lecture performance, Georgina Voss explores the emotions and political economies that circle around large-scale technological infrastructures. Tracing connections between software, systems, and the technological sublime, Voss draws together intersecting stories that traverse the scales beyond human form and lifespan. From documenting love for the machines of institutional bureaucracy, to fear and desire in the face of mega-engineering projects, to convincing performances of fervour in technical work, Blue! Probably? explores the spectacle and real hardcore feelings around size, heft, and honest-to-God magnitud
Narrative Perspectives and Embodiment in Cinematic Virtual Reality
Get PDFAlong with the technological advancements of virtual reality over the years, has come the emergence of Cinematic Virtual Reality (CVR), where immersive 360º degree video approaches the high-quality found in feature film. Extensive research has been done on embodiment and presence in relation to Virtual Reality (VR), however, there is a lack of existing literature on the narrative effects of embodiment and perspective in narrative VR films. Exploring the concept of viewer embodiment and its connection to the cinematic concept of narrative perspective, we conduct a review of literature in relation to CVR and flat screen cinema, selecting five CVR films to conduct an analysis of how cinematic techniques for establishing perspective and embodiment can be translated from flat screen cinema. Considering embodiment and perspective in CVR, we propose a spectrum of embodiment between extreme distancing from and extreme identification with characters in the narrative. Areas for future exploration are considered in light of the lack of research in this area