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The Printer Jam
Get PDFThe Printer Jam (Project Cassiel X BITPRINT) is a performance duo using livecoding to take advantage of the intrinsic musicality of 3D printing. The performers create 3D printed objects that, during fabrication, activate the printer motors at certain musical pitches and rhythms which are then recorded, processed and looped, building up both physical objects and rhythmic soundscapes. Each performance and its resulting artefacts are unique experiences
Revisiting Loss of Heat through Intergenerational Collaboration
Get PDFIn this conversation, Noski Deville and Nicola Singh reflect on their recent collaboration to craft a contemporary response to Deville’s film Loss of Heat (1994). They describe their working processes and how they created new artworks that respond to the restoration, preservation, and screening of Loss of Heat by Cinenova in 2022. With their interviewer, Beth Bramich, they discuss embodied aspects of film and intergenerational collaboration, and explore the possibilities of combining film with sound art, written and spoken text, and live performance. They consider the political contexts surrounding the release of Loss of Heat in 1994, its screening in 2022, and its depictions of queer love between British South Asian women and of the lived experience of the invisible disability of epilepsy
Dreaming Together: The Future Depends On It!!
Get PDFTwenty-three innovators from corresponding fields of practice – including art, education, philosophy, curating, public health, journalism, the church, museology, theatre, music, and anthropology – speculate about the benefit of thinking and acting together, as opposed to alone, in the contemporary moment.
The resulting collection of texts overflows with fresh ideas and personal perspectives. Many chapters conjoin subjects that we’re not used to thinking of as allied to reveal that in combination they can amount to something greater than the sum of their individual parts: artist and gallerist, nature and mankind, heaven and earth, art and life, to name a few. Others take a more direct line to argue that our very future depends on developing more inclusive and collective responses to worldwide crises, as they progressively occur.
In both free and mixed market economies we have gradually come to inhabit cultures that promote self-centred individualism and uncompromising autonomy as a means to gain material wealth and therefore, apparently, happiness. And yet, for so many reasons, almost everyone seems to feel either alienated or marginalized nowadays. In dialogue with these proliferating social, political and cultural shifts ‘Together’ pursues the need to surmount the manifestations of silence, ignorance and discomfort that have come to accompany life lived alone among others. By looking outwards from the artworld this anthology succeeds in opening up a range of possibilities for engendering principles of civic imagination, tolerance and solidarity alongside the need for self-care
Film, narrative agency, and the politics of care in veteran Britain
Get PDFFilm offers untapped potential for making critical interventions in world politics, particularly in ways that harness people’s capacity to narrate stories that creatively empower their communities. Combining International Relations scholarship on visual politics with narrative theory and feminist scholarship on care, this paper presents film as a means of exploring and expressing narrative agency; that is, the power to tell stories that represent people’s experiences in ways that disrupt hegemonic narratives. Dialectics of care and narrative agency are explored in the context of military-to-civilian ‘transition’ in Britain. We argue that the landscape of transition for military veterans is dominated by a preoccupation with employment and economic productivity, resulting in a ‘care deficit’ for veterans leaving the military. Through the Stories in Transition project, which used co-created film to explore narrative agency in the context of three veterans’ charities, we argue that the act of making care visible constitutes a necessary intervention in this transitional landscape. Grounding this intervention within feminist care ethics and the related notion of care aesthetics, we highlight the potential for film to reveal in compelling audio-visual narratives an alternative project of transition which might better sustain life and hope in the aftermath of military service
Positioning for Purpose: Mapping brand strategy to sustainable design
Get PDFSiDE Symposium, IIT Delhi:
Design Education has witnessed several shifts and expansions in its post-Ulm evolution. The Sustainability in Design Education Symposium aims to explore various positions, pedagogies, and projects in postcolonial discourse that have addressed sustainability in its environmental, cultural, social, and economic dimensions over the past five decades.
About my paper:
‘Positioning for Purpose’ is a five-week studio project written for second-year Graphic Communication Design undergraduates. Run as a Knowledge Exchange project in cooperation with the marketing firm FreshBritain, the brief asks students to explore how mainstream consumer brands can be strategically repositioned for the benefit of people and planet. Through the project students learn to work with archetypes as a mechanism to reframe and redirect brands towards ‘net positive’ futures.
Brand Strategists have an important role to play in informing sustainable design policy. Unlike most designers, they work ‘upstream’ and have capacity to directly influence business decision-making. At present, very few design students are exposed to brand strategy, and as a result, their potential to affect change within this context is limited. This deficit presents an opportunity that is addressed in the project described here
Stone Crossing
No full textStone Crossing (2025)is a performance and multimedia installation by artists Lanyun Huang (Finch) and Owen G. Parry in 'The Sensitive Entity: Poetics of the Everyday' exhibition at Yuheng Art Museum, Guangzhou, China, 11 Dec 2025 - 8 March 2026.
Stone Crossing brings together Owen’s performance hangout – slow choreography, fan-made music and idle play with Finch’s playful and poetic approach to vibrant objects. It features 'Homework' (2025) – a sculpture and theatrical prop that stands in as a meteorite from outer space, a philosophers stone found in ancient Chinese tradition, or simply a rock around which a picnic happens.
The work forms a large-scale installation of domestic objects and found artworks organised intuitively into an archive of colour. The objects are picked up and activated during the live performance; reassembled or repurposed to produce choreographic actions, or "shipped" with other objects and the performers themselves to create small inconsequential shrines and monuments of the everyday. Stone Crossing meddles with time and materiality, drawing attention to the magic theatres of the everyday, while inviting readjusted and relaxed forms of spectatorship.
The Sensitive Entity exhibition invites an aesthetic and perceptual reconsideration of daily experience. In a time shaped by acceleration, the faint glimmer of light, the brief pause, the unnoticed material trace are easily eclipsed. The exhibition seeks to reawaken a delicate attentiveness, guiding viewers from“browsing” to “dwelling”, so that the density and depth of ordinary life may once again be felt.
The exhibition includes artists Guo Tutu, Emma Mo, Owen G. Parry & Lanyun Huang (Finch), Wang Yuhe, Xu Dengqian, and Zhu Guanha.
Hosted by Wang Shaoqiang, Professor at the Chinese National Academy of Arts and Director of Guangdong Museum of Art, curated by Yao Xiaofei with assistants Yu Ziqi and Li Yingzi, and presented in collaboration with local arts institutions and partners
Phygital adornments: exploring new design interactions in an education setup
Get PDFTechnology today plays a major role in our daily lives, affecting many aspects of our social, professional, and personal environments. The way we live, work, learn, and interact with one another has changed, from our smartphones and smartwatches to social platforms and online communities, to e-learning and digital libraries, and the list goes on. With its ability to combine digital information with the physical world, Augmented Reality (AR) is becoming increasingly integrated into our daily lives by enabling us to view real and computer-generated images within the same field of view (Berry et al., 2006). Compared to other technologies like Virtual Reality, AR can be considered a technology that is easier to integrate into our daily lives because it has been included in commonplace devices like smartphones (Heller et al., 2019). Despite the proliferation of numerous software and hardware developments in recent years, a knowledge gap exists in relation to the influence these digital tools might have on the designer’s creative process. Thus, this project focuses on the examination of such digital tool integrations, specifically in the domain of jewellery design through the collaborative project Let’s Get Phygital (LGP)
Learning to Compute: An Overview of Computing Education in England from 1970 to 2014
Get PDFThis paper will present a brief history of computing education in England from 1970 to 2014. It sets out to provide the context which shaped the 2014 computing curriculum. After this curriculum had been in place for almost a decade, the paper provides an opportunity to see how computing skills, including information communications technology (ICT), have been taught in England and how that shifted towards a more computer-science-focused curriculum in 2014. This paper gives a brief overview of how the formal subjects of information technology (IT), ICT, and computing became a strategic part of UK compulsory education. It examines the introduction of computers into schools in the 1980s, what computing in schools looked like, and how different forms of computing were variously integrated into the national curriculum for England and Wales
Future Art Ecosystems 5: Art x Creative R&D
Get PDFThe evolving landscape of art and advanced technologies (AxAT) has witnessed significant transformation over the past decade, with Creative R&D emerging as a distinct domain integrating artistic experimentation, technological innovation, and cross-sector collaborations. The fifth volume of the Future Art Ecosystems briefing series—Art x Creative R&D (FAE5)—examines this critical nexus and offers concrete recommendations for its development and impact.
Bringing together insights from over 60 leading voices from across the field including – artists Danielle Brathwaite-Shirley, Anicka Yi, Lauren Lee McCarthy, Natsai Audrey Chieza and Ian Cheng; innovative organisations 221a, Trust, Watershed, Royal Shakespeare Company, RadicalxChange; and key policy stakeholders including Creative UK, AHRC, DCMS, British Council and many more —FAE5 reveals the substantial impacts and public value that R&D generates as a core dimension of cultural production. The report demonstrates how artistic production processes and dedicated organisations can function as essential spaces for societal experimentation with advanced technologies, offering distinctive approaches to innova
Compassionate Crits: Identifying inclusive practices for crits and presentations
No full textThis contribution emerges from my MA dissertation project "Cripping the Crit: Exploring the inclusivity of crits and presentations through the lens of Disability Studies". Crits and verbal presentations are sites of significant stress and anxiety for students, with crits in particular having a 'trial by fire' reputation. My research highlights barriers that students may encounter in crits and verbal presentations, and identifies ways to take more inclusive, compassionate approaches to crits and verbal presentations