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THD-RE-CONTROL
No full textA typeface designed by Tim Hutchinson. The typeface is soft stencil based form with geometric undertones – main usage is for display purposes. Released / Published June 2025
Untitled
No full textUntitled (2025) is a collaborative publication developed by artist and writer Morgan Quaintance and writer and academic Maria Walsh. Through a series of dialogic exchanges both writers explore (directly and indirectly) the core themes of home, alienation, intrusion and belonging. The book was published by Chelsea Space to coincide with Quaintance's exhibition Available Light, but it also stands as an autonomous publication
A Short Review of Responsible AI Music Generation
Get PDFArtificial intelligence continues to become increasingly embedded in musical practice and yet there is little evaluation of how transparent and ethical these systems are. Surveys of AI models to date focus on the technical features of AI models and there is a lack of surveys of the practical and ethical application of AI models for musicians, producers, and composers. This paper surveys 27 contemporary AI models for music generation in terms of creative input and output (symbolic music, audio, text, or image), musical task (symbolic composition or audio generation), and Responsible AI properties of transparency & explainability, fairness, accountability, and ethical AI. Analysis of these facets of AI model use in creative practice highlights the trade-offs and challenges in designing equitable and ethical AI tools for music-making. The survey highlights a lack of transparency and control of AI model training and fine-tuning, a lack of openness of licensing and source code, a lack of ethical reporting of training datasets, and a focus on AI models for audio generation at the expense of real-time music generation for use in composition, performance, and improvisation. Our analysis offers insights for researchers, developers, and musicians seeking to navigate this fast evolving landscape of musical AI. We suggest that research is needed to develop clearer frameworks for evaluating AI models in creative domains, focussing especially on user journeys that help users understand the mechanics, limitations, and ethical considerations of these systems in music making practice
On (Dis)connection
Get PDFThis article asks how creative practice researchers — ordinarily working in disparate fields — might find common ground to speak across disciplines in addressing important issues and shared problems. It makes a case for the value of creative writing methods as tools to enable this shared space, and through which diverse scholars can explore the embodied and networked aspects of their “thinking” and “doing” as (creative practice) researchers. Specifically, we discuss a writing workshop that we ran in Vietnam’s Ho Chi Minh City, as well as the Listening chapbook that developed as a result (and which accompanies this article), as a case study for how these methods might be deployed. The chapbook, we believe, highlights the poetic and material aspects of language and writing, and explores how these can enable the expression of more than the “informational” aspects of reflective writing. We reflect on how the chapbook emerged as an extension of previous work by co-authors Jessica Wilkinson, David Carlin and Michelle Aung Thin in creative writing methods, specifically around essaying, collective writing and poetic inquiry. We hope that one of the contributions of this article is in the detail of its description of the process of this experiment which gave rise to the Listening chapbook
Integrating Eco-Social Justice in Design Education: A Case Study on Object-Based Learning in the UK
Get PDFPeer-reviewed conference paper (Best Paper Award), International Association of Societies of Design Research Congress (IASDR) 2025.
This paper presents findings from Phase 1 of an empirical case study investigating object-based learning (OBL) in undergraduate and postgraduate Design Management at LCC, UAL. Through the use of artefacts (drinking vessels), the research examines how sensory engagement with objects supports student learning and critical reflection on eco-social justice, contributing new insights into the role of artefacts in integrating ecological sustainability and social equity within design education.
Zhang, L. (2025), “Integrating Eco-Social Justice in Design Education: A Case Study on Object-Based Learning in the UK”. In International Association of Societies of Design Research Congress (IASDR) 2025, 2-5 December, Taipei, Taiwan, 2025 [Received Best Paper Award
Guiding Generative Storytelling with Knowledge Graphs
Get PDFLarge language models (LLMs) have shown great potential in story generation, but challenges remain in maintaining long-form coherence and effective, user-friendly control. Retrieval-augmented generation (RAG) has proven effective in reducing hallucinations in text generation; while knowledge-graph (KG)-driven storytelling has been explored in prior work, this work focuses on KG-assisted long-form generation and an editable KG coupled with LLM generation in a two-stage user study. This work investigates how KGs can enhance LLM-based storytelling by improving narrative quality and enabling user-driven modifications. We propose a KG-assisted storytelling pipeline and evaluate it in a user study with 15 participants. Participants created prompts, generated stories, and edited KGs to shape their narratives. Quantitative and qualitative analysis finds improvements concentrated in action-oriented, structurally explicit narratives under our settings, but not for introspective stories. Participants reported a strong sense of control when editing the KG, describing the experience as engaging, interactive, and playful
About Consuming Books: The Nijhof and Lee Collection
No full textDescribed as ‘the best London design bookshop in Amsterdam’, Nijhof & Lee occupied a small corner of the Staalstraat from 1988—2011 and gained a worldwide reputation for their combination of contemporary and historical design publications. This exhibition provides a snapshot into what remained of the shop stock after their closure; graphic design books, magazines, exhibition catalogues, type specimens and self-published work. The collection contains over 3,000 volumes, with a particular focus on typography, lettering, ephemera, printing, and artists books.
The bookshop reflected the knowledge and interests of the owners and life partners Frank Nijhof and Warren Lee and their lives with books. It became the home of many events and exhibitions that explored aspects of design and publishing, furthering this discourse before the widespread adoption of social media. Positioning the material adjacent to the shop at LCBA draws a parallel between the two and celebrates the role of books and independent bookshops in fostering communities. Items from the collection are grouped in a non-hierarchical manner around format and process, allowing work from eminent designers to sit alongside the underexplored and for new connections to be made across time and space
Human-Centered AI in Arts
No full textHuman-Centred AI (HCAI) concerns itself with prioritizing human needs and values predominantly in work-oriented settings, safety critical situations, and in terms of societal impact. For example, the responsible use of AI in healthcare decision making or the ethical use of AI bots in social media. The Arts provide an alternative lens through which to examine the challenges of Human-Centred AI. In this chapter HCAI Grand Challenges are revisited from an Arts perspective. Generative AI (GenAI) is frequently used in the Arts raising HCAI questions about how to design and evaluate GenAI systems which are Human-Centred focussing on human agency, aesthetic control, and inspiration. At the same time, questions are raised about how these systems can be trained ethically and responsibly to reduce bias. Questions are also raised about how HCAI techniques can be developed to evaluate AI systems in the Arts where uncertainty and surprise might be more important than transparency of explanation. Examples from research and artistic practice are used throughout this chapter to exemplify and bring to life current discourses and approaches to HCAI and the Arts
Soundbite: In what key ways has awareness of queer design and diversity changed since we collaborated on the Valentine Day postcard project in 1999?
No full textWithin the contemporary context of social, political, and economic uncertainty the importance of having a voice for change is increasingly urgent and necessary. Thirty years ago, the Women’s Design + Research Unit (WD+RU) was formed in response to the male-dominated design and typographic industry. The voices of women working in the field were noticeably absent from the profession and in the emerging canons of graphic design history.
As educational activists, WD+RU sought to raise awareness of women working in visual communication through activist means such as posters, research projects, actions and events. WD+RU has never operated as a design studio; rather as a collective based on feminist principles (including care and collaboration, in tandem with undertaking projects that advocate for design and social responsibility). In their talk, Siân Cook and Teal Triggs, reflect critically upon their extensive archive of work from the 1990s to the present day, and ask the question: what comes next
In the garden: listening, learning, and animating the more-than-human
Get PDFDrawing on interspecies storytelling and the spiritual agency of plants, artist Dominica Harrison shares In the Garden — a collaborative project exploring animation as a method of ecological attunement