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Infrastructuring to support multi-discipline, multi-stakeholder research: Co-designing synergy through a systems lens
Get PDFThis paper explores how systems informed collaborative design practice can help multi-discipline, multi-stakeholder research to integrate knowledge and think in aligned ways. Whilst there is growing appreciation for the need to do joined-up complex research and move beyond one-way research processes, there is less consensus on how researchers can practically work together to integrate their skills, expertise, and knowledge. Through working closely with an ongoing research consortium, participatory design approaches were developed that can benefit complex research projects, leading towards better collaboration across disciplines sectors and publics.
Learning from interviews with researchers on a large-scale multi-discipline multi-sector consortium, who came from different backgrounds, with varying perspectives and expectations, collaborative design methods were developed to support researchers in taking self-determined steps toward more productive research infrastructures. The consortium aimed to employ systems approaches to help researchers to understand and address complex urban challenges. Taking a starting point in different understandings of systems approaches on the project, the design research was influenced by contemporary approaches to community involvement in the urban planning system.
The activities described in this paper sought to build capacity towards a responsive infrastructure of shared connections, interests, and needs, with the overarching aims of supporting future discussions about dynamics, interactions, alignments, and synergies; and making a process contribution to the improved integration of the consortium
Geometries of Depersonalization
No full textKovitz's art constantly redefines the boundaries. In The Lessons, he offers not only insight into his method, but also a profound meditation on the fundamental principles and mysteries of art making. The Lessons documents a series of paintings inspired by the dynamics of art education and the artist's creative process. Kovitz takes on the roles of thirty-four fictional art students who are asked to visualize concepts from a spiritual encyclopedia, beginning with standardized lesson sheets. These six black and white line drawings depict themes of art education, historical phenomena, and reactions to art, such as iconoclasm and appreciation. The result explores the tension between the systematic and the personal, as well as the role of imagination and visualization in our lives and in the production of art. Kovitz's works blend genres, and several paintings in this series have a deliberately unfinished quality that emphasizes the artwork as a residue of action and the artist's eternal question, “When is a work finished?”. Understanding art education as both method and metaphor, the book presents the process as a dialog between systematic approaches and the unpredictable emergence of expression. The underlying lesson sheets, reminiscent of pages in a coloring book, anchor the project, while the overpainting adds spontaneity. These layers - structured and impulsive - create a poetic tension and embody Kovitz's navigation between discipline and freedom. With its conceptual depth and experimentation, and texts by Chris Kraus, Pil and Galia Kollectiv, and Matthew Poole, it is an important contribution to contemporary art discourse
Becoming Frogphlegm
No full textThis film-in-progress research Becoming Frogphlegm maps my semi-mythic journey across species and continents, to ask the persistent questions: “How to exist on land?” and “How to exist in the water?” Here swimming becomes a speculative, performative form of land art by which to navigate amphibious entanglement across landscape, protest and sculpture.
The research queries any sense of permanence of art on land as it documents the dramatic erosion of coastlines across the UK, showing five metres of coastal loss in two tides in Storm Ciaran in Dorset and Storm Babet in Angus. Here, a whale lies monumental on the shore in Arbroath, the body battered by Babet, local children using its body as makeshift play equipment. Meanwhile, dialogue is created with sculpture, through a monumental Henry Moore in the torrential rain of Yorkshire Sculpture Park, the weir of the River Dearne fast flowing to contain the deluge.
We see varied and persistent barriers to the water. In Singapore, the beaches are shown closed by oil spill; in London, the constructed waterways next to the US Embassy run red from a Greenpeace protest. Sculptural materials are melted into the film as liquidity and solidity converge in more sustainable ways of making. Seaweed is sandcast at Coles Castings’ biofuel foundry, run on vegetable oil, the artefacts posited as storage of precious metal, that can be recycled in future crisis.
Yet as both film and object are held as a reminder of a sea that once was swimmable, the research ends with the dilemma of whether this validates the making of art in the climate emergency, or whether we should embrace leaving nothing behind
here and not here
No full texthere and not here abstract:
This creative text is adapted from the narration in my film here and not here (2025)—a diary, dispatches from a place that does / not exist—a site of pressured being, a state in waiting, a geography beyond, but permanently besieged by conflict—and also the willed, resistant space of dream, desire, and imagination. Made in the Occupied West Bank and Golan Heights during the A. M. Qattan Foundation’s “Ways of Traveling” Residency, 2020–23, here and not here reflects multiple creative collaborations and conversations.
ROOM:A Sketchbook for Analytic Action|10.25
Overwhelm
ROOM is a sketchbook for analytic action, and toward this end, my editorials have paralleled the action of psychoanalytic interpretation by recognizing common threads and highlighting the underlying themes that connect different voices from all over the world. In this way, the significance of each issue is brought to the surface and marks another discrete moment in ROOM’s living analytic archive.
The essays in ROOM 10.25 are as raw and urgent as any we have received. Their authors hail from Sudan, Palestine, Israel, Croatia, and the US. They write about what it feels like to be living a split screen. They write about how we split words from context. They write from inside a refugee camp in Gaza and from inside the federal building in New York. They write about children—their own and ours. There is no single thread to hang on to. There is no center that holds.
Finding strength to bear witness and to bear our broken hearts is also analytic action.
ESSAYS
Celeste Kelly | Splitting Genocide
Sonni Mun | My Home: Kidnappings in New York
Eiman Hussein | The Unseen Scars Navigating the Psychological Landscape of Sudan’s War
Oleksandra Kurbala | Dreaming of Crimea
Karim G. Dajani | Why Him and Not Me? Speaking of Home, An Update
Dr. Mohamed Omran Abu Shawish | When Trauma No Longer Resembles What We Read in Books
JT Mikulka | Demands for Recognition
Dana Amir and Azz a-Din | Looking into the Face of the Gorgon
Jyoti M. Rao | Our Children: Discarded, Disdained, and Destroyed
Irwin Kula | Why We Can’t Stop Our Children from Dying of Gun Violence
Caleb Cobra Cornell | When Kids Kill Other Kids: A Sixteen-Year-Old Writes After Columbine
Patrick Cole | We’ve Had a Problem: We Don’t Understand Our Touchstone Quotes
Andrea Luka Zimmerman | here and not here
CORRESPONDENCE
Helena Vissing and Heba Al-Turk | Mothering Through Genocide
POETRY
Nan Cohen | Late Grief
Natasha Kinsella | Inheritance
ART
Joyce Pommer
Cynthia Sparrenberger
WE ARE THE LIGHT
Number 3
COMMUNITY PROJECTS
Susan Cortilet Jones | Mental Fitness Matters: A Community Supporting Activism and Personal Resilience
Dana Amir and Mira Erlich-Ginor | Psychoanalysis in Action: A Collective Response to Political Crisis
Update: From Sanctuary to Scary Place for Latinx Migrants and Their Children: Can Access to Education Still Be a Motor for Change in New York City?
Update: Speaking with White Catholics and Evangelicals: An Interview with Doug Pagitt of Vote Common Good
READER RESPONSE
Michael Ferrar
How to Pin Down Smoke: ruangrupa since 2000
No full textHow to Pin Down Smoke is an expansive guide to ruangrupa and their singular and multifaceted practice. Formed in Jakarta in 2000 against a background of authoritarianism, economic crisis and youth movements, ruangrupa is an art initiative whose work playfully subverts traditional art- and exhibition-making, offering a living model of collective organisation, sustainable institution-building and ways of relating to one another. Through new commissions, interviews and extensive archival documentation, this publication explores how ruangrupa’s 25-year history expands understandings of ‘art’, ‘exhibition’ and ‘publics’, integrating elements of popular culture, media technology and contemporary urban life. Contributors include Ronny Agustinus, Leonhard Bartolomeus, Melani Budianta, Wing Chan, chitarum, Ade Darmawan, Özge Ersoy, Charles Esche, Nuraini Juliastuti, Abidin Kusno, Umi Lestari, Arianna Mercado, Ugeng T. Moetidjo, David Morris, farid rakun, Gesyada Siregar, Ibrahim Soetomo, Enin Supriyanto, David Teh, The Secret Agents, Mahardika Yudha and Ardi Yunanto. Edited by Wing Chan, Arianna Mercado and David Morris
Strata: Rising Levels
No full textStrata: Rising Levels is part of an ongoing series that explores the concept of time as non-linear—where events and geological changes do not unfold sequentially, but rather accumulate gradually and concurrently. The work challenges the conventional perception of time as a straight line, instead imagining it as a compacted mass in which events and materials coexist, layered atop one another.
Some pieces in the series take the form of vertically stretched pillar-like structures composed of everyday objects—TVs, bricks, car doors, boats, wood, pipes, tents—assembled into towering compositions. Other works resemble archaeological digs or excavation sites, stretching out horizontally like stratified landscapes. Here, the ground beneath our feet is not a single contemporary moment but a dense palimpsest, supported and shaped by countless overlapping events, bodies, buildings, and materials from various times. Sometimes the weight of amassed material is overwhelming and sometimes memories in the form of materials float more effortlessly between dark/deep space/time and seemingly more gravity-less top layers or fleeting surfaces
Retailing and Third Places
No full textThird places are not home or work (first and second place). They are public places that host the regular, voluntary, informal, and happily anticipated gatherings of individuals beyond the realm of home and work, in which social capital may be realized and applied (Oldenburg, 1999). In retailing, they are typically found in coffee shops and cafes. Since its inception, the concept has attracted further interest and broadened to include virtual places and their use for different demographic and social groups
Transforming Assessment: Evolving Practices for Climate Justice in Creative Education
Get PDFThe assessment of complex learning outcomes is a key challenge in higher education, particularly when evaluating students' engagement with urgent societal challenges like climate justice. While research has explored climate justice assessment across various disciplines (McCowan, 2020), less attention has been paid to the distinct challenges and opportunities within creative education. Here, traditional assessment methods must evolve to integrate practical and technical disciplinary competencies along with a critical understanding of climate justice principles (Sterling & Jickling, 2020; Shephard et al., 2019).
This study analyses learning outcomes and assessment practices across creative programs at one higher education institution, examining how climate justice principles are evaluated within a new, justice-focussed quality assurance framework. Through systematic analysis of institutional learning outcomes (Bearman et al., 2022), the research maps current assessment approaches and identifies novel, emergent practices that attempt to bridge creative and climate justice learning. Using the Scales of Transformation framework (O'Brien & Sygna, 2013; Centre for Sustainable, 2018), the study evaluates these practices in terms of the forms of engagement they foster with climate justice principles.
The findings offer practical insights into how assessment methods can be designed to capture meaningful engagement with climate justice principles in creative education. The study demonstrates the supporting role of principled quality assurance frameworks in enabling this innovation. It has particular relevance for institutions working to evolve their assessment methods to capture more meaningful engagement with climate justice principles
International Fashion Management
No full textAfter studying this chapter you should be able to understand:
- why international development underpins many fashion strategies
- the risks and opportunities of international strategy
-the different approaches to international strategy
-the need for strategy adaptations when entering and developing markets with different cultural norms
- the meaning of place and origin in relation to international fashion strategies
- the concept of strategic portfolio management for large global fashion organisation