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THD-Ebau
No full textTypeface design & engineering – functional typographic software Open Type format. The typeface has clean, sharp type forms in four weights, bold, medium, regular & light – inspired by classic extended 20th century sans serif type from central Europe, with a twist of utilitarian functionality
Carmengloria Morales: An Abstraction of Withdrawal
No full textThis chapter focuses on the Chilean painter Carmengloria Morales (b.1942) and the importance of the debates she encountered in Rome in the 1960s on the subsequent development of her career. Morales is the only woman associated with Italian Analytical Painting movement of the mid 1970s, as well as an inaugural participant in the New York Radical Painting group of the 1980s. In the winter of 1969 in her studio in via Montoro in Rome, she developed her first Dittico (or diptych). These remarkable paintings reposition abstract painting as a conceptual and material practice. In doing so she abandoned her previous bright, colourful and relational formalist paintings, and started to develop a more extreme, reduced, and radical understanding of abstraction. The development of the Ditticos is intrinsically linked to the experience that Morales encountered in Rome, and her perception of the status and politics associated with abstract painting at the time. I suggest that these experiences were shaped through her joint friendships with the American artist Maricia Hafif (1929-2018) and the Sicilian painter Carla Accardi (1924-2014). Through a close reading of specific works, I demonstrate how these three pioneering artists shared vocabularies and ideas, even after Morales and Hafif had left Rome, and how aspects of Hafif’s own subsequent development, and her desire to “begin again” mirrors that of Morales
Pivotal Interiors: Intricacy Not Size
Get PDFWhile interior design as a taught subject may focus on details at a small scale – like materials, the human body, and the way light beams pass through a window and across a space, Cridge and Ungerer argue that interiors as a discipline need not, and should not, be limited to certain scales or small projects. Instead, its insights into, and attention to, the immediate tactile and individual spatial experience can be applied to large spaces as much as on the inside/outside threshold. Using the ‘hinge’ as a metaphorical and physical device, the authors discuss five examples by OMA, Steven Holl and Vito Acconci, Gary Chang, Michael Hansmeyer, and in the work of Zaha Hadid – the famous woman architect who originally had trained as an interior designer – to show that interior design is not about the size of projects but about their intricacy.
Presentation of chapter co-authored by Sophie Ungerer and Nerma Cridge as part of book launch with editor Carola Ebert, followed by discussion on interior theory
Cultural Heritage and the Creative Industries in the Making of the Current UK-India Research Landscape: From Development to Equitable Partnerships
No full textReport of the AHRC India fellowshi
Neurodiversity Meet-Up @ CHI: Building a Neuro-Affirming Community in HCI
No full textThis Meet-Up aims to support the neurodiverse communities at CHI and broaden our examination of our practices, with the goal of fostering neuro-affirming environments both within and outside academia.
Following our Special Interest Group (SIG) meeting at CHI last year, we aim to further establish a sense of community, continuity, and tradition at CHI and continue these discussions in the long term. We build on our existing resources and community from this SIG and seek to continue extending it in future years, welcoming participants of any neurotype to join us in this endeavour. We focus on shared strategies, creating infrastructure, and providing access to information through documentation. We will discuss how different actors at micro(individual), meso(community), and macro(structural) levels can help distribute access labour through a World Café-style discussion, followed by a document of resources for the community to access
Organising Principles of Experience
No full textAn experimental short film in which I collaborate with an AI model, tuned to the writings and sensibilities of Maya Deren, to imagine new films. The project explores memory, possession, and the digital afterlife, questioning what remains when the past becomes data and how an artist might lay claim to her absent idol. This work investigates the potential of generative AI as a collaborator in the creative process of screendanc
Fossils
No full text‘Fossils’ maps the interlinked logics of extraction at work in ecological collapse and the exploitation of human capital across three short live vignettes. It seeks to challenge both the fatalism of seeing capitalism as a force of nature and the vitalism of imagining nature without humans. The monologue of a decaying skeleton attempting to unionise his undead comrades reflects on class (de)composition. Two decoy trees, echoing the arboreal observation posts of the first world war, reflect on the way humans project meaning onto their natural environment. A many-headed oil spill mediates these perspectives: it is legion, a multitude at once demonic and pathetic, declaiming market values and anticipating their apocalyptic end. Together, these scenes from the near future explore the ways in which value extraction is intensified as new sources of growth become scarce. They examine the relationship between acting and actants, between theatre as a space for representation and performance as a site of action. Deploying Brechtian performance strategies, they stage a demand for collectivity and solidarity in a diminished public sphere
Beyond Mass Hysteria. Artistic Responses to Misogynistic Violence in Im Heung-soon and Dinh Q. Lê
Get PDFKeynote Speech at Kor;East, one-day Early Career Researchers Conference showcasing postgraduate and emerging scholars whose work illuminates the complex exchanges between Korea and its regional neighbours.
My talk is a cross-analysis of Korean artist Im-Heung Soon's 'Factory Complex' and Vietnamese artist Dinh Q Lê's 'The Texture of Memory', focusing on their shared engagement with violence exerted on women and their reception in psychiatric terms. I deconstruct the latter's epistemological basis as founded on western, patriarchal medical knowledge, highlighting artist' and non-western paradigms of healing
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