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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
Full text linkKeynote 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
Full text linkArtificial 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
The economy of suffering during the mpox crisis
Full text linkThis study examines the ethical dimensions of health communication during the 2022 mpox outbreak, focusing on the interplay between social media and public health officials in shaping stakeholder responses. Based on semi-structured interviews, findings reveal that social media played a crucial role in information dissemination for months during the crisis, while public health officials were slow to offer clear guidance. While social media empowers advocacy and the sharing of personal stories, it also raises ethical concerns, particularly regarding how vulnerable communities may become entangled in an economy of suffering, where their experiences of pain are validated and interpreted by stakeholders through a selective mechanism rooted in cultural codes and power dynamics. Moreover, systemic inequities render the suffering of marginalized groups, particularly those with intersecting identities, less visible and intensify the consequences of inadequate outreach. This creates a disparity where the suffering of those in more privileged positions is more readily recognized and addressed. The theoretical advancement lies in reconceptualizing the platformization of pain to include narrative resistance, highlighting that marginalized groups actively contest and reshape suffering narratives rather than passively experience them. This expanded framework also deepens the concept of an economy of suffering by integrating hermeneutical injustice, which emphasizes how power dynamics shape not only the visibility of suffering but also the interpretive frameworks that validate certain narratives while marginalizing others
The tri-dimensional role of sustainable secondhand clothing consumption in circular systems: a conceptual framework
Full text linkSustainable fashion scholarship has advanced, yet the industry’s unsustainability persists (Abbate et al., 2024; Mukendi et al., 2020; Niinimäki et al., 2020). Textile waste remains a key issue, exacerbated by unsustainable consumption (Birtwistle and Moore, 2007; Tang, 2023). Whilst circularity is seen as a model for circular transitions, its environmental impact reduction is debated, especially regarding clothing reuse (Corvellec et al., 2021; D’Itria and Aus, 2023; Sandin and Peters, 2018). Secondhand consumption (SHC) is booming (Herjanto et al., 2019) and remains crucial for achieving sustainability, given the role of the consumer in CE (Machado et al., 2019; Turunen and Gossen, 2024; Valor et al., 2022). There is a surge in scholarly calls challenging the crux of SHC, concerning when and how SHC consumption contributes to sustainability, which remains absent (Iran and Schrader, 2017; Moon, 2024; Sandberg, 2021). This study addresses this, proposing a conceptual framework to guide scholarly and practitioner avenues for further research
Creative Writing in the Threshold Narratives on Point of View and Perspective, Intertextuality, Place and Setting, and Metaphor
Full text linkCreative Writing in the ȋreshold: Narratives on Point of View and Perspective, Intertextuality, Place and Setting, and Metaphor is a thesis that combines academic and creative writing to investigate narratives by tutors in Ibero-American academic institutions. Accompanying my research is a handmade artist’s book that calls itself ȋe Diviner, who intervenes in my chapters in the form of marginalia, expanding on my qualitative research with autoethnographic and metafictional references. Underpinned by an epistemology of between-standing – e.g., learning from the liminal space or “threshold” between creative writing, pedagogy and research –, my go-finding approach defines the sought encounters with the Other, between disciplines and modes, and with other languages via literary translation. Tutors’ narratives in translation are curated to weave a tapestry of diǺferent perspectives on four key threshold aspects that apply narrative concepts to creative writing pedagogy: point of view and perspective, intertextuality, place and setting, and metaphor. Reframing the tutor of creative writing as a narrator, I explore what these aspects reveal about method but also the narrative choices that they imply: how tutors craȄt their narratives, how they manifest their cognizance, where they situate themselves on the psychic distance spectrum, and what tone they adopt (Chapter One); what criteria guide their selection of exemplary literary works (Chapter Two); how tutors and students are aǺfected by place, and how tutors design their settings (Chapter ȋree); what the workshop as a metaphor means to them, and what other metaphors they associate with creative writing as an institutionalised discipline and as an artistic practice (Chapter Four). Foregrounding plurality, subjectivity, unfinishedness and aesthetic coherence, this thesis performs its findings as much as it narrates them, inviting readers to reimagine research in the field of creative writing studies
Agency - Towards a Film about Radical Ageing Now
No full textThis participatory workshop at House of Annetta, as part of Antiuniversity was open to all aged 50 and over, developing creative strategies around issues of ageing and elder knowledge in contemporary society. Working together we explored forms of cultural expression for these ideas. Workshop initiated by film-maker and cultural activist Andrea Luka Zimmerman with curator and creative consultancy by Gareth Evans.
Agency is a long-term, cross-disciplinary, collaborative cultural-social project considering ageing in its traditional, imposed, multi-dimensional and oppositional manifestations. Working with older people both invited and drawn from open participatory workshops, as well as those younger and from various communities of interest, Agency will explore diverse expressions of what it means to grow older in our society. Thinking through and with the body, ecology, the more-than-human, scales of time, class, race and gender concerns, it will deliver various outcomes. Under the direction of Andrea Luka Zimmerman, and with Creative Consultancy from Gareth Evans, it is currently partnered with House of Annetta and Raven Row
Prinz Albert - Sammler, Erzieher und Kulturvermittler
Full text linkVictoria and Albert – Paths and Effects: The volume presents selected results from the 38th annual conference of the Prince Albert Society, held in Coburg in 2019 to commemorate the 200th birthdays of Queen Victoria of Great Britain and Ireland and Prince Albert of Saxe-Coburg and Gotha. The contributions all follow an approach rooted in reception history, which aims not only to discuss the biographies of the two protagonists but also to focus on their historical legacy
No room! Of course there's room
Full text linkThis article is an adaptation of a workshop provocation given at the University of the Arts London (UAL) Education Conference in July 2023, which I set up as an ‘Alice in Wonderland’ ‘Mad Hatter’s’ table. I dressed the table on theme and equipped it with props, as a set to share with fellow educators a focus group project I had undertaken with students on overcrowding in their college art studios. I held up the lack of room in the studios as a social justice issue for exploration, first, as the inflation of numbers and knock-on impact of overcrowding of studios felt by students was acknowledged as result of over-recruitment to the course during and post pandemic; and second, exploring the question of whether minority students are most impacted; including those who are less confident to claim space due to factors such as accessibility, language barriers, financial issues and lack of peer support within the course. By putting workshop participants in the position of taking a seat at a fictional table space, loaded with caricature, I sought to provoke a creative dialogue around positionality and our relationship to shared space, while contemplating anonymised transcripts of the focus group dialogue that had taken place with students around a different table earlier in the academic year. The workshop gave reference to the ideas of Nirmal Puwar regarding positionality and the negotiation of space; and to Mikhail Bakhtin when considering student utterances in the focus group dialogue
Exploring gestural affordances in audio latent space navigation
Full text linkThe latent space of generative AI models affords unique creative possibilities and broad design space for AI-enhanced digital music instruments. While interface designs for latent space navigation typically rely on sound-producing gestures that involve bodily motions and movements, the underlying subjective perception of these gestures remains underexplored. To understand how musicians perceive sound-producing gestures and tailor performance techniques in audio latent space, we present a user study workshop with an AI-enhanced digital music instrument with a tablet interface. Eighteen musicians were recruited to test out open-ended gestures and tasked to create musical scores. We report how they use sound-producing gestures in the latent space and develop performance techniques. We contribute findings from an embodied music cognition perspective of how subjective perception of gestures shapes musicians' technique development in audio latent space navigation. We discuss the implications of new gestural affordances discovered by participants in our workshop, aiming to elucidate new opportunities for digital musical instruments with audio latent space navigation