15792 research outputs found
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Worlding Museums’ Data
No full textMuseums use online catalogues to convey stories of their objects, enriched with descriptive data and categories. As museums worldwide adopt information systems and digital media, their intention is to enhance accessibility to their collections and amplify the visibility of their objects. Despite the potential of digital media to democratise and challenge prevailing narratives in global arts and culture, digital tools often perpetuate existing power imbalances rooted in colonial foundations and western epistemologies. This dichotomy, coupled with critical examinations of museum narratives, prompts a careful exploration of concepts when framing museum narratives in a data-oriented realm. It brings to the fore the necessity of reimagining and worlding museums to incorporate counter-narratives that reflect other ways of knowing and being.
This presentation discusses how worlding museums’ databases and data can offer pathways for curators and scholars to present nuanced counter-narratives through data-centric approaches, envisioning a more reparative and emancipatory representation of global cultural heritage. Brought up within the framework of the Worlding Public Cultures project this approach is used to examine tensions in the rationale behind collecting mechanisms and the hierarchical frameworks and structures dictating the categorisation, labelling, and classification of artefacts, creators, and cultures.
Departing from traditional museum-as-text approaches, this presentation scrutinises the complex and often contradictory interplay between databases and narratives and rejects notions of database neutrality, objectivity, and flattening when introducing the concept of data as ‘capta,’ shaped through human interpretation. The analysis emphasises the intricate dynamics within museum databases, revealing complexities, generalisations, and contradictions. Bringing forward the reparative and emancipatory potential of digital technologies and narratives, the presentation will propose possible strategies some of which are illustrated by existing practices and digital projects, such as the database and website of Worlding Public Cultures
Echoes of Elsewhere
No full textAuralPluralities Network presents Annie Goh, Sandra Kazlauskaite and Marie Thompson, whose practices are entwined by way of a shared critical interest in gender, technology and auditory culture in relation
Invisible Voice: How Art, Technology, and Activism Reshape Perception
No full textThis symposium addresses these needs by convening an international dialogue that spans academic discourse and practical applications. By fostering collaboration and knowledge exchange, we aim to explore new strategies for accurately addressing, monitoring, and measuring the multiple impacts of projects situated at the intersection of the arts, technologies, and sciences, within the global challenges of contemporary society.
Mark Farid presented his research project, Invisible Voice which is an interactive public art installation featuring an advertising board equipped with custom sensor technology. When an audience member approaches, the sensor triggers an analysis to identify brands the person is wearing or carrying. These brands are cross-referenced with the Invisible Voice database, displaying relevant images and (controversial) news article headlines on the screen to create a subvertising effect. This setup not only educates but also encourages active public participation by revealing the social and environmental impacts of consumer brands. As viewers approach, the installation displays detailed data about the companies, including environmental impacts, corporate accountability, lobbying, and financial conduct, along with a network graph showing links to other companies and individuals. This dynamic interaction transforms passive observation into an engaging pedagogical experience
What it Takes: A Life in Activism Hanna Poddig interviewed by Sophia New
No full textAfter the Research week in 2022 at the HZT- Inter-University Centre for Dance Berlin there was a public talk where I interviewed Hanna Poddig about the different strategies and contexts of her work. This chapter is an edited version of that conversation and part of the book series Corporeal Matters
safe keeping
No full textPerformance installation, 6 hours. Performance programme with Devika Bilimoria, Marilyn Arsem and Sandra Johnston for 'CEREMONY [I]', Future Ritual, Londo
Theatre against itself: performance, politics and the limits of theatricality
Get PDFChapter investigating the differences and interconnections between theatre and theatricality
Valorisation of sulphonated lignin as a dye for the sustainable colouration of wool fabric using sustainable mordanting agents: Enhanced colour yield, colourfastness, and functional properties
Get PDFBiodegradable sulphonated lignin (SL) can be used as a natural dye for the sustainable colouration of wool fabric. for producing brown shades on wool fabric, but the colourfastness to washing is only moderate, and the colour strength is also weak. In this work, wool fabrics were dyed with various concentrations of water-soluble sulphonated lignin using several sustainable mordanting agents to improve the colour yield and also the colourfastness to washing along with introducing new functional properties, such as UV protection capabilities. The colour yield of wool fabric dyed with lignin sulphonate using various mordanting agents was measured by reflectance spectroscopy. The Al and Ca mordants produced brown colour but the Cu and Fe mordants produced olive and grayish-brown colours respectively. The dyed fabrics exhibited high colour yield and enhanced colourfastness to washing. The dyed fabrics exhibited high colour yield, which increased with an increase in the lignin concentration and also showed improvement in colourfastness to washing by a grade. The highest colour strength was produced by wool fabric treated with 5% on the weight of fibre lignin sulphonate using Cu mordant at 35% on the weight of applied SL (ows). The Al and Ca mordants produced brown colour but the Cu and Fe mordants produced dark olive and dark greyish brown colours respectively. The colourfastness increased to Grade 4 for all the mordanting agents studied in this work. The Cu mordant provided the highest colour strength (4.21) for the fabric dyed with 5% (on the weight of fibre) lignin sulphonate at Cu mordant concentration of 25% on the weight of lignin sulphonate (ows) and increased the colourfastness to washing to Grade 4/5 for the fabric dyed with 5% lignin using Cu mordant concentration of 35% (ows). The results suggest that The developed method can be used for the sustainable dyeing of wool fabrics in the textile industry with high colour yield and colourfastness to washing for producing verities of colours
Fashion Otherwise
Get PDFAs we hurtle through the 2020s, the earth spinning on its axis at a calculation of 460 metres a second, we wrestle with the super-complexity of ecological, technological, political, social, and economic entanglements. With our multiple frames of understanding in a more than human and unknowable world, this can be exciting and daunting. How we perceive, imagine, know, and interact in the world, involves a sense-making through an unravelling and embracing of ideas and contexts. We are in a state of profound epistemological and ontological crisis described by Bateson (1972), Guattari (2014), Harraway (2016), Escobar (2017) and Akómoléfé (2013) with symptoms and signs of the self-harm that parts of humanity are inflicting on humanity itself and on all life forms. Fashion demonstrates this self-harm in arresting and imbalanced ways, the fashion consumption carbon footprint target for 2030 is exceeded in 14 of the G20 countries. On average, the fashion emissions per capita of the richest 20% were 20 times higher than the emissions of the poorest 20%. This ratio varies substantially across countries, consistent with levels of income inequality (Luca Coscieme et al., 2022).
Fashion’s habits of self-harm have become normalised. Letting go of bad habits is difficult but might be humanity’s greatest demonstration of commitment to life and the ability to imagine otherwise, beyond the dominant current status quo and received wisdom. Humans are a social species, without a togetherness, with other humans and other forms of live, we can’t exist. Our being is relational; as individuals, species, and societies, we are embedded in the cyclical processes of nature. This lies at the heart of our ability to thrive
The role of digital technologies in contemporary craft practice from UK–China insights
Get PDFDigital technologies such as digital production and online marketplaces have generated revenue growth and sustained work in the music and game creative industries. However, there is little research on how digital technologies impact contemporary craft. Here we present the results of a twenty-month AHRC research project which explored the role of digital technologies for craft in China and the United Kingdom. The research was undertaken prior to the mass adoption of online tools such as videoconferencing, which became necessary due to enforced social distancing during the recent pandemic. It provides an account of the craft ecosystems in China and the United Kingdom as they started to embrace digital technologies – ecosystems which inevitably evolved with craftmakers’ enforced migration online. This article reports on mixed-methods research stakeholder surveys, workshops and quick ethnographic studies conducted to capture how digital technologies were used across the craft making journey from Planning and Inspiration through Materials and Preparation to Production and Making. Comparing the differences and similarities between China and the United Kingdom enables us to better understand the potential of digital technologies for craft. For example, live streaming, an emerging digital technology at the time of the research, was already a popular way for craftmakers to engage broad audiences in China, whilst UK craftmakers tended to use personal websites, e-mails and newsletters. Craftmakers’ knowledge has necessarily shifted to encompass the digital, often at the expense of precious making time. On the one hand, digital tools and processes of the Fourth Industrial Revolution have transformed many craft skills from making by hand to making by computer; on the other hand, social media and online marketplaces have changed the relationship between craftmakers and consumers and may shape which crafts flourish in the future