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Trauma and Repair in the Museum
No full textI was invited to give a keynote at the Colonial Provenances Working Group annual symposium at the GRASSI Museum for Ethnology in Leipzig, Germany. This invitation was on the basis of my co-authored (with Dr. Alexandra Kokoli) article, Trauma and Repair in the Museum: an introduction, the theme of the symposium being Trauma and Re-traumatization in the museum and provenance research. In my keynote, I revised my earlier research on trauma and repair in the museum, using Dan Hicks' and Paul Basu's anthropological research and included artist case studies on Kader Attia and Onyeka Igwe based on interviews I did with the artists. Dr. Kokoli also presented a keynote on her research
Ok darling, show's over!
No full textSolo exhibition. Choreographic use of hardware, monitors, cabling, flight cases. The videos are edited and positioned to heighten their effect on the space. Most of the windows are painted black and the doors are only open for two hours after sunset on Fridays and Saturdays. Two unpainted window panels frame the street beyond, suggestive of a film, two orange traffic control lights flash out of sync in front of a parade of shops. Various elements over the course of the show are altered - interested in what happens if you don’t really try and finish something. At one point, a rug rolled up in the corner is laid out on the floor for use as a platform for performance and at another a radio playing drivetime songs is heard behind a closed door. During the following weeks new films and a painting are added
CRCFusionAICADx: Integrative CNN-LSTM Approach for Accurate Colorectal Cancer Diagnosis in Colonoscopy Images
Get PDFColorectal cancer (CRC) is a critical health issue worldwide and is very treatable if diagnosed on time. This paper proposes an innovative CADx system, namely CRCFusionAICADx, that enhances the efficiency of diagnosis by fusing CNNs with LSTM networks and feature integration techniques. Using data from the CKHK-22 colonoscopy image dataset, we preprocess the images into grayscale first and then apply LBP analysis for emphasizing textural features. These are further analyzed using three different pre-trained CNN models: VGG16, DenseNet-201, and ResNet50. These were chosen because of their complementary feature extraction capabilities. The resultant features from grayscale, LBP, and raw images will be fused to create an integrated dataset. To increase variability in the dataset and reduce overfitting for the network, we decided to apply a series of data augmentation techniques, which included zooming in, rotation, and horizontal flipping. By doing so, we expanded the dataset into 57,148 images. This augmented dataset is then used to train a model, RDV-22, which includes an integration of the architectures of VGG16, DenseNet-201, and ResNet50, with CNN and CNN + LSTM layers. The LSTM network learns the temporal dependencies of frames in a sequence and hence allows for more sensitive and specific detection of CRC. CRCFusionAICADx produces very impressive results, where the RDV-22 model produces a testing accuracy of 90.81%, precision of 91.00%, recall of 90.00%, and an F1 score of 90.49% in its results. This gives the model an ROC AUC of 0.98, reflecting very strong discriminatory power. This integrative approach thus shows tremendous promise for early CRC detection by offering a strong diagnostic tool that integrates both spatial and temporal features into a new standard in clinical diagnostics
Artefacts for Change: Integrating Eco-Social Justice into Design Education
Get PDFPeer-reviewed conference paper, in Cumulus Budapest 2024 Conference.
This paper presents structure and insights from the pilot phase of an ongoing doctoral research project that explores the potential of object-based learning (OBL) and physical design interventions in addressing the climate crisis and advancing eco-social justice within design education. The research investigates how the design of artefacts can enrich student learning and teaching practices related to eco-social justice.
Zhang, L. (2024), “Artefacts for Change: Integrating Eco-Social Justice into Design Education”. In: Cumulus Budapest 2024 Conference, 15-17 May, Budapest, Hungary, 2024, Volume 1, p.2181-2190. https://doi.org/10.63442/QONF133
Disrupting the Discourse: A digital resource to aid the development of a disruptive pedagogy for praxis and social justice
Get PDFDisrupting the Discourse: A digital resource to aid the development of a disruptive pedagogy for praxis and social justice. A report commissioned by London Metropolitan University’s Centre for Equity and Inclusion (CEI) and the School for Social Sciences and Professions (SSSP), and included in the London Metropolitain University’s Inclusive Practice Compendium (awarded silver in TEF)
THD-Byte-Flex
No full textA typeface designed & engineered by Tim Hutchinson. This typeface explores development of the 'scotch' typographic form & creates a contemporary line by deploying a continuum line on the ex-height for certain glyphs
Broadening Color Shade of Dyed Wool Fibre with Binary and Ternary Natural Plant Dye Combinations
Get PDFA limited selection of natural dyes’ color impedes the development of textile dyeing with natural plant dyes. Inspiring by the conventional coloration of textiles with a combination of three synthetic dyes generally, the present work is to investigate the broadening color shade of dyed wool fiber with ternary natural dye combinations of madder red (MR), gardenia yellow (GY), and gardenia blue (GB) without mordants in a decamethylcyclopentasiloxane (D5) medium. The wool yarn was wetted in an aqueous solution of pH 3 to own a 300% pickup rate, followed by immersion in a D5 medium containing 2% of alcohol ethoxylate (AEO-3) and solid natural dyes at 90°C for 90 min for coloration. The colorfastness to washing was achieved at a 4–5 for fading and a 5 rating for staining for all colors. The XRD patterns and TGA analysis confirmed that the dyeing procedure did not affect the crystallinity nature and stable thermal tendency. SEM images and cross-sections showed that the dyeing procedure did not damage the morphological structure of the wool fiber surface, and the dyes were evenly distributed. Finally, many color shades of dyed fibers were prepared with various dyes’ ratios
Bring Your Own Words
No full textAmita Nijhawan and Owen Parry present: Bring your own Words, an 'open mic night' of text, performance, stuff with Students on MA Fine Art at Central Saint Martins and others.
This event is the culmination of the 'Writing as Practice' seminar, which introduces a range of approaches to writing on, as, about, and with art and visual culture, including experimental, performative, embodied, de-colonial and affective models of art/writing
A Retrospective Autoethnography Documenting Dance Learning Through Data Physicalisations
Get PDFWe present a retrospective autoethnography grounded in data-driven design. The first author collected her movement data and subjective experience of learning the dance repertoire of modern dance pioneer Isadora Duncan, which together were encoded into the design of a set of plaster artefacts physicalising her embodied dance learning progression. The artefacts reflect the first author’s bodily transformation, mirroring her transition from discomfort to ease, and changes in her expressive capabilities. Our method offers an alternative to documentation of embodied learning through design. Throughout our design process we leverage on the movement data, the field notes and the first author’s memory of her journey, all of which constitute entangled and complementary input into her experience of dance learning. We show that the data physicalisations provided a gateway into the intangible experience and allowed for a deep and reflexive understanding of our dataset.
Best Paper Awar
Haunted spaces: Visualising the witch in expanded comics
No full textThis practice-informed study is about new ways of engaging with narratives of witch histories. Specifically, it explores the ways that site-specific stories of folkloric witches can be told using papercut as form of expanded comics, using walking and collaboration as creative process. The two papercut stories in the creative output sit at the intersection of story (the witches), people (the collaborators) and place (the spaces that house these stories), each component haunting the edges of the others. The interdisciplinary elements that comprise this thesis are conceptualised as haunted spaces to allow consideration of the effect and affect of the past within the present, be that the figure of the witch, the use of papercut and silhouette, the comics page, walking, or the collaborative process.
The thesis is structured into three primary sections. Section One establishes context by interrogating existing scholarship of haunting to construct a theoretical lens that facilitates a new means of looking at the core themes that follow. In the application of haunting-as-lens, I first look at how the witch is conceptualised, then specifically on visual representations, demonstrating the ways the figure of the witch is inherently haunted by existing stories. The second section focuses on process and product by exploring the potential for papercut to visually tell stories such as these that have an innately haunted quality, followed by the importance and use of walking as creative method that foregrounds engagement with story through relationship to place. The two papercut narratives operate at the boundaries of comics, and each are given their own chapter for analysis. The final section provides evaluation and reflection through its own haunted lens.
Comics studies is a dynamic discipline with rapidly emergent scholarship, yet relatively little attention has been paid to experimental, peripheral forms of the medium, what I term expanded comics. Papercut as a tool for visual storytelling provides opportunities to explore its use in expanded comics through practiceinformed enquiry, enabling contributions to knowledge within the field. Collaboration in comics production is commonplace but has only recently asserted its presence in doctoral studies; this thesis also contributes to innovations in practice-informed doctoral processes.
This study sits in dialogue with the current revival of interest in witches, witchcraft, witch histories, folklore and the occult, echoing contemporary uses of walking as a means of engagement with story. The papercuts offer a new and energised way of visually articulating these stories, as well as underscoring their continued importance and resonance