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Operationalizing Semantics from Domain Diagrams
Get PDFThis paper presents AMIDOL-x, a framework for machine-assisted extraction of formal semantics from domain specific semi-formal diagrams, directly contributing to the field of Explainable AI. It details a novel approach that leverages domain-specific ontological languages and a common intermediate representation to transform intuitive, yet ambiguous, system diagrams into rigorous, executable models. This process serves as a critical modeling feedback mechanism, where the generation of formal semantics enables the automated synthesis of actionable knowledge and prognostic queries, thereby empowering domain experts with a precise and performable understanding of complex system behaviors and facilitating informed decision-making
Firecrackers: Female Photographers Now
No full textA survey of the greatest female photographers working today, created as a platform to showcase important work that might otherwise be marginalized in the still male-dominated photography community.Building upon the foundations of Rogers' Firecracker platform, this book brings together photography that encompasses an eclectic variety of styles, techniques and locations, from Alma Haser’s futuristic series of portraits that use origami to create 3D sculptures within the frame, to Laura El-Tantawy’s filmic and intensely personal series on political protest in Cairo. There is a recurring theme throughout the book that serves to unite these extraordinary women and their work: the exploration of individual stories and under-discussed subjects, seen by fresh eyes
Liking the Met Gala: Towards a Quantification of Organisational Legitimacy through Instagram
No full textGrounded in foundational organisational legitimacy theory, this research examines the role of Instagram Likes as a foundational metric for organisational legitimacy, proposing a novel framework that positions digital engagement as a modern-day opinion poll (Bitektine & Haack, 2015). Using the Met Gala as a case study, the research explores how cultural institutions navigate the convergence of exclusivity and digital democratisation to maintain relevance in a participatory era. Through a mixed-methods approach, combining quantitative analysis of Instagram data with qualitative insights into algorithmic mediation and stakeholder dynamics, the research develops a new legitimacy model that operationalises Likes as substantive indicators of alignment with stakeholder expectations. The findings demonstrate that Instagram Likes transcend superficial popularity, serving as critical markers of legitimacy influenced by thematic resonance, temporal trends, and algorithmic factors. By challenging the dominance of sentiment analysis, the research offers a replicable, data-driven framework for evaluating digital legitimacy and highlights the transformative role of visual-centric platforms in shaping public perceptions. The Met Gala’s strategic use of Instagram reveals the interplay between democratisation and exclusivity, showcasing how digital platforms enable organisations to foster stakeholder engagement while preserving cultural authority. The research not only advances legitimacy theory by integrating digital metrics into traditional frameworks but also provides practical insights for organisations navigating the complexities of participatory platforms. Ultimately, it positions Likes as central to understanding legitimacy in the digital age, bridging theoretical gaps and offering actionable strategies for cultural and organisational sustainability
Poetry in the Motions of the Education Engine
No full textOnline Program Management (OPM) is a partnership model that enables universities to delegate the construction and delivery of online courses to a specialist company. Universities provide subject-specific academic expertise and the OPM does the rest. Some see the OPM model as an immoral marketisation of education, whereas others see it as a noble and highly effective method for expanding access to a huge number of students who cannot study on-campus. At University of the Arts London, we have hybridised the OPM and the art school to create our own thing: a diverse team of highly capable people with extensive experience of both the OPM way and art school pedagogy, collaborating with UAL’s six colleges to build large-scale fully online art and design courses. This endeavour is called UAL Online (UALO). Alongside UALO’s Commercial and Production divisions sits the Academic Strategy team, whose job is to interrogate, contemplate, guide and support this enterprise, and help ensure ‘UAL-ness’ is not lost in translation. Using a research method based on Grounded Theory, the Academic Strategy team have been conducting open-ended interviews with the key people involved in the UALO project. We have had fascinating conversations with the individuals leading on production, commercial, data analytics, learning design, project management, student success, admissions, marketing and senior management, as well as our college-based academics. In this video, we present a poetic interpretation of our findings which reveals the feelings and passions of the human cogs in our course-making engine. Spoiler: everyone cares most about the student
Bump
No full textPresented in Motile Attachments, a solo exhibition at Pracownia Portretu. The exhibition is organized around a wooden structure that is ten linear meters and a series of works that integrate handwoven ratchet straps to fasten, tether, hoist, or cinch together found and made objects into sculptural assemblies. The textile elements might be viewed as accessories, yet they are essential to holding the sculptures together. The exhibition addresses how textiles carry the histories of knowledge circulating through the labour and time that accumulates in and around our varied bodies, through carrier-objects, and in embodied social activities like labour, language, and movement. In what sense do such transmitted forms accessorise our bodies—and when do our bodies become accessories to processes of circulation? Motile Attachments extends new sculptural logics of gathering and moving—metaphorically, historically, and materially. Together the works propose possible approaches to the social accessory as relational form. It moves
Motile Attachments
No full textPresented in Motile Attachments, a solo exhibition at Pracownia Portretu. The exhibition is organized around a wooden structure that is ten linear meters and a series of works that integrate handwoven ratchet straps to fasten, tether, hoist, or cinch together found and made objects into sculptural assemblies. The textile elements might be viewed as accessories, yet they are essential to holding the sculptures together. The exhibition addresses how textiles carry the histories of knowledge circulating through the labour and time that accumulates in and around our varied bodies, through carrier-objects, and in embodied social activities like labour, language, and movement. In what sense do such transmitted forms accessorise our bodies—and when do our bodies become accessories to processes of circulation? Motile Attachments extends new sculptural logics of gathering and moving—metaphorically, historically, and materially. Together the works propose possible approaches to the social accessory as relational form. It moves
Correspondence
No full textPresented in Motile Attachments, a solo exhibition at Pracownia Portretu. The exhibition is organized around a wooden structure that is ten linear meters and a series of works that integrate handwoven ratchet straps to fasten, tether, hoist, or cinch together found and made objects into sculptural assemblies. The textile elements might be viewed as accessories, yet they are essential to holding the sculptures together. The exhibition addresses how textiles carry the histories of knowledge circulating through the labour and time that accumulates in and around our varied bodies, through carrier-objects, and in embodied social activities like labour, language, and movement. In what sense do such transmitted forms accessorise our bodies—and when do our bodies become accessories to processes of circulation? Motile Attachments extends new sculptural logics of gathering and moving—metaphorically, historically, and materially. Together the works propose possible approaches to the social accessory as relational form. It moves
Seed
No full textSeed brings together three video works by Martin Westwood: A Seed is a Stone Until it is Sown (2011), Re-cut Piece (working title) (2016), and (S.F.M.) 1639 — 1733-34 (S.B.) (2025). Though distinct in their formal qualities, the works share concerns with value and authenticity articulated through gestures and motifs that intensify materialities and that mediate exchanges between object and document, labour and image, sound and action.
In A Seed is a Stone Until it is Sown, coins function as counters in a game of solitaire. These objects simultaneously tokens and ‘the real thing’ - are initiated into a system of reserves, circulation and disposal. Re-cut Piece (working title) extends this inquiry into the relationship between photographic documentation and live performance—or, the reserves of experience and the circulation of the mediated image. Documentary photography of audience members in an iconic performance work is taken as the initial motif to display the activity of kneading dough into photocopier carbon and microphone windshields. This labour is interrupted by multiple video clips of Black Rod performing their annual role of ceremonially opening the British Parliament.
Both A Seed.. and Recut.. explore how acts of exchange, whether economic or symbolic, reveal tensions between the tangible, the transmissible and the understanding that objects persist through their continual re-enactment. Each work employs video as a solution to capturing motifs and gestures that elude pictorial or sculptural modes of practice, avoiding live performance as an outcome that inadequately framed the motifs and truncated their circulation/mediation. These “perverse aggregates” emerge to become sites of negotiation between mobile and immobile agencies.(S.F.M.) 1639 — 1733-34 (S.B.) advances these ideas toward a proposed image of “ur-economy” - a prototype of exchange preceding the division of economy into spheres of commodity, language, and body. The work’s hour-long anamorphically corrected footage conflates specific details from two canonical paintings: soap bubbles are blown through a print of the friction hole upon Saint Francis’ habit. Here, animation arises from the shifting intervals and rhythms between repeated recordings of the bubbles’ paths and the continual micro-edits to the friction hole. This shift, between the still and the moving image, evokes accumulation and expenditure, appropriation and gift, as the work’s progression advances and recedes
Capturing the Moment
Get PDFCapturing the moment: facilitating learning from the margins. A photographic essay by Fashion and Art Academics Creating Equity (FACE) member, Kevin J Brazant, University of the Arts London, United Kingdom. Exploration of Facilitating Learning from the Margins: A Third Space Innovation Case Study
Programmatic brand identity and the institutionalisation of design labour
Get PDFI visited the School of Arts, Design and Architecture at Aalto University, Espoo (Finland), to present a guest lecture about my research into the development of corporate design.
In the lecture I discussed the driving concerns behind my research, the chosen research methods as well as showcasing my research findings.
After the lecture I held tutorials with PhD students in the school of Design