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Inga Kaugsay / Habitar Inga / Inga Dwelling
No full textInga Kaugsay (Inga Dwelling) is an ancestral knowledge mapping project, recognising the symbolic, spiritual, spatial, and constructive aspects of the Inga inhabitation knowledges and practices in parts of the Colombian Andean Amazon region. The project re-centres and foregrounds the value of Inga ancestral forms of inhabitation for younger Inga generations and other worlds.
The project, design of the publication and window gallery actions are based on the theme of dialogues, dialogues with the community, authors, editors, designer, and creative practitioners. The role of dialogue highlights the need for growth and exchange in all facets of an indigenous, multi-lingual project, aims to challenge the conception of an authority of knowledge, and celebrates the humanity in discussion.
The window gallery contains extracts from the publication which documents the mapping project, and dialogues with the community on design and content. During the exhibit, three creative practitioners have been invited to further dialogue with the display through use of natural material, form, and illustration.
Inga Kaugsay / Habitar Inga / Inga Dwelling is authored by Musu Jacanamijoy, Pedro Jajoy, Catalina Mejia Moreno, Juliana Ramirez, Jhon Tisoy in dialogue with a wide range of voices and collaborators, Abbie Vickress from Graphic Communication Design, CSM as graphic designer and supported by CSM and the Inga indigenous peoples from Colombia
London Wholesale Couture
No full textThe Transnational Fashion Network at LCF is hosting an afternoon symposium on ‘London Fashion and its Transnational Networks: Couture – Wholesale – Workwear’ on Friday, 22nd March 2024 to share and showcase recently published and ongoing projects by UAL researchers and dress historians. The focus is on under-researched aspects of British fashion, from the 1930s to today, and the strategies and individuals behind its success as a creative economy. Dr Liz Tregenza (LCF) explores how Jewish immigrant entrepreneurs from across Europe revolutionised the London wholesale couture trade. Dr Michelle Jones (CSM) investigates how a collective approach to design practice and complex local and transnational networks re-shaped and sustained London couture in the 1930s and 40s. Emilia Boulton (LCF) is looking at how traditional British workwear has been adopted as fashionable leisurewear in Japan, and Eldina Begic (LCF) has researched workwear as a transnational phenomenon, emphasizing its less-explored social and utopian dimensions as a symbol of equality and solidarity
On Friendship and Solidarity
No full textMy presentation is a series of reflections on friendship.
Céline Condorelli (2014) writes that ‘working together can both start from and create forms of solidarity and friendship, which are then pursued as both condition and intent, motivating actions taken and work undertaken.’ (p. 8)
Friendship forges connections between people, objects and contexts. How, then, does friendship support the conditions of curatorial practice? And how do we talk about friendship and solidarity in the context of curatorial work?
Condorelli, C. (2014) The Company She Keeps. London: Bookwork
Gen Z Reimagines Engagement with Archives
Get PDFLondon College of Communication (LCC) students and creative design consultancy Bright White Ltd worked together to explore potential solutions to a persistent challenge in the archives sector: how to encourage young generations to appreciate and value archives. Using digital tools and creative approaches students provided fresh perspectives to make archives accessible and relatable to them
Invisible Voice: Turning Data into Action
No full textOver the past seven decades, the integration of science, technology, arts, and society has significantly transformed, emphasising interdisciplinary collaboration. Invisible Voice, an innovative digital arts and research project, exemplifies this evolution through a browser extension, mobile app, and interactive public art installation. Developed with extensive European Commission support, including multiple Horizon grants and a current (January - December 2024) S+T+ARTS in the City residency in Barcelona with HacTe and the Universitat Oberta de Catalunya, Invisible Voice aims to reshape societal narratives by uniting individuals around shared causes and providing infrastructure to exert pressure on political and media entities. The project is not yet public and is set to launch in September 2024.
We see data as empowering to those in possession of it. This research project at its core validates these concerns, effectively asking: in a world in which data works for everyone, what do they do with it? Invisible Voice empowers users by leveraging data from over 37 open-access datasets to offer insights into companies' ethical practices, encouraging users to align their online activities with their values. The browser plugin integrates seamlessly into participants' browsing habits, offering a dashboard of scores related to political bias, lobbying, environmental sustainability, human rights issues, ownership structure, and corporate responsibility. This allows users to express their political views by boycotting, endorsing, voting, commenting directly on the webpage, or switching to a suggested alternative website. With privacy preservation at its core, Invisible Voice aims to repurpose online advertising methodologies for meaningful social impact rather than profit. Through user interaction, it will identify localised communities around specific causes and facilitates participation, effectively turning data into action.
The mobile app functions similarly to the browser plugin but adds the capability to scan products, logos, or barcodes, providing detailed information about the product’s materials, ingredients, packaging, transportation, and broader company data. This functionality enhances users' ability to make informed decisions aligned with their ethical values.
The interactive public art installation features 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.
Invisible Voice’s integration of art, technology, and societal impact serves as a unique case study for assessing interdisciplinary contributions. The project addresses social, ethical, and legal challenges, fostering community development and sustainable innovation. Methodologies and frameworks from Invisible Voice contribute to discussions on epistemological foundations and interdisciplinary collaboration essential for future research.
By engaging diverse participants and facilitating active participation, Invisible Voice turns data into action, contributing to a more inclusive and impactful digital tool
Exploring Meta-experiences: a case study of Metaverse Fashion Week
Get PDFThe aim of this development paper is to contribute to the nascent field of metaverse fashion, by exploring how metaverse environments influence fashion customer experiences
The personalisation of the visitor experience in the public interior and its contribution to emotional attachment to place: Towards a sensory-emotional framework for experiential design
Get PDFThis thesis investigates the personalisation of experience in the public interior to uncover principles that can contribute to a design understanding of the visitor emotional attachment to place. It posits that catering for a diversity of sensory and emotional needs can foster a greater sense of belonging and wellbeing in the public realm. Insights are brought together into a framework for designers interested in enhancing the relationship between people and environment.
This research is rooted in the paradigm of embodiment; it explores the visitor situated experience of personalisation. This is analysed in two dimensions: personalisation for visitors, the way the interior is designed and managed, and personalisation by visitors, the way they engage with the environment to enact their preferred activities. Personalisation for and personalisation by are treated as complementary and interdependent. Their relationship is examined through three pairs of associated terms that connect environmental qualities with human behaviour and feelings: looseness and appropriation; enticement and exploration; and porosity and privateness.
The Royal Festival Hall, London, is used as a case study in exploring the relation between the personalisation of experience, sensory phenomena and the way visitors perceive its interior environment emotionally. The methodology is grounded in a phenomenologically inspired conception of experience that foregrounds the primacy of enacted situations in the collective environment of the public interior. In addition to an observational study, interviews with staff and visitors provide first-person perspectives on personalisation for visitors and personalisation by visitors. The usability, transferability and value of insights are then tested through design experiments with students before being articulated as a framework for design to contribute to the creation of multisensory public environments that can cultivate positive emotional connections
It’s Not Raining. How to Perform the Weather in a Time of Climate Change
No full textThis is an essay that reperforms as text a curatorial performance given at the School of Arts of the Catholic University in Porto, Portugal, on the 11th November 2023. In this curatorial performance I played works, read poems, let rice fall into a metal tin at different speeds and with different force; I read excerpts from books and encouraged participatory listening and sound making through text-scores. I did all this in order to generate, from an embodied experience, critical deliberations on how sound performs weather in a time of climate change. Here, this performance of weather is rewritten as a short reflective performance score for the readers’ own re-enactment and further deliberation
Design Approaches to Creativity Support with Embedded Artificial Intelligence
Get PDFThis research investigates designers' attitudes and approaches towards using AI (Artificial Intelligence) to support their creative work. It consists of three studies with people working in creative roles in the design industry: a survey (n=45), a month-long diary study (n=30), and a 21-day digital probe study (n=5). Mixed-methods data analysis identified several factors that influenced participants’ preferences for the type and level of creativity support they desired for a particular task, and their willingness to accept support from an AI system. These factors were found to divide into three groups: Categories, Confines, and Competencies of support.
Three Categories of creative support were requested by participants: Information support, related to receiving the necessary data, references, or feedback need to complete a creative task; Generation support, related to direct help with the tools and processes of generating creative outcomes; and Situation support, related to organising and facilitating working environments, schedules and conditions for creativity. Of these, Information support was the most frequently requested.
The Confines of support related to the participants’ distinction between creative tasks which they considered of personal value, and which they were less likely to share with an AI system, and tasks which were not considered of personal value. This was found to relate to the perceived originality and creativity of the task experience. The Competencies of support related to the participants’ perception of the knowledge and abilities required to support a task, and how this related to their own knowledge and abilities. Participants were more likely to fully delegate tasks to AI that they already had experience of completing themselves, and preferred to work directly on tasks that were new to them.
These factors were tested across the different studies, and formalised into a Creativity Support Framework, which forms part of the contribution of this research, along with the design and implementation of an embedded AI digital research probe, used in the final study
“Furland”: Global Fur and Empires of Fashion Materialities in 1930s London
No full textThis chapter will consider the global impact of London’s 1930s fashion fur industry on living environments, to unravel how these garments were and continue to be reflections of early Empire, ethics, class, race, fashion literacy, material knowledge, and possibility.
Fashion fur creates a reaction on many levels- the sadistic, grotesque, fetish, fantasy, luxury, practical, environmental, social, economic- each dependent on the current cultural rational. However, human affect and interaction with design, historical practices of repurposing the materials of human and animal waste, material literacies, and the processes of creativity, can help us to understand the often-conflicting meanings in the contemporary moment.
In London’s Hammersmith Market, 1935, amongst the multifaceted sellers of a discordance of goods, James Dear was skinning rabbits with astonishing rapidity. When asked what happened to the skins he replied, “we dry ‘em and sell ‘em to a firm that cure ‘em and make ‘em into fur coats and bowler hats”. Seductive, sensual and somatic, fur was coveted by the majority of women in the early twentieth century. The most highly prized fashion adornment; a sign of style, status and fashionability. In the street market, pelts of fox, mink, ermine, musquash, monkey, rabbit, mole, and cat were to be found nestled amongst the vegetable stalls and street bakeries. Dismembered bodies hanging from the stall canopy or uniformly lining the drying racks in the surrounding back street, predominantly Jewish, furriers went some way toward providing access to otherwise unattainable garments for those with a limited budget. Resourceful butchers such as James Dear would pare rabbits, separating the flesh for eating and the fur for curing, in a process that Christopher Schmidt refers to as “the messy […] between the aesthetic and the overflow form”.
Untangling the embellished histories of fashionable fur and their murky cultural pasts will reveal the hidden narratives that sustained this contentious industry in 1930s London