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Spectroscopic
No full text“Some phenomena are highly visible when observed at a small scale. It is remarkable, I think, that a flag atop a distant building and the small print on a till receipt are both equally legible. The sun and the moon have an all-pervasive influence on our lives. Their discs appear to be the same size in the sky and yet, if you make a ‘thumbs-up’ at the end of an outstretched arm, you can entirely blot out either behind your thumbnail.” Jonathan Parsons
Coleman Project Space is delighted to present Spectroscopic, a solo exhibition by Jonathan Parsons. In these new paintings, drawings and mixed-media works he plays with descriptive words and visual language to explore notions of scale, optics and a sense of wonder in this time of unparalleled access to knowledge – from the handheld to unimaginably vast objects and paradigms beyond our grasp.
Though deeply rooted in manual acts of making, Parsons’ text experiments integrate both digital and material processes, from CGI to solar pyrography, reflecting a rigorous, empirical approach. Here, spectroscopy – the science of measuring and interpreting electromagnetic spectra, which simply means the “observation of radiant energy” – becomes a scalable metaphor for observing and interpreting images in visual art.
The names of rare and remarkable aerial effects, celestial charts and typographical symbols all inform these works that emphasise the physicality of letterforms and other codified languages: they are burned into being, applied as a palimpsest onto surfaces, or engineered into objects. The presentation of constellations and data sets, held like evidence frozen on canvas or paper, evokes a sense of the infinite improbably contained for our contemplation.
But for all the rules governing our existence – and however grounded in what we know – experience, Parsons observes, is a mercurial force, guiding us fantastically, as well as factually, through the complexities of our phenomenological and relational interactions – in the Earthly everyday or far beyond
Confetti football
No full textécathlon D'Appollon Exhibition, Chateaû de Montsoreau, Museé D'art Contemporain, Loire Valley, France.
June 10th-August 11th 2024
Holding the world largest collection of work by Art & Language, the show featured works by artists from 77 countries. Confetti football is a five aside match in which Burgoyne seeks to isolate the gestures that inform its aims.The ball is a 2 euro coin size piece of confetti. The players air kicking endlessly to move the ball and score. Spotting the ball, at times even finding it can be challenging , whilst the necessary effort to play this game may be unsustainable. The field of gestures we are immersed in as a result suggests a dance floor not a football field.The 2023 work by Burgoyne 'Confetti Football'-where football is dancing, was selected for the show. The show was one of many in major museums across France, to coincide with the 2024 Paris Olympic games. Akin to an olympic games, each section of the show was judged by a panel of major critics and curators, Burgoyne's work 'confetti football' was awarded a trophy as winner, for the most innovative work in the video /film section
Anti-Blackness as disavowal and condition: rethinking Foucault’s “Carceral Society”
No full textRecent calls to “defund the police” have seen a plethora of movements decry state funds allocated to the police and ask that those funds be placed elsewhere. In this article, we return to Michel Foucault to analyze how calls for rebalancing budgets away from the police force and towards social projects both rely on political categories established in Foucault's work and encapsulates an aporia that emerges through them. Locating shifts towards the carceral in the context of European modernity, Foucault suggests that policing moves away from the spectacular torture and punishment of sovereign and state and towards technologies of power that proliferate across the social body. Here, we suggest that in this movement between sovereignty and power emerges a central tension that Foucault is incapable of resolving—between an exteriorized sovereignty (death) that necessarily appears at the extreme limits of power (life)—which threatens to destabilize the domain of power altogether. Race—as it appears in the European frame and reaching a zenith in Nazi Germany—encapsulates Foucault’s attempted mitigation. If anything, this exacerbates the problem by rendering the terms of inclusion in the domain of power (of making life live) incoherent. To see why, we go on to show how freedom from racial slavery—as space of incapacity—is the conduit through which entry is possible into the differentiated power that supposedly limits the social. But as such, the slave precisely indexes the aporia for Foucault that cannot be sutured. The implications of this can be seen in the calls to defund the police insofar as it implicitly repeats Foucault’s shift from police to social power
Exploring the relationship between chatbots, service failure recovery and customer loyalty: a frustration–aggression perspective
Get PDFAn increasing number of companies are introducing chatbot-led contexts in service failure recovery. Existing studies are inconclusive on whether humanlike chatbot-driven service failure recovery enhances customer loyalty. Grounding our work in phenomenological hermeneutics and utilizing frustration–aggression theory, we concentrate on the historical circumstance and the participatory nature of understanding customers' chatbot-driven interactions and loyalty. We conducted 47 in-depth interviews with millennials from four countries (United States, France, Italy, and the United Kingdom). By analyzing interview data through thematic analysis, our study offers two significant contributions. First, through thematic analysis, we define the dynamics occurring between customers and chatbots in a service recovery journey, such as customers' priorities and expectations. Second, we present a chatbot-led service failure recovery typology framework that identifies four types of customers based on their interactions with a chatbot and their emotions, specifically frustration and aggression, and the effects of the interactions on their brand loyalty and intention to use chatbots. The identification of four customer types can help managers shape strategies to effectively turn negative customer experiences into opportunities to strengthen their loyalty, such as making more than one touchpoint available (human and chatbot). Our study shows that customers' emotions, specifically frustration and aggression, affect not only customer loyalty but also technology adoption. The concluding section suggests future avenues for research in the service recovery literature
Speaker on the theme: 'ViKSIT BHARAT: Fashion & Textiles for Sustainable Growth & Development'
No full textEngland is a Forest
No full textEngland is a Forest is a collaborative and experimental illustrated forest. It is a virtual map and exhibition, with its physical debut at Sluice [Vernacular] Expo at The Minories, Colchester, June 2024.
Through a free open call, it received over a hundred artworks, each portraying a specific tree with its geolocation. There was no selection process, just a shared sensibility by participants to collaborate.
The Minories is an arts charity and gallery in an historic townhouse in central Colchester with the vision of 'empowering our communities to access the life-changing power of art'
Gender and the Jinn in the work of costume designer Phaedra Dahdaleh
No full textThis essay considers the importance and marginalisation of Arab costume designer Phaedra Dahdaleh through an exploration of her work in the Iranian horror film زیر سایه/Zeer-e sāye/Under the Shadow (2016). Phaedra Dahdaleh is a Jordanian costume designer. Having established her own house of costumes in the country, she takes the role of costume designer in most major films shot in the area. Some well-known films she has worked on are Rosewater (2014), Rogue One (2016), and War Machine (2017). Through an analysis of costume design in the film, we underscore her significant role as a costume designer in the construction of the film’s narrative
The intensive journal method: advancing insights in creative practice
Get PDFThis research is concerned with understanding the creative process and how, using the structure of The Intensive Journal (Progoff,1980), a self-supporting and sustainable mode of learning can be engaged to develop creative practice. A gap in knowledge was identified between superficial, short-term approaches, often
presented as ways to develop the creative process, and the findings of academic research incorporating a theoretical framework. A systematic review of the literature and a contextual review of artists’ reflective practice established this knowledge gap and informed the design of this process. The contribution to knowledge lies in developing an autoethnographic methodological framework to address this lacuna. Using the biopsychosocial theoretical framework (Engel,1972) and practice-based research, contemporary basketry was used to develop guidelines and strategies, which were then generalised to include other disciplines. The first case study details how the author identified behaviour patterns and devised personalised strategies to sustain and enhance her practice. This methodology was tested with other practitioners through interviews and comparative case studies. The findings from these case studies underscore the value of a sustained, systematic, reflective process in advancing creative practices.
They also demonstrate how individuals can adapt the strategies to their specific needs. The studies suggest that having access to a facilitator during the initial stages could be beneficial and a potential area for future research.
The author’s practice is self-referencing and evolves as additional information is processed. Artefacts were regarded as manifestations of moments in time, indicating a future potential waiting to be uncovered rather than completed outcomes. Regular exhibitions were an essential part of this process. They provided
iterative testing and an opening to peer review and critique. The pieces displayed contain within them a record of the process, the maker's personal language, and the intangible nature of the craft of basketry. As such, they can be regarded as a form of journaling in their own right
Social media as a powerful tool for food preparation and gaining healthy eating habits
Get PDFDuring the COVID-19 pandemic, people’s food preparation and consumption behaviours changed significantly. The increase in home cooking and decrease on take-away food were positive outcomes of pandemic (Wilkins, 2020). With the increase in home cooking, social media has also emerged as an online platform for gaining awareness about consuming and preparing healthy food. People began to share their recipes on online platforms and social media, following chefs’ accounts to try new recipes.
This study aims to explore the role of social platforms in promoting healthy eating habits, sharing recipes, and improving culinary skills among individuals. The qualitative research methods were employed to explore the impact of social platforms on food preparation behaviours. An online survey was conducted with 284 Turkish-speaking participants to understand the impact of social media on their relationship with food. The findings showed that the COVID-19 pandemic had a positive impact on participants’ home cooking habits, and this con-tinued after the pandemic. While most participants stated that social media platforms such as Instagram, Face-book and YouTube were the main source of inspiration and recipes, younger participants stated that Pinterest was their most preferred platform for recipes. This shows that not only cultural aspect but also the age groups within the same culture can have different preferences when searching for recipes on social platforms.
In conclusion, social media is a powerful tool in consumers’ lives while consuming and preparing food and gaining new skills. However, it is essential to be mindful of the potential risks associated with social media, in-cluding misinformation, incorrect use of ingredients which can cause health problems and other issues
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