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era: a practice-based research on late photography, trauma and refamiliarisation in the Hong Kong context
No full textCome Out
No full textWhen Sunil Gupta moved to London from New York in the late 70s, he was surprised to find no equivalent of New York's Christopher Street. All the gays and lesbians appeared to be in hiding. Only to be encountered in a handful of pubs and after-hours clubs, which closed very early. However, this was about to change with the development and growth of the 1970s fledgeling gay marches into the more significant numbers of more confident people who came out in gay public protests.
The photographs in this book encompass the period from the mid to late 1980s and recount Pride marches before corporate sponsors, and their logos, as well as specific marches that were responding to a single event; antinuclear CND protests and demonstrations supporting the miners’ strikes, and of course, the several protests against Clause 28 - a legislative designation for a series of laws across Britain that prohibited the "promotion of homosexuality" by local authorities. Introduced by Margaret Thatcher's Conservative government, it was in effect from 1988 to 2000 in Scotland and from 1988 to 2003.
"Photography was also in the middle of a great documentary debate at that time, questions arose regarding shooting political marches, who was taking the pictures and for which purpose. I wanted to make my point of view very clear, which was that of someone from within the community. And it was my community." - Sunil Gupt
"Out of hand”: craft research today
No full textIn this paper I deploy the multiple meanings of the term ‘out of hand’ to explore the ways in which craft contributes to and challenges cultures of research within art and design schools. At the centre of this pithy phrase lies the hand – at the roots of craft practice and extreme making with its contiguous relationship to the development of human culture. Yet when placed in the context of academic research, craft as a method, output or concept has often been rejected ‘out of hand;’ its immediacy, sensory qualities, too-close connection to object production and messiness preventing craft from finding as firm a footing in the academy as other disciplines. Perhaps the tide is turning. New materialism and the embrace of multi-disciplinary methods, as well as the continued interest in craft within wider culture, have shone a spotlight on what craft might offer. In a culture where there is an underlying feeling that things are ‘out of hand’ – i.e. not fully under control – does the craftsperson well versed in mitigating risk and working through failure through intimate material knowledge offer something of a respite. These questions will be considered in the course of presenting examples of craft research from contemporary practitioners and researchers, and my own experience of supervising PhD students
Expansive Creativity is Beyond the Visual
No full textExpansive creativity starts with how we navigate language, in its plethora of manifestations and contexts. Increasing hegemonic and unwieldy systems of imposed synchronicities and rationality abound symptomatic of our submergence as oppose emergence as creatives. Expansive creativity is an event, not simply an object of matter, but a phenomenological field no less of absence and withdrawal, from place, of actions – in effect, resulting in a site that is estranged from all forms, an autonomy of self-meaning. A paradox between the potential of the virtual and distant, and the possibility of its actuality as visual and physical, intimate, and sensed. The (jointly delivered)paper will highlight creative, innovative teaching & art making as indicative of elements and not productions of ‘things’ (Levinas). Experimentation absorbed in the realisation of the work as it discloses an ontology of site beyond exteriority and aesthetic appearance (Heidegger); An intersubjectivity where upon ‘the visible is pregnant with the invisible’ (Merleau-Ponty) and in contrast to the functionality of material (Heidegger) memory makes the past available to me for my future (Levinas) through that meeting of expression and feeling (Dufrenne). What does creative excellence look like and where is it situated? And how can we make the invisible visible? When we produce art, we co-create, between a pre-reflective situation of art’s raw facticity, and the application of artistic languages and methodologies which may conceal it. Being innovative is rhizomic but also paradoxical, beyond knowledge at that interspace between past and future that is present through its dispersal, indeed as Levinas suggests this ‘non representability is the surplus of the lived body over the representation of it.’ (2015:43) The creative potential of other is one set of assemblage unforms and another emerges in that reterritorialization and future forming that result from that creative production
June 2023: Keynote - ‘Repairing the Rupture: A Collaborative Performance with Elder'
No full textEcological philosopher Timothy Morton in Being Ecological posits that “humans are traumatized by having severed [our] connections with nonhuman beings, connections that exist deep within [our] bodies” (Morton, 2018:32). And it was the enclosure of the commons that instigated such a severing, argues Marxist feminist Silvia Federici in Caliban and the Witch: our peasant ancestors forcibly removed and denied access to land they had relied on for their subsistence resulting in a damaging transformation in the web of relations between humans and the natural world (Federici, 2004). Entangled within this removal, cunning folk, and in particular women were persecuted, tortured, and killed during the witch trials of the sixteenth and seventeenth centuries, which “underlies the entwined oppressions of race, sex, class, and ecological destruction” claims Neopaganist, Starhawk in Dreaming in the Dark, (Starhawk, 1988:xxvii). The ramifications of such a rupture in relations is also evident in the medical profession, where enclosure of women’s bodies and knowledge led to them being outlawed as healers and herbalists (Federici, 2004 & Ehrenreich and Deirdre, 1973).
By way of the elder bush, Sambucus nigra, for Articulation/Experience/Embodiment, Amanda Couch will facilitate a participatory performance paper, Repairing the Rupture: A Collaborative Performance Paper with Elder which explores these contexts with the aim to unearth, revive and disseminate knowledge lost as a result of this separation from the land and the more-than-human. Couch will weave together practice, theory, autobiography, and examples of her own art and research projects to bridge the divide and build connection, exploring and celebrating wild plants that would have been used as food and medicine.
Together we will become intimate with the elder, imbibing a homemade elderflower reviving cordial. Whilst sharing our memories of kinship with wild plants, foraging, nourishment, and healing, we might absorb the knowledge of the elder as it infuses and flows through our bodies to re-construct and heal our collective cultural inheritance.
For participants who will be attending online, prior to the event, you will be invited to forage for elder flowers and given instructions to make your own homemade elderflower cordial to drink alongside those in the onsite space.
References:
Barbara Ehrenreich and Deirdre English (2010) Witches, Midwives, and Nurses: A History of Women Healers 2nd edition New York: Feminist Press.
Silvia Federici (2018) Witches, Witch-Hunting, and Women Oakland, CA.: PM Press.
Starhawk (1988) Dreaming in the Dark: Magic, Sex and Politics Boston: Beacon Press.
Timothy Morton (2018) Being Ecological London: Pelican Books
Non(norm) hard-core: Hood By Air's porn archive
No full textThis chapter will argue that fashion has an established relation with pornography whereby certain imaging codes are incorporated into fashion imagery. This practice is often mediated by a heteronormative dimension that re-enforces structures of domination. In contrast to this normative porno-chic, several fashion brands have utilised explicitly sexualised modes of representation that queer fashion’s established porn-chic. Looking at Hood By Air’s collaboration with the website Pornhub, this chapter will discuss several videos uploaded onto the pornographic website by the fashion brand as well the explicit adoption of pornographic rhetoric for the Handkerchief SS17 catwalk show. Through looking at these examples, this chapter will argue that fashion itself can be understood as a body genre that operates through the perpetual and often anxious inscription of the sexual and sexual difference. Utilising the psychoanalytic insight that human sexuality is an impasse rather than a natural “given”, this chapter will explore the way in which the sexual is no natural affair, but as Alenka Zupančič puts it, it is an excess of signification, “a place of radical disorientation”
Back in time with immersive heritage tourism experience: a study of virtual reality in archaeological sites
No full textThis study focuses on how virtual reality applications might evoke nostalgic sensations in travellers during cultural heritage tourism. While extensive research on the tourism experience has revealed different extrinsic and intrinsic dynamics that affect the tourist experience, this research aims to explore what feeling of back in time VR users experience in an archaeological destination. The gap in visitor experience employing VR research still persists, despite the rising adoption rate of immersive technology, such as virtual reality. In this study, a qualitative method has been applied to analyse online reviews of VR users who visited the Olympia Archaeological Site in Greece and used the ‘Back in Time Olympia’ VR application. The findings drawn from the results show that nostalgia, presence, engagement by learning, and service experience are essential determinants of tourist VR experiences in such cultural heritage destinations
Do #BlackLivesMatter in the education of fashion business students? A review of race and inclusivity literature
Get PDF#blacklivesmatter is a social media hashtag used to raise awareness of racist attacks on black people and promote protests against white supremacism; whereas fashion is an industry complicit with racism and racial inequality. Corporate Social Responsibility is increasingly important in business management, and fashion management education is beginning to research pedagogy about environmental sustainability. However, studies investigating teaching about fashion’s social responsibility to racialised minorities are seemingly absent. This chapter supplements the lack, by drawing together sustainability and responsibility pedagogy, with literature about safety in the classroom and decoloniality of the curriculum. The chapter suggests that embedding anti-racist and sustainability ethics throughout academic institutions is necessary to create an inclusive teaching environment, particularly for students of colour. In the future, research with students of colour about their educational needs, should actively listen to their voices and centre those voices, rather than the author’s own
Sotenäs marine recycling centre in Sweden: a case study related to waste fishing gear
Get PDFThe chapter is a case study on the development of a Sweden’s first recycling centre focussed on waste fishing gear and other marine plastics based in Sotenäs. Key to the development of the centre has been a longer-term vision and commitment from the local municipality and the fishermen’s association. Working with partners across Sweden and locally, the centre has also developed an innovation testbed that is developing new test for polymers from waste fishing gear and aims launch new circular products. The chapter provides favourable learning for any organisation that will be tasked with establishing recycling infrastructure in relation to extend producer responsibility (EPR) requirements for fishing gear that will come into force across the European Union in 2025
Sweet to bitter: dissonance of scuba diving experience
No full textThis paper investigates cognitive dissonance in the scuba diving experience. Recent studies show that despite the positive attitudes of scuba divers, negative behaviour and unsupervised practices have had undesirable effects on the ecosystem and its experience economy. Therefore, this paper examines the sweet and bitter sides of experience from scuba divers' perspective, and the role of cognitive dissonance. Using Benner's interpretive phenomenology approach, this paper explores how scuba divers experience cognitive dissonance when confronted with sustainability issues. The findings highlight that while scuba divers have positive feelings about their experience, once sustainability issues are addressed, the experience becomes unfavourable, and the experience economy turns into unpractised; joylessness; unesthetic; and realistic
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