3128 research outputs found
Sort by
The politics of looking: 12 gestures from an archive (XX); The politics of looking: 12 gestures from an archive (XY)
Get PDFThe Politics of Looking: Gestures From an Archive responds to a collection of thousands of photographs that I inherited from my grandfather, which arrived from my native Sweden during the second lock-down of 2020. The archive represents a century of family life, events, gatherings and relations from the points of view of two male figures: my great grandfather and my grandfather. This gendered perspective became apparent as I started to sift through and organise these photographs; there is a recurring thread here, of men presenting themselves to themselves, men documenting their spaces and activities, men looking at women, men imagining what women ‘do’. By looking closely at these photographs (and my grandfather’s occasional handwritten note on the back), one can see that many are staged, choreographed, arranged, and organised by their creator.
The works reflect the mechanisms of a male family archive, as well as my engagements with it as a female artist (and now owner of the collection). The works consist of a selection of cropped photographs from the archive, arranged in two corresponding grids of gendered hand positions and body language. Together, they speak of histories of power relations, and the use images and collections in performing, establishing and upholding such power relations.
The photographs in The politics of looking: 12 gestures from an archive (XX) depict women’s hands; a configuration of 12 nurturing, fertile, obedient gestures of muliebrous perfection. The corresponding work, The politics of looking: 12 gestures from an archive (XY), presents a selection of photographs of men’s hands and poses; a contrasting theatre of 12 potent, paternal, virile and authoritative gestures
Curatorial, performance, craft: a shift in contemporary practice
Get PDFCuratorial, Performance, Craft: A Shift in Contemporary Practice, explores a wave of contemporary makers who are transforming the image of craft, challenging historical and cultural preconceptions by incorporating performance or performativity, resulting in progressive, often political work. The term kaino-craft is introduced to define this specific shift observed in the practice from the mid-twentieth century to the present.
This thesis investigates curatorial practice as a mode of research, drawing from Peter Bjerregaard’s (2020) Exhibition as Research which provides a fresh perspective on the knowledge value of exhibitions. Specifically, this research focuses on the mise-en-scène, which is overlooked in the context of craft’s curatorial theory. This research moves the focus beyond craft’s capacity to carry information, into an investigation of its non-textual quality, particularly the relationship between research, curating and exhibitionary practice.
The thesis theories are examined through the practices of contemporary makers, ceramic artist Phoebe Cummings and textile artist Celia Pym, who break away from the traditional practice of the singular still object and direct the attention to the ways their material and works perform. Two curatorial projects, Makers’ Tale and Hidden Histories, apply and test the findings of the case studies.
This research intends to develop new interpretations of the relationships between the established categories. The thesis contributes to craft’s curatorial theory by opening up new perspectives on the curatorial process as a practice-based form of academic research. The curatorial outcome acts as a platform for identifying new and unconsidered inquiries that may open new avenues for research and inspire other similar investigations in both curatorial and craft practice as well as future scholarships
Drowning in the cloud: water, the digital and the queer potential of feminist science fiction
No full textWater is frequently associated with a naturalized, trans-exclusionary understanding of womanhood. In this chapter we challenge this association. Focusing on the cyborgs of feminist SF and the waters in which they swim, gestate, and struggle, we theorize water as a technology that plays a crucial role in the self-consciously unnatural politics of queer resistance. In order to navigate these turbulent waters we have deployed the methodology we call Collective Close Reading—a practice of nonhierarchical knowledge production founded on a complex web of interdependence. In this way we seek to model the watery, cyborg collectivity depicted in the strange worlds of feminist sf. We swim together, beyond, against, and into gender
Labour power in the repair shop
No full textThis paper presents the findings of comparative research into the labour, organizational and spatial practices of a new kind of hybrid civic spaces that we refer to as 'social-impact driven repair shops'. These are an emerging typology of urban spaces dedicated to repaired and up-cycled items that also go beyond the functions of a traditional shop. Significantly, these shops are run not purely for economic reasons, but rather position themselves as local, socio-political interventions aiming to confront the environmental impacts of waste, support ethical and affordable consumption, alongside providing new opportunities for employment. We focused our fieldwork (2017-2019) on three such 'repair shops': ReTuna Återbruksgalleria in Sweden, The Loop in the United Kingdom and RiMaflow in Italy. We discuss the differing labour and spatial practices taking place within each, highlighting some of the tensions that emerge, and the implications for some of the wider debates in repair studies, 'green work' and circular economies. We conclude by identifying two divergent and potentially antagonistic circuits of repair which we name 'repair as solidarity' and 'repair as poor economy' which we propose as a lens to better grasp the different logics underpinning the transition to circular economies
Creative tourism and creative tourists: a review
No full textOver the last two decades, creative tourism has been used in many countries to create tourism products, enhance the destination image, and develop sustainable tourism. This new type of tourism shifts the experience away from tangible sites towards the intangible heritage of the destination. Visitors develop their creativities through participation and engagement in the learning experience that is characteristic of local destinations. Due to its nature of growing the local economy through local skills and intellectual property relating to creativity and culture, creative tourism is seen as an extension of culture tourism that contributes to the creative economy. The concept and framework of creative tourism brings together an ecosystem that enhances the destination attractiveness and stimulates creative exports (OECD, Tourism and the Creative Economy, OECD Studies on Tourism. https://doi.org/10.1787/9789264207875-en, 2014). This paper reviews the birth and growth of creative tourism and the marketing theory underpinning this new type of tourism. A meta-analysis follows this to exhibit the recent output relating to the motivation to take creative tourism
Pera, flora, Fauna
No full textCommissioned text for the exhibition 'Pera, flora, Fauna' at PORT as part of the 59th Venice Biennial 2022
Post-Craft
No full textThe notion of the handmade has shifted from the margins to center stage. Craft’s value is increasingly recognized across creative, economic, social, cultural, and political contexts. Because of its widespread appropriation, and the dissolution of disciplinary boundaries, the meaning of handicrafts is changing. While craft’s claims of authenticity and anti-consumerism are in question, its role is poised for optimization within the contemporary climate. Amid new economies of making, craft is moving from “modern craft” to “post-craft.” Through essays, conversations, and projects by designers, artists, and scholars, the third volume in the EP series examines not only the practice of post-craft but also its mediation and interpretation.
With contributions by 6A ARCHITECTS, Glenn Adamson, Assemble, Jeremy Deller, Peter Dormer, Tanya Harrod, Martina Margetts, Clare Twomey, John Roberts, Catharine Rossi, Richard Sennett, Flore de Taisne
Sectoral FTA gains, conflicts, and the role of interindustry factor mobility: evidence from Korea's free trade agreement
Get PDFFree trade agreements (FTAs) can ignite domestic conflicts between export- and import-competing industries over trade gains. However, if the factors of production, such as capital and labour, move freely across industries, the returns to factor owners will quickly converge. Then, sectoral conflicts over FTAs will be less likely to arise. We analyse the case of South Korea's FTAs to measure (a) sectoral FTA gains and (b) interindustry factor mobility and to examine (c) the role of interindustry factor mobility in mitigating sectoral conflicts over trade policies. South Korea is an ideal case study due to the low barriers to domestic geographic mobility and high trade dependence. Based on data on its trade with 252 countries and factor returns between 2002 and 2017, we find that export industries did not gain much from the FTAs, while the import-competing agricultural sector was the winner. Sectoral conflicts greatly decreased over 2008–2010. Interindustry capital mobility plays a significant role in weakening the sectoral conflicts, while the impact of interindustry labour mobility is limited
Role of intricate pottery visualization in ceramic manufacturing
No full textLayered Manufacturing, the underlying technology of 3D printing, has made rapid strides over the last 30 years. We discuss layered manufacturing from the artist’s perspective, especially for intricate ceramic pottery. We contend that opportunities exist for applying visualization to the foremost problems plaguing layered manufacturing. Virtual pottery involves meeting two conflicting constraints: rapid visualization during modeling and accurate rapid prototyping during manufacturing. Artists simultaneously need both low polygon shape representation for interactive visualization and adequate representation for generating accurate printable models. Artists also face the additional complexities of adding surface details that cannot be achieved by hand and handling materials like clay used in the manufacturing of real pottery. Illustrated by a system we have developed that uses sound resonance patterns to create volumetric textures for virtual pottery, we show how visualization helps address both these problem areas
Data sources:
Access Repository Dashboard
Do you manage UCA Research Online? Access insider analytics, issue reports and manage access to outputs from your repository in the CORE Repository Dashboard!