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Portraits of Holocaust survivors and their families
Get PDFGenerations: Portraits of Holocaust Survivors is a photography exhibition that brings together over 50 contemporary portraits of Holocaust survivors and their families. The exhibition shines a light on the full lives they have lived and our collective responsibility to cherish their stories. It opened at RPS Gallery on 27 January 2022, marking Holocaust Memorial Day.
The exhibition showcases new works from 13 contemporary photographers, all members and Fellows of The Royal Photographic Society (RPS), alongside photography by RPS patron, Her Royal Highness The Duchess of Cambridge.
Many of the photographs were captured in Spring 2021, presenting a brand-new body of work from contemporary photographers including Frederic Aranda FRPS, Sian Bonnell HonFRPS, Jillian Edelstein HonFRPS, Arthur Edwards FRPS, Anna Fox HonFRPS, Joy Gregory HonFRPS, Jane Hilton HonFRPS, Tom Hunter HonFRPS, Karen Knorr HonFRPS, Carolyn Mendelsohn, Simon Roberts HonFRPS and Michelle Sank.
The exhibition has been created in partnership with the Imperial War Museum, Jewish News, the Holocaust Memorial Day Trust, and supported by Dangoor Education.
Génerations: portraits de rescapés de la Shoah / Generations: Portraits of Holocaust Survivors is a special outdoor edition of the RPS exhibition. This free outdoor exhibition is produced and hosted by UNESCO at its Paris headquarters as part of its commemorations around Holocaust Memorial Day
Final report: sustainability, cricket gear, clothing and apparel: stakeholder workshop
Get PDFOn the 15th July 2021 a webinar was organised by BASIS and The Centre for Sustainable Design ® (CfSD) at the Business School for the Creative Industries (BSCI) at UCA that brought together over 30 stakeholders from cricket to discuss sustainability issues associated with cricket equipment, clothing and apparel. The presentations and discussion from the webinar are documented below, and shared with the aim of increasing discussion over the topic aligned to the goals of PASIC (Platform for the Acceleration of Sustainable Innovation in Cricket)
Repair cafés and precious plastic as translocal networks for the circular economy
Get PDFThe literature on the circular economy is dominated by visions that either disregard the role of civil society in (transition to) a circular economy or depict civil society actors merely as passive consumers. However, there are organized citizen initiatives that align with circular economy thinking and that envision a much more active role for civil society in (transitions toward) the circular economy. This paper explores Repair Cafés and Precious Plastic as two examples of such initiatives based on exploratory questionnaire surveys conducted among the associated communities, supplemented with evidence from documents from the initiatives. Repair Cafés and Precious Plastic can be understood as translocal communities that strive toward creating a circular economy through, for example, local repairing and recycling of plastic waste. This article is the first to study translocal communities in the context of a circular economy. In theory, such communities can develop transformative potential to challenge, alter and/or replace dominant institutions. This requires them to develop a critical mass, a shared identity and a political voice. The study shows that networking (and thus the development of critical mass) occurs primarily in specific countries (in the case of Repair Cafés) and not necessarily community-wide (in the case of Precious Plastic). Evidence for a shared identity does exist in both communities, although more clearly in the case of Repair Cafés. The study does not provide evidence for an explicit political voice developing in either community, although in the case of Repair Cafés, the Repair Café International Foundation does take up lobbying activities. Thus, the ingredients for transformative potential in these communities are present only to a limited extent. This study contributes to the circular economy literature by showing how civil society actors can engage with (transitions to) the circular economy through organized citizen initiatives, a phenomenon that has thus far been largely neglected in the literature on circular economies. The study also adds to the limited pool of empirical knowledge on two rapidly growing citizen initiatives toward circular economies
A passion for symbols: tracing the inspirations behind the design and production of Henry Dreyfuss’ Symbol Sourcebook
Get PDFJorge Frascara stated ‘the design of the design method and the design of the research method are tasks of a higher order than the design of the communications’ – this is certainly true of Henry Dreyfuss’ 1972 Symbol Sourcebook project. This paper describes the method that enabled Dreyfuss to finally design and deliver his ambitious project in just two years from 1970-72, recounting the inspirations, triumphs, tribulations and teamwork that brought the project to fruition.
The paper draws on research from the Henry Dreyfuss Symbol Sourcebook archive at the Cooper Hewitt in New York. As someone with a fascination for archives, it has been a revelation to sift through the 26 boxes of working papers that document the method behind the publishing of the book, which casts a light on a rich vein of graphic design history from the late 1960s to the early 1970s. I uncovered surprising connections, sourced from Dreyfuss’ long and illustrious career as an industrial designer spanning over 5 decades of the 20th century. I observed the incredible network he built over his lifetime (1904-1972) populated by eminent international designers. Dreyfuss didn’t undertake the project alone – it was underpinned by a body of knowledge gleaned from the best symbol designers and design consultants of the time and assembled by a loyal team of tight-knit designers, managers and administrators. The design process starting with funding, administration, collection, classification and collation and culminated with the design, publicity and production of the book, all evidenced through the archived working papers. Above all, the archive shows Dreyfuss’ unstoppable desire to make the project happen against all odds – with airmail instead of email, it was a huge achievement.
2022 marks fifty years since the book was published and Dreyfuss and his wife’s sad death in Pasadena USA. This paper celebrates their achievements
Extended Senses and Embodying Technology Symposium and Exhibition 2022
Get PDFThis symposium comes out of a collaboration between the X10DD Senses Laboratory research group at the University for the Creative Arts and the School of Design at the University of Greenwich. It is co-chaired by UCA's Professor of Interactive and Immersive Arts, Camille Baker, and Reader in Digital Immersion at University of Greenwich, Ghislaine Boddington.
This cross-disciplinary symposium and exhibition brought together research and practice from the cultural and creative industries sectors, to explore ways of extending and expanding the body through new and emerging modalities and technologies. With a programme of artist talks, papers, and demonstrations and a cutting-edge exhibition, this network gathering investigated the current state of the intersection between our embodiment and our senses and the technologies of today.
Selected artworks were exhibited at the Stephen Lawrence Gallery from 8-10 September 2022. The event also featured a postgraduate student and early stage artist research workshop.
UCA's Professor Terry Perk and Professor Camille Baker showed their work whilst UCA School of Architecture's Lucy Jones chaired the PhD/ECR workshop.
Papers from the conference will be published in the journal Virtual Creativity (Intellect Press)
There are no extinctions in relations without bodies: on the violence offlat relational ontologies
Get PDFThis essay considers violence and extinction to articulate the limits of relational, and to a degree also non-relational, flat ontologies. It suggests that relational ontologies cannot register violence because they privilege relations over bodies. Given their contention of ecological progressiveness after nature, this essay focuses on Donna Haraway’s and Rosi Braidotti’s relational posthuman ontologies, while also responding to Timothy Morton’s non-relational, object-oriented ecology. It cautions that rather than being politically progressive—as postnature ecologies claim to be—not respecting boundaries violates bodies. The essay contends that promulgating blurred boundaries as ecological and feminist, as Haraway and Braidotti do, is especially detrimental given the extinction of species and the gender-based disenfranchisement of bodily autonomy. In this PARSE Journal issue on “Violence: Environment”, I argue that if there is only environment, there cannot be any acknowledgement of violence, and that the denial of violence itself constitutes violence. I contend that in flat relational ecologies biodiversity is erased.
As Haraway blurs relations and materials between life and art, I contrast her approach to figures and representation with those in contemporaneous writings by Jean-François Lyotard and Gilles Deleuze. I engage with Haraway’s shapeshifting between metaphors and matter from the “Cyborg Manifesto” in postmodernism to some more recent outputs, observing an intentional entanglement in contradictions and an emphasis on construction that is politically problematic as well as anthropocentric.
Because Benedict de Spinoza is often embraced by flat relational ontologies for his emphasis on immanence, he is woven in throughout the essay as an interlocutor. His immanence with bodies and affects is contrasted to Braidotti’s monism of immanence without bodies and without affects. I suggest that, counter-intuitively, flat relational ontologies cannot account for affects and affections and observe that Morton’s ecology with objects, too, is without affects. I propose that whereas Spinoza’s ontology of immanence of Nature/God is half flat because it is populated by bodies with natures, Haraway’s ontology is flat and not flat, symmetrical and asymmetrical, in line with her pursuit of contradictions
Accelerated times: post-capitalism and music industry pedagogy
Get PDFThis chapter explores the post-Covid adoption of livestreaming as both a pedagogical tool and as a development within the live music industry. This meta-narrative will draw on research around the efficacies of on-line and blended teaching and update that knowledge though an analysis of the current landscape. With a particular reference to music courses, I will interrogate how universities have adapted teaching to the online environment and what part the pandemic has played in this. At the same time, I will use my own students’ experience of on-line teaching to understand its benefits and drawbacks. Third, I will compare and contrast those experiences with how music fans have taken to livestreamed gigs and how the industry has embraced the format, or otherwise. In the same way as tutors have had to adapt their teaching to the on-line environment, so acts have adapted their live offering to the on-line world, for example by including interviews and other ‘extra content’ to their streams. The chapter will look at the popularity of livestreaming and the ‘long tail’ nature of livestreamed gigs where the shows are recorded and can build up a considerable audience over time, despite potentially having had only a few views for the original live performance. On the other hand, large concerts can pull in thousands of fans from all over the world. I also look at this aspect from the pedagogical perspective by researching whether students watch recorded lectures and, if so, what do they consider to be the pros and cons. As well as this, I draw on current and recent academic research around blended learning and music livestreams. There is no doubt that on-line has established itself as a platform in future for the live music industry and for higher education teaching. This chapter will interrogate just how big a role it is set to play
Positive outcomes for student filmmakers in a pandemic
Get PDFThe Covid-19 pandemic has had significant impact on Film Production teaching in HE. This report details one HE’s changes to the production processes and deliverables for short fiction in response to lockdown. Despite confinement, students were enabled to develop their filmmaking skills in solo productions that also boosted their creative confidence. As measured by assessment outcomes and student feedback, these outcomes were noticeable amongst women students and can be attributed to the suspension of group working. Pandemic conditions have offered lessons for educators in film production
Collective close reading: queer SF and the methodology of the many
No full textBeyond Gender Research Collective are a group of researchers, activists and practitioners brought together by a shared commitment to imagining the world differently through collaborative explorations of queer, trans, and feminist science fiction. As Beyond Gender we understand ourselves as an example of what Jasbir K. Puar describes as a queer assemblage; we form, and are formed by, a practice we have developed called "collective close reading" (CCR). We begin this chapter by outlining CCR as a practice of utopian worlding: CCR is our method for reading and enacting science fiction, through which we exercise our capacity for imagining, dreaming, and building together. We apply this methodology to Ursula K. Le Guin’s "The Shobies' Story" (1990), particularly focussing on the ways in which Le Guin's narrative gestates new modes of art and of kinship, based on celebration of communal activity and politics of affinity. We conclude by connecting this reading of and through Le Guin's tale to our collective practices of performing science fictionality and of empathetic friendship. In doing so, we demonstrate how––like Le Guin’s Shobies––Beyond Gender's dedication to communal play and care allows us to insist upon expansive, heteroglossic, and generative possibilities in our collective futures
Createch in the UK: sustainability policy linkages and company activity
Get PDFThe report highlights findings and analysis of original research into the Createch sector in the UK that also assesses the sustainability maturity of the sector. This study builds on two other reports completed in 2020 and 2021 on Creative Industries, Sustainability and Industry 4.0. The research was funded by Research England Strategic Priorities Fund
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