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Potters on pots: Ashley Howard
Get PDFAshley Howard shares the influences that have shaped his practice and in particular the impact Colin Pearson has had on his approach to clay
Applying design thinking for business model innovation
Get PDFIn recent years, there has been an increasing interest in using design thinking for business model innovation. However, few studies have explored the application, potential and challenges of design thinking from a comprehensive perspective. In order to better understand how design thinking can contribute to business model innovation, this paper regards business model innovation as a subject of design research and provides a critical review of researchers’ explorations of how to apply design thinking for business model innovation. In light of the literature review, this paper distils seven key design research themes: (1) design thinking as a mindset and a methodology; (2) designers of business models; (3) design activities for business model innovation; (4) design tools for business model innovation; (5) design approaches for business model innovation; (6) co-creation of new products, services and business models, and (7) evaluating and measuring the impact of design thinking. The themes not only highlight the potential of applying design thinking as a necessary mindset and methodology to business model innovation, but also emphasise the nature of designing as a social process
Improvising with digital touch
Get PDFThis research is concerned with the use of wearable technology in the process of improvising and how the partnership of the body and technology influences the kinaesthetic awareness of the dancer/choreographer. The project sought to produce a prototype that made touch contact with the skin via patterns of vibration effects. This was achieved by creating a circuit with a haptic motor controller, microprocessor, vibration motor and battery. Contained in two bracelets, the technology was used in a series of workshops enabling participants to explore passive digital touch as stimuli for creative movement. By implementing embodied methods to gather qualitative data, I was able to combine my own embodied participation with movement analysis (Laban Movement Analysis) and the participants' perceptions of the experience. Codes identified from the transcribed interviews and fieldnotes were collated into a matrix with the movement analysis and then thematically analysed, revealing that the experience of repeated touch stimuli marked the continuum of consciousness and facilitated a reference point, creating a heightened awareness or foci for the moving body. I propose that this process disrupts the boundary of the body and plays a significant role in recalibrating the dancers' kinaesthesia
Focus on smartphone filmmaking practice - interview with Camille Baker
No full textChapter featuring interviews with four independent smartphone filmmakers - including an interview with Camille Baker about her work
Keynote address: S+T+ARTS:EU DG-CNT Arts & Technology Innovation Initiative: 2012-present
No full textKeynote address on the history and importance of the Science, Technology, and the Arts (STARTS) initiative
Longform video essays as critical retellings of video game narratives
No full textThis chapter discusses the concept of the retelling as a narrative product and as an instrument of narrative design analysis and criticism. Focusing on longform video essays as a prominent category of critical retellings, we analyze transcriptions of Noah Caldwell-Gervais' video essay and Jose Antonio Vargas’ video review of the 2020 videogame The Last of Us Part II. Using web-based reading and analysis environment Voyant, we investigate the indicators of how they approached and discussed the game’s narrative design and compare their texts as examples of critical and popular retellings of video games
Makers' Tale
Get PDFThis joint presentation between a curator and a ceramic artist, accompanied by audio-visual materials, investigates contemporary approaches to craft knowledge through the lens of collaboration. The paper considers Makers’ Tale exhibition part of the Salisbury International Arts Festival 2020 (SIAF 2020), at Salisbury Arts Centre part of Wiltshire Creative.
The main theme of SIAF 2020 is movement, inspired by the octocentenary of the relocation of Salisbury Cathedral from its original and no longer suitable site to its current iconic position. Makers’ Tale is the result of collaboration between University for the Creative Arts and Wiltshire Creative in association with Salisbury Cathedral. The Cathedral has witnessed a continuum of learning and the passing on of craft skills for the last 800 years.
The creative enquiry into the legacy and current practice of the Cathedral Works Department is a pivotal component of the project. Sennett (2008) expresses the importance of transferring the knowledge of skilled practice, while Harrod suggests that craft is dependent on knowledge that is ‘tacit, practical or embodied’ (Harrod 2018:15). The modern crossovers from the areas of music, new technologies, and interactive sound installation are used to integrate craft knowledge into an innovative, lived or embedded experience for audiences
China: the bankable state
No full textThe volume on China: The Bankable State rejects neoliberal consensus and focuses on crucial contributions of the Chinese state in shaping Chinese economy. This book makes crucial theoretical contributions to the study of local political economy of China. This book engages with Chinese state responses to challenges China faces in the processes of reform, transition and development of both commercial and non-commercial banks.
This book explores Chinese economic growth and development policy processes and its uniqueness in the wider world economy. The book examines Chinese financial policy praxis and offers an insightful account of its successes for the wider resurgence of alternative political economy of local development. Additionally, this book also showcases state led entrepreneurship in China
Enid - Yes!
Get PDFEnid is a collective of artists, musicians and sound engineers led by academic and multi-instrumentalist Laura Lee (Parachute for Gordo). Enid’s Yes! is an album produced during a single live performance as Laura Lee’s ethereal, fractured soundscapes combine with James Wright’s live studio manipulation, structured and punctuated by Mark Glaister’s tripped-out percussion. Musicians and engineers form a single unit as live performance is simultaneously affected, recorded and mixed as the music itself is produced. The result is a dizzying mix of textures and influences, alternately calm and frantic, reflective and boundlessly explorative. The artistic artefact of research is an individually hand-cut vinyl record.
The artefact and documentation of Yes! was exhibited at the West End Centre (2022) and South Hill Park (2023). Laura was joined by synaesthetic artist Karina Fraser as she presented stunning new paintings in response to, and inspired by, the Enid project at all stages of development. This echoes the context of Yes! using pedals, speakers, and studio effects to create an entirely different sound from that of the instruments in their purest state. The pigment takes its form, running across the canvas and splitting as the solvent evaporates, leaving traces where they lie
Der Krieg in der Black Box des Friedens: Der Tag des Spatzen mit einem Ausflug in die politische Ökologie
No full textThis chapter written in German sets a documentary about a sparrow who had been shot in a contract killing by a television company — as it interfered with an event to be recorded — in dialogue with Bruno Latour’s notion of political ecology and Baruch Spinoza’s affectual Ethics. In a complex choreography in which flying animals and humans with and in flying weapons collide and exclude one another, the documentary connects the death of the sparrow in apparent peace in the Netherlands with the death of a German soldier in war in Afghanistan. This paper contrasts the documentary, which the filmmaker has referred to as a “political nature film,” with political ecology. It responds specifically to Latour’s example of the ‘hybrid actors’—the ‘gun-citizen’ and the ‘citizen-gun’ (1999: 179)—and objects that there only gun-citizens, but no one who is shot; only perpetrators, but no victims. In this emphasis on action of political ecology, those acted upon are blocked out. That a body can also affect another body by diminishing its power of acting, as Spinoza writes in his Ethics (1677), is averted in Latour’s example. In the emphasis on action of political ecology, those acted upon are blocked out. In response to Latour’s action composites that obscure their effects, I suggest an ecological ethics which acknowledges that bodies can be affected to the point of extinction; beyond a flat ontology in which a species cannot become extinct because it does not matter. The paper develops Spinoza’s notion of the body with respect to the body of a film as constituted through affects and affections, and considers what bodies are part of the body of a film
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