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Changing grocery shopping behaviours among Chinese consumers at the outset of the COVID‐19 outbreak
Get PDFThis study focuses on the embryonic stages of the COVID-19 pandemic in China, where most people affected opted to abide by the Chinese government’s national self-quarantine campaign. This resulted in major disruptions to one of the most common market processes in retail: food retailing. The research adopts the theory of planned behaviour to provide early empirical insights into changes in consumer behaviour related to food purchases during the initial stages of the COVID-19 outbreak in China. Data from the online survey carried out suggest that the outbreak triggered considerable levels of switching behaviours among customers, with farmers’ markets losing most of their customers, while local small independent retailers experienced the highest levels of resilience in terms of customer retention. This study suggests avenues for further scholarly research and policy making related to the impact this behaviour may be having around the world on society’s more vulnerable groups, particularly the elderly
Review: Propositions for Alternative Narratives
No full textReview of one of the leading UK photography festivals
Nowhere Less Now³ [flying saucer]
Get PDFYou enter a building called the Flying Saucer, which originally stood on the edge of an old army camp, but now the city engulfs it. It is hot outside but the building is cooled and you feel the relief from the opressive heat as you go inside. A silver curtain shimmers in the wake of the air conditioning. You pass through this mylar curtain (a material used in space travel) and there are luminous loungers glowing in a 1970's style, behind which a geometric form lurks – an echo from a Rennaisance etching. Three large monitors are playing simultaneously. Sometimes the centre screen differs as the films move across the three screens. At times left and right are mirrored. There is a rhythm and a pace driven by the images and the surround sound. The story seems neurological – beyond the usual narrative structure that goes with cinema and theatre. It is a work of mass hallucination. dancing and bodies; the danger of dance.
There is no singular way to sum up this work. It does not really want to be explained by an elucidating text; it wants to rest in the medium that shapes it. It does not follow a convention of story telling that governs cinema. What it does follow is a freewheeling set of associations and the vagaries of our interpretations of events. As a construct it wants to be like consciousness might really be … fragmented, discontinuous, oscillating, driven to constructing false cause and effect narratives from endless occurrences that ultimately have no clear singular causal reason.
Yet one thing seems to lead to another.
We could say about this film “An alien form studies the earthlings from its spaceship. It conceives of dance as a language that seems to be have a truth lacking in human writing and speaking. It is bewildered by the contradictory nature of the conventions that govern humankind – of their own making. It has more trust in animals. It sees the politics of a dance by Leni Riefenstahl performed on an island off Germany – an island swapped with Zanzibar …causing an Omani Princess to escape to Germany.
But everything is entangled not just by a singular flapping of a butterfly wing.
It seems that the medium has become more than a massage as McLuhan proposed, it has become a death through lack of breath. Our technological, mathematically defined image system can no longer be understood as a simple image thrown through an aperture like a camera obscura. If an image was ambivalent in the past as to its relationship to the cause and effect narratives of history, its susceptibility to digital manipulation – both in software edits and in the hardware processes of image-making devices running proprietary firmware has led to an even more dense and pressing problem where programming assumptions, accident, and chance govern how the image emerges. Events are left to be written by each human consciousness in ever multiplying versions of something that seems to have no well-defined content or meaning.
Hallucination and projection abound. Let’s dance to feel our embodiment …but not for TikTok
Global survey of precious plastic projects: a summary of findings
Get PDFA report based on a survey of activities of precious plastics projects worldwide
Blue circular economy: opportunities for circular business models and circular design related to fishing gear (version 2)
Get PDFThis report aims to contribute to discussion related to the widespread and enduring problem of waste fishing gear in the world's oceans. It highlights the problem and proposes business opportunities. To help tackle the problems and opportunities in the Northern Periphery and Arctic (NPA) region, the European Commission (EC) Interreg funded Blue Circular Economy (BCE) project offers free help, including events, webinars and 1:1 mentoring to start-ups, SMEs and entrepreneurs as well as co-operatives and social enterprises in the NPA region.
This report presents an overview of:
• Gear used for fishing for finfish, shellfish and aquaculture
• Extended Producer Responsibility (EPR) as it relates to waste fishing gear, as announced in the European Commission (EC) Single Use Plastics (SUP) Directive
• Opportunities that might arise for more circular business models (CBMs) and new products for start-ups, SMEs, entrepreneurs, co-operatives and social enterprises in port cities, towns and fishing communities in the Northern Periphery and Arctic (NPA) region, and beyond
• Strategies for improving the product circularity of fishing gear (circular design)
The report includes a look at challenges posed by waste fishing gear in our oceans and at end of life, and, includes a short discussion on the implications for stakeholders and SMEs in the NPA region (see Appendix A). It addresses the Extended Producer Responsibility (EPR) scheme (that is part of the EC’s SUP Directive), new circular business models (CBMs) and circular design of fishing gear and finishes with overall conclusions.
Fishing gear are complex products, comprising nets, ropes, components and peripherals e.g. polymers, metals, rubbers etc. This report uses the term waste "fishing gear" when referring to fishing nets, ropes, components and peripherals (FNRCPs)
In pursuit of being an artist
No full textHedley Roberts' essay "In Pursuit of Being an Artist," is a chapter in a book by Delphian Gallery, which offers guidance and reflections on the evolving nature of art education and professional practice. Roberts examines how art schools have shifted their focus from traditional skill development to preparing students for career outcomes in a rapidly changing art world. He highlights the importance of balancing creative work with the professional aspects of being an artist, such as networking, managing a public profile, and adapting to the digital age.
The book serves as a resource for emerging artists, providing practical advice on building resilience, maintaining a sustainable practice, and navigating the complexities of the contemporary art world. It emphasizes the need for artists to be proactive in their careers, using both traditional methods and new digital tools to connect with galleries, curators, and audiences
Killing the sad fat guy and the pregnant lady: uncomfortable death in Friday the 13th Part III - 3D
Get PDFLikened to a ‘roller coaster’ by the director of Friday the 13th (1980), Sean S. Cunningham (Wood 2015), the first two films in the franchise minimised character back-story and heightened the spectacle of death sequences to reinforce this experience of ‘thrill’. However, with Friday the 13th: Part 3 – 3D (1982), the spectacle was intensified through the introduction of 3D cinematography while characters were developed more extensively, altering the balance of this experience. As a result, Part 3 becomes the first film in the series to read as truly tragic, something that has been identified in later films, including Part V (1985).
This mini-essay will look at the characterisations and deaths of Shelley, the misfit friend with self-image issues who is overtly (and understandably) rejected by his blind date, and Debbie, a young woman who the film establishes as pregnant. Both of these characters derive from archetypes established in the first two films but with more defined characteristics. Therefore, Part 3 acts as a film that significantly alters the trajectory of storytelling in the Friday the 13th series.
Works cited:
Wood, Jennifer M. (2015) ‘The Hard Truths of Making Horror Movies, from the Creator of Friday the 13th: Sean S. Cunningham on the do’s and don’ts of keeping a slashing murderer alive’, in Esquire.com, October 31. Online at: https://www.esquire.com/entertainment/movies/g2493/friday-the-13th-creator-making-of-horror-movies/ (Accessed 18/12/2019
Products and circular economy: policy recommendations derived from research & innovation projects
Get PDFThis report presents the findings from a review of more than one hundred Research & Innovation (R&I) projects under EU Framework programmes FP6 and FP73, dealing with a range of circularity considerations related to product design, manufacturing, use and after-use. Nine independent experts analysed these projects, brought in their own expertise, and identified key messages and lessons for policy makers with regard to possible future research and policy action. These findings may prove useful in the implementation of the brand-new second Circular Economy Action Plan, which develops a vision for an innovative circular material policy embedded in the broader context of the ambitious objectives for climate change mitigation that the new Commission expressed in its European Green Deal.
This report was compiled and edited by Hans-Christian Eberl together with an independent expert, Professor Martin Charter, Director of The Centre for Sustainable Design, University for the Creative Arts (UCA), and based on project analyses by the independent experts Geert Bergsma, Carl-Otto Gensch, Bernd Kopacek, Michal Miedzinski, David Peck, Frieder Rubik, Marzia Traverso and Ruslan Zhechkov
Small lies? Authenticity and the artist interview
Get PDFIn 2007, Matt Wrbican, archivist and Warhol authority,1 revealed that Andy Warhol had never in fact uttered the famous quote, ‘If you want to know all about Andy Warhol just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.’2 (fig. 1) Rather, these were the words of the interviewer Gretchen Berg, from a carefully edited conversation with Warhol in the East Village Other, published on 1 November 1966, in which her questions were not only removed, but were transposed into allegedly authentic statements by Warhol. This paper examines questions that are raised when face-to-face interviews and conversations with artists are edited for sound clips or transcribed for books and catalogues, raising both art-historical and ethical issues
Christopher Street
Get PDFChristopher Street is a multi-component research output created by Professor Sunil Gupta. It consists of a book of 60 black and white photographs (Stanley Barker, 2018) made by Gupta and an international series of exhibitions (2014—2021). The work has also been disseminated within the collections of major international museums (Philadelphia Museum of Art and the Vancouver Art Gallery) and online
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