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Dazzle solo at ZED festival
No full textZED Festival is an avant-garde and poetically creative field of action that is expressed in real places and virtual spaces, a perfect balance between technology, future, culture, dance, nature and community. Read More A crossroads of ideas, perspectives, people and far-sighted visions, the festival directs its gaze towards a cycle of unique, multifaceted and extraordinarily fascinating events declined in the relationship between screen and dancing body. Video dance films, previews, exclusives and auteur short films, XR experiences of virtual reality and augmented reality, 360° films that can be enjoyed from a VR headset, video installations, thematic meetings and workshops are the ingredients of a powerful international programming that makes XR technology and the digitization of dance increasingly familiar, everyday and close to the spectator. ZED Festival is a simultaneous activity between organs, people, ideas and objectives, a point of reference for videodance and its expressions throughout the country with an unusual, empathetic, innovative formula. DAZZLE is a multidimensional choreography and immersive installation combining performance, virtual reality, and fashion created by Gibson, Martelli, Pollmann, and Roth. ZED Festival presents ‘DAZZLE: SOLO’ alongside video footage of rehearsals and behind-the-scenes explorations. Influenced by the rhythms and colours of early 20th-century naval camouflage and Italian futurist Thayaht’s groundbreaking ‘Tuta-suit‘ garment design, the project was ignited by the original Dazzle Ball, which took place in 1919 at the Royal Albert Hall in London. Dressing up in real life introduces the work and physically recreates the virtual act of inhabiting an avatar. The costumes exhibited are selected from fifty fashion designers who co-created unique zero-waste garments. The pattern collection is open-source and available online. ‘DAZZLE: SOLO’ has been exhibited at the London Film Festival 2020 Festival D’Avignon 2022, Meet Milan 2023 and IDAF Istanbul 2024.The large-scale performance of ‘DAZZLE – A Reassembly of Bodies’ premiered at the 79th Venice International Film Festival, La Biennale Di Venezia and VR Days, Rotterdam, in 2022. ‘…giddying perspectives, algorithmic choreography and psychedelic dancing figures – humanoid, geometric or entirely abstract – that can pass right through you like digital ectoplasm. It’s pure fantasy…’ Sanjoy Roy – The Guardia
Curious
Get PDFCurious brings together a selection of interviews with curators and artists conducted by Paul O’Neill at the beginning of the new millennium, when contemporary curating emerged to become the established creative occupation that it is today. Much existing historicisation of this then still new field has tended to emphasise specific career markers, shifts in educational routes, exhibition contexts and networks of circulation. By way of contrast, here first-hand accounts and personal reflections are used as means to unearth, cross-reference and reveal the dynamics of this pivotal period of innovation and change. Employing an ingenious inversion of the adage that to do the same thing repeatedly expecting different results is unwise, O’Neill asking the same questions over and over again has led to an array of incisive responses. In looking backwards to retrieve these personal histories, a complex picture emerges: one in which the recent past adeptly illuminates the present, as well as the potential of future curatorial trajectories. Re-edited from their original transcripts, Curious comprises conversations with Brian O'Doherty, Lawrence Weiner, Seth Siegelaub, AA Bronson, Lynda Morris, Brian Wallis, Andrea Fraser, Okwui Enwezor, Hans Ulrich Obrist, Hou Hanru, Gilane Tawadros, Nicilas Bourriaud, Ute Meta Bauer and Maria Lind
Affordable housing floor plan dataset
No full textThis dataset contains the floor plan data collected for the research project ‘Housing Standardisation: Architecture of Standards and Regulations’, supported by the Arts and Humanities Research Council [AH/W003198/1]. It includes six tables each dedicated to a different country studied: England, Chile, China, the Netherlands, Spain and Switzerland. The details of the sample and data can be found in the document
My bodily remains: Setareh: In 'Mythic Origins'
No full textMythic Origins brings together artworks which touch on myth and archetypal images in a time of deep uncertainty. The exhibition is focused on artists who make use of fables, allegories and their associations to realise internal journeys of discovery. Often what they evolve becomes a method for themselves to negotiate the alienating world of social constriction and control. In this way, critical issues of identity, autonomy, citizenship and agency come into play. By turning their attention to the creation that is enacted through theirselves, they realize works of art which reach past their conditions to seek new and fruitful possibilities of transformation. Full of esoteric pondering, these artist prophets create images which emote archetypal energy, an art that culls from the ancient past to imagine a liberated future. In conversation, these voices become a community of recalcitrance, insolent to the forces of capitol and insistent on the liberating potential of expression
Courtplay: "Performed excerpts from Our Fatal Magic: The Teenager"
No full textIn the initial stages of preparing for our museum's construction, we seize a brief opportunity to extend an invitation to COURTPLAY in the former courthouse of Amsterdam (Parnassusweg 220), the location of our forthcoming museum of contemporary art. COURTPLAY is a 24-hour event, conceived by Mohamed Almusibli and Ivan Cheng for Hartwig Art Foundation. The former courthouse of Amsterdam will become the stage and set for a 3-act theatrical play —a deconstruction of a TV legal drama, with contributions of writers and artists from near and far. Mini-marathons of artist films, and site-specific installations are positioned through the monument-listed atrium and former courtrooms. Food and drinks are available for visitors throughout the building. As a format, COURTPLAY serves to display tensions between its contributors and the established notions of law and tradition, and questions the difference between audience, consumer, and witness. Insistent on dealing with popular culture, distribution, and the force of language, the title of the event is playfully derived from a band name, Coldplay. Their frontman, Chris Martin, indisputably bears most of the band’s celebrity, enhanced by the wide tittering at the lifestyle quirks from his partnership with actress and entrepreneur Gwyneth Paltrow. Upon their separation, they used the neologism of ‘conscious uncoupling’ instead of divorce. An instance of legal language and its socialized alternative, it met ridicule from the press, but sustained fascination with how relationships can be defined and shaped by their terms of engagement. COURTPLAY runs the course of a day, but its contents speak to manifold continuities and affiliations
Object learning: A journey towards active learning. An on-line lecture series
Get PDFIn the address, Atif will explore some insights in using immersive technologies as a mode of active learning in formal and informal learning settings. Through the example of Millennium Mills: Feeding Edwardian London, Atif will map his “Thinking with History” critical pedagogy in creating immersive content. In particular, Atif will reflect on the underlying principles that have shaped his thinking on the use of immersive technologies - like VR - to deliver East London public history content; and how he aspires to develop more effective active learning and decolonial modes of teaching and thinking
Transferability vs. repeatability: Consolidating the ontological nature of design research
Get PDFOver time we have begun to build foundations for design ontology moving it away from efforts to align with a scientific rigour model based on reproducibility and generalisability towards a new direction supporting design’s emergent and abductive qualities. Two of the key issues that have escaped our grasp has been a better understanding of design ontology and what equates to rigour in constructive design research. Recent work by the authors has positioned transferability as a candidate for a design ontology based on an ontological mirror along with a series of attributes addressing the rigour issues of future-forwards knowledge generation. Here we use two case studies to test the future forwards rigour of a transferability property for design knowing and speculate as to how researchers can build confidence and trust
T2GR2: Textile touch gesture recognition with graph representation of EMG
Get PDFThe fashion industry’s negative impact and overconsumption require urgent action to improve and reduce fashion consumption. Tactile gesture plays a vital role in understanding, selecting, and feeling attached to clothes. In this paper, we introduce the FabricTouch II dataset with multimodal infromation, which focuses on fabric assessment touch gestures and aims to support sustainable fashion consumption. By integrating gesture labels, we enhance the dataset’s comprehensiveness, improve recognition accuracy, and provide valuable information for consumers and intelligent systems, such as conversational agents in shop or home wardrobe. Additionally, this study has made preliminary explorations on recognizing fabric touch gestures using time-spectral representations of EMG combined with graph representations on this small batch dataset. The experiment found that the graph representation of EMG outperforms the regular neural network and that the representation capacity of bilateral EMG data is superior to that of unilateral data
Close encounters in the health archive of an aunt, sister, and brother: A sick women letter exchange
No full textThread count
No full textThread Count is an eclectic exhibition of artists working with textiles, artists from a broad range of cultural and educational backgrounds who employ the medium for its diverse creative possibilities. The exhibition takes a non-hierarchical stance; some of the artists have a practice dedicated to the medium, committed to their discipline they continuously hone their skill, and others use textiles within a broader practice embracing a range of materials and skills. Some artists are self-taught, disregarding or unaware of accepted rules or construction methods; some are highly trained, using their skills to subvert expectations. A large number of the artists were born or now live and work in East Anglia adding to the rich history of textiles in the region. Although this is often overshadowed by the more visible textile history and industry found in the midlands and north of England. Thread Count presents textiles as a medium for self-expression and communication. Here, the role of textiles is not about its decorative and functional qualities, although these qualities are not to be disregarded. Materials and processes carry meaning, and the presence of skill does not indicate the absence of concept. The artists in Thread Count work with thread, fibre and cloth for many reasons, but there is a strong undercurrent of a desire for creative and physical freedom. This freedom is expressed through the choice of materials, processes and imagery. Working in textiles can give you the freedom to work wherever you want. For the most part, the work is light; it can be folded or rolled up and easily stored or transported. The materials are readily available and can be cheap or even free if you reuse fabric items from around the home. Textiles and textile practitioners still find themselves and their practice undervalued or dismissed because of the medium’s enduring associations with gender and the domestic environment. This exhibition tramples over those preconceptions, evidencing the hard resolve of the soft discipline. Threads count