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Original copy & Marissa Stoffer
No full textOriginal Copy uses specially constructed software to explore the seen world of objects, images, and material space to uncover soundscapes and text to build atmospheric encounters and unearth dormant narratives. For this performance, Marissa Stoffer collaborates with her practice exploring the relationship between the human and the non-human looking at symbolism, language, stories, and colour. Through the act of foraging for colour she hand-dyes textiles and makes pigments from plants, specifically trees. This collaboration explores the London Plane tree, an enigmatic figure in central London's ecosystem, prominent everywhere yet often unseen.
Co-designing technology to improve psychological therapy for psychosis: SloMo, a blended digital therapy for fear of harm from others
Get PDFDigital technology is positioned as a potential solution to improving access, experience, and outcomes of psychological therapies for psychosis. Digital solutions need to be fit for purpose and tailored to context to deliver real world benefits. To address this, co-production is often used, where stakeholder involvement informs intervention development. However, co-production in clinical research tends to limit involvement to refining previously identified solutions to known problems. This is not an optimal approach to innovation and risks maintaining inequities. An alternative is inclusive co-design, where the needs of a diverse range of people are collaboratively explored using ethnography, and solutions to address these iteratively developed through user testing. In healthcare, we propose an evidence-based approach to co-design (‘hybrid waterfall-agile’) is required. This is because ‘agile’ exploration of needs and solutions is necessarily constrained by clinical guidelines and regulatory requirements (the ‘waterfall’). This paper provides an overview of evidence-based co-design. We use the example of SloMo, a blended digital therapy for paranoia. We describe our transdisciplinary team collaboration and how this facilitates inclusive lived experience involvement. Our therapy development method is outlined, illustrated by reflections from lived experience team members. Iterative divergent (‘zooming out’) and convergent (‘honing in’) cycles are used to co-design therapy functionality, aesthetics, interactions, and content, supported by stakeholder engagement. We conclude by reflecting on common challenges including sustaining lived experience involvement, adherence to evidence base, regulatory compliance, funding, and project management. Recommendations for navigating these obstacles are provided, with the aim of encouraging innovation in mental healthcare for psychosis
The Parallax View
No full textAlan J. Pakula's The Parallax View (1974) is a renowned example of the paranoid conspiracy thriller, a genre that was a marker of the 1970s. The period was haunted by the murders of John F Kennedy (1963), Malcolm X (1965), Martin Luther King (1968), and Robert Kennedy (1968), together with the crimes of the Manson family, Altamont, the Vietnam War, and the Watergate scandal. Mark Campbell's study of the film situates it within this historical moment of increasing paranoia and conspiracy, analyzing the ways in which it not only reflected, but also actively constructed, this febrile worldview. He contextualizes the film as an adaptation of Loren Singer's 1970 pulp novel by the same name, and highlights the role of influential cinematographer, Gordon Willis, in constructing the visual style that was essential to the filmic representation of paranoia. Focusing on the film itself, Campbell provides a detailed analysis of key scenes, particularly the central six-minute brainwashing sequence which featured imagery drawn from pop culture, advertising slogans, and violent imagery. He examines Pakula's use of the film-within-a-film visual trope, and how the scene refers to the then widely-held suspicion that television and mass media were tools of psychological conditioning", highlighting how this concern was reflective of new anxieties about corporate and media power.
Nurturing cognition through children’s early drawing experiences.
Get PDFWhen children draw multiple facets of their cognition, like their beliefs, actions and perceptions, activate and connect to facilitate expression. Children’s drawings and their drawing experiences however, are not always valued or nurtured as cognitive endeavors or given recognition as useful contributions to a child’s learning journey. This paper therefore presents how a cognition conceptual frame (Heaton, 2021), can be used to help people conceptualise and nurture cognition in early drawing experiences by considering cognitive forms, influencers and applications. It unpicks through a purposive micro-visual inquiry as to how cognition may be identified in a small sample of children’s drawings to demonstrate how cognition may present, be influenced, and be cultivated to develop an early learners’ cognitive abilities, capacity and understanding. This paper advocates for a renewed consideration of the cognitive complexities of children’s early drawing experiences and suggests that people designing and supporting such experiences should engage with cognition so that it is nourished through learning journeys and lived experiences
Vorher und Nachher: Die Architektur der Katastrophe
No full textCatastrophes, bombed-out cities, large-scale political transformations: “Image complexes” of humanitarian and ecological upheaval document the world as a sequence of catastrophes. But who decides how events are presented, determines the resolution of our visual worlds and controls the circulation or censorship of images? Eyal and Ines Weizman trace the history of the before-and-after image from 19th-century photography to contemporary satellite images and discover a gap that not only conceals the devastating event: it is the human subject itself that is in danger of disappearing from the images. Do humanitarian work, the documentation and reconstruction of war crimes, in which people’s fates and rights should be at the center of attention, paradoxically enter a post-human phase? How can the gap between images become a site of critical counter-reading rather than a symbol of erasure? In the context of their current research, Eyal and Ines Weizman discuss the history, present and future of the paradigm of the before-and-after image in an exclusive conversation with Marie Glassl
Distance and proximity
No full textWe’re always writing from somewhere, and in this workshop we shall consider what it means to have a position, whether in relation to a subject, or a person. It is often said to be important to maintain a ‘critical distance’ from a subject, and yet ‘close knowledge’ is also greatly valued. How far from — or how close to — a subject might one be to write best about it? In advance of the workshop, you are invited to send an image of an artwork which gives you particular joy, even though you can’t particularly say why. This could be something which is generally admired and possesses cultural status — it need not be a ‘guilty pleasure’ — but what is important is that it affects you in ways you would find hard to explain. We will choose some to look at during the workshop; please feel free to attend even if you have not submitted an image in advance
The drifting gaze: Sexuality and spectatorship in the Internet age
Get PDF‘The Drifting Gaze’ investigates the fluidity of the power inherent in the gaze in the scopic field of digital social networks, seeking a new discourse around the question of the gendered gaze outside of the existing dichotomy of active men and passive women. Using psychoanalysis as my main theoretical framework, this power relationship is scrutinised and elaborated through an exploration of the concept of desire in relation to gender and sexuality. The photographic medium is both an observing tool for the investigation of the representations of men as an erotic subject and also a screen for projections of my fantasies, in which the power structure inherent in the gaze is questioned, deconstructed and examined. By putting myself inside these fantasies/photographs via different digital methods, I become a combination of director, observer, protagonist – and sometimes even prop – in the image. The fluidity of my position is facilitated by the Internet and digital technologies, questioning how the accessibility and ubiquity of images today blurs the boundaries between subjectivity and objectivity in the Internet age and how the constant connection provided by the Internet fundamentally changes the perception of the gaze. In this essay, I explore these themes through research involving psychoanalytical and philosophical theories, analyses of my own and other visual artists’ work and accounts of my own dreams. Across writing, dreams and photography, we drift between the conscious and the unconscious, the virtual and the corporeal, approaching an altered form: a theatre of sexuality and spectatorship
Vanishings
Get PDFA group exhibition of artists who use landscape imagery as a meeting point between an inner world and that which exists beyond the inner world and where the telling of private stories aims to create connections and a sense of empathy
Ledbury Estate and the violence of poverty: Haunting memories of fire and precarity
No full textCo-presented with Stamatis Zografos (Bartlett, UCL) Panel 53. The conflictive urban and spatial dimensions of memory Ledbury Estate and the violence of poverty: Haunting memories of fire and precarity This paper focuses on Ledbury Estate, a council estate in South London that is destined to be demolished, as it doesn’t meet fire and structural safety requirements. During the Covid-19 pandemic, however, Southwark Council introduced ‘measures’ that deemed Ledbury Estate safe, and three out of the four blocks were brought back into use as temporary accommodation for homeless and low-income families. Through an assessment of the situation at Ledbury, I will discuss how the memory of fire has been ‘translated’ into regulatory practices and how buildings can inflict – unintentionally or not – a sense of urban violence in precarity of housing. Our research was formed through workshops with residents listening, recording in Super-8 film and communicating how everyday life at Ledbury unravels. We consider the multiplicity of voices at play in this collective piece, some often unheard, forgotten and disenfranchised, which comprise part of Ledbury’s intangible heritage, a ‘heritage from below’. We further argue that the architecture of Ledbury Estate, the measures taken to ensure its safety and the voices of the residents demonstrate haunting presences. Paraphrasing Mark Fisher’s interpretation of hauntology, which is based on Derrida’s trans-language pun on ontology, memories of fire and precarity emerge as a recognition that they are no longer a threat to the residents but are still effective as a virtuality. Simultaneously they demonstrate how fire and precarity (in actuality) have not yet happened but are already effective in the virtual, as an anticipation. In conclusion, this paper argues that the haunting memories of fire and precarity associated with temporary accommodations constitute forms of violence, which together with the violence found in the social cleansing of decant spaces comprise a form of urban violence of poverty
Toward a design methodology for configuring assistive wearables
Get PDFWearable devices have some shared characteristics. They should conform to the wearer's size and shape, not interfere with desired activities, perform intended functions, be easily usable and comfortable, among others. Due to these shared characteristics, a common design methodology should be possible for designing wearables that assists designers in taking a systematic approach. We propose a configuration design method for wearables and sketch its elements. An example of a family of passive exoskeleton suits that assists with walking is presented to illustrate the configuration design process