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Analysis of short animated documentary films programmed in key UK festivals: 2016–20
Get PDFThis study of 144 short UK animated documentaries, exhibited between 2016 and 2020, identifies frequently occurring characteristics in the films’ content and production contexts. Analysis of the films shows that the majority of these films are made by directors from an animation background, rather than from a documentary background, and also shows a high occurrence of films made by female and disabled filmmakers. It also shows that self-funding is frequently adopted in the production of these films, and that the films in the study favour 2D digital and traditional animation techniques over 3D animation. Funding and finance contexts are shown to be broad, and to correlate with trends in theme, for example social issues, health and mental health were more common in films supported by trusts, charities and foundations than those made in other finance contexts. In general, the findings support many of the suggestions and observations that have been made about animated documentary by scholars such as Annabelle Honess Roe, Paul Wells and others. However, they also raise questions, for example the high rate of self-funding, often alongside other sources of funding, suggests potential barriers to entry for those from diverse social-economic backgrounds. This study suggests areas for future research that can be taken up in the field of animated documentary, and contributes to an increased focus on quantitative research alongside qualitative analysis in the study of animated documentary, of short-form film and of films made outside of commercial contexts
Architectural design research in small practices
Get PDFPurpose There has been a recently growing interest by architects in practice-based research and the impact of research. At the same time, several post-graduate architecture programmes with practice-led research agendas were founded. This shift towards architectural design research is analysed using the notions of “process-driven research”, “output-driven research” and “impact”. The study aims to investigate and unveil the link between graduate programmes and graduates with a research interest and to test the tripartite model of “process-driven research”, “output-driven research” and “impact” in the context of small architectural practices. Design/methodology/approach The study uses a qualitative and exploratory research approach that includes 11 in-depth interviews conducted in 2020, during the first nationwide COVID-19 lockdown in the United Kingdom (UK) selected interviews were architects representing (1) members or alumni of practice-related graduate architecture programmes in London and (2) founders of London-based small architectural practices within the last decade. Findings While focussing on the London context, the paper offers transferable insights for the key potentials of practice-led design research in small architectural practices and the actions that might improve research practice. Originality/value This paper addresses a lack of studies on how design research differs between diverse types and sizes of architectural firms, why emerging small architectural practices increasingly engage with research and how this shapes their practice. This knowledge is important to fully understanding architectural design research and its strengths or weaknesses
Leather futures: How leather can be used as a material of choice for the future
Get PDFThe purpose of this research by practice determines how leather can be used as a sustainable material of choice for the future. Using a design-led methodology, this research develops knowledge for guidelines for the sustainable practice in this traditional industry, in order to make leather a material of choice for sustainable future consumer experiences and manufacturing. This investigation updates and re-evaluates old practices of handling leather and presents modern practices using alternative tanning methods, digital manufacturing and upcycling leather wastes into bonded collagenic fibres which address the end-of-life directive in the automotive industry. Finding knowledge gaps through the literature review, this research proposes leather as an ecoinformed material choice (Ashby 2009) and it introduces new practices to the catalogue of working with leather (Waterer 1946; Amberg 2018). Leather has a future; it is still a material of choice for high-end design applications including vehicle interiors, upholstery and luxury products. It has unique properties including particularly that of aging gracefully and longevity. It can be soft and luxurious, yet tough enough for selfsupporting structures. There is a huge quantity of animal skins and leather produced every year across the world. A rational use of resources suggests that there are considerable environmental benefits by using this material efficiently. This study proposes new ways to use leather which otherwise goes to waste. This includes new systems that I have devised to use leather waste and offcuts, which currently are discarded into landfill or are being incinerated. My methods address the future of leather by undertaking detailed observations of practice through fieldwork in the UK, Italy and Japan. Also, by prototyping circular practices using leather through hands-on investigation in a design laboratory and tannery environment. My findings identified collaborative communities which were drawn out in three areas: an actor network map, a leather processing diagram with closed loops and an atlas of locations of leather making. I produced a framework and an accompanying glossary to inform future practice with leather, including composite fabrication and digital manufacturing. In the practice part of this research, several artefacts have been created, demonstrating a potential process for undertaking 'circular' product design. A body of findings resulting from this research were categorised and presented in guidelines aimed at supporting future practice. Physical leather samples and upcycled composite materials from leather shaving waste tested the validity of the guidelines. Here, the studies demonstrate circular systems for production and reclaiming production by-products, through experiment and prototyping. An outcome of this research highlights the relevance of leather as a material for the circular economy – this is communicated through a handbook that illustrates terms and processes, which it is hoped will inspire makers and users. The value of this research for design practice is in its exploration of sustainable manufacturing methods and uses of leather, exemplified by providing samples, as well as the creation of the illustrated handbook. For the academic community, its consideration lies in developing design and reframing the position of leather and its by-products in the circular economy, which unlocks value from the reuse, repair, remanufacture, retrieval and recycling of materials and products
The architecture of weather #2: Heat matters
No full textIn her second instalment on the implications of atmospheric architecture, Christina Leigh Geros explores heat as material form and delineates land-sea conditions in which heat’s motion, presence and influence can be both felt and seen
Unexpected pleasures: Punk, art and Rock Against Racism
No full textBuilding on the monograph Experimental Film and Punk, this chapter for the catalogue for the exhibition Women In Revolt, originating in the Tate Britain (2023) and touring to the National Galleries of Scotland (2024) and the Whitworth Gallery (2025). It is text that outlines a period of artists work that is informed by the attitude of Punk and the politics of Rock agains Racism in the 1980s
Mapesbury Road
No full textMapesbury Road 2023 8 framed colour photographs In April 1968, the poet Paul Celan visited his paternal aunt Berta Antschel — one of the few members of his family who survived the Shoah — and stayed with her at her flat in Mapesbury Road, in Kilburn, north-west London. During this time, he also visited the Austrian poet Erich Fried whose house on the adjoining Dartmouth Road, where he lived with his wife, the photographer Catherine Fried, was a hub for the radical Left during the 1960s and 1970s, including Rudi Dutschke, Astrid Proll, Danny Cohn-Bendit, and Tariq Ali. The period was obviously marked by great political unrest, with Martin Luther King assassinated in Memphis on 4 April, and the attempted assassination of Dutscke exactly a week later, the day after Celan had visited Fried. (Dutschke would stay with the Frieds later that autumn.) It was then that Celan wrote ‘Mapesbury Road’, a short, dense poem which is marked not only by stillness but also — with its mention of ‘a lodged bullet’ — violence. The time is ‘magnolienstündige’, ‘magnolia-houred’ (in Michael Hamburger’s translation), a reference, perhaps, to the large, aged tree to be found in the garden almost directly opposite the Frieds’ home, and which Celan would have passed on his way between there and his aunt’s. It is this tree which is the subject of these photographs, its milky petals darkening against thickening April storm clouds
Spam jam: Antivoid alliance
No full textIf parrhesia once described the bravery of a solo voice against a single force. Then a multitudinous oppression should be met with a chorus of dissent. A collective jamming of the signal; a co-produced glitch, a dissonant polyrhythm set against a discordant song. In defiance of the individualisation of our call the response to repression should be played amongst allies. A rehearsal of a people yet to come in a place still being built, an unspokenword night of joyous resistance, of reverberation and resonance, of Social Parrhesia As Musical JAM. Recorded live at Brighton Electric, Sunday 20 June 2021, Brighton Antivoid Alliance Live AV performance, audio, voice, video installation, live art intervention, interaction, film, graphics, improvised noise and movement. Agents of the Antivoid. Featuring: Grant Cieciura, Caleb Madden, Chris Sav, Ellis Warren, Stephen Mallinder, Luke Pendrell, Yumino Seki, Tiago De Sousa
Sick women correspondents: Practices of care in cross-historical love letter writing
Get PDFIn “Sick Woman Theory,” the cornerstone essay for those who identify as sick and/or disabled first published in 2016, the artist Johanna Hedva theorizes the “Sick Woman” as a chronic, particular subject of “many guises,” representing all of the diseased, undesirable, and deviant bodies left “un-cared for” in “our current regime of neoliberal, white-supremacist, imperial-capitalist, cis-hetero-patriarchy” (2016/2020). This embodied-theoretical article departs from Hedva’s essay by writing to Bessie Bruce (1886-1921) and Cookie Mueller (1949-1989)—two sick women of the past. In our cross-historical love letter writing, we approach their lives, works, bodies, and letters as much in the “here and now” as the “way back when”. We risk proximity and intimacy to reach and know them differently, to feel them in affective relation, to care for them. Following queer feminist work on the love in reparative work and caring across time, we propose that correspondence, more specifically cross-historical love letter writing, be reconfigured as an enduring, never-finished, always-relational practice of care. As a creative, collaborative research method, it brings our sick women to life, if only momentarily, illuminating and caring for the excesses, pleasures, desires, temporalities, and risks of their own precarious lives-in-correspondence. Interspersed throughout our article are pieces of love letters, written to and across our subjects, a process of research-by-practice that we introduce as chronic-poetics and that has drawn our attention to the surprising, reparative cross-historical relations of care in writing
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No full text...admin... performance art work presented at troubling the story Event and presentation of
the radical⇌matter Journal # One Tuesday 7 March 2023, started 7:30 pm Iklectic 20 Carlisle Lane SE1 7LG London “…the trouble requires learning to be present, not as a vanishing pivot between awful or edenic past and apocalyptic or salvific futures, but … entwined in myriad unfinished configurations of places, times, matters and meanings…” Donna Haraway Set amongst the madness of emergent AI and countering the despotic/heroic/dystopic narratives espoused by “Big Tech”, ‘None of the Above: Troubling the Story’ manifests the research of the Artificial and Distributed Intelligence and AI Real-World Narratives research groups through an evening of immersive sound performance, poetics and other artworks. AI claims the position of the rational Oracle. It tells stories, stories with the power to manifest the future. But an AI future is a synthetic generation of the past. It locks in the logic of social hierarchies, division, and exclusion. We say None of the Above and call for a joyous reclamation of the future through the creation of a multiplicity of alternative imaginaries {AI} Artists: Sonia Bernac, Jonathan Boyd, Johnny Golding, Ajamu Ikwe-Tyehimba, Jeremy Keenan, Matt Lewis, Manu Luksch, Makul Patel, Martin Reinhart, Linn Phyllis Seeger, Tom Simmons, Shira Wachsmann, John Wild, Orphan Drif
Artificial and distributive intelligence for a better lifestyle
Get PDFKeynote outlining the key aspects of two of the AiDesign Labs on which I am PI (RP2-8 with Tom Simmons and RP2-9 with Sina Sareh). Here the discussion of why the emergent method was a model for future generative Ai was outlined