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On foraging
No full textCo-published with 421 This book is published on the occasion of On Foraging: Food Knowledge and Environmental Imaginaries in the UAE’s Landscape, an exhibition commissioned by Warehouse421 for the UAE Pavilion at Expo 2020, Dubai, UAE. Edited with introduction and interviews by Dima Srouji, Faysal Tabbarah, Meitha Almazrooei
Remote research methods: Barriers and opportunities in conducting ethnographic research with urban marginalised women
No full textThe restrictions on mobility and several social distancing rules during the Pandemic compelled scholars worldwide to adopt digital remote research methods for data acquisition. This paper is based on the ethnographic account of a study on mobility conducted with urban marginalised women from the peri-urban areas of New Delhi, India, during the COVID-19 Pandemic. By discussing the approach adopted for the exploratory methods used to deal with uncertain situations posed due to the Pandemic, the paper highlights the barriers faced while engaging remotely with a socially marginalised group of women because of limited or no knowledge and access to digital medium/technology. Further, it also emphasises certain opportunities that the digital medium presents with respect to the reconstruction of social space within the digital ethnographic field. By doing so, this paper aims to offer insights for conducting a remote ethnographic study with marginalised communities
Finding building footprints in over-detailed topographic maps
Get PDFBuilding footprints are a key component of many GIS applications, including morphological and street view based analysis. Crowdsourced data such as OpenStreetMap (OSM) is widespread but not consistently detailed enough to reliably extract footprints of individual buildings, while topographic building maps such as the Ordnance Survey MasterMap Topography Layer (MTL) may split footprints into multiple polygons or include constructions without an address. We propose a method to determine which topographic building polygons can be unambiguously matched to individual footprints of buildings with an address, to enable integration with address-based data sources such as transactions or energy performance certificates. The results suggest that this method recovers significantly more building footprints than what can be obtained from OSM
The neon hieroglyph: Museo Reina Sofía: In 'Machinations'
No full textIn the thinking of Félix Guattari and Gilles Deleuze, the idea of the machine undergoes a paradigm shift with respect to Marxist analyses of the industrial society. Until that point, it had been regarded merely as a technical instrument which alienated the individual, turning them into one more piece of machinery in capitalist production. After 1968, this judgement was reformulated into an abstract nucleus capable of containing infinite human and non-human relations. Under this premise, a machine is the result of a series of connections between different components which respond to the demands of a series of determined circumstances and is mobilised to the rhythm of its cuts and flows, ultimately disintegrating in the same manner as it was built. This displacement from the static to the dynamic, from the individual to the collective, from the technological to the socio-political, underscores the opposition of the temporary and multiple nature of the machinic in facing the claim for eternity and uniformness of the structural. Therefore, the primordial role of the machine is “to machinate”; namely, to conspire against established power, to imagine new possible assemblages [agencements], to invent the necessary means for radical transformation. In accordance with this theoretical framework, the exhibition machinations explores different forms of resistance, coalition and creativity that materialises in the present by way of around fifty artists, most of whom hail from the Mediterranean area and African continent and reflect on the historical and present-day circumstances of such territories. The works presented stretch across a broad array of formats and techniques that approach drawing, painting, comic books, sculpture, theatre, dance, performance, installation, film, video and animation from a critical perspective. A dozen of them are new productions, specifically commissioned for this project, while many others are works either shown for the first time or adapted for this occasion. Overall, the selected works pivot around three main interconnected axes: War Machines, Schizo Machines and Cinema Machines of Care. From Guattari’s first texts to the “Treatise of Nomadology: The War Machine”, written with Deleuze in A Thousand Plateaus. Capitalism and Schizophrenia (University of Minnesota Press, 1987 [1980]), the “war machine” is defined as being prior to and outside of State apparatus, and, by extension, against all that which is presented as immutable and totalising. Opposite this “molar” condition of imperialist logics or the bureaucratisation of public life, myriad “molecular” revolutions surface as attempts at action which, from a micro-political perspective, set out lines of flight towards alternative ways of organising the commons. The connections between nationalist ideologies, militarism and colonial memory, as well as extractivism, forced migration and border policies are some of the vehicular questions in this show, addressed explicitly by this first cluster of works (War Machines). Furthermore, these movements of de-territorialisation and re-territorialisation are not necessarily geographical. Rather, they appeal, equally, to the unfolding of subjectivities outside of classical psychanalytical stereotypes. Indeed, the foundational tension between structure and machine, capitalism and schizophrenia, are largely shaped inside the context of anti-psychiatry, from the notion of institutional therapy practiced, among others, by psychiatrist Francesc Tosquelles in the Saint-Alban Hospital, and psychiatrist and psychoanalyst Jean Oury at the La Borde clinic. Upon ruling out the influence of the Oedipus complex and dissociating the subject from the family sphere — characteristic of psychoanalysis currents — schizoanalysis allows contemporary malaises to be situated in social space and to free the repressed desire of desiring-machines. Along this line, the second group of works (Schizo Machines) explores altered states of consciousness, minoritarian animist rituals, modes of unprecedented communication and speculations about science-fiction futures — ideas that run transversally across the exhibition. In the third of these axes, the intersection of social machinery with desiring-machinery turns cinema into a rhizome of processes of subjectivation, as it allows to evade and subvert dominant semiotic regimes. Following Deleuze and Guattari in What Is Philosophy? (Columbia University Press, 1996 [1991]), art provides a succession of percepts and affects which lead to thinking beyond images, which is why it is possible to produce camera-less films and even speculate on the hypothesis of a cinema of care. In this plane of post-cinematographic immanence, a third group of works (Cinema Machines of Care) start from cinema as a non-representational medium with the objective of embodying viewing experience, establishing affective communities and weaving collective assemblages of enunciation, always in line with the threefold social, mental and environmental ecology. For each of these three axes, the Museo Reina Sofía has maintained, since 2019, an open model of collaborative research with a team comprised of up to fifteen people with different backgrounds and experiences who have contributed to the process with their own conclusions. In the continuities and discontinuities of their assemblages, the constellations of research and curatorship bring together different modes of working to function, conjointly, as a machine. Thus, machinations extends beyond the physical limits of exhibition rooms, creating synergies with other projects, activities and publications inside and outside the Museo
The neon hieroglyph: Gus Fisher Gallery: In 'She Could Lie On Her Back and Sink'
No full text‘She was underwater now… Just like her grandmother, just like her grandmother’s grandmother. She could lie on her back and sink.’[1] She could lie on her back and sink explores artistic responses to the figure of the witch in the context of both indigenous Aotearoa and European lineages. Through film, photography, installation and performance, the exhibition is framed through an intersectional feminist lens where wise women* and customary knowledge holders are revered because of the way they engage with nature. Water is the unifying force between the artists, from the submergence of women’s knowledge in European pre-Christian practices to a vessel of swirling seawater, a hallucinogenic island and an underwater dancer. The exhibition’s title is a quote from a short story by novelist Pip Adam, commissioned by Ann Shelton for her new body of work, i am an old phenomenon (2022-ongoing), and refers to the historical practice of “swimming a witch” where hundreds of thousands of women were forcibly tried for witchcraft through drowning. This history informs Shelton’s new series and its visual realisation in the exhibition. Shelton’s works awaken past and present knowledge systems pertaining to the medicinal, spiritual, and magical applications of plants, animals and fungi. Turner-prize winning artist Tai Shani presents a feminist mythology of psychedelics in The Neon Hieroglyph (2021), which is inspired by her research into the history of ergot – a fungus from which the drug LSD is derived. In a newly commissioned installation and performance by Louie Zalk-Neale and their collaborators Tāwhanga Nopera, Neke Moa and Adam Ben-Dror, taura (ropes) are arranged to circulate flows of mauri through a self-contained seascape of rock, fibre, plastic and water. The exhibition concludes with Jayne Parker’s portrayal of a ballerina moving gracefully underwater in the short, choreographed dance spectacle The Whirlpool (1997). She could lie on her back and sink imagines a watery haven where our witchy selves can exist in harmony and new tendrils of knowledge are born
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.
Intelligent robust disturbance rejection control of a ballbot drive micromobility vehicle
Get PDFWe propose a hybrid adaptive control method with robust disturbance rejection for a novel personal micromobility vehicle that uses ballbot drive mechanics with a single spherical wheel. Intelligent control of such a micromobility vehicle is significantly sensitive to discrete events of short duration and high-intensity road disturbances and shocks. Sudden bumps, potholes, pavement or kicks typically cause these events. Our approach combines adaptive disturbance observer (DOB) with two other techniques to achieve better and more robust nonlinear control of a ballbot drive vehicle (BDV) against small to large external disturbances. The proposed hybrid DOB-Based combined control system (DOB-CCS) stabilizes the body position via a DOBbased partial feedback linearization (PFL) strategy while enabling ball movement on the floor by introducing a DOB-based sliding mode control (SMC). The control scheme consists of linearly combined components responsible for maintaining an upright posture about unstable equilibrium points and tracking the motion under disturbances. Simulations, real-platform experiments and respective comparative studies show the efficacy of the proposed method for a BDV to reject external disturbances. The practical performance of the proposed DOB-CCS strategy is experimentally validated and compared with a CCS method. The experimental results indicate less than 0.7 and 1.5 degrees of ballbot's orientation error and robust rejection of disturbances under kicks during balancing and transferring modes, respectivel
Storm break
Get PDFAn installation of 11 framed drawings and watercolours in the Munroe Room of the historic House of St Barnaba
Weather stop fiction stop
No full textThe Fiction Group – Adam Kaasa, Nicky Coutts, Jessica Wiesner, Shehnaz Suterwalla, and Holly Graham – writes to prompts as its art fiction method. Weather Stop Fiction Stop, is a durational fictioning that will take place during a research week at the Kallio-Kuninkala Residency. There will be two devices to navigate the week as generative research in progress: the impulses of punctuation and of weather. Both devices open up means of crossing, connecting, extending, eliding, containing, and spilling out and in through the multiples of the seemingly disparate and individuated fictionings. Fiction in this context is a foggy technology of scale, transgressing relations of size, distance, volume, or comparison through the climatic conditions of punctuation. The Fiction Group writes to prompts as its art fiction method. We recognize that the question of the ‘prompt’ acts as a metaphor for both being ‘puzzled together’, and the act of puzzling. Each member suggests a text, image, sound, place (the prompts are always evolving) and the group participants respond individually in writing. The texts are then collectively discussed. We approach this as a radical archival gesture for thinking about how knowledge exists, is presented, animated, reconfigured, and how we might expand the process through altering the conventions of knowledge. Language and its deployment are key, and the group use the language of fiction to write syntactically to the possibilities of ‘found’ objects and beginnings. We would like to expand the language of fiction from text to new experiments in voice and gesture