1,721,174 research outputs found
Crafts Council working with May Cornet on the relationship between math, textiles and geometry
No full text2008/09 The Numbers Museum, Spark Plug curatorial award, Crafts Council
working with May Cornet on the relationship between math, textiles and geometry
Whose Book is it Anyway?: A View from elsewhere on publishing, copyright and creativity
Full text linkWhose Book is it Anyway? is a provocative collection of essays that opens out the copyright debate to questions of open access, ethics, and creativity. It includes views – such as artist’s perspectives, writer’s perspectives, feminist, and international perspectives – that are too often marginalized or elided altogether.
The diverse range of contributors take various approaches, from the scholarly and the essayistic to the graphic, to explore the future of publishing based on their experiences as publishers, artists, writers and academics. Considering issues such as intellectual property, copyright and comics, digital publishing and remixing, and what it means (not) to say one is an author, these vibrant essays urge us to view central aspects of writing and publishing in a new light.
Whose Book is it Anyway? is a timely and varied collection of essays. It asks us to reconceive our understanding of publishing, copyright and open access, and it is essential reading for anyone invested in the future of publishing
Process Revealed
No full text2006 Process Revealed: An exhibition of generative and digital works,
Artpool artspace and research centre, Budapest , Hungary . Co-curated with Tim Blackwell. Catalogue available in English, SBN 1-9-4158-71-4, 25 pages
Whose Book Is it Anyway?
No full textWhose Book is it Anyway? is a provocative collection of essays that opens out the copyright debate to questions of open access, ethics, and creativity. It includes views — such as artist's perspectives, writer's perspectives, feminist, and international perspectives — that are too often marginalized or elided altogether. The diverse range of contributors take various approaches, from the scholarly and the essayistic to the graphic, to explore the future of publishing based on their experiences as publishers, artists, writers and academics. Considering issues such as intellectual property, copyright and comics, digital publishing and remixing, and what it means (not) to say one is an author, these vibrant essays urge us to view central aspects of writing and publishing in a new light. Whose Book is it Anyway? is a timely and varied collection of essays. It asks us to reconceive our understanding of publishing, copyright and open access, and it is essential reading for anyone invested in the future of publishing. As with all Open Book publications, this entire book is available to read for free on the publisher's website. Printed and digital editions, together with supplementary digital material, can also be found at www.openbookpublishers.co
Material Contemplations in Cloth and Hair
No full textA preoccupation with hidden labour links the work of Janis Jefferies and Emma Tarlo in this joint exhibition which brings together Jefferies' installation, Weaving and We with Tarlo's installation, Combings. Taking us backstage to cloth and hair factories in China and hair workshops in India and Myanmar, they draw attention to working landscapes in which materials, fibres and machines take on haunting proportions. Their photographs invite us to recognise connections that are often obscured between the lives of workers in Asia and the material products that end up in our highstreets and homes.
Weaving and We
How do we generate intensity in a world swamped with second- and third-hand imagery, in a world that has itself become a simulacrum? – Janis Jefferies
Janis Jefferies’s photographic series, ‘Weaving and We’ (2013), depicts workers at textile factories in and around Hangzhou. The photographs give a partial glimpse into the world behind the machinery, revealing scenes of the process of workers’ labour. We are accustomed to seeing the goods they produce all around us, but rarely do we see them - the makers. How might we effectively be made to see these textile workers as part of our ‘we’? How can we see them through a world swamped with images? We, as viewers, cannot disregard textile workers whose daily lives are intricately linked with cloth, material, dye and weave production. Jefferies experiments with techniques of ‘estrangement’ to render the photographic image more affective/ effective than the documentary images we are used to. Here the labour involved in textile production and maintenance is not a mark left for perpetuity but rather a caring for existence, for being in the present.
Combings
how many heads? how many hands? how many hairs?
Emma Tarlo’s images of hair reconstruct the hidden topography of labour concealed within a single packet of hair extensions purchased from a shop in Finsbury Park in North London. Taken over a three year period (2013- 2015) in India, China and Myanmar, her photographs track the slow and silent trajectory of combings – sometimes known as ‘dead hair’ in the trade. This is hair that has fallen out and been salvaged from the brushes and combs of long haired women. The images capture hair in limbo - after the moment it has become disconnected from heads across Asia but before it becomes attached to new heads in Europe, Africa or the United States. Robbed of intimacy and personal connection, hair takes on disturbing qualities. It and becomes mere fibre. Human waste. Yet it remains haunted by the presence and absence of those from whom it was harvested. Tarlo’s images force us to confront hair in all its rawness and invite us to contemplate both the ingenuity and cruelty of global connection
Confronting Authorship, Constructing Practices (How Copyright is Destroying Collective Practice)
No full textIn this chapter I investigate the coercive relationship between authorship and copyright from the perspective of intersectional feminist and de-colonial knowledge practices. Examining three artistic strategies (Richard Prince, Cady Noland and the Piracy Project) which all try to challenge the close ties between copyright and authorship – although with very different outcomes – I will show how the concept of authorship grounded in possessive individualism creates considerable blockages for critical art, education and collective practice. Trying to politicise individual authorship and to escape its construction through legal, economic and institutional frameworks, I discuss how this chapter would circulate in current systems of dissemination, validation and authorisation, if I did not assign my name to it, if it went un-authored so to speak. From a de-colonial feminist perspective, however, authorship after all marks the positionality of the speaking subject in order to account for the often unacknowledged eurocentrism of western philosophy (Gayatry Spivak). Acknowledging this double bind, I wonder, how we might eventually be able to invent modes of being and working together that recognise the difference of the ’who’ that writes, and at the same time might be able to move on from the question ‘how can we get rid of the author’ to inventing processes of subjectivation that we want to support and instigate
Into my garden come, Primarolia Festival 2019
No full textExhibition catalogue for "Into my garden come" contemporary art exhibition at Primarolia Festival 2019. Introductory essays by Nansy Charitonidou and Janis Jefferies
Interfaces of performance
No full textThis collection of essays and interviews investigates current practices that expand our understanding and experience of performance through the use of state-of-the-art technologies. It brings together leading practitioners, writers and curators who explore the intersections between theatre, performance and digital technologies, challenging expectations and furthering discourse across the disciplines. As technologies become increasingly integrated into theatre and performance, Interfaces of Performance revisits key elements of performance practice in order to investigate emergent paradigms. To do this five concepts integral to the core of all performance are foregrounded, namely environments, bodies, audiences, politics of practice and affect. The thematic structure of the volume has been designed to extend current discourse in the field that is often led by formalist analysis focusing on technology per se. The proposed approach intends to unpack conceptual elements of performance practice, investigating the strategic use of a diverse spectrum of technologies as a means to artistic ends. The focus is on the ideas, objectives and concerns of the artists who integrate technologies into their work. In so doing, these inquisitive practitioners research new dramaturgies and methodologies in order to create innovative experiences for, and encounters with, their audiences
- …
