Given that learner agency in making meaning from subjective learning experiences is central to constructivism, how can teachers provide structure without diminishing that agency? This paper comprises an a/r/tographic analysis of a practice-based research project situated outside formal education, which shares the teacher’s role across a community learning group. This group collectively chose and researched a new topic for each session, sharing this research in session and discussing the lesson this made. This model not only provides the basis for a consensual education, but also offers opportunity for empowerment through collectively taking ownership of learning, demonstrating that as engaged learners we can shape the structures through which we build learning agency. As education and culture shape each other, so learners emerge as critical citizens able to re/form community and culture for mutual benefit, open in turn to being re/formed by them. Understanding learning as a creative process, this paper juxtaposes Gert Biesta’s concept of creative practice as a dialogue with the world against the re-emergent concept of cultural democracy. Education re/produces cultural values; by not assuming control of learners’ education for them – by not inhabiting the role of teacher – we do not diminish the space for new, emergent structures to be realised. This paper seeks to show that by performing the teacher’s functions between us, we increase our intrinsic motivation for learning, also allowing for possibilities of new knowledge emerging. As will be shown, constructivism needs no singular teachers, only people to learn alongside and share the practice of learning with.
{"title":"Building Teacherly Roles Together","authors":"Peter Stanley Kingston","doi":"10.2218/airea.5470","DOIUrl":"https://doi.org/10.2218/airea.5470","url":null,"abstract":"Given that learner agency in making meaning from subjective learning experiences is central to constructivism, how can teachers provide structure without diminishing that agency? This paper comprises an a/r/tographic analysis of a practice-based research project situated outside formal education, which shares the teacher’s role across a community learning group. This group collectively chose and researched a new topic for each session, sharing this research in session and discussing the lesson this made. This model not only provides the basis for a consensual education, but also offers opportunity for empowerment through collectively taking ownership of learning, demonstrating that as engaged learners we can shape the structures through which we build learning agency. As education and culture shape each other, so learners emerge as critical citizens able to re/form community and culture for mutual benefit, open in turn to being re/formed by them. \u0000Understanding learning as a creative process, this paper juxtaposes Gert Biesta’s concept of creative practice as a dialogue with the world against the re-emergent concept of cultural democracy. Education re/produces cultural values; by not assuming control of learners’ education for them – by not inhabiting the role of teacher – we do not diminish the space for new, emergent structures to be realised. This paper seeks to show that by performing the teacher’s functions between us, we increase our intrinsic motivation for learning, also allowing for possibilities of new knowledge emerging. As will be shown, constructivism needs no singular teachers, only people to learn alongside and share the practice of learning with.","PeriodicalId":293803,"journal":{"name":"Airea: Arts and Interdisciplinary Research","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125787952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-30DOI: 10.1017/cbo9781316095843.013
Ben Landau
Concept Generation is an event where participants create new innovations from market led criteria and trade this intellectual property for beer and peanuts. This critical and comedic project engages participants with a design process appropriated from surrealist techniques, in order to glibly mine the depths of product and service niches, where creative industries have not yet ventured. This workshop investigates the spectrum between creative industries and aesthetic art practice and asks participants to form their own critical position. The social contract between the host and the participant is transparent – the event is free, but participants must create marketable ideas to pitch to the artist, in order to exchange their concept for a beer. The artist has sole right over the intellectual property. This exchange mirrors the exploitation of precarious creative workers, for whom work and lifestyle blend, where a workshop can also become a party. Concept Generation presents the mutability of work and leisure, of consumption and production, of art practice and creative industry, and of creative thinking and marketing. In a satire of ideation, participants are asked to sell their ridiculous idea, and many get carried away with the farce. Production is the only imperative, and the more ridiculous the ideas are, the more we believe they might actually succeed.
{"title":"Concept Generation","authors":"Ben Landau","doi":"10.1017/cbo9781316095843.013","DOIUrl":"https://doi.org/10.1017/cbo9781316095843.013","url":null,"abstract":"Concept Generation is an event where participants create new innovations from market led criteria and trade this intellectual property for beer and peanuts. This critical and comedic project engages participants with a design process appropriated from surrealist techniques, in order to glibly mine the depths of product and service niches, where creative industries have not yet ventured. This workshop investigates the spectrum between creative industries and aesthetic art practice and asks participants to form their own critical position. The social contract between the host and the participant is transparent – the event is free, but participants must create marketable ideas to pitch to the artist, in order to exchange their concept for a beer. The artist has sole right over the intellectual property. This exchange mirrors the exploitation of precarious creative workers, for whom work and lifestyle blend, where a workshop can also become a party. Concept Generation presents the mutability of work and leisure, of consumption and production, of art practice and creative industry, and of creative thinking and marketing. In a satire of ideation, participants are asked to sell their ridiculous idea, and many get carried away with the farce. Production is the only imperative, and the more ridiculous the ideas are, the more we believe they might actually succeed.","PeriodicalId":293803,"journal":{"name":"Airea: Arts and Interdisciplinary Research","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122583811","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
N. Eernstman, K. Pearson, A. Wals, Åse Eliason Bjurström, Anke De Vrieze
Starting with an argument for a humanistic approach to climate change, this paper discusses the concept of the ‘Collective Artist Residency’ as a practicable means for engaging with complex socio-ecological issues that require collective answers. Through our analysis of the research project ‘Imaginative Disruptions,’ we propose that there is a need for creative spaces that include artists and non-artists alike, and which engender aimless play, inquisitive making and dialogic contemplation in the face of issues which are too painful, overwhelming and complex to rationally comprehend. We further argue that such residencies can generate comfortable, and even light-hearted, spaces in which people can be uncomfortable together. In other words, environments that feel safe and caring but that also encourage us to challenge status quos and experiment with alternatives via emotional, aesthetic, cognitive, somatic and social processing. The paper closes with five (suggested) guiding principles for designing a Collective Art Residency that supports groups of people to co-reflect upon their fragility whilst re-imagining present and future possibilities for being in the world: deeply participatory, balanced between comfortable / uncomfortable emotions, highly experiential, cross-sectoral and intergenerational, place-based.
{"title":"Designing Collective Artist Residencies ","authors":"N. Eernstman, K. Pearson, A. Wals, Åse Eliason Bjurström, Anke De Vrieze","doi":"10.2218/airea.5314","DOIUrl":"https://doi.org/10.2218/airea.5314","url":null,"abstract":"Starting with an argument for a humanistic approach to climate change, this paper discusses the concept of the ‘Collective Artist Residency’ as a practicable means for engaging with complex socio-ecological issues that require collective answers. Through our analysis of the research project ‘Imaginative Disruptions,’ we propose that there is a need for creative spaces that include artists and non-artists alike, and which engender aimless play, inquisitive making and dialogic contemplation in the face of issues which are too painful, overwhelming and complex to rationally comprehend. We further argue that such residencies can generate comfortable, and even light-hearted, spaces in which people can be uncomfortable together. In other words, environments that feel safe and caring but that also encourage us to challenge status quos and experiment with alternatives via emotional, aesthetic, cognitive, somatic and social processing. The paper closes with five (suggested) guiding principles for designing a Collective Art Residency that supports groups of people to co-reflect upon their fragility whilst re-imagining present and future possibilities for being in the world: deeply participatory, balanced between comfortable / uncomfortable emotions, highly experiential, cross-sectoral and intergenerational, place-based.","PeriodicalId":293803,"journal":{"name":"Airea: Arts and Interdisciplinary Research","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133039787","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2018 I was appointed to the position of Glasgow’s first UNESCO City of Music artist-in-residence. Over the course of a year I worked with numerous community groups and choirs across the city to collaboratively devise and realise a new choral/film work, titled Åčçëñtß, which was performed by an audience of over three hundred and fifty people at its premiere at the Glasgow Royal Concert Halls in 2019. Åčçëñtß explores accents as a sonorous social matter – staccatos and lilts, patterns of difference in our voices, as sonic markers of place and community – sounds that I have come to understand as resonating between our individual and collective identities. This paper presents some of the thoery orientating my compositional praxis, speaking nearby a reflective account of some of the compositional considerations and processes undertaken through the project. Through it I explore Karen Barad’s methodology of diffractive thought, Trinh T. Minh-ha’s notion of speaking nearby within the interval, Pauline Oliveros’ practice of Deep Listening, thinking towards how these might meet through my praxis to come close to Timothy Corrigan’s Refractive Cinema. Åčçëñtß speaks to the complexity of authorship and agency in distributed, collaborative composition and the motive relationships between sound and image, spectacle and spectator – between the individual and the communal.
2018年，我被任命为格拉斯哥首位联合国教科文组织音乐之城驻场艺术家。在一年的时间里，我与全市众多社区团体和合唱团合作，共同设计并实现了一部名为Åčçëñtß的新的合唱/电影作品，该作品于2019年在格拉斯哥皇家音乐厅首演，观众超过350人。Åčçëñtß将口音作为一种铿锵的社会问题来探索——断断续续和轻快，我们声音中的差异模式，作为地方和社区的声音标记——我逐渐理解这些声音是我们个人和集体身份之间的共鸣。本文介绍了一些指导我的构图实践的理论，并在此基础上对整个项目中所进行的一些构图考虑和过程进行了反思。通过它，我探索了Karen Barad的衍射思维方法，Trinh T. Minh-ha在间隔内附近说话的概念，Pauline Oliveros的深度倾听的实践，思考如何通过我的实践来接近Timothy Corrigan的折射电影。Åčçëñtß讲述了作者和代理在分布式，协作组成中的复杂性，以及声音和图像，奇观和观众之间的动机关系-个人和社区之间的关系。
{"title":"Åčçëñtß","authors":"Richy Carey","doi":"10.2218/airea.5043","DOIUrl":"https://doi.org/10.2218/airea.5043","url":null,"abstract":"In 2018 I was appointed to the position of Glasgow’s first UNESCO City of Music artist-in-residence. Over the course of a year I worked with numerous community groups and choirs across the city to collaboratively devise and realise a new choral/film work, titled Åčçëñtß, which was performed by an audience of over three hundred and fifty people at its premiere at the Glasgow Royal Concert Halls in 2019. Åčçëñtß explores accents as a sonorous social matter – staccatos and lilts, patterns of difference in our voices, as sonic markers of place and community – sounds that I have come to understand as resonating between our individual and collective identities. This paper presents some of the thoery orientating my compositional praxis, speaking nearby a reflective account of some of the compositional considerations and processes undertaken through the project. Through it I explore Karen Barad’s methodology of diffractive thought, Trinh T. Minh-ha’s notion of speaking nearby within the interval, Pauline Oliveros’ practice of Deep Listening, thinking towards how these might meet through my praxis to come close to Timothy Corrigan’s Refractive Cinema. Åčçëñtß speaks to the complexity of authorship and agency in distributed, collaborative composition and the motive relationships between sound and image, spectacle and spectator – between the individual and the communal.","PeriodicalId":293803,"journal":{"name":"Airea: Arts and Interdisciplinary Research","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125268935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With the vision of ubiquitous computing becoming increasingly realized through smart city solutions, the proliferation of smartphones and smartwatches, and the rise of the quantified-self movement, a new technological layer is being added to the urban environment. This technological layer offers the possibility to capture, track, measure, visualize, and augment our experience of the urban environment. But to that end, there is a growing need to better understand the triangular relationship between person, place, and technology. Urban HCI studies are increasingly focusing on emotion and affect to create a better understanding of people’s experience of the city, and to investigate how technology could potentially play a role in augmenting this urban lived experience. Artist Christian Nold for example, used wearable technology to measure people's arousal levels as they walked freely through the urban environment, identifying locations in the city that evoked an emotional response from people. After these walks, people’s arousal levels were superimposed on a map of the city and participants were asked to interpret their own data, resulting in aggregated, fully annotated, and beautifully visualized emotion maps of the city. Based on a systematic review of emotions maps in existing literature, and our own work which seeks to understand how people’s experiences of places in the urban environment that are meaningful to them on a personal level, for example the place where they have met their partner, could potentially inform the design of future technological devices and services, this journal paper discusses the strengths, limitations and potential of capturing, representing, exploring and sharing this personal, geo-located emotion data with other people using emotion maps. Although our analysis seems to indicate that emotion maps in their current form are only of limited efficacy in accurately capturing, representing and communicating the profound, complex emotional bond that people have with personally meaningful places in the city, there appears to be potential for the use of emotion maps as a provocation in a speculative design approach.
{"title":"Capturing, Exploring and Sharing People’s Emotional Bond with Places in the City using Emotion Maps","authors":"Shenando Stals, M. Smyth, Oli Mival","doi":"10.2218/airea.2799","DOIUrl":"https://doi.org/10.2218/airea.2799","url":null,"abstract":"With the vision of ubiquitous computing becoming increasingly realized through smart city solutions, the proliferation of smartphones and smartwatches, and the rise of the quantified-self movement, a new technological layer is being added to the urban environment. This technological layer offers the possibility to capture, track, measure, visualize, and augment our experience of the urban environment. But to that end, there is a growing need to better understand the triangular relationship between person, place, and technology. \u0000Urban HCI studies are increasingly focusing on emotion and affect to create a better understanding of people’s experience of the city, and to investigate how technology could potentially play a role in augmenting this urban lived experience. Artist Christian Nold for example, used wearable technology to measure people's arousal levels as they walked freely through the urban environment, identifying locations in the city that evoked an emotional response from people. After these walks, people’s arousal levels were superimposed on a map of the city and participants were asked to interpret their own data, resulting in aggregated, fully annotated, and beautifully visualized emotion maps of the city. \u0000Based on a systematic review of emotions maps in existing literature, and our own work which seeks to understand how people’s experiences of places in the urban environment that are meaningful to them on a personal level, for example the place where they have met their partner, could potentially inform the design of future technological devices and services, this journal paper discusses the strengths, limitations and potential of capturing, representing, exploring and sharing this personal, geo-located emotion data with other people using emotion maps. Although our analysis seems to indicate that emotion maps in their current form are only of limited efficacy in accurately capturing, representing and communicating the profound, complex emotional bond that people have with personally meaningful places in the city, there appears to be potential for the use of emotion maps as a provocation in a speculative design approach.","PeriodicalId":293803,"journal":{"name":"Airea: Arts and Interdisciplinary Research","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124078651","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this paper is demonstrating how in the contemporary scene the boundaries between scientific method and creative process are increasingly blurred finding innovation as the point of intersection of this discursive separation. The analysis identifies the object of investigation in the emergent field of fashion wearables. In fact, the introduction of digital tools has had a significant impact on the fashion system, and wearable technologies represent the result of a new systemic interaction among diverse approaches belonging to different sectors. In this context, our purpose is to identify the moment when invention, seen as technological progress, becomes innovation, integrating and affecting people’s lives. To this end, the paper is firstly aimed in analyzing through case studies the different methods to design innovative fashion products. Both technology driven innovation and design driven innovation based methodologies are examined. The two strategies are compared and described in terms of phases, actors involved and validation of the obtained results, underlining the crucial stages of the process: the definition of the target and the scenario and the phase of product testing. This involves both traditional methods of data analysis for the technological functioning, based on numerically quantifiable parameters, and experimental verification based on the object-final user relationship. This test aims at “measuring” the effectiveness of the products in terms of comfort, usability, aesthetics and interaction. It is this methodological transdisciplinary practice that carries appreciable results concerning innovation. This approach leads to an emphasis of the designer’s cross role and it represents an opportunity for the academic research as well as for the market.
{"title":"Scientific method and creative process for wearable technologies from invention to innovation","authors":"L. Tenuta, Susanna Testa","doi":"10.2218/AIREA.2763","DOIUrl":"https://doi.org/10.2218/AIREA.2763","url":null,"abstract":"The aim of this paper is demonstrating how in the contemporary scene the boundaries between scientific method and creative process are increasingly blurred finding innovation as the point of intersection of this discursive separation. The analysis identifies the object of investigation in the emergent field of fashion wearables. In fact, the introduction of digital tools has had a significant impact on the fashion system, and wearable technologies represent the result of a new systemic interaction among diverse approaches belonging to different sectors. In this context, our purpose is to identify the moment when invention, seen as technological progress, becomes innovation, integrating and affecting people’s lives. To this end, the paper is firstly aimed in analyzing through case studies the different methods to design innovative fashion products. Both technology driven innovation and design driven innovation based methodologies are examined. The two strategies are compared and described in terms of phases, actors involved and validation of the obtained results, underlining the crucial stages of the process: the definition of the target and the scenario and the phase of product testing. This involves both traditional methods of data analysis for the technological functioning, based on numerically quantifiable parameters, and experimental verification based on the object-final user relationship. This test aims at “measuring” the effectiveness of the products in terms of comfort, usability, aesthetics and interaction. It is this methodological transdisciplinary practice that carries appreciable results concerning innovation. This approach leads to an emphasis of the designer’s cross role and it represents an opportunity for the academic research as well as for the market.","PeriodicalId":293803,"journal":{"name":"Airea: Arts and Interdisciplinary Research","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129354473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses “Exposing the Invisible: A Brain-driven Audiovisual Walk”, an audiovisual installation that was part of the Digital Media Studio Project entitled Invisible Cities. Commencing with an analysis of the research, and experimental and compositional strategies we devised for the installation, we will explore the possibilities afforded from the creative combination of sounds, visuals, emotions and places, in relation to more general aesthetic considerations relevant to data sonification and visualisation. Our approach understands visualisation as a bridge interlinking the emotions with various types of visual elements and sonification as a translation of the inaudible into the sphere of the audible; most importantly, the combination of both as an instrument for comprehending the human-city bond via the embodied sensory experience of place. Our practice, inspired from the interaction between the lived body and the (urban) environment, uses the EEG data with an artistic approach in order to reflect upon and re-interpret this bond.
{"title":"Revealing the Invisible City","authors":"A. Rios, L. E. Fernandez, He Cui, Shuyuan Huang","doi":"10.2218/AIREA.2764","DOIUrl":"https://doi.org/10.2218/AIREA.2764","url":null,"abstract":"This article discusses “Exposing the Invisible: A Brain-driven Audiovisual Walk”, an audiovisual installation that was part of the Digital Media Studio Project entitled Invisible Cities. Commencing with an analysis of the research, and experimental and compositional strategies we devised for the installation, we will explore the possibilities afforded from the creative combination of sounds, visuals, emotions and places, in relation to more general aesthetic considerations relevant to data sonification and visualisation. Our approach understands visualisation as a bridge interlinking the emotions with various types of visual elements and sonification as a translation of the inaudible into the sphere of the audible; most importantly, the combination of both as an instrument for comprehending the human-city bond via the embodied sensory experience of place. Our practice, inspired from the interaction between the lived body and the (urban) environment, uses the EEG data with an artistic approach in order to reflect upon and re-interpret this bond.","PeriodicalId":293803,"journal":{"name":"Airea: Arts and Interdisciplinary Research","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115420718","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An iterative series of hybrid media installations and generative, participatory performance projects, Grasping Elapsing (2003-present) attempts to show embodied thought process by creating open-ended connections among object, image, archive, digital process and word. The project is comprised of a combination of installations, performances, images created by the artist over time, images created by participants in prior and current performances/installations, live-sourced, appropriated images accessed through software, generative software that processes combinations of the above-described images, and a Twitter feed/archive. Given the highly-temporal nature of the project, it is difficult to analyze specific juxtapositions that might arise. This report will therefore mainly address the projects’ ongoing conceptual framework while referencing specific moments in time where it might be helpful for contemporary readers. The current iteration, Grasping Elapsing 3.1 is a digitally-augmented participatory performance with a “live” component of approximately twenty minutes and an indefinitely-extended digital component which is conducted online. The piece expresses a convergence of history, place and present moment through the use of digital practices and face-to-face discussion. It is conducted with an audience that, after an approximately eight-minute introduction, is invited to participate by contributing images through the use of scanning. The entire piece is enacted at a table with a large projection behind it. The artist sits at the table facing audience-participants. Throughout the performance, the artist delivers spoken-word content and participatory instructions. On the table are a laptop computer which the artist uses to improvisationally control a custom-made software application designed specifically for the performance. The application displays artist-produced, appropriated and past-and-current participant-contributed imagery, and also imagery generatively processed from combinations of all of the above-mentioned source materials. The output of this application is shown on the projection screen. Also on the table is a flatbed scanner which participants use to digitize images for contribution to the piece; scanned images are automatically added to a databank from which the application draws in real time.
{"title":"Grasping Elapsing","authors":"Peter Williams","doi":"10.2218/airea.2760","DOIUrl":"https://doi.org/10.2218/airea.2760","url":null,"abstract":"An iterative series of hybrid media installations and generative, participatory performance projects, Grasping Elapsing (2003-present) attempts to show embodied thought process by creating open-ended connections among object, image, archive, digital process and word. The project is comprised of a combination of installations, performances, images created by the artist over time, images created by participants in prior and current performances/installations, live-sourced, appropriated images accessed through software, generative software that processes combinations of the above-described images, and a Twitter feed/archive. Given the highly-temporal nature of the project, it is difficult to analyze specific juxtapositions that might arise. This report will therefore mainly address the projects’ ongoing conceptual framework while referencing specific moments in time where it might be helpful for contemporary readers. The current iteration, Grasping Elapsing 3.1 is a digitally-augmented participatory performance with a “live” component of approximately twenty minutes and an indefinitely-extended digital component which is conducted online. The piece expresses a convergence of history, place and present moment through the use of digital practices and face-to-face discussion. It is conducted with an audience that, after an approximately eight-minute introduction, is invited to participate by contributing images through the use of scanning. The entire piece is enacted at a table with a large projection behind it. The artist sits at the table facing audience-participants. Throughout the performance, the artist delivers spoken-word content and participatory instructions. On the table are a laptop computer which the artist uses to improvisationally control a custom-made software application designed specifically for the performance. The application displays artist-produced, appropriated and past-and-current participant-contributed imagery, and also imagery generatively processed from combinations of all of the above-mentioned source materials. The output of this application is shown on the projection screen. Also on the table is a flatbed scanner which participants use to digitize images for contribution to the piece; scanned images are automatically added to a databank from which the application draws in real time.","PeriodicalId":293803,"journal":{"name":"Airea: Arts and Interdisciplinary Research","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126628191","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Through artistic interventions into the computational backbone of maternity services, the artists behind the Body Recovery Unit explore data production and its usages in healthcare governance. Taking their artwork The National Catalogue Of Savings Opportunities. Maternity, Volume 1: London (2017) as a case study, they explore how artists working with ‘live’ computational culture might draw from critical theory, Science and Technology Studies as well as feminist strategies within arts-led enquiry. This paper examines the mechanisms through which maternal bodies are rendered visible or invisible to managerial scrutiny, by exploring the interlocking elements of commissioning structures, nationwide information standards and databases in tandem with everyday maternity healthcare practices on the wards in the UK. The work provides a new context to understand how re-prioritisation of ‘natural’ and ‘normal’ births, breastfeeding, skin-to-skin contact, age of conception and other factors are gaining momentum in sync with cost-reduction initiatives, funding cuts and privatisation of healthcare services.
{"title":"Data-driven visibility","authors":"A. Jønsson, Loes Bogers","doi":"10.2218/AIREA.2833","DOIUrl":"https://doi.org/10.2218/AIREA.2833","url":null,"abstract":"Through artistic interventions into the computational backbone of maternity services, the artists behind the Body Recovery Unit explore data production and its usages in healthcare governance. Taking their artwork The National Catalogue Of Savings Opportunities. Maternity, Volume 1: London (2017) as a case study, they explore how artists working with ‘live’ computational culture might draw from critical theory, Science and Technology Studies as well as feminist strategies within arts-led enquiry. This paper examines the mechanisms through which maternal bodies are rendered visible or invisible to managerial scrutiny, by exploring the interlocking elements of commissioning structures, nationwide information standards and databases in tandem with everyday maternity healthcare practices on the wards in the UK. The work provides a new context to understand how re-prioritisation of ‘natural’ and ‘normal’ births, breastfeeding, skin-to-skin contact, age of conception and other factors are gaining momentum in sync with cost-reduction initiatives, funding cuts and privatisation of healthcare services.","PeriodicalId":293803,"journal":{"name":"Airea: Arts and Interdisciplinary Research","volume":"63 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134261150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses a prototype that explores the simultaneous manipulation of three-dimensional digital forms and sound. Our multi-media study examines the aesthetic affordances of tight parameter couplings between digital three-dimensional objects and sound objects based on notions of process and user-machine interaction. It investigates how effective cohesion between visual, spatial and sonic might be established through changes perceived in parallel; what Michel Chion refers to as 'synchresis'. Drawing from Mike Blow's work On the Simultaneous Perception of Sound and Three-Dimensional Objects and processual art, this prototype uses computer technology for forming and mediating a creative practice involving 3D animation, sound synthesis, digital signal processing and programming. Our practice-based approach entails the rendering of a three-dimensional digital object in Processing whose form changes over time according to specific actions. Spatial data is sent via Open Sound Control (OSC) to Max MSP in real time, where sound is synthesized and then manipulated. Sonic parameters such as amplitude, spectral density/width and timbre are controlled by select spatial parameters from the three-dimensional object. Sound processing is realized based on the changing of the three-dimensional object in time through basic actions such as splitting, distorting, cutting, shattering and rotating. We use digital technology to look beyond basic synchronisation of sound and vision to a more complex cohesion of percepts, based on changes to myriad sonic and visual parameters experienced concurrently.
本文讨论了一个原型，探索三维数字形式和声音的同时操作。我们的多媒体研究考察了基于过程和用户-机器交互概念的数字三维物体和声音物体之间紧密参数耦合的美学启示。它探讨了如何通过平行感知的变化来建立视觉、空间和声音之间的有效衔接;Michel Chion称之为“同步”。借鉴Mike Blow的作品《On the Simultaneous Perception of Sound and Three-Dimensional Objects》和过程艺术，这个原型使用计算机技术来形成和调解一个涉及3D动画、声音合成、数字信号处理和编程的创造性实践。我们基于实践的方法需要在Processing中渲染三维数字对象，其形式会根据特定的动作随时间而变化。空间数据通过开放声音控制(OSC)实时发送到Max MSP，在那里声音被合成，然后被操纵。声波参数如振幅、谱密度/宽度和音色是通过选择三维物体的空间参数来控制的。声音处理是基于三维物体的时间变化，通过劈裂、扭曲、切割、破碎、旋转等基本动作来实现的。我们使用数字技术超越声音和视觉的基本同步，以同时经历的无数声音和视觉参数的变化为基础，探索更复杂的感知凝聚力。
{"title":"Digital interactions","authors":"Eleni-Ira Panourgia, Finbar Wheelaghan, Xue Yang","doi":"10.2218/airea.2732","DOIUrl":"https://doi.org/10.2218/airea.2732","url":null,"abstract":"This article discusses a prototype that explores the simultaneous manipulation of three-dimensional digital forms and sound. Our multi-media study examines the aesthetic affordances of tight parameter couplings between digital three-dimensional objects and sound objects based on notions of process and user-machine interaction. It investigates how effective cohesion between visual, spatial and sonic might be established through changes perceived in parallel; what Michel Chion refers to as 'synchresis'. Drawing from Mike Blow's work On the Simultaneous Perception of Sound and Three-Dimensional Objects and processual art, this prototype uses computer technology for forming and mediating a creative practice involving 3D animation, sound synthesis, digital signal processing and programming. Our practice-based approach entails the rendering of a three-dimensional digital object in Processing whose form changes over time according to specific actions. Spatial data is sent via Open Sound Control (OSC) to Max MSP in real time, where sound is synthesized and then manipulated. Sonic parameters such as amplitude, spectral density/width and timbre are controlled by select spatial parameters from the three-dimensional object. Sound processing is realized based on the changing of the three-dimensional object in time through basic actions such as splitting, distorting, cutting, shattering and rotating. We use digital technology to look beyond basic synchronisation of sound and vision to a more complex cohesion of percepts, based on changes to myriad sonic and visual parameters experienced concurrently.","PeriodicalId":293803,"journal":{"name":"Airea: Arts and Interdisciplinary Research","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126007401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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