tag:blogger.com,1999:blog-79052591507370038602024-03-14T11:48:14.858+00:00TVAD: Theorizing Visual Art & DesignThe TVAD Research Group, based in the School of Creative Arts at the University of Hertfordshire, researches relationships between text, narrative and image. We publish books, journal articles, host a double-blind peer-reviewed journal, <i>Writing Visual Culture</i>, and host events including international conferences.
Find out more here: Grace Lees-Maffeihttp://www.blogger.com/profile/12071549746987267488noreply@blogger.comBlogger151125tag:blogger.com,1999:blog-7905259150737003860.post-26483076816292691992021-03-15T15:45:00.005+00:002021-03-15T15:45:30.227+00:00DHeritage Invites Applications for September 2021<p><a href="https://www.herts.ac.uk/courses/research/doctorate-in-heritage" style="caret-color: rgb(68, 68, 68); color: #d62946; font-family: minion-pro; font-size: 18px; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">DHeritage</a><span style="caret-color: rgb(68, 68, 68); color: #444444; font-family: minion-pro; font-size: 18px; white-space: pre-wrap;"> is a unique professional doctorate in heritage, hosted by the School of Humanities with the School of Creative Arts at the University of Hertfordshire. Now entering its eight year, DHeritage provides an academic context for heritage professionals, whether in the private or the public sectors, in planning, museums, archives, community history, archaeology, and social and cultural sustainability, among other fields </span></p><p class="" style="caret-color: rgb(68, 68, 68); color: #444444; font-family: minion-pro; font-size: 18px; margin-bottom: 0px; white-space: pre-wrap; word-wrap: break-word;">Typically, DHeritage students will have been working in the heritage field, broadly defined, for a minimum of five years and often much longer, 12-20 years. So, in addition to providing each student with a supervisory team of two and sometimes three expert supervisors, we also provide a suite of training workshops on campus to facilitate a return to higher education and ensure a cohort learning experience. The bespoke DHeritage workshops are supported by the <a href="https://www.herts.ac.uk/research/research-degrees-and-doctoral-college" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">Doctoral College </a>events and particularly the Researcher Development Programme, which delivers a series of 70+ research skills training sessions for doctoral students across the University. </p><p class="" style="caret-color: rgb(68, 68, 68); color: #444444; font-family: minion-pro; font-size: 18px; margin-bottom: 0px; white-space: pre-wrap; word-wrap: break-word;"><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/VVQhPZ9iGM8" width="320" youtube-src-id="VVQhPZ9iGM8"></iframe></div><br /><p class="" style="caret-color: rgb(68, 68, 68); color: #444444; font-family: minion-pro; font-size: 18px; margin-bottom: 1.5em; margin-top: 0px; white-space: pre-wrap; word-wrap: break-word;">DHeritage is unique:</p><span style="caret-color: rgb(68, 68, 68); color: #444444; font-family: minion-pro; font-size: 18px; white-space: pre-wrap;"><ul style="text-align: left;"><li>It is currently the only professional doctorate in heritage of which we are aware</li><li>We provides a cohort experience through bespoke training workshops</li><li>DHeritage is distinctively interdisciplinary; the programme is housed in the School of Humanities with the School of Creative Arts and we draw on staff expertise from across the University</li><li>Students benefit from the University’s excellent <a href="https://www.herts.ac.uk/heritage-hub" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">Heritage Hub</a> and <a href="https://www.uharts.co.uk/" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">UHArts</a>, our multi-disciplinary arts and culture programme for the region</li><li>DHeritage is available as a part-time programme intended for completion over 6 years to fit around students’ professional work, but it can be completed in 4+ years depending on successful progression assessments </li><li>In addition to a dissertation, students submit a portfolio which can take a number of forms, from a series of published works, an exhibition and catalogue, a documentary film, a policy briefing, code of practice, or a teaching pack, among others</li><li>DHeritage is offered as a campus degree and as a distance learning degree. All students are provided with an online managed learning environment and online equivalents to the campus-based bespoke DHeritage workshops. </li></ul></span><p class="" style="caret-color: rgb(68, 68, 68); color: #444444; font-family: minion-pro; font-size: 18px; margin-bottom: 1.5em; white-space: pre-wrap; word-wrap: break-word;">The University of Hertfordshire is based in Hatfield, Herts, 25 minutes by train from London and with good <a href="https://www.herts.ac.uk/contact-us/where-to-find-us" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">rail and road links</a> across the country. The campus is within easy reach of both Luton and Stansted airports. </p><h3 style="text-align: left;"><span style="font-size: small;">Fees and Funding </span></h3><p class="" style="caret-color: rgb(68, 68, 68); color: #444444; font-family: minion-pro; font-size: 18px; margin-bottom: 1.5em; white-space: pre-wrap; word-wrap: break-word;">Fees for the DHeritage are published on the University’s website <a href="https://www.herts.ac.uk/study/fees-and-funding" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">here</a> with options for UK students and overseas students. </p><p class="" style="caret-color: rgb(68, 68, 68); color: #444444; font-family: minion-pro; font-size: 18px; margin-bottom: 1.5em; white-space: pre-wrap; word-wrap: break-word;">For September 2021 entry, DHeritage is able to offer a competitive fees-only bursary and study allowance.<strong style="word-wrap: break-word;"><em style="word-wrap: break-word;"> </em></strong>The bursary provides fees funding for six years, subject to successfully completing the standard registration and doctoral progression assessments. Please indicate in your application if you wish to be considered for the fees-only bursary. </p><h3 style="text-align: left;"><span style="font-size: small;">Next Steps</span></h3><ul data-rte-list="default" style="caret-color: rgb(68, 68, 68); color: #444444; font-family: minion-pro; font-size: 18px; word-wrap: break-word;"><li style="list-style-type: none; word-wrap: break-word;"><p class="" style="margin-bottom: 0.5em; margin-top: 0.5em; white-space: pre-wrap; word-wrap: break-word;"><strong style="word-wrap: break-word;">Discover</strong> more about DHeritage on our webpage <a href="https://www.herts.ac.uk/courses/doctorate-in-heritage" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;">https://www.herts.ac.uk/courses/doctorate-in-heritage</a> where you can also access our <a href="https://www.graceleesmaffei.org/s/DHER_INFO_2021.pdf" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;">Programme information sheet</a> </p></li><li style="list-style-type: none; word-wrap: break-word;"><p class="" style="margin-bottom: 0.5em; margin-top: 0.5em; white-space: pre-wrap; word-wrap: break-word;"><strong style="word-wrap: break-word;">Learn </strong>how to apply <a href="https://www.herts.ac.uk/study/how-to-apply#directly" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">here</a> and download the <a href="https://www.herts.ac.uk/__data/assets/pdf_file/0010/31105/uh-application-form.pdf" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">application form</a></p></li><li style="list-style-type: none; word-wrap: break-word;"><p class="" style="margin-bottom: 0.5em; margin-top: 0.5em; white-space: pre-wrap; word-wrap: break-word;"><strong style="word-wrap: break-word;">Contact </strong>Doctoral College Admissions with questions <a href="mailto:doctoralcollegeadmissions@herts.ac.uk?subject=DHeritage%20Application%20%20" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;">doctoralcollegeadmissions@herts.ac.uk</a> </p></li><li style="list-style-type: none; word-wrap: break-word;"><p class="" style="margin-bottom: 0.5em; margin-top: 0.5em; white-space: pre-wrap; word-wrap: break-word;"><strong style="word-wrap: break-word;">Discuss </strong>your research proposal with the Programme Director, Professor Dr Grace Lees-Maffei <a href="mailto:g.lees-maffei@herts.ac.uk?subject=DHeritage%20Application%20Enquiry" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;">g.lees-maffei@herts.ac.uk</a> and request our <a href="https://www.graceleesmaffei.org/s/DHER_RESEARCH_PROPOSAL_GUIDELINES_2020.pdf" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;">Guidelines for Preparing a DHeritage Research Proposal</a></p></li></ul><h2 style="color: #333333; font-family: europa; line-height: 1.5em; white-space: pre-wrap;"><span style="font-size: small;">Apply Now</span></h2><p class="" style="caret-color: rgb(68, 68, 68); color: #444444; font-family: minion-pro; font-size: 18px; margin-bottom: 1.5em; white-space: pre-wrap; word-wrap: break-word;">To apply for a place on the DHeritage you will need to email your application, comprising a research proposal, completed application form, qualifications, references and supporting documentation to <a href="mailto:doctoralcollegeadmissions@herts.ac.uk ?subject=DHeritage%20Application%20Enquiry&cc=dheritage%40herts.ac.uk&body=Please%20send%20me%20information%20about%20how%20to%20apply%20for%20the%20DHeritage%2C%20Professional%20Doctorate%20in%20Heritage%20%20" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;">DoctoralCollegeAdmissions@herts.ac.uk</a> </p><ul data-rte-list="default" style="caret-color: rgb(68, 68, 68); color: #444444; font-family: minion-pro; font-size: 18px; margin-bottom: 0px; word-wrap: break-word;"><li style="list-style-type: none; word-wrap: break-word;"><p class="" style="margin-bottom: 0.5em; margin-top: 0.5em; white-space: pre-wrap; word-wrap: break-word;">Applications are due by <strong style="word-wrap: break-word;">7th June 2021</strong>. </p></li><li style="list-style-type: none; word-wrap: break-word;"><p class="" style="margin-bottom: 0.5em; margin-top: 0.5em; white-space: pre-wrap; word-wrap: break-word;">Interviews will take place on <strong style="word-wrap: break-word;">21st June 2021</strong>.</p><p class="" style="margin-bottom: 0.5em; margin-top: 0.5em; white-space: pre-wrap; word-wrap: break-word;"><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVzmU535sMLA7D1i5EeIPE_1F6szVROL8jULkoptFyf370XixIkHgbHx_KkVACDEjPHnocrf17Cp6LIsDnp3PLDXq-TXghphy3vC-tamSeznDQWiMhc_6EGdbwLBe9Lk8RgDtmVlhN3SQ/s1000/CUMBERLAND_LODGE_PANEL_DISCUSSION.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="583" data-original-width="1000" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVzmU535sMLA7D1i5EeIPE_1F6szVROL8jULkoptFyf370XixIkHgbHx_KkVACDEjPHnocrf17Cp6LIsDnp3PLDXq-TXghphy3vC-tamSeznDQWiMhc_6EGdbwLBe9Lk8RgDtmVlhN3SQ/w400-h234/CUMBERLAND_LODGE_PANEL_DISCUSSION.jpg" width="400" /></a></div><br /><p class="" style="margin-bottom: 0.5em; margin-top: 0.5em; white-space: pre-wrap; word-wrap: break-word;"><br /></p></li></ul>Grace Lees-Maffeihttp://www.blogger.com/profile/12071549746987267488noreply@blogger.com3tag:blogger.com,1999:blog-7905259150737003860.post-50870468896523076802020-06-19T12:58:00.000+01:002020-06-19T12:58:04.928+01:00Vol 9 Writing Visual Culture now available<div style="color: black; font-family: Calibri,Arial,Helvetica,sans-serif; font-size: 12pt;">
**ANNOUNCEMENT**</div>
<div style="color: black; font-family: Calibri,Arial,Helvetica,sans-serif; font-size: 12pt;">
Volume 9 of Writing Visual Culture is now available online, as a PDF to download. <br />
*It has some functionality that works best downloaded.</div>
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<br /></div>
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Just click:</div>
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<a data-auth="NotApplicable" href="https://www.herts.ac.uk/research/groups-and-units/tvad-theorising-visual-art-and-design/writing-visual-culture" id="LPNoLP211416" rel="noopener noreferrer" target="_blank">https://www.herts.ac.uk/research/groups-and-units/tvad-theorising-visual-art-and-design/writing-visual-culture</a></div>
<br />
<div style="color: black; font-family: Calibri,Arial,Helvetica,sans-serif; font-size: 12pt;">
Originally
we were to launch Vol 9 at this year's symposium (25, 26 June) but it
has been postponed to 8, 9 Jan 2021 so I am letting you know about it
now. </div>
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<div style="color: black; font-family: Calibri,Arial,Helvetica,sans-serif; font-size: 12pt;">
This
topic is on contmpoerary and historical artist and designer engagements with science</div>
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For more information</div>
<div style="color: black; font-family: Calibri,Arial,Helvetica,sans-serif; font-size: 12pt;">
See <a data-auth="NotApplicable" href="https://www.herts.ac.uk/research/groups-and-units/tvad-theorising-visual-art-and-design/tvad-symposium" id="LPlnk215657" rel="noopener noreferrer" target="_blank">https://www.herts.ac.uk/research/groups-and-units/tvad-theorising-visual-art-and-design/tvad-symposium</a></div>
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</div>
<div style="color: black; font-family: Calibri,Arial,Helvetica,sans-serif; font-size: 12pt;">
The
symposium 'What the World Needs Now' will be preceded by a Contemporary
Art Practice Research Group practice-led art film collaboration between
artists and scientists based at UH on 7th Jan - the products of which
will be shown during the symposium.</div>
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<br /></div>
Also
Vols 5-8 have been reformatted to enable easier
navigation of a single PDF Alana Jelinekhttp://www.blogger.com/profile/10612967279379726971noreply@blogger.com2tag:blogger.com,1999:blog-7905259150737003860.post-40035483568835779562020-02-25T11:24:00.001+00:002020-02-25T11:24:10.664+00:00Call for Papers<b>TVAD Symposium 2020:</b>
June 25–26
<br /><br />
<h1>
What the world needs now is artists & designers engaging with science
</h1>
<br />
Since the 1960s we have seen numerous art-science experiments, often
initiated by artists. Inter- and multi-disciplinary collaboration has
never been a simple process. Some argue this is due to disciplinary
boundaries emphasized in our educational system. For others, the issue
is a lack of attention to real differences in thinking and approach.
From the point of view of science, art is useful when it illustrates
already established scientific theories. For many scientists, art
provides a useful gateway to the general public, employing aesthetics to
seduce audiences into engaging with scientific ideas. It seems that
many scientists labour under the idea that art is simply the equivalent
of beauty, despite the fact that for more than 100 years, and at least
since Dada, artists have challenged this idea.<br />
Questions this conference asks include, what is the best that art-science collaborations can offer?<br />
What can be achieved by artists working with scientists that cannot be achieved by artists alone, or scientists alone?<br />
On the one hand, we ask what can scientists learn from artists?<br />
On the other, is it the role of art to illustrate important scientific truths, such as, climate science?<br />
In other words, what is the point of sci-art collaboration?<br />
<br />
We welcome proposals for 20 minute papers from artists who
collaborate with scientists, and from artists who work with scientific
ideas. We would also like to hear from scientists who work with artists.
If you're a historian or a philosopher interested in this area, this
conference is also for you.<br />
<br />
Deadline: April 17, 2020<br /><br />
Please send your proposals to Alana Jelinek, <b><a href="mailto:a.jelinek@herts.ac.uk" target="_blank">a.jelinek@herts.ac.uk</a></b>,<b> </b>including a title and abstract of 250 words max and a short bio<br />
<br />
<b>Keynote speakers: </b><br />
Artist, <b>Fiona Curran </b>(PhD)<b> </b>Royal College of the Arts, London, UK<br />
Curator, Science Museum, London, UK, <b>Dr Katy Barrett</b> (PhD)Alana Jelinekhttp://www.blogger.com/profile/10612967279379726971noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-36924928606080432422019-10-05T11:50:00.002+01:002019-10-05T11:50:29.922+01:00Heritage and Aporia - by way of an essai<br />
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<span style="color: #1a1a1a;">Heritage and aporia …<o:p></o:p></span></div>
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<span style="color: #1a1a1a;">This is an<span class="apple-converted-space"> </span><em style="box-sizing: inherit;">essai</em>, in the proper sense of the term, ‘a try’, about a configuration for the term Heritage, a chance to think about the concept and some of the ways in which the term might find not its definition but rather its dissolution within an expanded field of other disciplines: history, geography, politics, local and national policy on culture, certainly, but also psycho-geography and phenomenology and not least, in the conflicted lived experience of being surrounded by what has come before and our attitudes to it. This<span class="apple-converted-space"> </span><em style="box-sizing: inherit;">essai</em>, then, is polemical and in its present form makes few scholarly claims. I set out my arguments first and then test the literature after.<o:p></o:p></span></div>
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<span style="color: #1a1a1a;">Normally, there is a healthy distance between the subject of my research and my own position as a researcher. Were I an active participant in my academic home ground – the French Revolution – I would have been a Girondist. I would have been there at the Champ de Mars celebrating with Helen Maria Williams and Wordsworth as the whole world came together to celebrate Liberty, Brotherhood and Equality. Although here, we might pause. When I recently shared some of my research with art therapist colleagues at the University of Hertfordshire, some were intrigued by why I should spend so much time delighting in revolutionary politics. Were they not some form of repressed lament for my experience of a failed left-wing project over my own lifetime? Quite possibly, Nietzsche wrote about this process of personal identification with the past and called it antiquarianism. Heritage’s own participation in the past is not uncontaminated by the tensions between how things might have been, how things are and how they may be again if the discipline of heritage gets its way. When, for example, public address systems fracture the peace of the one-time landscape garden and now municipal park behind our home – as they too frequently do – a<span class="apple-converted-space"> </span><em style="box-sizing: inherit;">Bubble Rush</em><span class="apple-converted-space"> </span>here, an evangelical Christians’ meeting there – we find a clash between the ersatz capitalist consumerism I so roundly despise and my reading of Rousseau’s<span class="apple-converted-space"> </span><em style="box-sizing: inherit;">Emile</em>, a pastoral ideal of peace and social and political content. But here too there are dangers, Rousseau’s fascism is never far from the surface; the idea that we all might find our place with the<span class="apple-converted-space"> </span><em style="box-sizing: inherit;">fasces</em><span class="apple-converted-space"> </span>of Nature is by definition exclusionary. (Note to self who has written about the fascist Rousseau?)<o:p></o:p></span></div>
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<span style="color: #1a1a1a;">Let’s start with the material fabric of the place, what place exactly doesn’t matter that much. The street is very old; medieval in places. One wall in a nearby Thai restaurant frames exposed wattle and daub made about the same time Shakespeare wrote<span class="apple-converted-space"> </span><em style="box-sizing: inherit;">The Tempest</em>. Like so many towns, this town peaked just before the construction of a nearby canal made its twenty or so coaching inns pretty much redundant and it has since fallen into gentile decline. But Pevsner still rated it as one of the finest period market towns of the early-eighteenth century. On an early spring morning as sunshine rakes across its western flank, the street’s façade is heart-stoppingly lovely. But this does only partial justice to the town’s fabric. Rock-solid oak gates of the early Tudor period bar the entrance to a parking-space for a hairdresser’s salon specializing in hair-straightening. The gate bears the scars of incaution as a succession of vehicles have failed to squeeze in a gap meant only for horses. The more recent past has been piled upon the older fabric of the town; and, inevitably, each layer has something to say about Heritage, already a polyglot formation… An eighteenth century shop front stuck on a seventeenth century building, a desire to avoid eighteenth century traffic by turning a house around so its new eighteenth century front faced inwards into a once chic little court. It’s an architectural gem but one now sullied by the spicy exhaust of an adjacent Indian Restaurant and mountain bikes belonging to the restaurant’s staff who leave far too late to catch public transport. Old photos in the tea-shop down the road – and this too is nothing if not Heritage red in tooth and claw – show how the town’s high street flourished in the nineteenth century just before it was bypassed again in the twentieth century. A brutal New Town a mile to the south is now so old that it too raises further issues around Heritage. Sadly, its uncompromising modernism is now in the process of being swept away by housing developments and parts at least are surely worth preserving. It boasts the first multi-story car park in Britain and a lovely ceramic mural showing the town’s history: the quaint train-line that was axed by Beaching’s reforms in the 1960s, Henry VIII handing the town its charter. Here, half a century ago, we lived happily, freed from our north London slums and looked after by a National Health Service. If you are in any doubt about the town’s political credentials, look no further at the little parabolic arches that support fences around the New Town’s front gardens. They were based on those Le Corbusier designed for the Moscow Pavilion in 1922 and borrowed again later by MacDonald’s. For the moment however, the street exists in some kind of repose; recently cheered up by a make-over, replacing quiet tarmac with the clatter of cobblestones. Council-owned properties sit cheek by jowl with owner-occupiers and start-ups move in and out of vacant shops to get their businesses off the ground; some successfully other less so. But it is within the vignette of everyday life that the radically fractured nature of Heritage as a discipline shows its face. The thin line of catering workers and residents who turned back a rabble of fascist protesters raises a cheer but less so the make-over of a local restaurant that saw its eighteenth century door replaced by a Regency hardwood alternative from B&Q. But these too are among the most compelling parts of the town’s uncertain Heritage and the very stuff of aporia …<o:p></o:p></span></div>
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<span style="color: #1a1a1a;">The street has its problems and these are written within the fabric of a contested heritage. We love our local church but not necessarily what goes on inside it, a happy-clappy form of Christianity articulated through the conduit of kids’ drawings of a rainbow nation and soft cushions where a medieval font once stood. Rather, I love it as an example of Norman architecture with its disproportionately large spire stuck on it 200 years after its completion to reclaim it back for the English after a brazen act of French, specifically Norman imperialism, that spread throughout the country after 1066. And we have very long memories. When the French moved into the farmers’ market a few years back, they were roundly abused, not racially because 1066 made sure that most of us share the same DNA, but cultural abused because the spirit of Albion so clearly spelt out in our pubs, its fare and the schedules played on its wide-screen TVs were inimical to our cultural fabric. There’s a failed antique shop too that serves as a UKIP (Heritage again?) outpost, displaying a faded photocopy of Tommy Robinson. There is more to be said, but the<span class="apple-converted-space"> </span><em style="box-sizing: inherit;">essai</em><span class="apple-converted-space"> </span>perhaps sketches out something perhaps of an agenda for the subject of heritage … <o:p></o:p></span></div>
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<o:p>Steven Adams </o:p></div>
Steven Adamshttp://www.blogger.com/profile/15075609896106482944noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-38021776018106886462019-10-01T17:12:00.000+01:002019-10-01T17:13:16.499+01:00Trumpeting from the post-92s<div class="separator" style="clear: both; text-align: center;">
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This academic year, as the current group leader for Theorising Visual Art and Design (TVAD), I have decided to focus the programme of talks on the truly excellent research
being conducted by scholars at University of Hertfordshire's School of Creative Arts.
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This is not simply a nod to the REF (Research Excellence Framework) and the need to create <b><span style="color: orange;">IMPACT</span></b> for our scholarship, but because I have found since coming to the University of Hertfordshire from the University of Cambridge how much class is internalised and enacted by many of those who work in the post-92 universities. For those outside the UK - or young - the post-92 universities were Polytechnics until 1992, and were therefore populated mostly by (white and male) working class lecturers and working class students from a range of backgrounds taking manual trades and related fields like art and design. Universities such as Cambridge crow easily - and with decorous aplomb - about their research successes. Many of my colleagues at Hertfordshire find this more difficult to do, assuming it is blowing one's own trumpet in all the wrong ways.</div>
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Across the School we have numerous scholars who have had their books published recently so I have decided to launch this year's talks programme with one by our Associate Dean for Research,
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Dr Steven Adams will be talking about his new publication
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Landscape Painting in Revolutionary France: Liberty's Embrace</div>
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(Routlege 2019)</div>
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<span lang="en-GB">‘Something happened and I wrote about it’
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<span lang="en-GB">A review by Stewart Lee, 2015
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<span lang="en-GB">Steven’s
book looks at how we might deal with a tsunami of material when we write
a book/thesis, an albatross around all our necks perhaps? </span><span lang="en-GB" style="color: black; font-family: "arial" , "helvetica" , sans-serif , serif , "emojifont"; font-size: 12pt;">The book
isn’t really about landscape painting, it’s is about space, fantasies
about space flight and devil abduction and being buried alive: the ‘y’
rather than the ‘x’ axis of space. There’s even a bit about revolution
and necrophilia.
</span><span style="color: black; font-family: "arial" , "helvetica" , sans-serif , serif , "emojifont"; font-size: 12pt;">The
project was an intimidating one but by turning to some helpful mentors –
Aristotle, Freud, Foucault, Deleuze Nietzsche, Proust and TVAD
colleagues –
I found a way through it and enjoyed the adventure …</span></div>
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Future talks - </div>
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13 Nov 2019 - Stephen Hunt (UH Designer and UH DEd candidate) - On Creativity</div>
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15 Jan 2020 - Prof Grace Lees-Maffei</div>
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19 Feb 2020 - Dr Silvio Carta</div>
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1 Apr 2020 - Dr Alana Jelinek</div>
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<br />Alana Jelinekhttp://www.blogger.com/profile/10612967279379726971noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-12455353922143686612019-05-31T10:18:00.002+01:002019-05-31T10:18:33.500+01:00Live Art at Artists, Designers and the Philosophers We Love<span style="font-size: large;">"UpSet"</span><br />
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<strong>18.30 </strong>duration 20 minutes during the<strong> Drinks Reception</strong> <br />
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Artist duo, Coop (Andrew
James and Clio Lloyd-Jacob), use projection and shadow play, with
recorded and live soundscape, to focus on issues of relationship, from
conflict to co-operation, reflecting the broader
patterns of human collaboration, and their mutability. </div>
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20 June 2019</div>
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Another highlight of the symposium on 20 June 2019</div>
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<b>Artists, Designers and the Philosophers We Love</b></div>
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Keynote by</div>
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<strong> Dr Kerry Power : How can diffraction support art-making process? </strong><br /><br />
The application of diffraction in a theoretical context is supported by
the physical phenomenon The physical phenomenon occurs around us just
as light, sound or water for example encounter matter Picture a single
light source illuminating an object and casting a shadow. The shadow
fringe displays overlapping light waves that intensify at the edge.
Similarly, waves of light can compete and cancel each other out,
creating a diffractive pattern. This example can be used as a starting
point to understand how diffraction can be used as a conceptual model
and applied to knowledge formation (Barad, 2007).<br />In the keynote
presentation, I work through Karen Barad’s (2007) theorisation of
diffraction and interrogate my application as an art-making tool. My use
of diffraction in this context demonstrates a combustible sum of
melting, active, sifting and overlapping applications to embrace
difference as co-constitutive or intra-active (Barad, 2007). My artwork
is projected throughout the presentation to support this process.<br />
<br />
Kerry
Power works in the faculty of education at Monash University,
Australia. She has taught early years, primary and secondary pre-service
teachers educational research and art education. She is a practicing
artist and researcher working primarily in the field of digital
artmaking, educator virtual intra-action and new materialism.<br />
<br />
£10 Tickets available<br />
<a href="https://www.uharts.co.uk/whats-on/2019-spring-and-summer/artists,-designers-and-the-philosophers-we-love" target="_blank">https://www.uharts.co.uk/whats-on/2019-spring-and-summer/artists,-designers-and-the-philosophers-we-love </a><br />
Alana Jelinekhttp://www.blogger.com/profile/10612967279379726971noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-10780876936909598602019-05-30T08:26:00.000+01:002019-05-30T08:26:22.982+01:00Abstracts : Artists, Designers and the Philosophers We Love<h2>
Responding to the open call on the theme: 'Artists, Designers and the Philosophers we Love'</h2>
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Artists
have long been interested in the field of philosophy; it has been
subject to both fascination and scepticism. Artists are found quoting
nuggets of philosophy as inspiration and as context for their work. For
some, philosophers are names to conjure with, to add theoretical ballast
to their perspectives, whereas for others philosophy is a vital of
source of criticality, offering a new perspective on an individual's art
and the context in which we find ourselves. For generations, artists
have looked to philosophers of the Frankfurt School to understand the
art-society-politics nexus and their role in it, and artists, such as
Joseph Kosuth, engage with the Analytic tradition. In <em>Art After Philosophy </em>(1969) Kosuth responds to AJ Ayer.<br />
<br />
Philosophy
comprises one aspect of an art education at BA and MA levels, and for
many, a Doctorate in Fine Art practice, requires a serious engagement
with philosophy in addition to theory, history and other disciplines.
Can artists contribute meaningfully to philosophy? Can there be a
productive relationship between art practice and philosophy that goes
beyond name-checking the Good and the Great, and merely illustrating a
well-honed philosophical phrase? What is it for an artist to love a
philosopher? In this workshop, we want to explore the relationship
between art and philosophy from the perspective of practicing artists.
Our aim is to examine how art can engage with, and contribute to the
theoretical problems of philosophy, and offer a critical rethinking of
philosophies re-imagined and interrogated through art practice. The
symposium is open to both senior and early-career artists and scholars
who are planning or conducting projects in philosophy and art.</div>
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20-21 June 2019 <br />School of Creative Arts, College Lane, Hatfield</h3>
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|| Tickets available through <a href="https://www.herts.ac.uk/uhbow/whats-on" target="_blank" title="UHarts what's on and bookings">UHArts</a> || £10 and nothing for students ||</div>
<h3>
Thurs 20 June</h3>
<strong>16.15 Keynote</strong><br /><strong>Dr Kerry Power (PhD)</strong> : How can diffraction support art making process? <br /> Monash University | Melbourne | Australia<br />
<strong>17.15</strong> <br /><strong>Teodora Sinziana Fartan</strong> : Hyper Chaos - Exploring New Media Art through the Lens of Science Fiction, Speculative Realism and Weird Science<br />MFA ; student | Goldsmith’s College | University of London<br />
<strong>17.35</strong> <br /><strong>Stephen Sewell</strong> : The Impoverishment of Truth <br /> Independent Artist | USA<br />
<strong>17.55<br />Prof Simeon Nelson</strong> : Process and Materiality - Solid Speculation in a Fluid World<br /> University of Hertfordshire | UK<br />
<strong>18.15 Q+A panel discussion</strong><br />
<strong>18.30 Drinks Reception</strong><br />
<h3>
Fri 21 June</h3>
<strong>10.00<br />Kerry Purcell</strong> : Risking Love - Encountering the universal through the local <br /> University of Hertfordshire | UK<br />
<strong>10.20<br />Dave Ball</strong> : Doing Things Alphabetically - Sartre’s Autodidact and Tactically Absurd Practice<br />PhD candidate | Winchester School of Art | UK<br />
<strong>10.40</strong><br /><strong>Lisa Taliano</strong> : Disorientation Re/presentation<br />Independent Artist | USA<br />
<strong>11.00 Q+A panel discussion</strong><br />
<strong>11.20 Break </strong><br />
<strong>11.40</strong><br /><strong>Alison Pasquariello</strong> : Verbier Art Summit: a multi-directional exploration of Philosophy and Art<br /> Verbier Art Summit | Switzerland<br />
<strong>12.00</strong><br /><strong>Shannon Forrester</strong> : Can painting be words? Can the philosophical be material?<br /> PhD candidate | Royal College of Art | UK<br />
<strong>12.20</strong><br /><strong>Dr Anna Walker (PhD)</strong> : The haptic visual - making sense of the world through touch or being touched<br />Plymouth University | UK<br />
<strong>12.40 ;Q+A panel discussion</strong><br />
<strong>13.00 Lunch</strong><br />
<strong>14.00</strong><br /><strong>Chicks on Speed</strong> : Facing the Gesamtkunstwerk foot first<br /><strong>Prof Alexandra Murray-Leslie (PhD)</strong> | Trondheim Academy of Fine Art p;| Norway<br /><strong>Sophia Efstathiou</strong> | Postdoctoral Fellow in Applied Ethics | Norwegian University of Science and Technology <br /><strong>Prof Tina Frank</strong> | University of Art and Design, Linz | Austria<br />
<strong>14.20 Yamu Wang</strong> : A Reader’s Response to A Thousand Plateaus’ Introduction to Rhizome - & ICH & I & CH & <br /> Zurich University of the Arts | Switzerland<br />
<strong>14.40</strong><br /><strong>Jaspal Birdi</strong> : Being connected is less costly than being engaged<br /> Independent Artist | Italy<br />
<strong>15.00 Q+A panel discussion</strong><br />
<strong>15.20 Break</strong><br />
<strong>15.40</strong><br /><strong>Maria Patricia Tinajero</strong> : When Dirt Becomes Soil - Ecological Art Practices as a New Philosophy of Praxis in Age of the Anthropocene <br /> PhD candidate | Institute for Doctoral Studies in Visual Art Philosophy in Portland, Maine | USA<br />
<strong>16.00 </strong><br /><strong>Dr Sebastian Mühl (PhD)</strong> : On aesthetic indeterminacy<br />Alpen-Adria-Universität Klagenfurt | Austria<br />
<strong>16.20</strong><br /><strong>Mimi Cabell</strong> : I'll work out tomorrow <br /> Assistant Professor | Rhode Island School of Design | USA<br />
<strong>16.40 Q+A panel discussion</strong><br /><br /><strong>17.00 end</strong><br />
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<img alt="" height="540" src="https://www.herts.ac.uk/__data/assets/image/0009/247572/Slide02.gif" width="720" /></h4>
<h4>
Abstracts</h4>
<strong> Kerry Power : How can diffraction support art-making process? </strong><br />
The application of diffraction in a theoretical context is supported by
the physical phenomenon The physical phenomenon occurs around us just
as light, sound or water for example encounter matter Picture a single
light source illuminating an object and casting a shadow. The shadow
fringe displays overlapping light waves that intensify at the edge.
Similarly, waves of light can compete and cancel each other out,
creating a diffractive pattern. This example can be used as a starting
point to understand how diffraction can be used as a conceptual model
and applied to knowledge formation (Barad, 2007).<br />In the keynote
presentation, I work through Karen Barad’s (2007) theorisation of
diffraction and interrogate my application as an art-making tool. My use
of diffraction in this context demonstrates a combustible sum of
melting, active, sifting and overlapping applications to embrace
difference as co-constitutive or intra-active (Barad, 2007). My artwork
is projected throughout the presentation to support this process.<br />
<br />
Kerry
Power works in the faculty of education at Monash University,
Australia. She has taught early years, primary and secondary pre-service
teachers educational research and art education. She is a practicing
artist and researcher working primarily in the field of digital
artmaking, educator virtual intra-action and new materialism.<br />
<br />
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<strong>
Teodora Sinziana Fartan : Hyper Chaos - Exploring New Media Art through
the Lens of Science Fiction, Speculative Realism and Weird Science </strong><br />This
paper aims to explore the newly-formed grey areas where emergent new
media art practices overlap with speculative realism tendencies, weird
science ideologies and futuristic perspectives. Taking cues from
thinkers such as Eugene Thacker, Simon O’Sullivan, Raymond Williams and
Gilbert Simondon, this research aims to highlight the ways in which new
forms of media art question, interpret and attempt to invent the future,
both at a macro and micro level, sometimes even rethinking its entire
ontological status.<br />With a particular focus on ideas of fictioning,
fabulating and creating alternative imaginaries in order to disseminate
what it means to be human today, or perhaps better said, in a vague
tomorrow, this paper attempts to map the new speculative turn as
reflected in new media art practice, whilst highlighting the influence
of science fiction on speculative art tendencies. Ultimately, the aim of
this research is to map the intertwining of speculative and weird
realism with ideas such as O’Sullivan’s ‘science fictioning’ and new
forms of computational and electronic media in order to highlight the
ways in which these practices inform and enrich each other.<br />
<br />
Teodora
is currently a graduate MFA student at Goldsmith’s, University of
London. Her research interests include speculative realism, materialism,
the weird,the Anthropocene, theology in the technological context,
myth-science, fictioning and sensing. Her previous work has been featured
in exhibitions across Romania, Hungary, the UKand Australia, and
features in both permanent and private collections. In 2016, she was
shortlisted for the Australian Contemporary Art Awards for her
exploration of the use of new materials within painting. Most recently,
she has exhibited at the ‘Echosystems’ Goldsmiths Computational Arts
Degree show in London, UK and participated in a panel discussing affect
titled ‘Working Things Through and Feeling Things Out: Six Statements on
Computation, Translation and Experience’ at the 2019 Transmediale
Festival of Art Digital Culture<br />
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<div>
<strong> Stephen Sewell : The Impoverishment of Truth </strong><br />I
propose to discuss Roy Bhaskar’s critical realism and the need for
artists to engage in the making of truth claims. Drawing on Bhaskar’s
work the talk will first address the ways in which art/cultural
production does not exist in an autonomous relationship to historical
reality but is inextricably bound up in it. Furthermore it will
highlight the fact that at any specific historical conjuncture there is
always a dominant hegemonic power that structures the conditions of
political, economic, and social practices. If this dominant hegemony is
to be contested we need to be able to make claims regarding how it works
to reproduce itself and maintain dominance, why it is insufficient,
what an alternative project looks like and why it is necessary. Bhaskar
draws on Marx and Althusser to make a case for the existence of an
ontologically real space outside of our experience of it and the need
for a depth model of ontology in order to discover and understand the
structural forces/causal laws that determine our existence. Once
discovered they must be made knowable through a dialectical relationship
between epistemology and ontology. I will argue that the site of
art/cultural production is precisely where these structures can be
represented and made knowable in order to contest dominant ideological
and hegemonic forces while avoiding the essentialism and relativism that
has led to the current impoverishment of truth that marks our present
historical moment.<br />
<br />
Stephen Sewell is a Brooklyn-based artist,
filmmaker and educator. He received his MFA from the University of
Washington and is an alum of the Whitney Independent Study Program,
Mountain School of Arts, and Art & Law Program. His works have been
exhibited nationally and internationally and he has lectured and
participated on panel discussions at Queens Museum, Pacific Northwest
College of Art, MoMA PS1 Print Shop, and Cornish College of Arts. He
currently works at the Whitney Independent Study Program.<br />
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<div>
<strong> Simeon Nelson: Process and Materiality - Solid Speculation in a Fluid World </strong><br />I
will highlight the influence of the process/organismic philosophy of A.
N. Whitehead; his notions of pan-experientialism and critique of simple
location, the Radical Empiricism of William James in which relations
between things are as real and prominent as the things themselves
including the observer, and other significant sources and inspirations
including phenomenology, cybernetics and complex emergent systems. <br />
The process view embraces the world, its relations, its process of
becoming and crucially one’s own being in that same world
simultaneously. This and the radical empirical view is that all
elements, however one divides them up for convenience and conceptual
clarity are intrinsically monistic. Subject and object, mind and matter
are parts of the greater whole and are of the same stuff. Object needs
subject in order to be so, and subject needs object in order to be so,
both are abstractions distilled from experience. I will touch on how
variations on this worldview in Neo-Platonism, Taoism and forms of
animism have influenced my work. <br /> Process Philosophy must be seen in
relation to other schemas so as not to commit the naturalistic fallacy.
I am thrilled by its grandeur but I am also attracted to atomism as a
granular aesthetic and what I think of as an interface between
allopoiesis and autopoiesis - the self-regulating governor of a steam
engine. <br /> I will conclude with creative limitation and freedom. I
think limitation and partiality are necessary for meaning while freedom -
a featureless rhizomatic hierarchy of infinite possibility imprisons
the imagination; a bifurcated or otherwise striated topology gives much
better grit: it is the very limitations of symbol, circumstance or
material that bestow power.<br />
<br />
</div>
<div>
<strong> Kerry Purcell : Risking Love - Encountering the universal through the local </strong><br />In
his 2009 book In Praise of Love, Alain Badiou begins with a description
of some adverts for the French dating site Meetic that he encountered
on the Paris Métro. These adverts carried the straplines ‘Get love
without Chance’, ‘Be in love without falling in love’ and ‘Get perfect
love without suffering’. This ‘safety first’ approach to love is
symptomatic of a culture that turns away from ideas of the universal
towards an identitarian position that one’s desires equate with what one
is willing to accept in the other. Badiou argues that love offers the
possibility of experiencing difference in its infinity. It is an
encounter that can be painful, but the outcome can be a rupture with the
established order (the self) that opens up a space for the radically
new. Like Mallarmé’s lampbearer, Badiou argues that one must remain
alert to the potential that love offers to challenge our deeply held
beliefs of the immutability of our identities.<br />This paper will
explore how Badiou’s thought offers a way of thinking about the idea of
love as a ‘unique trust placed in chance’ (Badiou, 2009: 16). It will
examine how such a stance can leave us open to individual experience as
universality. How love of the other (be that another person, a piece of
art, a book, a riot etc.) offers a possibility to encounter difference
in its unbounded sublimity.<br />
<br />
</div>
<div>
<strong> Dave Ball : Doing Things Alphabetically: Sartre’s Autodidact and Tactically Absurd Practice </strong><br />The proposed paper presents my ongoing project <em>A to Z</em>, drawing parallels with the activities of the Autodidact in Jean-Paul Sartre’s 1938 novel <em>Nausea</em>.
The presentation is informed by my practice-based PhD research into
absurdity, which is driven through the “tactical” use of absurdity in my
own work, situated within a wider field of contemporary art and
philosophical discourse. <br /><em>A to Z</em> is a project begun in 2011
based on the premise of visualising every word in the Concise Oxford
English dictionary in alphabetical order. Around 10,000 visualisations
will need to be made, taking around 35 years to complete. 1,788 images
have so far been made, the most recent being “damage”. The entire
sequence of A, B and C-words were recently shown at a solo exhibition A
to Z: The First Seven Years at Gallery Oldham, Manchester. <br />Sartre’s novel <em>Nausea</em>
features a character known as the Autodidact, who is discovered to be
reading the books in the library in alphabetical order. His absurdly
systematic acquisition of knowledge is, for Sartre, a naïve humanist
folly – a misplaced faith in the betterment of the self through rational
learning. <br />Performed tactically, however, such absurdity can be
reimagined as a form of critical practice. A to Z enacts exactly this
kind of tactical absurdity, functioning less as Sartrean “bad faith”
than as playful disruption. The work thus “thinks” philosophically
absurd ideas in a context far removed from their existential origins.
The presentation will be accompanied by images from A to Z<br />
<div>
</div>
<div>
Dave
Ball is an artist based in Berlin and Wales; he was
educated at Goldsmiths College, London (MA), and the University of Derby
(BA), and is currently researching the use of “tactical absurdity” in
critical (fine) art practice at Winchester School of Art (PhD). He is
represented by Galerie Art Claims Impulse, Berlin</div>
<div>
</div>
<strong> Lisa Taliano : Disorientation Re/presentation </strong><br />The
human race has become a geological force. Ecological problems are no
longer just an issue of our impact on the environment, they’re about our
impact on the earth’s system. The magnitude of the accelerated
transformation has turned ecological questions into questions of
survival and has disoriented us in space and time. The newness of the
situation and its complexity makes it difficult to fully know what the
issues are. For that reason, philosophers like Bruno LaTour, Timothy
Morton and Donna Haraway call on artists to work across disciplines to
help visualize, come up with a new cosmology, myths, and representations
of the world to render us sensitive to these issues. <br /> This talk
will focus on the success and failure of Bruno LaTour’s
interdisciplinary performance lecture – Inside. The performance lecture
is the result of his working with artists to find a new way of
representing the world from the inside, as opposed to the world
represented as a blue globe from outer space. Given that life exists
within a very thin layer of activity on the earth’s crust, a feeling for
the sensitivity of this skin is difficult to represent when you imagine
it from the outside. We are not in a globe, we are on top of a very
thin layer of the earth. Everything we see and encounter in life exist
in this tiny critical zone. The artist’s role in the
scientific/political philosophical situation will be to find ways to
render ourselves sensitive to this layer.<br />
<br />
<strong>Alison Pasquariello : Verbier Art Summit: a multi-directional exploration of Philosophy and Art</strong><br />What
structures will enable meaningful relationships between Philosophy and
Art? What is the potential in establishing channels for productive
discourse between the two disciplines? The Verbier Art Summit is an
international non-profit platform for discourse, bringing together
thought leaders and leading art world figures in Verbier, Switzerland.
Each year, the Summit invites a group of speakers with a shared interest
in an annual theme, in collaboration with a rotating museum director,
for a weekend of dialogue. In this discussion, Project Manager at the
Verbier Art Summit, Alison Pasquariello, will present on the impact of
bringing together philosophers, artists and art world professionals into
one dialogue.<br />At the Verbier Art Summit, philosophers have
introduced academic concepts into the discourse surrounding art,
deepening conversations whose philosophical grounding was once
restricted to summarised quotes by the ‘Great’ philosophers. Terminology
such as ‘indeterminacy’ and ‘ineffability’, having long been studied
within philosophical disciplines, beautifully facilitated conceptual
break-throughs among an audience of art world figures at the Summit. Yet
what does the philosopher have to gain from these encounters, and how
can cultural projects attract philosophers and keep them engaged? If art
picks up where Philosophy ends, then we must ask—what is the role of
Philosophy at art’s end?<br />Alison will review key examples of
cross-disciplinary dialogues engaging with Philosophy through innovative
approaches, in order to investigate the potentialities for
collaboration within the Philosophy and Art symbiosis.<br />
<br />
Alison
Pasquariello graduated from Boston University with a Bachelor’s in
Philosophy and Mathematics in 2015, where she conducted original
research in Libreville, Gabon under the Karbank Fellowship for
Philosophy Research. In 2017, Alison earned her Master’s in Logic from
the University of Amsterdam, publishing her interdisciplinary thesis at
the Institute of Logic, Language, and Computation on interactions
between culture and cognition, with a focus on time. In November 2017,
Alison joined the Verbier Art Summit team, where she is now the Project
Manager. The Verbier Art Summit is a non-profit, international platform
for discourse in a non-transactional context. The Summit connects
thought leaders to key figures in the art world to generate innovative
ideas and drive social change.<br />
<br />
<strong>Shannon Forrester : Can painting be words? Can the philosophical be material?</strong><br />These
questions offer a way into imagining what art might offer philosophy
and what philosophy might offer art. Art has been a major subject of
philosophy, not because art is somehow uniquely ‘philosophical’ but
because philosophy, perhaps especially new materialism, is uniquely
art-like. New materialism examines the dynamic material of life and the
universe. Reparative painting, a theoretical framework that traces ways
of looking at and making paintings which seek to subvert marginalization
based on race, gender, and sexuality bias, while also considering
socio-political and psycho-emotional dynamics of the individual and the
matter of their circulation in the assemblages that form existence.
Reparative painting, the elemental matter that forms it and in a way
becomes its voice through its human-material-conceptual formation,
reaches towards an exit from dynamics of exclusion so prolific in the
contemporary. If we consider Karen Barad’s description of matter as “…
an imaginative material exploration of non/being, creatively
regenerative, an ongoing trans*/formation. Matter is a condensation of
dispersed and multiple beings-times, where the future and past are
diffracted into now, into each moment.” we can begin to understand just
how painterly new materialism might be, as painting transforms, subverts
time, presents complexity, intensifies and disperses, puts experience,
knowledge, and material in a dance echoing the fabric of life and the
universe.<br />
<br />
Shannon Forrester is an international artist working in
the expanded field of painting and a practice-led researcher developing
reparative turn theory in painting. Forrester has a BFA from School of
the Art Institute of Chicago, an MFA Painting as well as a Graduate
Certificate in Women’s, Gender, and Sexuality Studies (WGS) from Boston
University and is currently at RCA completing Reparative Painting,
Identity, Society, and the Individual, a practice-led PhD dissertation.
Their interdisciplinary work incorporates painting, curation, and
writing at the intersection of WGS, new materialism, and cultural
studies. It traces the potential of the reparative turn in painting,
aesthetics, and narrative to subvert dynamics of gender, sexuality, and
race that suppress human flourishing.<br />
<br />
<strong>Anna Walker: The haptic visual - making sense of the world through touch or being touched</strong><br />For
this paper. I will explore an inextricable link between art and
philosophy. In some instances, they are so intertwined that it becomes
impossible to separate one from the other without a loss of sense,
sensation and therefore meaning. Layering Derrida’s theories of
spectrality upon Laura Marks’ exploration of the haptic visual I will
discuss the Deleuzian concept: "when sight discovers in itself a
specific function of touch that is uniquely its own, distinct from its
optical function' (2005, p.109). I will also address the Freudian notion
of Nachträglichkeit—the concept of deferred action, to experience what
yet remains to come: a ghost of or from the future. The spectral for
Derrida does not arise out of social or biological death, rather it
emerges from a future absence where the ghost is neither present nor
absent, but both at the same time—a presence negated by absence. In his
words: <br /> To haunt does not mean to be present, and it is necessary to
introduce haunting into the very construction of a concept. Of every
concept, beginning with the concepts of being and time (Derrida, 1994,
p.13). <br /> Phenomenologically, the haptic is a form of the visual that
muddies intersubjective boundaries (Marks, 2002: 17), whilst
psychoanalytically it is an aspect of the visual that moves between
identification and immersion. Marks emphasises the tactile and
contagious quality of haptic imagery as something viewers brush up
against like another body. She writes: "The words contact, contingent,
and contagion all share the Latin root contingere, ‘to have contact
with; pollute; befall’’ (2000, p. xii). This paper will be accompanied
by sound/ and or moving imagery.<br />
<br />
Anna Walker, PhD, is an artist,
writer and researcher working in multi-media, primarily sound and moving
imagery. She was awarded an MA in Fine Art from Southampton University
in 1998, and a certificate in Psychotherapy from CBPC, Cambridge, in
2010. An interest in the effects of trauma on the body, developed during
her work as a psychotherapist, led her to a PhD in Arts and Media at
Plymouth University, which she completed in May 2017. Her arts-practice
balances the auto-ethnographic with the critical, utilising personal
experiences to facilitate a greater understanding of memory, trauma and
its wider cultural implications. She has been exploring trauma in her
work for many years, how the body responds to overwhelming traumatic and
stressful situations and how it reorganises itself to cope with or
manage the trauma. Most recently research has focused on
intergenerational trauma, i.e. what gets passed down from generation to
generation. For example, the moving Image work: ‘Breathe Wind into Me,
Chapter 1’ (2018-2019), exhibited as part of Making Space at Fabrica
Gallery, Brighton, is a loosely, flowing, stream of consciousness that
questions what arises physically and philosophically when life is
stripped back to the bare essentials. She is a contributing researcher
of Transtechnology Research at Plymouth University.<br />
<br />
<strong>Chicks on Speed : Facing the Gesamtkunstwerk foot first</strong> <br />
Our talk investigates the scope of common ideas about the human body
through ‘gesamtkunstwerk’—all-embracing artworks that adopt and make use
of many art-forms and disciplines. The collaborating authors from the
fields of pop music, visualisation and philosophy suggest that
philosophical concepts can be extended and expressed simultaneously
through music, data visualisations, costume, choreography and
performance, adding new faces to the meaning and expression of
philosophical ideas. <br /> We focus on common ideas around the feet, and
how these become transfigured, found and founded into a series of
art-and-science works: the series of Computer Enhanced Footwear (CEF)
prototypeswe examine, demonstrates that gesamtkunstwerk provides a
method to explore thepossible roles that the feet can have in society.
We use fashionable costume design, pop music, dance choreography,
visualization, scenography, kinesiology and 3D fabrication practices. <br />
Resulting in a unified body of work, gesamtkunstwerk shows that shoes
and feet are more than simply tools to help carry our bodies around.
They can be reimagined through the act of performance and the
application of audiovisual technology to make a statement, semantically
communicate social-political concerns and facilitate free, spontaneous
expression. Explorations of different founded concepts of the feet and
footwear as activists, as citizens and liberators illustrate the vast
potentials for the feet for social change.<br />
<br />
<b>Alexandra Murray-Leslie</b>
is an artistic researcher, performer, poly-artist and co-founder of the
international art collective Chicks on Speed. Her current artistic
research & practice explores designing, fabricating & performing
computer enhanced footwear for a new theatrical, audiovisual
expressivity of the feet. Alex’s work has been discussed in publications
such as Creating Artscience collaboration (Schnugg, 2019), Explorations
in Art & Technology (Candy & Edmonds, 2018), Akward Politics
(Smith Prei & Stehle 2017) as well as periodicals such as New Yorker
(2006), The Wire (2015), Art Forum (2013), Financial Times (2013) &
New York Times (2002). Her work has been shown in major biennales,
festivals and art institutes such as; Ars Electronica, ZKM Centre for
Art and Media, 56th & 57 Venice Biennale, MoMA NY, Centre Pompidou,
Museum of Modern Art Australia, Turner Prize Tate Britian, ArtScience
Gallery Dublin & Singapore.<br />
<br />
<b>Sophia Efstathiouis</b> is a Postdoctoral
Fellow in Applied Ethics in the Department of Philosophy and Religious
Studies at the Norwegian University of Science and Technology (NTNU).
Sophia’s work develops philosophy and art-based approaches to
responsible innovation, informed by her embedded humanistic research
within scientific projects. Sophia has published on seaweed, systems
biology and the use of everyday ideas in science as found science by
analogy to found art. She has contributed with performance lectures in
the Athens Biennale (2013, 2017).She is a Council member of the
International Society for History, Philosophy and Social Studies of
Biology (ISHPSSB).<br />
<br />
<b>Tina Frank</b> is an Austrian designer, artist, and
professor at the University of Art and Design, Linz where she is
heading the Department Visual Communication at the Institute for Media.
Since 1995 she has established three design companies, working for a
wide range of clients creating websites, signage systems and album
covers. As an artist, Tina Frank collaborates with musicians and creates
audio-visual performances shown live all around the world, such as Ars
Electronica, Linz; Centre Pompidou, Paris; ICC, Tokyo, etc. She received
the Diagonale Prize for Innovative Cinema. Her current focus in
teaching is on digital publications, data visualisations and
synaesthetic experimentation.<br />
<br />
<strong>Yamu Wang : A Reader’s Response to A Thousand Plateaus’ Introduction to Rhizome - & ICH & I & CH &</strong><br />In
this presentation, I would like to first shortly introduce my name and
Maya, Mayu, Muya, Muyu, Yama, Yamu, Yuma, Yumu, an art work which was
drawn from auto corrections of my name, either by a word processor or in
people’s memory, as its combination of vowels and consonants seems
rather unfamiliar to the alphabet system.<br />Then, the presentation will
be followed by a reading of A Reader’s Response to A Thousand Plateaus’
Introduction to Rhizome, which shares my personal relation to the
Rhizome text, as suggested in the title, and I believe, it is in itself a
rhizomatic text.<br />& ICH & I & CH & was inspired by
Deleuze and Guattari’s idea of “and.” “Ich” is the first-person singular
pronoun in German, equivalent to English “I.” “CH” is the abbreviation
of Latin “Confoederatio Helvetica,” meaning “Swiss Confederation,” the
official name of Switzerland. As someone who mainly communicates in
English, the experience of living in German-speaking Switzerland allows
me to fuse the German “I” with an English component. Meanwhile, it also
deals with my artistic subjectivity, which makes it possible to
articulate the “I” in an exhibition context, is dependent on the
institutional framework and support.<br />
<br />
Yamu Wang has a particular
interest, or sensitivity, in examining and exploring subjectivity and
how it is conditioned by using her personal experiences as case studies.
She works with installation, video, text, and performance; she also
creates discursive situations where different social bodies can meet and
talk. Language is a recurrent element in her works, may it be the
subject matter, medium, and/or material in part because it conditions
her very being. She considers herself a subject-in-process, both inside
and outside the art field. The production process, as well as the
condition, are often revealed thus in her works. She often wishes to
employ the presence of the audience’s body in a certain way, and that
constitutes an integral part of her work. A bigger concern for her is
what the work does, in contrast to how they look, even though she is
fully aware that their looks determine what they could possibly achieve.<br />
<br />
<strong>Jaspal Birdi : Being connected is less costly than being engaged</strong><br /><em>Being connected is less costly than being engaged</em>— Zygmunt Bauman<br />Technological
innovations simultaneously create better understandings of our
surroundings while impairing the distinction between illusion and
reality. With social interactions increasingly lived through a screen
visually crisp and informative as real-time and space; as history
progresses, the ratio of implicit knowledge on the
evolution/flaws/limits of technology decreases.<br />As a Visual Artist, I
perform a painting process which seeks to eliminate the difference
between a window and screen though glitches. Often playing with paint’s
loose, chromatic, and photo realistic qualities versus rigid and
realistic impressions of thinly collaged digital photography, my works
reveal similarities and contrasts between the real and abstract:
questioning the physicality of our realities—the value of time as it
shapes our understanding of the space we live.<br />My research often
begins visually, utilizing a ludic process I found with technology to
draw attention to the machine extension of human hands as it reaches its
breaking point and seems to imitate human ensitivity. Parallel to
visual practice, I read works by philosophers to draw my attention to
patterns within my documentation and experimentation which I feel are
reflective of present day phenomena. In the occasion of the 2019 TVAD
International Symposium, I would be eager for the opportunity to share
how my visual research draws clarity from philosophy, most recently in
particular, Zygmunt Bauman’s book Liquid Love<br />
<br />
Jaspal Birdi is a
multi-disciplinary artist inspired by dynamic environments she
experiences in reality and virtually. Often mixing with photography with
painting, Jaspal Birdi’s works question the physicality of our
realities — the value of time as it shapes our understanding of the
space we live. Holding a Bachelors of Fine Arts: Drawing & Painting
from OCAD University, a Masters in Arts Management from Istituto Europeo
di Design (IED), and a Specialization in Curating Contemporary Art from
Venice School of Curatorial Studies, Jaspal Birdi has participated in
solo and group exhibitions in Canada, Italy and Germany. Recipient of
awards and honours such as the Arte Laguna Prize, Premio Stonefly, and
Premio Francesco Fabbri, her works have been featured in publications
such as Artribune, Exibart, Zoomers Magazine Canada, Corriere Della
Sera, IO Donna, Repubblica, and BOOOOOM. Currently based in Milan,
Italy, Jaspal Birdi is an artist in residence at ViaFarini<br />
<br />
<strong>Maria
Patricia Tinajero : When Dirt Becomes Soil: Ecological Art Practices as
a New Philosophy of Praxis in Age of the Anthropocene</strong><br />The
1970’s is a benchmark for when changes in our own ways of interacting
with the planet could have made substantial difference nonetheless it
seems that the environmental movement lost its opportunity. Is it too
late today? This study does not provide a solution for the global
environmental crisis. Rather, it is a point of reference to begin to
imagine alternative philosophical frameworks to answer the trauma of the
planet’s material substrates.<br />Ecological art practitioners are the
stewards for aesthetic reclamation, remediation, and conservation of
soil, and their goal is to develop ethical-aesthetic perspectives that
engage art and environment through concepts, language, praxis, and
theory to uncover the underpinnings and attributes that take place in
soil. Through these embodied ethical-aesthetic perspectives ecological
art practices are situated at the cracks left by the international
environmental movement. I argue that redistribution is a material
philosophical system, and that fermentation is its method for thinking,
for acting, and for transforming soil’s material properties and, to
access the potentiality for philosophical endeavours with soil.
Fermentation and redistribution follow two axis, interconnectivity and
urgency, contributing with new definitions and procedures to address the
problem of soil’s sustainability. The analytic focus of redistribution
through the process of fermentation activates emergent contributions to
the fields of art, aesthetics and ethics by triggering the manifold
processes of soil’s reclamation and remediation as part of a larger
metabolic exchange and ecological thinking<br />
<br />
Maria Patricia Tinajero
is a visual artist and a PHD candidate at the Institute for Doctoral
Studies in Visual Art Philosophy in Portland, Maine. Her academic and
creative research focuses on social justice and the
environment.Currently, Tinajero is researching ecological art practices
and soil at the intersections of art, biology and philosophy. Tinajero
is coauthor in several publications in the field of ecological sound
composition and ecological art practices, including her most recent
essay, “Ethical Grounds: The Aesthetic Action of Soil,” published in the
anthology Art, Theory and Practice in the Anthropocene, edited by Julie
Reiss, at Vernon Press. Tinajero received an affiliate fellowship from
the American Academy in Rome for “Aqua Circular” (2010). In fall 2018,
Tinajero was part of the exhibition “Making Migration Visible” at the
Institute of Contemporary Art at the Maine College of Art in Portland.<br />
<br />
<strong>Sebastian Mühl: On aesthetic indeterminacy</strong><br />Ever
since artists in the 1960s (e.g. Marcel Broodthaers) started to use
strategies of imitation, adaptation and fictionalization to adopt
scientific protocols and their modes of visualization, science and
philosophy themselves have become a matter of reflection, transformation
and critique through contemporary art. But according an epistemological
status to contemporary artistic knowledge production means to challenge
the differences between art, philosophy and science. Artistic
production reaches a point of indeterminancy when it mimetically tries
to imitate the epistemological claims of philosophy and science. There
should rather be an acknowledgement of the distinction between the
theoretical, practical and aesthetic forms of experience and
rationality. The determination of art is constituted by an aesthetic
logic, differentiating art from non-aesthetic phenomena. Thus aesthetic
experience does not relate directly to propositional understanding which
is fundamental to scientific knowledge and philosophical argument. It
rather breaks free with the determinations of theoretical experience and
leaves thinking open to an infinite process of indeterminacy. Even
though in the light of the recent rise of artistic research production
in contemporary art as well as aesthetic epistemologies in contemporary
philosophy, there remains a fundamental break between what we could call
the „truth procedures“ (Badiou) of art, science and philosophy. An
aesthetic experience of art thus undermines the clarity of any
epistemological content potentially present in artworks. Where
indeterminacy can be identified in the experience of art, it points
towards the core of what an aesthetic experience ultimately means —
namely the structural potentiality and negativity that challenges our
determining (theoretical and philosophical) judgments. By discussing
some recent examples of artistic research (e.g. the work of German
artist Emanuel Mathias), my paper will try to clarify this argument by
drawing on some theoretical assumptions of authors such as Alain Badiou,
Christoph Menke and Martin Seel.<br />
<br />
Dr. des. Sebastian Mühl is an
artist and researcher based in Berlin and Klagenfurt, Austria. His
research focuses on the political dimensions of contemporary practices
and on the politico-aesthetic implications of artistic perceptions of
modernity. He finished a phd thesis on the revival of utopian thought in
contemporary art. The project was a critical research into
modernological, participatory and art activist strategies in the visual
arts since the early 1990s. His films and film-based visual art projects
focus on the effects of the politico-aesthetic utopias of modernity.
Sebastian is currently preparing a postdoc research project on „crisis
as form“ in digital environments. Further research interests: Critical
Theory, Aesthetics, Theories of Democracy, Artistic Research and
Aesthetic Epistemologies.<br />
<br />
<strong>Mimi Cabell : I'll work out tomorrow</strong> <br />
I’ll Workout Tomorrow is a 33-minute video that uses as material 80
pairs of underwear, all size XS, from the Victoria’s Secret ‘Pink’ line —
a junior line marketed to college age women. Additionally, I only
purchased underwear on which language appears — phrases like “Hey Hey,”
“I Want Everything And More,” “Unwrap Me,” “No Peeking,” “Wish You Were
Here,” or “Cheers,” to name a few. I then interviewed multiple people
and recorded their reactions as they sifted through the underwear. The
video is comprised of selections from these interviews. For “Artists and
the Philosophers we Love” I will screen a 10-15 minute excerpt of this
video along with a brief presentation about the process of making the
piece and the ideas that drove its production.<br />Without drawing
conclusions, Workout is reflective and dialogical; it engages ideas of
desire and performance, gender, sexuality, and capitalism’s co-option of
cultural and political movements, and would work well in the context of
other work in gender and queer studies, performance studies, and
investigations into the influences of markets on cultural practices. The
video is an ethnography, and the content points to work done by
theorists like Angela Davis, Sara Ahmed, and Judith Butler. Ultimately,
Workout represents an investigation into how one is both produced by a
culture, at the same time as producing, co-producing, or re-producing
that same culture<br />
</div>
Alana Jelinekhttp://www.blogger.com/profile/10612967279379726971noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-40571643676396705882019-05-20T09:56:00.000+01:002019-05-20T09:56:33.586+01:002019 TVAD symposium<div style="text-align: center;">
<span style="color: #3d85c6;"><span style="font-size: x-large;">Artists, Designers and the Philosophers We Love</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmIH3QE-raQW6dFMEQKfC1N5g1yVDARc0ahYpL_h_o4-CnPD5AC5cNOszb769DXrSFfC-c2QuqXCagWC1F0uyZRDbuS55KOK1hTgM41Pb99cvLRiOXDuaf_2pNzTb2jZ90_MkXjWQIfgc/s1600/TVAD-Symposium-2000x600.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="1600" height="96" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmIH3QE-raQW6dFMEQKfC1N5g1yVDARc0ahYpL_h_o4-CnPD5AC5cNOszb769DXrSFfC-c2QuqXCagWC1F0uyZRDbuS55KOK1hTgM41Pb99cvLRiOXDuaf_2pNzTb2jZ90_MkXjWQIfgc/s320/TVAD-Symposium-2000x600.jpg" width="320" /></a></div>
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<span style="font-size: large;"><span style="color: #3d85c6;">Thurs & Fri <br />20 & 21 June 2019</span></span></div>
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School of Creative Arts | University of Hertfordshire<br />
College Lane | Film, Music and Media Building | B01</div>
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<span style="color: #3d85c6;"><span style="font-size: large;">Thurs 20 June</span></span></div>
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<span style="color: #444444;"><span style="font-size: small;"><b>16.15</b> Keynote</span></span></div>
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<span style="color: #444444;"><b>Dr Kerry Power</b><span style="color: #212121;"><b> (PhD)</b> : How can diffraction support art making process?</span></span></div>
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<span style="color: #444444;"><span style="color: #212121;">Monash University | Melbourne | Australia</span></span></div>
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<span style="color: #444444;"><span style="color: #212121;"><b>17.15</b> </span></span><br />
<span style="color: #444444;"><span style="color: #212121;"><b>Teodora Sinziana Fartan</b> :</span> Hyper Chaos: Exploring New Media Art through the Lens of Science Fiction, Speculative Realism and Weird Science</span><br />
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<span style="color: #444444;"><span style="color: #212121;">MFA student | Goldsmith’s College | University of London</span></span></div>
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<span style="color: #444444;"><b><span style="color: #212121;">17.35</span></b></span></div>
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<span style="color: #444444;"><span style="color: #212121;"><b>Stephen Sewell</b> : The Impoverishment of Truth</span></span></div>
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<span style="color: #444444;"><span style="color: #212121;">Independent Artist | USA </span></span></div>
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<span style="color: #444444;"><b><span style="color: #212121;">17.55</span></b></span></div>
<span style="color: #444444;"><span style="color: #212121;"><b>Prof Simeon Nelson</b> : </span>Process and Materiality - Solid Speculation in a Fluid World</span><br />
<span style="color: #444444;">University of Hertfordshire | UK</span><br />
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<b><span style="color: #444444;">18.15 Q+A panel discussion</span></b><br />
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<span style="color: #444444;"><b>18.30 Drinks Reception</b></span><br />
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<span style="color: #3d85c6;"><span style="font-size: large;">Fri 21 June</span></span></div>
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<span style="color: #444444;"><span style="color: #444444;"><span style="font-size: small;"><b>10.00</b> </span></span></span></div>
<span style="color: #444444;"><span style="color: #444444;"><b>Kerry Purcell</b><span style="color: #212121;"> : </span>Risking Love: Encountering the universal through the local</span></span><br />
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<span style="color: #444444;"><span style="color: #444444;">University of Hertfordshire | UK</span></span></div>
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<span style="color: #444444;"><span style="color: #444444;"><b>10.20</b></span></span></div>
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<span style="color: #444444;"><span style="color: #444444;"><b>Dave Ball</b> : Doing Things Alphabetically: Sartre’s Autodidact and Tactically Absurd Practice</span></span></div>
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<span style="color: #444444;"><span style="color: #444444;"><span style="color: #212121;">PhD candidate | Winchester School of Art | UK</span></span></span></div>
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<span style="color: #444444;"><span style="color: #444444;"><b>10.40</b></span></span></div>
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<span style="color: #444444;"><span style="color: #444444;"><b>Lisa Taliano</b> : <span style="font-family: "helvetica neue" , serif , "emojifont"; font-size: 11pt;">Disorientation Re/presentation</span></span></span></div>
<span style="color: #444444;"><span style="color: #444444;"><span style="color: #212121;">Independent Artist | USA </span></span></span><br />
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<span style="color: #444444;"><b><span style="color: #444444;"><span style="color: #212121;">11.00 </span><span style="color: #212121;"> Q+A panel discussion</span></span></b></span><br />
<span style="color: #444444;"><b><span style="color: #444444;"><br /></span></b></span>
<span style="color: #444444;"><b><span style="color: #444444;"><span style="color: #212121;">11.20 Break </span></span></b></span><br />
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<span style="color: #444444;"><span style="color: #444444;"><b><span style="color: #212121;">11.40</span></b></span></span><br />
<span style="color: #444444;"><span style="color: #444444;"><span style="color: #212121;"><b>Alison Pasquariello</b> : </span><span style="color: #212121;">Verbier Art Summit: a multi-directional exploration of Philosophy and Art</span></span></span><br />
<span style="color: #444444;"><span style="color: #444444;"><span style="color: #212121;">Verbier Art Summit | Switzerland</span></span></span><br />
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<span style="color: #444444;"><b><span style="color: #444444;"><span style="color: #212121;">12.00</span></span></b></span><br />
<span style="color: #444444;"><span style="color: #444444;"><span style="color: #212121;"><b><span class="highlight" id="0.3359705161058334" name="searchHitInReadingPane">Shannon</span> </b><span class="highlight" id="0.7158447961513773" name="searchHitInReadingPane"><b>Forrester</b> : </span>Can painting be words? Can the philosophical be material?</span></span></span><br />
<span style="color: #444444;"><span style="color: #444444;"><span style="color: #212121;">PhD candidate | Royal College of Art | UK</span></span></span><br />
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<span style="color: #444444;"><b><span style="color: #444444;"><span style="color: #212121;">12.20</span></span></b></span><br />
<span style="color: #444444;"><b>Dr Anna Walker (PhD)</b> : The haptic visual: making sense of the world through touch or being touched<br />Plymouth University | UK</span><br />
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<span style="color: #444444;"><b><span style="color: #444444;"><span style="color: #212121;">12.40 </span><span style="color: #212121;"> Q+A panel discussion</span></span></b></span><br />
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<span style="color: #444444;"><b><span style="color: #444444;"><span style="color: #212121;">13.00 Lunch</span></span></b></span><br />
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<span style="color: #444444;"><b><span style="color: #444444;"><span style="color: #212121;">14.00</span></span></b></span><br />
<span style="color: #444444;"><b>Chicks on Speed</b> : Facing the Gesamtkunstwerk foot first</span><br />
<span style="color: #444444;"><b>Prof Alexandra Murray-Leslie (PhD)</b> | Trondheim Academy of Fine Art | Norway</span><br />
<span style="color: #444444;"><b>Sophia Efstathiou</b> | Postdoctoral Fellow in Applied Ethics | Norwegian University of Science and Technology </span><br />
<span style="color: #444444;"><b>Prof Tina Frank</b> | University of Art and Design, Linz | Austria</span><br />
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<span style="color: #444444;"> </span></div>
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<span style="color: #444444;"><b>14.20 </b></span><span style="color: #444444;"><b><span style="color: #444444;"><span style="color: #212121;">Yamu Wang</span></span></b><span style="color: #444444;"><span style="color: #212121;"> : </span></span>A Reader’s Response to A Thousand Plateaus’ Introduction to Rhizome - </span><br />
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<span style="color: #444444;">& ICH & I & CH &</span></div>
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<span style="color: #444444;">Zurich University of the Arts | Switzerland</span></div>
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<span style="color: #444444;"><b>14.40</b></span></div>
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<span style="color: #444444;"><b>Jaspal Birdi</b> : Being connected is less costly than being engaged</span><br />
<span style="color: #444444;">Independent Artist | Italy </span></div>
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<span style="color: #444444;"><b><span style="color: #444444;"><span style="color: #212121;">15.00 </span><span style="color: #212121;"> Q+A panel discussion</span></span></b></span></div>
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<span style="color: #444444;"><b>15.20 Break</b></span></div>
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<span style="color: #444444;"><b>15.40</b></span><div style="font-family: sans-serif; font-size: 14.6667px; left: 395.587px; top: 285.893px; transform: scaleX(1.00136);">
<span style="color: #444444;"><b>Maria
Patricia Tinajero</b> : When Dirt Becomes Soil: Ecological Art Practices as
a New Philosophy of Praxis in Age of the Antrophocene</span></div>
<span style="color: #444444;">PhD candidate | Institute for Doctoral Studies in Visual Art Philosophy in Portland, Maine | USA</span></div>
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<span style="color: #444444;"><b>16.00 </b></span></div>
<span style="color: #444444;"><b>Dr Sebastian Mühl (PhD)</b> : On aesthetic indeterminacy<br /><span style="border-collapse: separate; border-spacing: 0px; font-family: Helvetica, serif, "EmojiFont"; font-variant-east-asian: normal; font-variant-ligatures: normal; line-height: normal;">Alpen-Adria-Universität Klagenfurt | Austria</span></span><div style="font-family: sans-serif; font-size: 14.6667px; left: 395.587px; top: 285.893px; transform: scaleX(1.00136);">
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<div style="font-family: sans-serif; font-size: 14.6667px; left: 395.587px; top: 285.893px; transform: scaleX(1.00136);">
<span style="color: #444444;"><b>16.20</b></span></div>
<div style="font-family: sans-serif; font-size: 14.6667px; left: 395.587px; top: 285.893px; transform: scaleX(1.00136);">
<span style="color: #444444;"><b><span style="border-collapse: separate; border-spacing: 0px; font-family: Helvetica, serif, "EmojiFont"; font-variant-east-asian: normal; font-variant-ligatures: normal; line-height: normal;"></span></b><span style="font-size: small;"><b>Mimi Cabell</b> : I'll work out tomorrow</span></span></div>
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<span style="color: #444444;"><span style="font-size: small;">Assistant Professor | Rhode Island School of Design | USA</span></span> </div>
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<span style="color: #444444;"><b><span style="color: #444444;"><span style="color: #212121;">16.40 </span><span style="color: #212121;"> Q+A panel discussion</span></span></b></span><br />
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<b><span style="color: #444444;"><span style="color: #212121;"><span style="color: #444444;">17.00 end </span></span></span></b></div>
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Alana Jelinekhttp://www.blogger.com/profile/10612967279379726971noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-30469432848344606432019-05-14T08:43:00.001+01:002019-05-14T08:43:18.591+01:00Speakers announced for TVAD conference<h2 style="text-align: left;">
TVAD international symposium </h2>
<h3 style="text-align: left;">
Artists, Designers and the Philosophers We Love</h3>
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announce the exciting range of speakers and approaches that will be shared during the symposium on 20 and 21 June 2019.</div>
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Kerry Power - keynote<br />(Monash University, Melbourne, Australia) </h3>
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Simeon Nelson (University of Hertfordshire)</div>
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Yamu Wang (University of the Arts, Zurich)</div>
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Sebastian Mühl (Alpen-Adria-Universität Klagenfurt, Institute for Cultural Analysis</div>
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Mimi Cabell (Rhode Island School of Design Division of Experimental & Foundation Studies)</div>
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Teodora Sinziana Fartan (Goldsmiths University of London) </div>
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Jaspal Birdi (independent artist, Milan Italy)</div>
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Anna Walker (University of Plymouth Transtechnology Research)</div>
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Kerry Purcell (University of Hertfordshire & PhD candidate)</div>
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Shannon Forrester (Royal College of Art)</div>
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Lisa Taliano (independent artist, New York)</div>
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Alexandra Murray-Leslie (Trondheim Academy of Fine Art, Norwegian University of Science and Technology)</div>
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Alison Pasquariello (The Verbier Art Summit, Netherlands)</div>
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Maria Patricia Tinajero (PhD candidate Institute for Doctoral Studies in Visual Art Philosophy Portland, Maine)</div>
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Dave Ball (PhD candidate Winchester School of Art)</div>
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Stephen Sewell (independent artist, New York)</div>
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<span style="color: #3d85c6;">Speakers will perform their research as artists, others will conform to the traditions of delivering philosophical papers. </span><br />
<span style="color: #3d85c6;">The 2 day symposium offers a varied range of approaches and topics, from the rigorously philosophical to the performative and robust. </span><br />
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<span style="color: #3d85c6;">The symposium begins 4pm on Thur 20 June and runs all day on Fri 21 June 2019. </span><br />
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<span style="color: #3d85c6;">Topics range from inter-disciplinarity to A.I., from science fiction to the anthropocene, and the philosophers we love include Karen Barad, Gilles Deleuze, Judith Butler, Roy Bhaskar, Sara Ahmed, Raymond Williams, Jean-Paul Sartre and Alain Badiou.</span><br />
<span style="color: #3d85c6;"><br /></span>
<span style="color: #3d85c6;">Free for students and £10 for others, please book your place via <a href="https://www.uharts.co.uk/whats-on/2019-spring-and-summer/artists,-designers-and-the-philosophers-we-love" target="_blank">UHarts</a></span>Alana Jelinekhttp://www.blogger.com/profile/10612967279379726971noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-63212796566726947232019-03-28T14:40:00.000+00:002019-03-28T14:40:44.576+00:00A Life More Ordinary? TVAD Talk<div style="caret-color: rgb(68, 68, 68); color: #444444; font-family: minion-pro; font-size: 18px; margin-bottom: 1.5em; white-space: pre-wrap; word-wrap: break-word;">
With apologies to Dr Jessica Kelly for the title of this post (which I will explain below!) I wanted to share a snapshot of Jessica’s TVAD Talk research seminar yesterday for the TVAD Research Group at the University of Hertfordshire. This is reblogged from my research website <a href="https://www.graceleesmaffei.org/home/2019/3/28/a-life-more-ordinary" target="_blank">graceleesmaffei.org</a> </div>
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Dr Kelly returned to the Hertfordshire to give a TVAD Talk having worked with us as a Lecturer in Critical and Cultural Studies for the BA Hons Fashion programme. While at Hertfordshire, Jessica kindly worked with me a co-curator of Writing Design: Object, Process, Discourse, Translation, the <a href="https://www.designhistorysociety.org/conferences/view/writing-design-object-process-discourse-translation" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">2009 Design History Society conference</a>, from which I edited <a href="https://carillon-calliope-tn9a.squarespace.com/writing-design-1" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;"><em style="word-wrap: break-word;">Writing Design: Words and Objects</em></a> as part of my <a href="https://carillon-calliope-tn9a.squarespace.com/writing-design" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;">Writing Design</a> project.</div>
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Jessica left Hertfordshire ten years ago in 2009 after the conference, to take up a doctoral research position at our neighbours, Middlesex University, where she worked with supervisor David Heathcote on her PhD ‘“To Fan the Ardour of the Layman”: J. M. Richards, The <em style="word-wrap: break-word;">Architectural Review</em> and Discourses of Modernism in British Architecture, 1933-1972’. You can read the abstract of Jessica’s PhD <a href="https://ethos.bl.uk/OrderDetails.do?did=2&uin=uk.bl.ethos.587066" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">here</a>. In her thesis, Jessica reflected on Richards’ importance to the development of modern architecture in Britain, as an exponent of architectural criticism and the mediation of architecture and as a member of an extensive network of people involved in the architecture and media communities.</div>
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Since 2013, Jessica has worked at the <a href="https://www.uca.ac.uk/staff-profiles/dr-jessica-kelly/" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">University for the Creative Arts</a> where she is currently Lecturer in Contextual & Theoretical Studies in the School of Communication Design at UCA Farnham. She is working on a research monograph developed from her PhD and contracted with Manchester University Press, <a href="http://www.manchesteruniversitypress.co.uk/series/studies-in-design-and-material-culture/" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">Studies in Design and Material Culture book series</a> so we can read more when the book is published in 2021.</div>
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I had previously heard Jessica speak about her research at the 2018 Design History Society annual conference, Design and Displacement, convened by Dr Sarah A. Lichtman at Parsons The New School for Design in New York City last September. For her TVAD Talk Jessica reflected on the development of her research since her time at Hertfordshire, focussed on the mediation of modern architecture in the mid-twentieth century. She outlined her work-in-progress, centred upon her monograph. In Jessica’s own words:</div>
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‘the book traces how architects and critics (in the <em style="word-wrap: break-word;">AR</em> and elsewhere) debated whether “public” opinion was something to be ignored, over ruled, negotiated with, placated or pandered to. The changing form and content of criticism offers a view into how Modern architects understood their work and conceived of their role in society.’</div>
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Jessica was clear that J.M. Richards believed that the public, meaning, for him, the middle class public, needed to be educated about architecture and needed guidance from architects and other experts and that the <em style="word-wrap: break-word;">AR</em> assisted in that effort. Richards’ views were influenced by the socialism of his wife Peggy Angus. His own influence waned, though, in the early 1970. In seeking to rehabilitate Richards’ reputation Jessica is conscious that his legacy was obscured by less diffident types, more colourful characters who dominated the discourse more readily. The title of my post is an attempt to capture this feeling.</div>
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<span style="background-color: #f8f8f8;">Jessica’s TVAD Talk, which took place on Wed 27 March 1-2.30 pm, was filmed by Mikayla J. Laird and will be published on the University’s YouTube channel, <a href="https://www.youtube.com/playlist?list=PLTCDLlC0EpfLfZPwQnjLTj61Q6O59U4aB" target="_blank">Creative Arts playlist</a> in due course.</span></div>
Grace Lees-Maffeihttp://www.blogger.com/profile/12071549746987267488noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-5800665072514629922019-03-04T16:07:00.004+00:002019-03-14T12:00:39.368+00:00Open call for Papers<div>
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<span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">TVAD International Symposium 2019</span></h3>
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<span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">Theme: 'Artists, Designers and the Philosophers we Love'</span></h4>
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<span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">Artists
have long been interested in the field of philosophy; it has been
subject to both fascination and scepticism. Artists are found quoting
nuggets of philosophy as inspiration and as context for their work. </span></div>
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<span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">For
some, philosophers are names to conjure with, to add theoretical
ballast to their perspectives, whereas for others philosophy is a vital
of
source of criticality, offering a new perspective on an individual's art
and the context in which we find ourselves. For generations, artists
have looked to philosophers of the Frankfurt School to understand the
art-society-politics nexus and their role in
it. Other artists, such as Joseph Kosuth, engage with the Analytic
tradition: in <i>Art After Philosophy </i>(1969) Kosuth
responds to AJ Ayer. Philosophy comprises one aspect of an art education
at BA and MA levels, and for many, a Doctorate
in Fine Art practice, requires a serious engagement with philosophy in
addition to theory, history and other disciplines.</span></div>
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<span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">Can
artists contribute meaningfully to philosophy? Can there be a
productive relationship between art practice and philosophy that goes
beyond
name-checking the Good and the Great, or merely illustrating a
well-honed philosophical phrase? What is it for an artist to love a
philosophy? </span></div>
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<span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">In
this symposium, we want to explore the relationship of art to
philosophy from the perspective of practising artists. Our aim is to
examine
how art can engage with, and contribute to the theoretical problems of
philosophy, and offer a critical rethinking of philosophies re-imagined
and interrogated through art practice. The symposium is open to both
senior and early-career artists and scholars
who are planning or conducting projects in philosophy and art.</span></div>
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<span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">The
Symposium will be composed of panels with 20-minute paper
presentations, and roundtables with less formalized discussion inputs.
Please indicate
in your email to which format you wish to propose an idea. Panels and
roundtables will then be formed based on the themes and submissions. We
also welcome film, photo, or other media submissions as long as they
respond to the theme and are within the time-frame
of 20-minutes.</span></div>
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<span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">Please send your proposals to Alana Jelinek </span></div>
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<span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">a.jelinek[AT]herts.ac.uk </span></div>
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<span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">(including a title and abstract of 250 words max and a short bio) </span></div>
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<span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">by the <b>22 April 2019</b></span></div>
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<b><span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">When</span></b><span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">: 21 June 2019 <br />
<b>Where</b>: School of Creative Arts, College Lane, Hatfield</span></div>
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<b><span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">Keynote</span></b><span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">:<br />
Kerry Power (Artist and lecturer)<br />
Monash University, Melbourne, Australia</span></div>
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<b><span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">Confirmed speakers</span></b><span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">: <br />
Hudda Khaireh (Artist, independent), on Political Philosopher Franz Fanon<br />
Kerry Purcell (Lecturer, University of Hertfordshire</span><span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";"> and PhD candidate</span><span style="color: black; font-family: "calibri" , sans-serif , serif , "emojifont";">), on Alain Badiou's Philosophy of Love<br />
Alana Jelinek (Artist, University of Hertfordshire), on the Philosopher, Emmanuel Levinas.</span><br />
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<a href="https://www.uharts.co.uk/whats-on/2019-spring-and-summer/artists,-designers-and-the-philosophers-we-love" target="_blank">Tickets now available - UHarts What's On</a></h2>
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Alana Jelinekhttp://www.blogger.com/profile/10612967279379726971noreply@blogger.com1tag:blogger.com,1999:blog-7905259150737003860.post-64648195189270837502019-02-19T13:04:00.003+00:002019-02-19T13:04:53.872+00:00Peer Review, Autonomy and the Pursuit of ExcellenceRecently I've had a couple of conversations about the peer review process with students and also with fellow artists who don't write for peer-reviewed journals.<br />
It's got me thinking about why I think peer review is a good thing, and why the process of peer review does improve writing.<br />
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I know that my own writing has always been improved in response to comments from others. When I was doing my PhD, comments were from supervisors, and then examiners. Supervisors helped me to see that I hadn't captured an argument, or where I'd been lazy in my thinking. The examiner showed me, much to my continuing frustration, that most of my fellow artists maintain a relatively orthodox Marxist set of assumptions, that if I fail to address I do so at my peril. This is a lesson I continue to forget.<br />
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Since my PhD, nearly every publication I have written has been reviewed in a blind process, where I don't know who the reviewer is, though sometimes I try to guess.<br />
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The trick is not necessarily to take on all comments that a reviewer might make, but to try to understand which of the many comments is actually relevant, what points are helpful in clarifying an argument, and which comments can be dismissed. This process is not dissimilar to being an art student.<br />
<br />
When I supervise students, they sometimes tell me about other lecturers and the helpful/unhelpful things they say. I try to explain to them that being an art student is about learning both to trust one's own instincts and also to trust in the process of critique. It's a difficult process. As an art student, we have to learn to tread a path between our own vision, and the views of others. We have to learn to see when others are being helpful, when others are trying to tell us we're going wrong or that we're not saying what we think we're saying. But the art student also has to find and listen to their own instincts. It's a difficult thing to learn.<br />
<br />
That's what peer-review does. It helps a writer to see what we're not saying and also what we're saying by accident. It's not insulting, or compromising, but I see it as a form of collective action in the pursuit of excellence.Anonymoushttp://www.blogger.com/profile/04799603407347892473noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-72874234572915270882019-01-10T15:56:00.001+00:002019-01-10T22:43:08.179+00:00Applications now open for DHeritage, the Professional Doctorate in Heritage!Applications are now invited for prospective students to join <a href="https://www.herts.ac.uk/courses/doctorate-in-heritage" target="_blank">DHeritage</a>, the world's only Professional Doctorate in Heritage. DHeritage offers an opportunity to reflect on and explore in-depth an issue arising from your professional work in a way that creates an original contribution to the global heritage community.<br />
<br />
This broad-based, flexible qualification was developed in association with experts from across the heritage sector and is aimed at professionals who work in, or desire to work in, the heritage field broadly defined, whether in the public or private sectors. It interests those who are employed in tourism, planning, museums, archives, community history, archaeology, social and cultural sustainability and any area of work which engages heritage. DHeritage appeals to practitioners who want to reflect on and contribute to the latest thinking in what is a dynamic and ever-changing sector crucial to many economies and to local and national identities.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbg15Q82uEGdb0KzsXuFEBukaNjyl-Gl53HyH6GacWJEztTnLKYeuydvlNZ1jEc-lFe8zLEPriplvjw5W8p67WKvAyJ4z_goHlv9TtBGK2l_uRZ6M4hA10BSUb9DuVPxG3yhJ4Iv0n7YQ/s1600/uherts_17090568372.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbg15Q82uEGdb0KzsXuFEBukaNjyl-Gl53HyH6GacWJEztTnLKYeuydvlNZ1jEc-lFe8zLEPriplvjw5W8p67WKvAyJ4z_goHlv9TtBGK2l_uRZ6M4hA10BSUb9DuVPxG3yhJ4Iv0n7YQ/s400/uherts_17090568372.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">DHeritage is part of the School of Humanities and draws on expertise from across the University</td></tr>
</tbody></table>
Students follow the programme as part of a cohort, supported by a series of regular bespoke training workshops, generic research training and supervision shaped to their particular needs from across the disciplines of History, Education, Digital Humanities, Creative Writing, Creative Arts, Law, Business, and Tourism, and beyond. The programme integrates scholarship on a range of interdisciplinary themes, including professional ethics, sustainability, cultural memory and heritage policy. Students select their topic and training according to individual needs and interests, and current developments in the field. On admission, successful candidates are allocated a Principal and one or two Co-Supervisors based on the research area they have set out in their research proposal and at interview.<br />
<br />
DHeritage is offered part-time only, as typically our students work full- or part-time in the heritage sector. The degree usually takes 6 years to complete, but it is possible to complete it in 4-6 years depending on successfully passing the phased assessments. The programme is available through a campus registration or as a distance-learning route - in either case campus-based workshops are supported with online equivalent workshops using Canvas Studynet, our web-based managed learning environment. Fees for part-time home and EU students were £2,300 per annum in 2018/19 (different rates apply for overseas distance-learning students).<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0tZXESLscWyTNExtHBqssM5G_ZJK_mTSe4ngZ3Z4df6VV-vRxBp9KrPnTC6dYZ79p4BzyqFs-Opz5r2DfKILhLwhwBAi1MF9WOz3562Q5muay0cIw4uk2AiMLkGkD8XKZ3cQAOOs9kds/s1600/HELEN_CASEY_JUDY_FARADAY_3D_SCANNING.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="533" data-original-width="800" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0tZXESLscWyTNExtHBqssM5G_ZJK_mTSe4ngZ3Z4df6VV-vRxBp9KrPnTC6dYZ79p4BzyqFs-Opz5r2DfKILhLwhwBAi1MF9WOz3562Q5muay0cIw4uk2AiMLkGkD8XKZ3cQAOOs9kds/s400/HELEN_CASEY_JUDY_FARADAY_3D_SCANNING.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Senior Visiting Fellow Judy Faraday with Dean of Humanities Prof Anne Murphy and DHeritage student Helen Casey</td></tr>
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You can find about more about DHeritage on our website <a href="https://www.herts.ac.uk/courses/doctorate-in-heritage">https://www.herts.ac.uk/courses/doctorate-in-heritage</a> or via the University's world class <a href="https://www.herts.ac.uk/heritage-hub/heritage-courses" target="_blank">Heritage Hub</a> (or by clicking the DHeritage tag on this blog).<br />
<br />
Apply by sending a completed application form (available <a href="https://www.herts.ac.uk/study/how-to-apply#directly" target="_blank">here</a>), research proposal and supporting documents (qualifications, certificates etc.) via our Doctoral College <a href="mailto:doctoralcollegeadmissions@herts.ac.uk">doctoralcollegeadmissions@herts.ac.uk</a> by <b>10th May 2019</b>. A guide sheet to help you prepare a research proposal is available from Prof Dr <a href="http://researchprofiles.herts.ac.uk/portal/en/persons/grace-leesmaffei(2c32c68e-a505-4658-8f8d-381e3fbd779c).html" target="_blank">Grace Lees-Maffei</a>, Professor of Design History and Programme Director for DHeritage. If you have any questions about the programme or want to discuss it further, please contact Prof Lees-Maffei or the Doctoral College. We look forward to hearing from you!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCS1m7jh850lb1A_KodkCjbGz4tXYM5gqrIqCDf6DbD_s9p0GbHJxfsA2U6QTdJX0_yixb0TtM8XN_tIIBGlFpXe48mGgUUPYSiw98Lv2_5XhpULSX6XF-TApbZfDBVMyJWThpfTSmLEM/s1600/uherts_17089670184_crop_2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="906" data-original-width="1600" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCS1m7jh850lb1A_KodkCjbGz4tXYM5gqrIqCDf6DbD_s9p0GbHJxfsA2U6QTdJX0_yixb0TtM8XN_tIIBGlFpXe48mGgUUPYSiw98Lv2_5XhpULSX6XF-TApbZfDBVMyJWThpfTSmLEM/s400/uherts_17089670184_crop_2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The De Havilland Aircraft Company is an important part of the University's Heritage</td></tr>
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<br />Grace Lees-Maffeihttp://www.blogger.com/profile/12071549746987267488noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-7554218979019735962019-01-10T12:55:00.002+00:002019-01-10T16:04:38.097+00:00Zoë Hendon 'Working at the Intersection of Archives and Practice’<div style="caret-color: rgb(68, 68, 68); font-family: minion-pro; font-size: 18px; margin-bottom: 1.5em; white-space: pre-wrap; word-wrap: break-word;">
Next week TVAD is hosting a <a href="https://www.herts.ac.uk/research/groups-and-units/tvad-theorising-visual-art-and-design/tvad-talks" style="text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">TVAD Talk</a> research seminar by external speaker <a href="https://www.mdx.ac.uk/about-us/our-people/staff-directory/profile/hendon-zoe" style="text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">Zoë Hendon</a>, Head of Collections and Associate Professor, <a href="https://moda.mdx.ac.uk/" style="text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">Museum of Domestic Design and Architecture</a> (MoDA), Middlesex University. Her TVAD Talk, entitled ‘Working at the Intersection of Archives and Practice’ will showcase her doctoral research in the context of her professional work at MoDA. Zoë’s talk will examine her approach to both:</div>
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the museum's collections from a design-historical perspective, and on the ways in which these collections inspire creative practice in the present. </div>
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In this talk she will refer to various projects she has worked on in recent years, and reflect on where these different strands of thought are currently taking her. Zoë’s PhD ‘Looking Back and Looking Forward, the The Silver Studio Collection as heritage asset and educational resource, 1968-2018’ is registered with Middlesex University and is due for completion by end of 2019. The <a href="http://adri.mdx.ac.uk/silverstudiocollection" style="text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">Silver Studio Collection</a></div>
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was a commercial design practice, which between 1880 and 1963 completed more than 20,000 schemes for items such as furnishing fabrics, wallpapers, tablecovers, rugs and carpets. The Studio answered the needs of its customers, who were retailers and manufacturers at all levels of the market. Many of its clients were mass producers and Silver Studio designs therefore found their way into numerous British homes.</div>
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Zoë’s recent publications arising from this project include:</div>
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‘The Silver Studio art reference collection’ <em style="word-wrap: break-word;">Decorative Arts Society Journal</em> 36 (2012): 65–81;</div>
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<em style="word-wrap: break-word;">The Silver Studio and the Art of Japan</em>, Middlesex University: Museum of Domestic Design & Architecture (2014); </div>
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‘Behind the Scenes at the Silver Studio : Rex Silver and the Hidden Mechanisms of Interwar Textile Design’ <em style="word-wrap: break-word;">Architecture and Culture</em> 6, 1 (2018): 61–80; </div>
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and, with Dr Linda Sandino ‘Inspiration Examined:Towards a methodology’ <em style="word-wrap: break-word;">Art, Design and Communication in Higher Education</em> 17, 2 (2018): 135–50.</div>
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<span style="background-color: #f8f8f8; caret-color: rgb(68, 68, 68); font-family: minion-pro; font-size: 18px; white-space: pre-wrap;">The talk will be filmed by </span><a href="https://mikaylajlaird.wordpress.com/" style="font-family: minion-pro; font-size: 18px; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">Mikayla Laird</a><span style="background-color: #f8f8f8; caret-color: rgb(68, 68, 68); font-family: minion-pro; font-size: 18px; white-space: pre-wrap;"> and will be published on the </span><a href="https://www.youtube.com/user/UNIofHERTFORDSHIRE/featured" style="font-family: minion-pro; font-size: 18px; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">University of Hertfordshire’s YouTube channel</a><span style="background-color: #f8f8f8; caret-color: rgb(68, 68, 68); font-family: minion-pro; font-size: 18px; white-space: pre-wrap;"> in due course. Further TVAD Talks are listed on the </span><a href="https://www.herts.ac.uk/research/groups-and-units/tvad-theorising-visual-art-and-design/tvad-talks" style="font-family: minion-pro; font-size: 18px; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">TVAD Talks webpag</a><span style="background-color: #f8f8f8; caret-color: rgb(68, 68, 68); font-family: minion-pro; font-size: 18px; white-space: pre-wrap;">e and on the </span><a href="http://tvad-uh.blogspot.com/2018/10/school-of-creative-arts-research.html" style="font-family: minion-pro; font-size: 18px; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">TVAD blog</a><span style="background-color: #f8f8f8; caret-color: rgb(68, 68, 68); font-family: minion-pro; font-size: 18px; white-space: pre-wrap;">.</span></div>
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Grace Lees-Maffeihttp://www.blogger.com/profile/12071549746987267488noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-12734410614323168282018-12-12T19:50:00.000+00:002018-12-12T19:52:28.264+00:00A Scientific Advisor for the Hand Project<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: #f8f8f8; color: #444444; white-space: pre-wrap;">I am delighted to say that </span><a href="https://people.uea.ac.uk/en/persons/c-jerosch-herold" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">Professor Christina Jerosch-Herold</a><span style="background-color: #f8f8f8; color: #444444; white-space: pre-wrap;">, Professor of Rehabilitation Research at the University of East Anglia, has kindly agreed to join the Advisory Board for my British Academy research project, </span><a href="https://www.graceleesmaffei.org/the-hand-book" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">The Hand Book: A Design History of and through the Hand</a><span style="background-color: #f8f8f8; color: #444444; white-space: pre-wrap;">. Christina joins the three other members I am fortunate enough to have assembled for the project: </span><a href="http://www.imaginingconsumers.com/" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">Professor Regina L. Blaszczyk</a><span style="background-color: #f8f8f8; color: #444444; white-space: pre-wrap;">, University of Leeds, UK; </span><a href="https://www.uis.no/article.php?articleID=118255&categoryID=11198" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;">Professor Finn Arne Jørgensen</a><span style="background-color: #f8f8f8; color: #444444; white-space: pre-wrap;">, University of Stavanger, Norway; and </span><a href="http://researchprofiles.herts.ac.uk/portal/en/persons/john-styles%287f5158b1-631f-4442-b327-3f04b795402a%29.html" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">Professor John Styles</a><span style="background-color: #f8f8f8; color: #444444; white-space: pre-wrap;">, University of Hertfordshire, UK. For The Hand Project, Christina has very kindly agreed to read my writing, to check that it is scientifically correct, and to bring the benefits of her extensive expertise of a career working with persons with hand conditions or injuries. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_G_YIERRrp9_a7Rc4D7FX0zxfMuDChgVOWzzmIbbKMiNsikdLUcC8JbrtqqAK8NKLOW-iRxfFHEPriUZziHeWF0nx_iINnvbl3kWm2T76xBoD25w2_GlJ1LybxT6FvMrv3xMjjpVkZOQ/s1600/Tina_Jerosch_Herold_2_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="894" data-original-width="639" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_G_YIERRrp9_a7Rc4D7FX0zxfMuDChgVOWzzmIbbKMiNsikdLUcC8JbrtqqAK8NKLOW-iRxfFHEPriUZziHeWF0nx_iINnvbl3kWm2T76xBoD25w2_GlJ1LybxT6FvMrv3xMjjpVkZOQ/s320/Tina_Jerosch_Herold_2_.jpg" width="228" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: #f8f8f8; color: #444444; white-space: pre-wrap;">I attended Christina’s inaugural professorial lecture at UEA on 30th October 2018, a really well-pitched event which began by acknowledging the seminal work of Sir Charles Bell, </span><a href="https://archive.org/details/handmechanismvit00belliala/page/n15" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank"><em style="word-wrap: break-word;">The Hand: Its Mechanism and Vital Endowments as Evincing Design</em></a><em style="caret-color: rgb(68, 68, 68); color: #444444; white-space: pre-wrap; word-wrap: break-word;"> </em><span style="background-color: #f8f8f8; color: #444444; white-space: pre-wrap;">(London: William Picketing, 1837) and the groundbreaking contributions of C B Wynn-Parry and Guy Pulvertaft and the context provided by the </span><a href="https://www.bssh.ac.uk/" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">British Society for Surgery of the Hand</a><span style="background-color: #f8f8f8; color: #444444; white-space: pre-wrap;"> (BSSH) and </span><a href="https://www.hand-therapy.co.uk/" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">British Association of Hand Therapists</a><span style="background-color: #f8f8f8; color: #444444; white-space: pre-wrap;"> (BAHT).</span></span><br />
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<span style="background-color: #f8f8f8; color: #444444; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">The sense of touch is essential for emotional development. The hand is seen as an extension of the brain: Descartes called the hand the ‘outer mind’ while Maria Montessori declared that ‘The hands are the instruments of man’s intelligence’. Her promotion of hands-on learning has influenced education globally.</span><br />
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<span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">The connection between the hand and the brain is perhaps most vividly shown in the image of the sensory homunculus which shows the relative size of the parts of the body according to a neurological gauge of the proportions of the brain used for their respective motor or sensory functions. Where a hand is missing, the relevant part of the brain shrinks. Blind people who rely on touch in place of sight have more developed parts of their brains related to touch than neurotypical people. Percussionist Evelyn Glennie is deaf so she relies on vibratory touch to ‘feel’ sound. US author and activist Helen Keller was deaf-blind and used touch to read braille. They exemplify how touch can compensate for the loss of other senses, however Professor </span><a href="https://www.tandfonline.com/doi/pdf/10.3109/17453679308994603" style="caret-color: rgb(68, 68, 68); color: #d62946; font-family: Arial, Helvetica, sans-serif; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">Erik Moberg (1905-93)</a><span style="color: #444444; font-family: "arial" , "helvetica" , sans-serif; white-space: pre-wrap;">, a leading hand surgeon, described a hand without sensation as blind.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz5RygaP5tiD20Lsqv90SMnCqqRlGCxAeOmNq2hl2xFuUO4XH2du4mP_y8pNhROK0dHJX-lPgbbm72L6jKh5DmWn7R9B9moKKOKM2Sdj80NKXbIz9NxSPBAzsQ7mW6FC7b510VsO1OTJE/s1600/Left-The-Homunculus-Homunculus-means-little-man-and-here-you-see-a-scale-model-of.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="626" data-original-width="850" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz5RygaP5tiD20Lsqv90SMnCqqRlGCxAeOmNq2hl2xFuUO4XH2du4mP_y8pNhROK0dHJX-lPgbbm72L6jKh5DmWn7R9B9moKKOKM2Sdj80NKXbIz9NxSPBAzsQ7mW6FC7b510VsO1OTJE/s400/Left-The-Homunculus-Homunculus-means-little-man-and-here-you-see-a-scale-model-of.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: #f8f8f8; color: #bbbbbb; font-family: "lato"; font-size: 13px;">From ‘Touch and Pain’ edited by R. Biswas-Diener, E. Diener. In Noba textbook series: Psychology. Champaign IL: DEF Publishers, 2013.</span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Professor Jerosch-Herold explained the development of her research career. She began as an occupational therapist specialising in the treatment of hand injuries. Clinical work on peripheral nerve injuries resulted in a particular interest in hand sensibility and hand function. Prof Jerosch-Herold undertook a MSc Rehabilitation Studies at Southampton University and then moved to UEA in 1992 to deliver the new <a href="https://www2.uea.ac.uk/study/undergraduate/degree/detail/bsc-occupational-therapy?_ga=2.241170819.1690489081.1544522842-1959408453.1489060579" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">BSc in Occupational Therapy</a> and Physiotherapy. Her doctorate (2002) examined the <a href="https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.246673" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">clinical assessment of peripheral nerve injuries in the hand</a>. She is a member of the British Association of Hand Therapists, which gave her the Natalie Barr Award in 2010, the British Association of Occupational Therapists and the Society for Rehabilitation Research. Jerosch-Herold is Editor-in-Chief of <a href="http://hth.sagepub.com/" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank"><em style="word-wrap: break-word;">Hand Therapy</em></a><em style="word-wrap: break-word;"> </em>(1998-) and Editorial Board member for the <a href="http://journals.sagepub.com/home/jhs/" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank"><em style="word-wrap: break-word;">Journal of Hand Surgery</em></a> (European) (2017-20). She has led a 5-year National Institute for Health Research Senior Research Fellowship (2013-17) investigating the clinical management of hand sensory disorders including carpal tunnel syndrome.</span></div>
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<strong style="word-wrap: break-word;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Nerve Injuries in the Hand</span></strong></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Hand sensibility and hand function are governed by receptors (ref. Johansson and Vallbo, ‘</span><a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1281571/" style="color: #d62946; font-family: Arial, Helvetica, sans-serif; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">Tactile Sensibility in the human hand</a><span style="font-family: "arial" , "helvetica" , sans-serif;">’, </span><em style="font-family: Arial, Helvetica, sans-serif; word-wrap: break-word;">J Physiol </em><span style="font-family: "arial" , "helvetica" , sans-serif;">January 1979 286: 283-300). Tactile acuity declines with age; we need no assistance with this, we simply adjust to it. The question of sex differences in tactile acuity has been answered by Peters who has demonstrated that diminutive digits enjoy increased tactile acuity as sensors are more closely spaced on smaller fingertips (Ref: RM Peters, E Hackeman and D Goldreich (2009) ‘</span><a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3849661/" style="color: #d62946; font-family: Arial, Helvetica, sans-serif; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">Diminutive Digits Discern Delicate Details: Fingertip Size and the Sex Difference in Tactile Spatial Acuity</a><span style="font-family: "arial" , "helvetica" , sans-serif;">’ </span><em style="font-family: Arial, Helvetica, sans-serif; word-wrap: break-word;">Journal of Neuroscience</em><span style="font-family: "arial" , "helvetica" , sans-serif;"> 29 (50) 15756-15761).</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">On the day of the inaugural lecture, the BBC reported that </span><a href="https://www.bbc.co.uk/news/education-46019429" style="color: #d62946; font-family: Arial, Helvetica, sans-serif; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">surgeons could no longer be assumed to have the dexterity needed to undertake the sewing required in surgery</a><span style="font-family: "arial" , "helvetica" , sans-serif;">, Prof Jerosch-Herold explained how when a nerve injury occurs in the hand, surgeons suture the outer connective tube so that the regrowing nerve fibres can reconnect with their end-organs. This healing process is not perfect, however. Nerve regeneration is slow and can result in sensory loss and muscle paralysis. Discriminative sensibility often never returns to normal. Christina has worked with her collaborators on the challenge of how to assess the recovery of tactile acuity and the evaluation of objective tests vs patient-reported outcomes (PROMs) as integral to value-based health care. See also Prof Jerosch-Herold’s collaboration with Mark Ashwood and Lee Shepstone, ‘</span><a href="https://www.sciencedirect.com/science/article/pii/S0894113017302272?via%3Dihub" style="color: #d62946; font-family: Arial, Helvetica, sans-serif; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; word-wrap: break-word;" target="_blank">Learning to Live with a Hand Nerve Disorder: A Constructed Grounded Theory</a><span style="font-family: "arial" , "helvetica" , sans-serif;">’, </span><em style="font-family: Arial, Helvetica, sans-serif; word-wrap: break-word;">Journal of Hand Surgery</em><span style="font-family: "arial" , "helvetica" , sans-serif;"> (2017).</span></div>
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<strong style="word-wrap: break-word;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Carpal Tunnel Syndrome</span></strong></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Traumatic nerve injuries are declining due to better health and safety, making it harder to study at a scientifically significant scale, so Jerosch-Herold has more recently focussed on Carpal Tunnel Syndrome (CTS). As many as 1 in 10 people experience CTS at some point in their lifetime and the c. 55,000 surgically-treated cases cost the National Health Service around £42 million each year. Professor Jerosch-Herold has studied the effect of sensory relearning to restore lost sensibility after carpal tunnel surgery. Sensory relearning is a treatment taught to patients designed to reprogram the brain through cognitive relearning techniques. This process removes the crutch of vision, to emphasise touch without sight. It requires patients to switch between looking and not looking. Although it is very repetitive and can get boring, the result is a mindfulness towards touch and improved ‘tactile gnosis’, that is the ability to recognise shape and form with your hands. Prof Jerosch-Herold’s more recent work on the PALMS project has examined predictive factors for responses to treatment in CTS. </span></div>
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<strong style="word-wrap: break-word;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Wrapping Up</span></strong></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Professor Jerosch-Herold ended her inaugural lecture on October 30th with a timely warning about the dangers to the hand of activities such as bonfires and fireworks. Hand accidents peak at bank holidays and others events as people get to grips with chain saws, fireworks and pumpkin carving. Grievous injuries may benefit from treatment such as that offered to Zion Harvey, a boy who underwent a successful double hand transplant in the US in 2015. Prof Jerosch-Herold gave the final word to occupational therapist Mary Reilly, who stated in her 1961 Eleanor Clarke Slagle Lecture that:</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Man, through the use of his hands, as they are energised by his mind and will, can influence the state of his own health.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This week, Christina and I met at UEA to discuss the potential linkage of her work with my project. I am interested in the way that mass production does not always successfully cater for physical differences in consumers and whether this might have some connection to Christina’s work with PROMS where sufferers of hand nerve disorders report their particular experience of the condition, albeit within a questionnaire framework. I look forward to working with Christina and the rest of the Advisory Board as The Hand Book project develops.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Prof Grace Lees-Maffei</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Professor of Design History</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Reposted from <a href="https://www.graceleesmaffei.org/home/2018/12/11/a-scientific-advisor-for-the-hand-project">https://www.graceleesmaffei.org/home/2018/12/11/a-scientific-advisor-for-the-hand-project</a> </span></div>
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Grace Lees-Maffeihttp://www.blogger.com/profile/12071549746987267488noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-23502487067105389322018-11-30T17:19:00.000+00:002018-11-30T17:19:07.298+00:00TEG Tactile Access to Collections Workshop<span style="font-family: Arial, Helvetica, sans-serif;">In September 2018 I was awarded a small grant from the British Academy to support my research for The Hand Book for the next two years. As part of my project, I am blogging about my research here on the TVAD blog and on my own website <a href="http://www.graceleesmaffei.org/">www.graceleesmaffei.org</a> </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Yesterday, I attended <span style="background-color: #f8f8f8; caret-color: rgb(68, 68, 68); color: #444444; white-space: pre-wrap;">the </span><a href="https://touringexhibitionsgroup.org.uk/" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">Touring Exhibition Group (TEG)</a><span style="background-color: #f8f8f8; caret-color: rgb(68, 68, 68); color: #444444; white-space: pre-wrap;"> workshop </span><em style="caret-color: rgb(68, 68, 68); color: #444444; white-space: pre-wrap; word-wrap: break-word;">Tactile Access to Collections: Maximising and Managing Public Object Handling Opportunities</em><span style="caret-color: rgb(68, 68, 68); color: #444444; white-space: pre-wrap; word-wrap: break-word;"> at</span><span style="background-color: #f8f8f8; caret-color: rgb(68, 68, 68); color: #444444; white-space: pre-wrap;"> </span><a href="http://www.houseofillustration.org.uk/" style="color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">The House of Illustration</a><span style="background-color: #f8f8f8; caret-color: rgb(68, 68, 68); color: #444444; white-space: pre-wrap;"> in London’s Kings Cross. This amazing building, at 2 Granary Square, was designed by Lewis Cubitt in 1850 as part of the Kings Cross Goods Yard. In 2014 it opened as the House of Illustration when the area was redeveloped. </span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="caret-color: rgb(68, 68, 68); color: #444444; white-space: pre-wrap;">TEG was set up when the Circulation Department of the Victoria and Albert Museum was closed down in order to represent smaller museums and advocate for the circulation of exhibits from larger and national museums to smaller regional venues (for an account see the </span><a href="https://en.m.wikipedia.org/wiki/Touring_Exhibitions_Group" style="caret-color: rgb(68, 68, 68); color: #d62946; text-decoration: none; transition: color 100ms ease-in-out, border-color 100ms ease-in-out; white-space: pre-wrap; word-wrap: break-word;" target="_blank">Wikipedia page about the group</a><span style="caret-color: rgb(68, 68, 68); color: #444444; white-space: pre-wrap;">, which was clearly written by someone with considerable insider knowledge of the organisation and its history).</span></span><br />
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<span style="caret-color: rgb(68, 68, 68); color: #444444; white-space: pre-wrap;"><span style="font-family: Arial, Helvetica, sans-serif;">The Tactile Access to Collections workshop was developed for curatorial and learning staff who want to implement ‘opportunities and an infrastructure for the public to handle objects from their collections’. Twenty participants gathered for today’s session. We began with a group exercise based on a selection of objects provided by the workshop convenor, Charlotte Dew, in which we were asked to make note of what we could tell about objects simply by looking at them. This exercise revealed that observation is the best way to determine the colour of an object, and a good way to determine its shape and any symbolism, but looking proved to be inadequate as a way of determining texture, materials and manufacturing technique. A pair of bowls in our selection of objects could have been moulded or 3D printed. A small battleship could have been plastic, ceramic or metal. A necklace could, at first glance, have been jet or French jet (glass) but closer observation revealed mould marks meaning it was plastic. This state of looking but not touching was frustrating. </span></span><br />
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<span style="caret-color: rgb(68, 68, 68); color: #444444; white-space: pre-wrap;"><span style="font-family: Arial, Helvetica, sans-serif;">Next we were asked to handle the objects wearing gloves. This exercise made clear to me that handling and touching are not the same thing. I was able to handle the objects - pick up the bowl, turn it over, determine that it was not 3D printed, and was in fact moulded, but I couldn’t feel the texture. Wearing gloves, I was able to confirm that the battleship was metal, and a light metal like lead. But I still wanted to feel it without the gloves on. Similarly, I wanted to test the beaded necklace with my teeth to really confirm the material. This simple exercise revealed that one of the benefits derived from handling objects is that we simply have more information when we can use our hands, about weight and structure, and more still when we can use our sense of touch, about texture. </span></span><br />
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<span style="background-color: #f8f8f8; caret-color: rgb(68, 68, 68); white-space: pre-wrap;"><span style="font-family: Arial, Helvetica, sans-serif;">The workshop continued with an overview of approaches to object handling employed at a wide range of museums. Mediated object handling occurs at the Museum of London, Manchester Museum and the British Museum, which makes its collection of 500 handling objects accessible to visitors in trolleys in the galleries. Unmediated approaches are employed at the Horniman Museum (which has a handling collection of 3700 objects and counting) and Powell Cotton Museum which allows unmediated access to its museum objects on the basis that they are duplicated in the collections and the flow of visitors is manageable. We also discussed the cases of the Museum of Domestic Design and Architecture (MoDA) at Middlesex University and the Central St Martins archive, neither of which have exhibition spaces and both of which allow visitors to access the collections via a reading-room type of environment. Some of the museums we discussed allowed handling of their accessioned collections, whereas others had developed separate un-accessioned handling collections to reflect or otherwise contextualise their main collections. </span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">We then moved to consider the risks involved in object handling, both to the objects and the people involved. Objects may go missing, become damaged, or suffer wear and tear. People engaged in handling may be at risk from certain materials such as lead and asbestos, or from actions such as pinching and cutting. We used a traffic light system questionnaire for determining the suitability of objects for handling, the risks to the objects of handling them, and the risks they present for participants. Green+ objects can leave the museum site, and objects graded green can be handled in unmediated situations. Amber objects can be handled under supervision. Red objects can only be demonstrated to visitors by museum staff. We took into account variables such as rarity, significance and cost in making our assessments of suitability for handling, as well as the benefits of restricted use of various types in offsetting risks. </span><br />
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<br /><span style="font-family: Arial, Helvetica, sans-serif;">Handling policies and procedures can be developed to assist in managing the risks of allowing tactile access to collections. They provide clarity across an organisation and can be used as a training tool with staff and volunteers. Policies can cover selection criteria for handling collections, storage, access and use, risk assessment procedure, processes for auditing handling collections and care and repair, procedures for reporting loss and damage, disposal of objects for various reasons (wear and tear, changed relevance), object documentation, and strategies for interpretation.</span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Planning meaningful engagement opportunities involving object handling can be facilitated using a session development matrix, learning theory and examples of good practice from other organisations. We planned a handling session using some medieval floor tiles held at Guildford Museums service, which communicated the importance of local trade in tiles between monasteries in the thirteenth century and encompassed handling clay as well as tiles. We referred to Learning for All and Generic Learning Outcomes to make sure that our session offered something for everyone. Detailed planning is clearly an asset in managing risk in relation to tactile access to collections. </span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;">Workshop facilitator Charlotte Dew asked us to bring an object from our collections to the workshop for discussion. I am not a curator and so my collection is a personal one. I decided to bring a ring holder shaped like a hand which was originally bought for one of my children, and then passed to the other child, before ending up with me as part of my hand project material. Although this object resembles a hand and forearm, it is unlike any hand I have ever seen on a living person. It most resembles the stylised, attenuated hand and arm of a mannequin, which is fitting given that its role is to display, as well as store, rings (and perhaps other jewellery too). This object is not special, it is made of plastic and is therefore intrinsically inexpensive, and it was purchased in a charity shop as a frippery. It is a product of a mass consumer society in which objects are so ubiquitous and legion that some of them are devalued and disregarded. But, in resembling a hand, and arm, this object seems to strive for personality, or human status, even as it sadly fails to attain it. Finally, within a museological setting, this object raises conservation issues due to its material - one which is either perfect or only fit for the scrap heap, according to designer Ezio Manzini, and yet will last for hundreds of years as the half-life of plastic is infamously long with threatening implication for our planet.</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">The workshop ended with role play in which participants modelled mediated handling sessions for a ‘good’ visitor, who respected the objects and asked questions, and a visitor who treated the objects clumsily. I realised through watching this role play that handling sessions are really opportunities for talk. The workshop had established that the majority of handling sessions involve some staff mediation of the objects for visitors and therefore involve conversations. Handling objects are prompts for dialogue in all but entirely unmediated access situations. The quiet reverie that I have been using in my hands-on archival research, and in some of my museum visits, is quite different to the closely planned curatorial and learning experiences delivered by museum staff with specific learning outcomes and ways of achieving these.</span></div>
<span style="font-family: Arial, Helvetica, sans-serif;">Prof Grace Lees-Maffei<br />Professor of Design History</span><br />
Reposted from <a href="https://www.graceleesmaffei.org/home/2018/11/28/teg-tactile-access-to-collections-workshop">https://www.graceleesmaffei.org/home/2018/11/28/teg-tactile-access-to-collections-workshop</a><br />
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Grace Lees-Maffeihttp://www.blogger.com/profile/12071549746987267488noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-41193578885393740162018-11-29T16:33:00.000+00:002018-11-29T17:08:59.499+00:00REF and the death of creativity?I recently went to a conference about 'impact' and the REF - the Research Excellence Framework for those who remain uninitiated - which is a UK-wide government initiative to provide a mechanism for funding research excellence. A product of the REF process therefore is the assessment of excellence.<br />
<br />
The idea of excellence could not be more contentious. This is particularly true in a class-riven society in which class-based assumptions regarding value are too often made and where universities have differential status and access to resources is clustered amongst an illustrious few. The class critique of excellence, when it is defined in Arnoldian terms, is obvious. <br />
(Matthew Arnold's <i>Culture and Anarchy</i> written 1869 where he argues for culture as the best which has been thought and to make the best that has been
thought and known in the world current everywhere, that all men [sic] live
in an atmosphere of sweetness and light.)<br />
<br />
The best is made and said by women in addition to men, and by all
groups people irrespective of class or ethnic background or geographical
location. The best does not belong to the province of the white male
bourgeoisie. But not everyone is the best. By definition only a small
percentage can be best, but the average - both the median and the mean -
can go up if resources, time and energy are focused on fostering
cultures of excellence.<br />
<br />
It is hardly revolutionary thinking to state that women and working class and non-white people produce excellent research once we have the resources do so. But if we are going to support excellence, we do need to know what it is. Excellence needs to be defined and supported if it to exist. For this reason I am a fan of the REF. In its avowed efforts at parity and the fact that key individuals have mandatory training in unconscious bias, it may in fact be a mechanism not only for excellence but for supporting those academics and artists who are most often overlooked for support and promotion by dint of institutional sexism and racism. I am a fan - a critical fan - of the REF because it provides one mechanism towards creating a reasonably level playing field. That is, if the REF is understood in the spirit of attaining excellence - and not as yet another instance of gaming where the usual privileged suspects win and win again, this time taking it all.Alana Jelinekhttp://www.blogger.com/profile/10612967279379726971noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-69792161642259708942018-10-17T15:58:00.000+01:002018-10-17T15:58:18.120+01:00School of Creative Arts Research Seminars 2018/19Now that the academic year is up and running, we are delighted to announce the Research Seminars which are happening across the academic year 2018/19 in the School of Creative Arts. Each of our four research groups, TVAD (Theorising Visual Art and Design), CAP (Contemporary Arts Practice), MRG, the Media Research Group, and DRG, the Design Research Group has contributed to a full and rich line-up of talks and other events. The seminars are open to all, but please RSVP to Nick Thomas at the email address on the flyer, below, if you intend to join us.<br />
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<br />Grace Lees-Maffeihttp://www.blogger.com/profile/12071549746987267488noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-59755132714679115842018-07-05T15:26:00.002+01:002018-11-29T17:12:33.834+00:00Questions arising from 'Art as Research'<div class="MsoNormal">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">On 25<sup>th</sup> June, <a href="http://researchprofiles.herts.ac.uk/portal/en/persons/alana-jelinek(bdec70e4-fb5c-4f85-9481-147711dd44d7).html" target="_blank">Alana Jelinek</a> led a workshop on the theme of art practice as research, </span><span lang="EN-US"><span style="-webkit-text-stroke: rgb(0, 0, 0);">supported with an award from Skill Up! The University of Hertfordshire’s Researcher-Led Researcher Development scheme, hosted by the University’s <a href="https://www.herts.ac.uk/research/research-development/researcher-development-working-group" target="_blank">Researcher Development Working Group</a></span>. Here are a few questions that arose from the day…</span></span></div>
<span lang="EN-US"><b><br /></b></span>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><b>What is the difference between impact and dissemination? </b></span><span lang="EN-US">Catherine Tackley noted that applications for AHRC funding often make the mistake of conflating impact with dissemination or public engagement. Researchers sometimes force artificial opportunities for dissemination or engagement under the false assumption that this will improve their impact. She recommends focusing on who will benefit from the proposed research, and how they will benefit directly from the research, rather than how the research findings might be disseminated.</span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><br /></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Tackley suggested that it was useful to think about the negative impact of a failure to fund the project. What would be lost if the research could not take place? Who would lose out if the funding was not awarded?</span><span lang="EN-US"><b><br /></b></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><br /></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><b>How dangerous is “scope creep”? </b></span><span lang="EN-US">Alessio Malizia warned of the dangers of mission creep, and discussed some of ways in which research scope can be narrowed. He observed that researchers, particularly at doctoral level, often start with a research question that is too large for one person to answer (or that becomes too large after the research has started). What should we do, he asks, when a research problem exceeds our individual capacities?</span><span lang="EN-US"><br /></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">While “scope creep” can be problematic, for all the many reasons that Malizia identified (too broad a field of practice, too much source material to handle, etc.), is it always problematic? Scope creep can sometimes be useful, even essential, as the direction of research does need to be informed by constant reflection and re-evaluation of the research questions. In particular, Malizia touched on problems that were too big for an individual researcher, but perhaps this may sometimes be resolved not by narrowing the scope, but rather, expanding the research team. There are different ways of finding a balance between rigor and ambition, and ambitions may not need to be compromised if we find ways of extending our capacity.</span><span lang="EN-US"><b><br /></b></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><br /></span></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><b>Must the value of art be authenticated by academic institutions? </b></span><span lang="EN-US">At the end of the day Stelarc joined us to present an overview of his part works and discuss some of the themes that have underpinned his practice. He suggested that “research is the way that institutions try to authenticate practice”, but that this is problematic. Art practice and research are “two different ways of elevating the world”, and perhaps they do not always need to be combined.</span></span>
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Barbara Browniehttp://www.blogger.com/profile/09875144996291580588noreply@blogger.com1tag:blogger.com,1999:blog-7905259150737003860.post-47931125027309458462018-06-07T20:53:00.001+01:002018-06-11T13:08:30.118+01:00Between ‘Revere’ and ‘Remove’<div class="MsoNormal" style="margin: 0cm 0cm 0.0001pt;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Students on the <a href="https://www.herts.ac.uk/courses/doctorate-in-heritage" style="color: #954f72;">DHeritage</a> programme at University of Hertfordshire met for one of the regular programme of workshops on 14th May 2018. Convened by <a href="http://researchprofiles.herts.ac.uk/portal/en/persons/sarah-lloyd(4dbbda63-e41c-4232-94f9-c3556d69edc7).html" style="color: #954f72;">Professor Sarah Lloyd</a>, the programme for the day focussed on the concepts of ‘Remembering and Forgetting’. It brought together students and staff at UH involved in the DHeritage with several external speakers addressing issues of ‘memory’ within their research. The day covered issues of migration (<a href="http://researchprofiles.herts.ac.uk/portal/en/persons/eureka-henrich(5d2cc39a-2fde-4a28-b592-d708e2db2483).html" style="color: #954f72;">Dr Eureka Henrich</a>), slavery (<a href="https://research-information.bristol.ac.uk/en/persons/jessica-moody(2e06086e-bc1f-4003-a6c1-5619251c36d7).html" style="color: #954f72;">Dr Jessica Moody</a>) and the heritage of tomorrow (<a href="http://www.ucl.ac.uk/archaeology/people/academic/esther-breithoff" style="color: #954f72;">Dr Esther Breithoff</a>) in addition to contributions from students dealing with these questions in professional practice.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">By chance, the workshop coincided with one of a series of evening debates organised by Intelligence² and Historic England and held in Westminster Revere or Remove? The Battle Over Statues Heritage and History’. <a href="http://www.intelligencesquared.com/" style="color: #954f72;">This discussion</a>, led by historians and journalists, addressed the subject of memory, and how such a contested concept is dealt with publicly, particularly in the multicultural and multi voiced 21st century context.<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><br />Managed by Jonathan Freedland, Guardian columnist and author, the Panel comprised Peter Frankopan, Research Fellow at Worcester College, Oxford; writer and broadcaster Afua Hirsch; author Tiffany Jenkins, Honorary Fellow at the University of Edinburgh; and David Olusoga, Historian and Broadcaster. Each presented a position statement generated initially in response to the ‘Rhodes Must Fall’ campaign (<a href="https://rmfoxford.wordpress.com/" style="color: #954f72;">https://rmfoxford.wordpress.com</a>), which has recently campaigned to remove a statue of Cecil Rhodes from Oriel College in Oxford, and the decision to remove a statue of confederate general Robert E Lee from a park in Charlottesville, USA. In many ways the responses and positions described were personal and reflected the experiences of the speakers. Olusoga spoke with passion about the statue of merchant and slaver Edward Colston in Bristol, contrasting his own confidence in dealing with such memorials with that of others without his depth of historical knowledge. He deconstructed the purpose of such statues and demonstrated both their erroneous portrayal of history and the changing nature of their meaning in contemporary society. He urged the removing of Colston to a different site where his legacy could be debated in a context based on learning, not on the reverence that is hard to avoid when a viewer is physically required to ‘look up’ to a statue. Jenkins took the position that relocation of statues simply relocated the issues. She noted the poor aesthetic quality of many such memorials and invoked the concepts of current relevance and the passing of time as determinants of the appropriate actions and responses to memorials. As the contested statues are primarily in public places, her position was to leave responsibility with the public. Where memorials are wanted they will be cared for, where no longer relevant they will be neglected and decline. This approach reflects an emerging debate within the museum and heritage world regarding the potential for ‘managed decline’ of objects and places which are difficult to maintain for a range of reasons. The need to forget as well as to remember was referenced although in a situation where the issues which some statues symbolise clearly continue to remain unaddressed, it seemed premature to move directly from ‘revere’ to ‘remove’ without further consideration.</span><br />
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<span style="font-family: arial, helvetica, sans-serif;">All of the panellists at some point found themselves at risk of entanglement with the intricacies of this debate. Hirsch urged the removal of the statue of Cecil Rhodes but also described the importance of monuments as part of the relationship of the present with the past. Frankopan offered the view that the ‘winds of history’ mean that all statues will eventually fall, and that indeed, it is their ultimate function. All felt that there should be some critique of each circumstance and a greater understanding of the history that each monument represents. While an obvious response to the situation under discussion, this led inevitably to a discussion of the limitations of history teaching and public knowledge and to the fact that many statues are symbolic reductions of complex situations. Their original meanings may have been lost and may be of limited relevance for the majority of those who view them today. While some statues have little meaning at any one time, some have disproportionality significant meaning, becoming symbols of contemporary concerns. Olusoga pointed out that the Bristol statue of Colston was erected two hundred years after his death. In this situation is the statue more realistically considered as something of the 19th rather than the 17th or 18th century? Jenkins in particular cautioned about the dangers of being ‘enslaved to the past’. If Bristol was provided with a statue of Colston in the 1890’s as part of a battle for power within the city’s merchant class, then it seemed entirely possible by the end of the debate that by removing it, Bristol could be signifying a sense of itself for the future, not seeking to remove an unpleasant figure and an unpalatable sense of its past.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Calibri, sans-serif; font-size: 12pt; text-align: start;">Edward Colston, Bristol ©Barbara Wood</span><span style="font-size: small; text-align: start;"></span></td></tr>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Reflecting on the workshop and the evening debate it seems as if the issues of both were less concerned with the meaning of statues and memorials at the time of erection and more about their function in establishing new identities for places and for society for the future. A contributor from the audience, part of a campaign group aiming to remove the Colston statue spoke about the fundraising to establish a memorial to the 32000 people who died because of Colston’s’ activities and a museum of slavery in Bristol. Meaning changes and develops even within living memory. Centuries after they were established, many of the remains under discussion seem inconsequential in themselves. It was their currency in the present that was important. It is surely our opportunity and responsibility to erect statues and memorials to what is important today, if - as Frankopan pointed out - anybody is interested enough to do that. <o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Barbara Wood<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Doctoral Candidate (DHeritage Programme)<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">References<o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">DeSilvey, C. (2017) Curated Decay Heritage Beyond Saving. University of Minnesota Press.<br /><br /><o:p></o:p></span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Jenkins, T. (2016) Keeping their marbles How the treasures of the past ended up in museums and why they should stay there. Oxford University Press. </span></div>
<br />Anonymoushttp://www.blogger.com/profile/01480439841122507641noreply@blogger.com0tag:blogger.com,1999:blog-7905259150737003860.post-6883631600781548862018-04-16T15:59:00.001+01:002018-04-16T16:04:54.663+01:00Research in the School of Creative ArtsThe TVAD Research Group is just one of several research groups in the School of Creative Arts at the University of Hertfordshire. Staff move freely between groups examining Contemporary Arts Practice, Design Research, Media Research and the Digital Hack Lab as well as TVAD. Read more about the groups on our website here: <a href="https://www.herts.ac.uk/apply/schools-of-study/creative-arts/creative-arts-research">https://www.herts.ac.uk/apply/schools-of-study/creative-arts/creative-arts-research</a> <br />
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Some of our researchers were interviewed last year about their work and its significance for a film made by Freddie Gerrard-Abbott with Jak Kimsey and Antoine Proust. This film introduces the research of Dr Dan Goodbrey, Dr Pat Simpson, Dr Silvio Carta, Kim Akass, Prof Marty St James, Dr Steven Adams, Prof Simeon Nelson and Prof Grace Lees-Maffei. Hear them talking about their research in this film:<br />
<br />
<iframe allowfullscreen="" frameborder="0" height="288" mozallowfullscreen="" src="https://player.vimeo.com/video/264980161?color=ffffff&portrait=0" webkitallowfullscreen="" width="512"></iframe>
<a href="https://vimeo.com/264980161">Research in the School of Creative Arts: An Overview</a> from <a href="https://vimeo.com/uhcreatives">School of Creative Arts</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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Find out more about TVAD's researchers, including Dan Goodbrey, Pat Simpson, Silvio Carta, Steven Adams and Grace Lees-Maffei on the TVAD researcher profile pages here: <a href="http://researchprofiles.herts.ac.uk/portal/en/organisations/theorising-visual-art-and-design(fad06f62-65bd-46e6-b3a4-fdf6629dd277)/persons.html">Link</a>Grace Lees-Maffeihttp://www.blogger.com/profile/12071549746987267488noreply@blogger.com1tag:blogger.com,1999:blog-7905259150737003860.post-71054572008553470372018-02-26T20:56:00.000+00:002018-02-26T21:01:54.065+00:00DHeritage Professional Doctorate in Heritage Recruitment Now Open for September 2018!<span style="font-family: "arial" , "helvetica" , sans-serif;">DHeritage, the University of Hertfordshire's unique Professional Doctorate in Heritage, is now in its fourth year. Our programme enables heritage professionals working in the public and private sectors to reflect on the industry, broadly defined, and make an original contribution to knowledge and understanding in the field based on their professional practice.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Our students work across the heritage area, and are engaged in impactful heritage studies research on topics such as authenticity and authority, dark tourism, conservation and restitution, digital heritage and how museums serve and represent local communities, to name a few. Read about their research here:</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><a href="http://tvad-uh.blogspot.co.uk/search/label/DHeritage" style="font-family: Arial, Helvetica, sans-serif; text-decoration: none;">http://tvad-uh.blogspot.co.uk/search/label/DHeritage</a><span style="font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif;"> </span><br />
<span style="font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif;"><br /></span>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;">DHeritage is hosted by the Department of Humanities with contributions from world-leading staff working in History, Philosophy, Education, Creative Arts, Hertfordshire Business School and the University’s flagship <a href="https://www.herts.ac.uk/heritage-hub">Heritage Hub</a>, among others, and including <a href="http://researchprofiles.herts.ac.uk/portal/en/persons/sarah-lloyd(4dbbda63-e41c-4232-94f9-c3556d69edc7).html">Prof Sarah Lloyd</a>, <a href="http://researchprofiles.herts.ac.uk/portal/en/persons/john-styles%287f5158b1-631f-4442-b327-3f04b795402a%29.html">Prof John Styles</a>, </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"><a href="http://researchprofiles.herts.ac.uk/portal/en/persons/susan-parham(e4f5a6cb-f918-4754-9305-979fd2f8b8e6).html">Dr Susan Parham</a>,</span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;"> <a href="https://youtu.be/t59e2j9pYV8">Prof Jonathan Morris</a>, <a href="http://researchprofiles.herts.ac.uk/portal/en/persons/nika-balomenou(228811c0-8136-4833-9bd9-441bc53f3b0a).html">Dr Nika Balomenou</a> and </span></span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"><a href="https://youtu.be/4ow4eB4pwts">Prof Grace Lees-Maffei</a>.</span><span style="background-color: white; font-family: "arial" , "helvetica" , sans-serif;"> DHeritage is offered part-time and is delivered through campus-based workshops and online equivalents. This doctorate is available for home (UK and EU) and international students. The University of Hertfordshire is twenty minutes from London by train, and is served by national rail and Luton, Stansted and the other London airports.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="background-color: white;"><b><i>**New for the 2018 entry is our distance-learning registration, which provides a complete suite of online workshops in addition to some campus participation.**</i></b></span><span style="background-color: white;"> </span><span style="background-color: white;"> </span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We are now recruiting students for the 2018/19 academic year. Applications are invited by Monday 28th May for a September 2018 start:</span><br />
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<li style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin: 0px 0px 0.25em; padding: 0px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Read more about DHeritage here:</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><a href="http://www.herts.ac.uk/courses/doctorate-in-heritage" style="font-family: Arial, Helvetica, sans-serif; text-decoration: none;">http://www.herts.ac.uk/courses/doctorate-in-heritage</a> and<span style="font-family: "arial" , "helvetica" , sans-serif;"> on the </span><a href="https://www.herts.ac.uk/heritage-hub/heritage-courses" style="font-family: Arial, Helvetica, sans-serif;">Heritage Hub site here</a></li>
<li style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin: 0px 0px 0.25em; padding: 0px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Contact </span><span style="font-family: "arial" , "helvetica" , sans-serif;">mail Programme Director <a href="http://researchprofiles.herts.ac.uk/portal/en/persons/grace-leesmaffei(2c32c68e-a505-4658-8f8d-381e3fbd779c)/publications.html">Professor Grace Lees-Maffei</a> for more information about DHeritage, </span><span style="font-family: "arial" , "helvetica" , sans-serif;">a guide to preparing a research proposal and an application form:</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><a href="mailto:g.lees-maffei@herts.ac.uk" style="font-family: Arial, Helvetica, sans-serif;">g.lees-maffei@herts.ac.uk</a><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></li>
<li style="font-family: Arial, Tahoma, Helvetica, FreeSans, sans-serif; margin: 0px 0px 0.25em; padding: 0px;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Apply direct:</span><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span><a href="http://www.herts.ac.uk/apply/how-to-apply-for-a-course#directly" style="font-family: Arial, Helvetica, sans-serif; text-decoration: none;">http://www.herts.ac.uk/apply/how-to-apply-for-a-course#directly</a></li>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">We look forward to welcoming you to DHeritage at the University of Hertfordshire!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgirj0Kp0YLvrpZ5pArS0FkZKR3fJreycht7aDYhfzTHsqzmZIH6U41DxYOCqpsg2gvzmbxVXZIvwMUOODGQj0cJK8uQu98z08Dy4BGgh1bnr7JGV1arSSWjMDbtbMYDj22Tx4w-dbrqTA/s1600/uherts_18075075749.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgirj0Kp0YLvrpZ5pArS0FkZKR3fJreycht7aDYhfzTHsqzmZIH6U41DxYOCqpsg2gvzmbxVXZIvwMUOODGQj0cJK8uQu98z08Dy4BGgh1bnr7JGV1arSSWjMDbtbMYDj22Tx4w-dbrqTA/s640/uherts_18075075749.jpg" width="426" /></a></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>Grace Lees-Maffeihttp://www.blogger.com/profile/12071549746987267488noreply@blogger.com2tag:blogger.com,1999:blog-7905259150737003860.post-92161830239987123382018-02-12T14:14:00.003+00:002019-03-08T15:24:21.160+00:00<!--[if gte mso 9]><xml>
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</style>Ian Owenhttp://www.blogger.com/profile/14126076126744452043noreply@blogger.com16tag:blogger.com,1999:blog-7905259150737003860.post-88814432457279717322018-01-30T11:49:00.001+00:002018-01-30T12:01:08.092+00:00What does migration mean in the UK today? – Poster project by University of Hertfordshire studentsWhat does it mean to leave everything behind to start again? What happens when the problems of victimisation, lack of work, or exploitation – the very reasons that compelled one to migrate in the first place – are experienced in a newly adopted country?<br />
<br />
Faced with the question of ‘What does migration mean in the UK today?’, second year University of Hertfordshire (UH) graphic design and illustration students were tasked with representing such issues in a single poster. Working individually, the project ran for two months and was part of a larger brief where the students also wrote essays addressing a range of ethical issues in design.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOTCpc1IlLsTTTjgwmrqp9fKxJI3VNk8vVkvc7JUU8EATqdzxQKVHPat2tsst0OdNcgqsagsVw7-ZNz2cWxzDoo61CZjchb332A3J_DT-9AQRDfdQOY71Z5CLpgILTisOK3zfOkqOrbxg7/s1600/IMG_7561-e1516982955418.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="560" data-original-width="746" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOTCpc1IlLsTTTjgwmrqp9fKxJI3VNk8vVkvc7JUU8EATqdzxQKVHPat2tsst0OdNcgqsagsVw7-ZNz2cWxzDoo61CZjchb332A3J_DT-9AQRDfdQOY71Z5CLpgILTisOK3zfOkqOrbxg7/s320/IMG_7561-e1516982955418.jpg" width="320" /></a></div>
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The brief for this work was intentionally broad. And as can be seen from this selection, the outcome was a wide range of responses, from the personal and autobiographical, to news stories, to designs that touch on the aims and ambitions of the Migration Museum itself.<br />
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Many UH students are either migrants themselves, or the children/grandchildren of migrants. As such, for some, the project opened a space to speak to family members about their migratory experiences. For others, it was a chance to respond to the dominant tabloid narratives of ‘othering’ that have been so prevalent in recent press coverage of the current ‘migration crisis’.<br />
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In this digital age, one can often forget how the poster has long been a vehicle for the dissemination of (mis)information about the subject of migration. Whether as government propaganda, or grass-roots campaigns seeking to challenge the mistreatment of migrants, the poster has the ability to condense a complex range of issues into a single graphic space. As many of these student designs reveal, it still remains a powerful visual tool.<br />
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<em style="box-sizing: border-box; color: #3c3a3b; font-family: "Source Sans Pro", sans-serif; font-size: 14px;">Chosen by Curator Sue McAlpine, a selection of these posters are currently on display along the stairwell and entrance corridor to the Migration Museum at The Workshop, 26 Lambeth High Street, London, SE1 7LB. http://www.migrationmuseum.org</em><br />
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<br />Kerry William Purcellhttp://www.blogger.com/profile/14637209027267165794noreply@blogger.com1tag:blogger.com,1999:blog-7905259150737003860.post-69396542879564616412018-01-08T14:33:00.002+00:002018-01-08T14:33:35.397+00:00'Hand in Hand: Design History and Victorian Studies'<span style="font-family: Arial, Helvetica, sans-serif;">I'm delighted to have been invited as keynote speaker for the <a href="https://bavs.ac.uk/">British Association for Victorian Studies</a> annual conference at the <a href="http://humanities.exeter.ac.uk/english/research/centres/victorian/">Centre for Victorian Studies, at the University of Exeter</a>, 29-31 August 2018. The conference theme is 'Victorian Patterns' which will no doubt be of interest to historians of all kinds, and especially my fellow design historians. My keynote talk is titled 'Hand in Hand: Design History and Victorian Studies'. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />Although industrialisation had gained momentum during the 17th and 18th centuries, it was during the C19th that the effects of the industrial revolution were most apparent throughout British society and culture. The successes of mass production in equipping a massively expanding Victorian population were accompanied by far-reaching failures ranging from inhumane labour conditions, and social inequality to compromised aesthetics and quality. These failings were lamented by the design reformers of the C19th in a relay race of aesthetic guardianship from A.W.N. Pugin, to John Ruskin, William Morris and his followers in the Arts and Crafts and Aesthetic Movements. This period is therefore hugely significant for the history of design, and for design history. (Indeed, industrialisation has been so central to the design historical project that those nations to have industrialised late, or little, have been neglected by design historians, who have preferred to focus on the first industrial nations, chiefly the UK, the USA, and Germany. This Western bias has only recently been challenged and addressed through efforts to internationalise design history.)</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />Design historians have much to learn from Victorian Studies, therefore, and vice versa. While Victorian Studies focuses on a period of study, and the various area studies explore geographical domains, design history is concerned with the history of design both as a practice and as a series of outputs. In using design to find out about the past, and in using various kinds of history to find out about design, design historians research inclusively across neighbouring fields including - in addition to Victorian Studies and area studies - heritage studies, material culture studies, cultural studies, the histories of technology, architecture, culture and craft, gender and women’s studies, and environmental humanities. Design history’s interface with some of these neighbouring fields has recently been considered, but the commonalities and distinctiveness of design history and Victorian Studies have yet to be comparatively explored.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />In this talk, I will reflect on the methodological and historiographic implications of a comparative, or collaborative, approach to and through these sister fields using the case study of hand making and machine manufacture in the Victorian age. This is drawn from my current research on the hand in design history, including discourses on craft and mechanization, the Victorian design reformers, and modes of displaying industrial heritage, for publication in my forthcoming monograph <span style="background-position: 0px 0px; border: 0px; box-sizing: inherit; font-style: italic; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">The Hand Book</span> (The MIT Press 2019). </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br />I am looking forward to the BAVS conference already. I hope to see you there. The call for papers is as follows:</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Poster Designed by Marc Ricard</td></tr>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>Grace Lees-Maffeihttp://www.blogger.com/profile/12071549746987267488noreply@blogger.com0