Visual Arts
I Wish You a Good Life: Embedding Intergenerational Learning Into Pre-service Education Through Art, Community and Environment
The ‘Our Waste Our Place Our Actions’ Art-Reach project brings place-making formal and informal learning together. Through intergenerational learning the project built shared ‘waste wisdoms’ by activating a form of community-based art education that softened institutional divides while questioning our waste behaviours. By rethinking community through the porosity of waste/wildlife/land/sea/children/pre-service teachers/seniors/local/regional knowledge evoked through art we realized our interrelationship with other animals plants and entities (like waste). Together we became aware of local wildlife and their need for a waste-free life. Simultaneously participants reported a sense of feeling valued joyous and excited because of involvement with each other through art. The chapter explores these intersections of art wellbeing and ecological awareness as well as the role social networks and communities play in educational reform within pre-service teacher education. We need to reach beyond academia to community contexts if art education wants to remain relevant to real-world issues.
Intercultural Eye for Art: Becoming a Member of a Global Community Through Arts-Based Exchange
We introduce the Indiana-Hiroshima Intercultural Eye for Art Project from 2015 to 2021 aimed at developing a global community by interconnecting schools across borders using new information technology. We demonstrate through action research and arts-informed case studies how children cooperatively develop a transborder community by engaging in intercultural communication in schools.
International Art Symposia as a Space of Knowledge Creation and Creative Engagement
The chapter focuses on socially engaged art in education and its potential for sustainability as a response to ongoing environmental crises and eco-anxiety. Ecological crises call for artistic interventions and for art education to produce strategies making it possible to live in a humbler way to decolonize nature and deepen humans’ relations with non-human nature. Art-based action research was carried out to develop socially engaged art symposia as informal learning. The chapter presents three case studies using art-based action research to develop art symposia as community art education. Art symposia have potential to foster learning and create transformative experiences that encourage deeper and more respectful interactions among community members and non-human nature. Three perspectives on learning converge in the art symposia: those of the curators participating artists and community members.
Visual Ecologies: Artistic Research Transversing Stable, Dynamic and Interstitial Relations in an Australian Settler Colonial Context
Using artistic and scientific reference points I focus on two of my artworks that exemplify creative encountering as a self-organizational ecosystem. Alternative exhibition and educational sites beyond the archive locate my work in community art education as a space of creative practice and pedagogical knowledge creation. Locutionary work in alternative spaces entails traversing archives for interstitial ancestral stories with the artistic collective of Indigenous and non-Indigenous women ‘SISTAS Holding Space’ (SHS). Experimental visual ecologies are discussed in metaphoric and literal ways. A natural occurrence of desert ecosystems in Newman Western Australia exemplifies how networks can be conceived as an ecology of practice rather than reliant on individual dispositions. The concept of a ‘counter-encounter’ creates new interstitial pedagogical mechanics to countermand dominant discovery and progress narratives. The resultant visual pattern morphologies trouble historical ‘encounters’ and relations in the contested space of Australia's settler colonial context.
We Are Small, but We Have Loud Voices: Children Leading the Way to Support Community Connections Through Art
As a visual arts specialist I draw upon a/r/tography to refine my teaching practice to enrich my students’ civic engagement. This chapter showcases three arts-led projects at a small metropolitan school in Perth Western Australia demonstrating how community cohesion is instilled through visual arts. Each project embodies the school's motto ‘Achieving Together with Pride’. By embedding community-based art education into the school's regular art programme and establishing genuine partnerships with families and community groups the school positions itself as the local community hub to achieve a mutual goal of community cohesion.
Community Dance as an Approach to Reimagine Place in Aotearoa/New Zealand
This chapter weaves the themes of arts education place-based pedagogy and Indigenous Māori philosophies. Through reflections on encounters within a community dance project in Aotearoa/New Zealand ideas are highlighted about how bodily encounters and experiences with the environment provide possibilities to actively engage young people in learning. Such ideas while situated within a dance context are considered in relation to what they might offer arts education and more broadly decolonized views of education.
Infernal Learning: Becoming Members of Academic Communities
This chapter explores how dominant cultural norms of class serve to silence and marginalize people with less affluent socio-economic backgrounds or who otherwise represent cultural and linguistic diversity. We further inquire how experiences of discrimination impact the narrative experiences of people with academic aspirations in Finnish arts education institutions and education cultures. The research this project undertakes is based on feminist collective narrative inquiry.
Twenty-First Century Winter Journey: Exploring Comics, Adaptation and Community Art Education
This academic comic documents a project employing comics as a transversal language and a form of participatory and relational culture linking people and communities. The project's ultimate success lies in efficacious applications of Community Art Education (CAE) theory and connects two very different segments of the local community by offering a focus and a creative purpose for their joint efforts through the collaborative adaptation of an opera into a graphic novel. The investigation in question is a comics-based research (CBR) project that explores the ways making comics can impact communities on a local national and global level. However the process and outcomes of this collaborative project – between Year Two Comics and Graphic Novels students at Teesside University and the national UK charity Streetwise Opera – were dramatically heightened by the unexpected impacts of the COVID-19 pandemic.
Studio Seeing
Opens with several first-person anecdotes about the author’s life as a practicing artist and a discussion of the intellectual lineage of his vision-based pedagogy. Many more anecdotes from the author’s teaching appear in most chapters.
The author discusses perception as it benefits the artist in the studio. Perceptual laws govern both our experience of seeing and the artist’s process of creating. The book presents a proven process developed by the author over many decades of teaching and studio practice that the artist can apply to their own painting/drawing and/or teaching. The painting and drawing principles in the book are essential and yet not generally taught or understood. They will benefit anyone learning how to draw/paint or advance their practice. The book will also help practitioners to make rapid progress and to avoid clichéd overused solutions. It also offers insights and discussions of interest to art lovers and “Sunday painters.” It is for everyone who enjoys viewing and thinking about art.
Integrated into the text are more than one hundred images—works of art by well-known historical and contemporary artists and students photographs and diagrams—to reinforce the concepts presented. A recap section ends each chapter followed by an exercise or group of related exercises to encourage and guide the practitioner in immediate application of the concepts.
Studio Seeing
Opens with several first-person anecdotes about the author’s life as a practicing artist and a discussion of the intellectual lineage of his vision-based pedagogy. Many more anecdotes from the author’s teaching appear in most chapters.
The author discusses perception as it benefits the artist in the studio. Perceptual laws govern both our experience of seeing and the artist’s process of creating. The book presents a proven process developed by the author over many decades of teaching and studio practice that the artist can apply to their own painting/drawing and/or teaching. The painting and drawing principles in the book are essential and yet not generally taught or understood. They will benefit anyone learning how to draw/paint or advance their practice. The book will also help practitioners to make rapid progress and to avoid clichéd overused solutions. It also offers insights and discussions of interest to art lovers and “Sunday painters.” It is for everyone who enjoys viewing and thinking about art.
Integrated into the text are more than one hundred images—works of art by well-known historical and contemporary artists and students photographs and diagrams—to reinforce the concepts presented. A recap section ends each chapter followed by an exercise or group of related exercises to encourage and guide the practitioner in immediate application of the concepts.
Let's Talk about Critique
This book explores the tradition of critique in art and design education. It examines how critique as a signature pedagogy in the field has evolved how it falls short and what else it can be. Current practices are contextualized and suggestions are made for ways to have more open inclusive and dynamic classroom conversations about art and design. Included is a discussion of the history of critique grounding current practice in the discipline’s history the field of education and characteristics of contemporary students.
The book is designed to be useful with an array of critique methods written by experienced arts educators. Each one guides the reader through a method describing “why you might do it this way” and “for what group purpose or type of assignment”. The text explores what the art critique is and what it can be offering practical updated approaches for faculty and students seeking more educationally beneficial and nuanced critique
Insect consumption and aesthetic disgust: Using design fiction to imagine novel food experiences
Disgust is a strong emotion influencing human behaviour in many domains including food choices. For example many western consumers are hesitant about eating insects. This is understandable as insects have been connected with the emotion of disgust. We conducted two design workshops to gain a better understanding of factors that can give rise to the emotion of disgust in the context of grasshoppers and explore alternative food design solutions. Based on the insights we created four design fiction examples to illustrate how disgust can be an integral part of grasshopper consumption. We argue that changing the attitude of Europeans towards novel food items like grasshoppers requires exploring design strategies that neither solely focus on the sustainability benefits of insect consumption nor take disgust to be something that must be circumvented.
Lesbian Activism and Crafted Fashion
This chapter examines the intersection of craft fashion and lesbian activism. From the knitted jumpers of Greenham Common Women’s Peace Camp to hand-printed tshirts preserved in the archive crafted fashion has been a powerful tool for lesbian activists for decades. Using lesbian feminist and queer symbolism like the labrys the double venus the pink triangle and the moon hand crafting can construct specific meanings. This chapter reflects upon and analyses craft’s persevering presence in the lesbian activist’s historical wardrobe: how it can be used to show affiliation with a cause or community as a means of affordably conveying a message or to make lesbianism visible by using lesbian hands and skills.
Crafted With Pride
Explores queer craft and the material cultures of LGBTQ+ activism in Britain since the 1980s. From handmade clothing and protest banners to radical self-published zines and manifestos there is a long history of using craft and DIY processes to explore identities bring communities together and encourage social and political change. Yet many of these histories remain undocumented and are insufficiently researched.
This collection sheds light on these important histories and includes a range of contributions from academics artists activists curators and heritage professionals. Case studies discussed include Greenham Common Women’s Peace Camp the Museum of Transology Lesbians and Gay Men Support the Miners (LGSM) the UK AIDS Memorial Quilt Islington’s Pride Queer Zine Library Glasgow Women’s Library Queer Journeys and more. These critical essays and oral histories are complemented by short reflections from contemporary creative practitioners including Matt Smith Tanoa Sasraku Sarah-Joy Ford Rachael House and Raisa Kabir.
Taken together this collection weaves together an important web between craft queerness and activism in Britain. As the first book of its kind it will likely be of interest to a range of students and academics as well as cultural producers and creatives more broadly.
Punk Art History
The punk movement of the 1970s to early 1980s is examined as an art movement through archive research interviews and art historical analysis. It is about pop pain poetry presence and about a ‘no future’ generation refusing to be the next artworld avant-garde instead choosing to be the ‘rear-guard’.
Skov draws on personal interviews with punk art protagonists from London New York Amsterdam Copenhagen and Berlin among others the members Die Tödliche Doris (The Deadly Doris) members of Værkstedet Værst (The Workshop Called Worst) Nina Sten-Knudsen Marc Miller Diana Ozon Hugo Kaagman as well as email correspondence with Jon Savage Anna Banana and Genesis Breyer P-Orridge.
A large portion of the discussed materials stem from the protagonists' private archives while some very public—scandalous and spectacular—events are discussed too such as the Prostitution exhibition at the ICA in London in 1976 and Die Große Untergangsshow (The Grand Downfall Show) in West-Berlin in 1981. The examined materials cover almost all media: paintings drawings bricolages collages booklets posters zines installations sculptures Super 8 films documentation of performances and happenings body art street art.
What emerges is how crucial the concept of history was in punk at that point in time. The punk movement's rejection of the tale of progress and prosperity as it was being propagated on both sides of the iron curtain evidently manifested itself in punk visual art too. Central to the book is the thesis that punks placed themselves as the rear-guards not the avant-gardes a statement which was in made by Danish punks in 1981 when they called themselves “bagtropperne". Behind the rear-guard watchword was the rejection of the inherent notion of progress that the avant-garde name brings with it; how could a "no future" movement want to lead the way?
Although aimed at students and scholars of art design music and performance history the subject as well as the author’s accessible occasionally playful style will no doubt draw readers with an interest in punk music and urban histories.
Punk Art History
The punk movement of the 1970s to early 1980s is examined as an art movement through archive research interviews and art historical analysis. It is about pop pain poetry presence and about a ‘no future’ generation refusing to be the next artworld avant-garde instead choosing to be the ‘rear-guard’.
Skov draws on personal interviews with punk art protagonists from London New York Amsterdam Copenhagen and Berlin among others the members Die Tödliche Doris (The Deadly Doris) members of Værkstedet Værst (The Workshop Called Worst) Nina Sten-Knudsen Marc Miller Diana Ozon Hugo Kaagman as well as email correspondence with Jon Savage Anna Banana and Genesis Breyer P-Orridge.
A large portion of the discussed materials stem from the protagonists' private archives while some very public—scandalous and spectacular—events are discussed too such as the Prostitution exhibition at the ICA in London in 1976 and Die Große Untergangsshow (The Grand Downfall Show) in West-Berlin in 1981. The examined materials cover almost all media: paintings drawings bricolages collages booklets posters zines installations sculptures Super 8 films documentation of performances and happenings body art street art.
What emerges is how crucial the concept of history was in punk at that point in time. The punk movement's rejection of the tale of progress and prosperity as it was being propagated on both sides of the iron curtain evidently manifested itself in punk visual art too. Central to the book is the thesis that punks placed themselves as the rear-guards not the avant-gardes a statement which was in made by Danish punks in 1981 when they called themselves “bagtropperne". Behind the rear-guard watchword was the rejection of the inherent notion of progress that the avant-garde name brings with it; how could a "no future" movement want to lead the way?
Although aimed at students and scholars of art design music and performance history the subject as well as the author’s accessible occasionally playful style will no doubt draw readers with an interest in punk music and urban histories.
Anarchitectural Experiments
The book investigates speculative filmic architectural projects and animations that go beyond representing buildings touching upon issues concerning medium act of representation or conducting criticism on history culture society or urban politics along with the mediated character of contemporary spatial experience – interpreting it primarily through protocols of architectural imaging.
The book centres on the influence of simulation and cinematic design on visionary or speculative architecture. It outlines the impact of film and animation in architectural representation through key projects. The opening analysis is useful in contextualizing speculative architectural projects while the later chapters link the theory to the imagery. Stasiowski uses a diverse collection of interesting case studies that are easy to read and well-chosen to support his argument.
This is a well-researched work and comprehensive review of speculative architecture and various media that describe it. Stasiowski makes a thorough argument about the use of cinema and animation as a method of architectural visualization.
Stasiowki’s book sets itself apart from other work in the same area by in discussing speculative projects in relation to cinema. and specifically the effect that modern technologies are having on the subject now and in its potential futures.
The borderline between material environment and spatialized imagery becomes progressively more blurred while demand for visionary works that would make sense of this merging has never been greater.
It will appeal primarily to architects and designers filmmakers and academics. It may also be of interest to artists set designers and film production designers.
Urban Exile
Explores cities of exile from different perspectives and presents different methods and sources for exile and urban studies. The essays are written by internationally recognized scholars and contain a wide range of themes including mapping oral history queerness photography. This book will make a significant contribution to the theory and methodology of research on historical exile cities and modernities as well as present multidisciplinary exile research from an urban perspective.
With a blend of case studies and theoretical approaches it interweaves histories of modernism and exile in different urban environments and focuses on historical dislocations in the first half of the twentieth century when artistic and urban movements constituted themselves in global exchange. Although this book takes a historical perspective it is written with an awareness of current flight movements and will make a significant contribution to the theory and methodology of research on exile.
The knowledge of previous historical exile experiences is important for the understanding of contemporary flight movements: after all these are not singular phenomena. For migration movements in the first half of the 20th century and for those of today it is equally possible to speak of urban centres of attraction for refugees: Today Berlin is a European metropolis of exile; in the 1930s and 1940s Paris Prague London New York Istanbul and Shanghai were destinations for refugees.
With contributions from Maddalena Alvi Ekaterina Aygün Claudia Cendales Paredes Julia Eichenberg Margit Franz Nils Grosch Mareike Hetschold Louis Kaplan Laura Karp Lugo Katya Knyazeva Merve Köksal Rachel Lee Chris McConville Anna Messner Alexis Nuselovici Robert Pascoe Valentina Pino Reyes Helene Roth Valeria Sánchez Michel Marine Schütz Seza Sinanlar Uslu Felicitas Söhner Mareike Schwarz Marina Sorokina Xin Tong Diana Wechsler Jessica Williams Stark and Federico Vitelli.
Dystopian and Utopian Impulses in Art Making
Contemporary art has a complex relationship to crisis. On the one hand art can draw us toward apocalypse: it charts unfolding chaos reflects and amplifies the effects of crisis shows us the dystopian in both our daily life and in our imagined futures. On the other hand art’s complexity helps fathom the uncertainty of the world question and challenge the order of things and allows us to imagine new ways of living and being – to make new worlds.
This collection of written and visual essays includes artistic responses to various crises – including the climate emergency global and local inequalities and the COVID-19 pandemic – and suggests new forms of collectivity and collaboration within artistic practice. It surveys a wide variety of practices oriented from the perspective of Australia New Zealand and Asia. Art making has always responded to the world; the essays in this collection explore how artists are adapting to a world in crisis.
The contributions to this book are arranged in four sections: artistic responses; critical reflections new curatorial approaches and the art school reimagined. Alongside the written chapters three photographic essays provide specific examples of new visual forms in artistic practice under crisis conditions.
The primary market for the book will be scholars and upper-level students of art and curating at both undergraduate and postgraduate level. Specifically the book will appeal to the burgeoning field of study around socially engaged art.
Beyond the academic and student market it will appeal to practicing artists and curators especially those engaged in social practice and community-based art.
Transacting as Art, Design and Architecture
Transacting as Art Design and Architecture: A Non-Commercial Market re-performs the original event #TransActing: A Market of Values as a printed text with the ambition of investing in the published word and image at least some of the original market’s depth and liveness. Holding fast to the experimental ethos of Critical Practice this anthology does not shy away from risk when the aim is expanding the fields of art design and architectural research. The authors’ distinct but also overlapping forms (practical poetic analytical etc.) track with the plurality of voices the processes that have nurtured the cluster as it has worked internationally for more than a decade to produce unique projects.
The book opens with contributions that reflect on TransActing as collaborative practice-based research. The introduction contextualizes this popup market within London’s long history of local marketplaces. Cued by emerging government policy on market sustainability the tripartite of place people and prosperity helps to frame TransActing. Taking a different approach a partial self-portrait of Critical Practice traces TransActing’s becoming over more than a decade of activity and five years of research on value. This is followed by an account of the market’s physical infrastructure: the prototyping of bespoke stalls which were built from recycled materials an approach inspired by an early example of open-source furniture design. This comes to life in the next section: polyphonic observations on the stalls in use and the market more generally. The stallholders’ reflections capture the experience of those directly involved and are richly illustrated with images of or related to their stalls.
The second part of Transacting as Art Design and Architecture is composed of commissioned texts to contextualise the market by weaving together references from various fields. These include celebrating the value system of TransActing especially its critique econometrics. Closely connected to the latter which was occasioned by Critical Practice’s tenth anniversary is the subsequent paper's consideration of invisible feminized labour which is as undervalued as it is indispensable to cultural production. Taking a slightly different tack is the use of architectural theory (past and present) to trace the transforming nature of the public market especially as an arena of consumerism. This is followed by an account that looks at the experience of TransActing from the perspective of its local currency. This story is followed by a conversation on the art market and/or the markets of art. This brings the reader to a manifesto-like text that calls for solidarity through publishing understood as the co-production of meaning through a distributed social process. The penultimate contribution to this collection considers TransActing as a built environment with reference to the market’s shelters and platforms. Finally a glossary rounds off and opens up the publication as a resource. This compilation of key terms adds nuance to the language used throughout this publication to indicate its resonance in the discourse of Critical Practice.
The collection aims to prioritize practice-based insights as an alternative to knowledge-based ones. In this way the book aims to be a refreshing take one that moves art-research discussions beyond the creation of knowledge. As such this book will appeal to all those involved in the ‘research turn’ in contemporary cultural production including those working in institutions and organizations especially ones with strong community engagement programmes as well as independent practitioners working in social and socially engaged practice.
Primary readership will be practitioners of art design curating and architecture and students studying in these fields. The secondary audience will include cultural producers theorists educators and others who are interested in how art and other forms of creative practice can challenge the ‘usual’ financial circuits of value and open up alternatives.
Radical Intimacies
An extradisciplinary investigation into the radical potentials of design by the global Memefest network.
This book is an investigation of the key aspects of capitalist domination and resistance to it through design; its five sections explore dialogue power land interventions and radical praxis. Vodeb’s curated chapters engage radical intimacies with design and connects it with media communication and art. Radical intimacies imply a closeness to the world created through our relations which work towards the decolonization of knowledge and the public sphere. The closeness is political as it involves qualities that constitute and enable an alternative and opposition to extractive relationalities imposed by capitalism.
Radical Intimacies connects frameworks on (de)colonization with the work of Memefest a global network of people interested in social change through radical design. Bringing together original written and visual contributions from around the world the collection connects universities practitioners and social movements. This book explores design as a central domain of thought and action concerned with the meaning and production of sociocultural life. Contributors are interested in design that operates outside the dominant social orders narrow disciplines and extractive paradigms and imagines and builds new worlds and social relations.
An inter/ extradisciplinary collection of original works the audience will be academics artists designers and activists and adventurous professionals who are interested in the crossovers between design arts and social change. Students of design art media and communication interested in social change. Higher level undergraduate and graduate students.
Content warning: Aboriginal & Torres Strait Islanders are advised that the following publication contains the words & images of deceased persons.
Patchwork
The patchwork is an apt metaphor for the region not only because of its colourfulness and the making of something whole out of fragments but as an attempt to make coherence out of disorder. The seeking of coherence was the exact process of putting together this book and foregrounds the process of Caribbean societies forging identity and identities out of plural and at times conflicting and contested groups that came to call the region home.
Within the metaphor of the patchwork however is the question where are the vernacular needlework artists within the visual art tradition of the Caribbean? The introduction sets out to both clarify and rectify this situation and several common themes flow through the following essays and interviews. Themes include that that the land and colonization remain baseline issues for several Caribbean artists who stage and restage the history of conquest and empire in varying ways. That artists in the region amalgamate as part of their practice and seem to prefer an open-endedness to art making as opposed to expressing fidelity to a particular medium. That artists and scholars alike are dismantling long-held perceptions of what Caribbean art is thought to be and are challenging boundaries in Caribbean art.
These are among the issues addressed in the book as it looks at ecological concerns and questions of sustainability how the practices of the artists and their art defy the easy categorization of the region and the placement of women in the visual art ecology of the Caribbean. The latter is one of the most contested areas of the book. Readers should come away with the sense that questions of race colour and class loom large within questions of gender in the Jamaican art scene and that the book dedicated to Sane Mae Dunkley aims to insert vernacular needleworkers into the visual art scene in both Jamaica and the larger Caribbean.
Audience will include researchers and scholars of Caribbean and African diasporic art college students those interested in post-colonial studies Caribbean artists art professionals interested in a wider globalized view of contemporary art; students curious to know about the many phases of art production throughout the Caribbean. General readers interested in the culture of the region.
The Performing Observer
The Performing Observer is a collection of short critical writings on contemporary art performance and photography written over the course of the past two decades. These texts were originally published in a variety of settings including art magazines and exhibition catalogues online journals and websites.
A wide range of global practitioners are analysed from emerging to established artists. As the title suggests Patrick feels that he is simultaneously performing a role while observing and writing about the field. The intention is to present a well-informed but jargon free survey of many significant developments in contemporary art and culture. Among the artists discussed are: Francis Alÿs Laurie Anderson Chris Burden William Eggleston Cindy Sherman and Andy Warhol.
The book examines an important series of interconnected contemporary art practices. Layering writings on performance-based work material forms and photography it positions performance within a larger context. The artists selected are genuinely international with a strong focus on the southern hemisphere and are grouped together in sections Patrick calls Performance Photography Publicness Video Books and Exhibitions.
It aims to make sense of a specific modality of art making with an interesting - and to a degree unspoken - interest in art writing itself. Both elements are compelling separately but especially so together.
Accessibly written and especially approachable for a range of interested readers. It offers scholarly and critical depth while retaining a writing style that will appeal beyond a strictly scholarly audience. It will appeal to readers closely involved in contemporary art theory and practice whether students artists academics or simply curious to know more.
Design for the New World
Design for the New World aims to introduce a new paradigm in design and design thinking by shifting our approach from a human perspective that is primarily focused on human scales needs and desires to a planet perspective in which design is guided by the ambition to create a balanced coexistence between humans and the other species that make up the global ecosystem.
The book intervenes in current discussions within design research about what role design can play in the sustainable transition by offering new methods and mindset to handle the giant-scale complexity of the climate and environmental crisis as well as specific tools to turn these theoretical reflections into a transformative practice.
Essential reading for researchers students and practitioners in the fields of design innovation development entrepreneurship leadership art and creativity. The book is structured so that it can be easily used in an educational context both at under- and postgraduate level and in courses of business innovation or management training. The practical suggestions and process-management tools can be used to facilitate sustainable transformations in in commercial businesses organizations and political networks.
Written in an accessible and clear style where all technical terms are fully introduced and unpacked. The chapters can be read in order or independently and the practical tools for facilitating processes of change are supplemented with additional questions for reflection and further development.
Design for the New World
Design for the New World aims to introduce a new paradigm in design and design thinking by shifting our approach from a human perspective that is primarily focused on human scales needs and desires to a planet perspective in which design is guided by the ambition to create a balanced coexistence between humans and the other species that make up the global ecosystem.
The book intervenes in current discussions within design research about what role design can play in the sustainable transition by offering new methods and mindset to handle the giant-scale complexity of the climate and environmental crisis as well as specific tools to turn these theoretical reflections into a transformative practice.
Essential reading for researchers students and practitioners in the fields of design innovation development entrepreneurship leadership art and creativity. The book is structured so that it can be easily used in an educational context both at under- and postgraduate level and in courses of business innovation or management training. The practical suggestions and process-management tools can be used to facilitate sustainable transformations in in commercial businesses organizations and political networks.
Written in an accessible and clear style where all technical terms are fully introduced and unpacked. The chapters can be read in order or independently and the practical tools for facilitating processes of change are supplemented with additional questions for reflection and further development.
An Affect of an Experience
Despite the contemporary trend of focusing on personal experience in art and writing there is very little critical analysis of the concept of experience within fine art. The overarching conceptual aim of this book is to examine the concept of experience as both content and as interpretative register in the context of fine art. It explores the reasons why experience when compared to other modes of consciousness – such as understanding knowing perceiving or recognizing – is more aligned with the notion of actuality and thus more likely to be viewed as authentic. It then discusses the idea of writing about experience as a practice in fine art – the idea that writing can be understood as a practice like painting sculpture video etc.– and explores a viable methodology for the art-writing practice.
The book seeks to provide a more fluid interpretation of experience. In so doing it explores the following questions: Why does the reading of experience as self-presence predominate? What is the status and value of experience as evidence? How is experience written and seen? In exploring these questions Kate Love creates a workable strategy for writing about experience.
Islamic Architecture Today and Tomorrow
Through Islamic Architecture Today and Tomorrow established experts designers and newer scholars from the world of ‘Islamic architecture’ broadly conceived consider the field’s changing nature and continued relevance in our rapidly globalizing context. Reflective essays address the meaning of ‘Islamic’ in built environments as well as the geographical chronological and disciplinary diversity of a dynamic field of study that encompasses far more than mosques and tombs. Essays address the use and interpretation of historic structures and spaces in addition to contemporary design conservation and touristic experience as well as research publication and pedagogical practices.
It introduces scholars and practitioners to the state of Islamic architecture as a field of inquiry and provides a snapshot of the issues and challenges facing the field today. Looking forward it invites readers to consider built environments in Islamic contexts as integral to global systems from an interdisciplinary and inclusive perspective. While this volume offers nuanced perspectives on a host of pressing questions it ultimately aims to advance a necessarily on-going conversation.
The book will have wide appeal among architectural historians art historians and other scholars working on material in the traditional Islamic regions of the world (North Africa the Middle East and South Asia) and beyond as well as scholars of religion and society. Practicing architects landscape architects planners preservationists and heritage managers in the regions addressed may also be interested in the volume. Essays have been written with non-specialist and student readers in mind. Undergraduate graduate and design students may use selected essays or the entire collection in university or graduate school coursework in architecture and Middle Eastern or Islamic studies.
Animals and Artists
Animals and Artists discusses a selection of modern and contemporary artworks that challenge traditional representations of nonhuman animals and that expose human viewers to animal otherness.
It argues that the individuated and discrete human self in possession of consciousness rationality empathy a voice and a face is open to challenge by nonhuman capacities such as distributed cognition gender ambiguity metamorphosis mimicry and avian speech. In traditional philosophy animals represent all that is lacking in humankind. However Animals and Artists argues that just because humans frame ‘the animal’ as a negative term their binary opposite and everything that they are not does not mean that animals have no meaning in themselves. Rather animals in their very unknowability mark the limits of human thinking.
By combining art analysis with poststructuralist post humanist and animal studies theories as well as scientific research Elizabeth decentres the human and establishes a new position where differences are embraced. In our current moment of ecological crisis Animals and Artists brings readers into solidarity with other animal species among them spiders silkworms bees parrots and octopuses. The book raises empathy for other live forms drawing attention to the shared vulnerabilities of human and nonhuman animals and in so doing underlines the power of art to bring about social change.
Readers will include animal studies scholars artists art historians Jean Painlevé scholars Surrealist enthusiasts non-academics who are concerned about the human-animal relationship the environment or larger identity politics issues.