Falmouth University Research Repository (FURR)

    Dark Webs: Goth subcultures in cyberspace

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    While Goths tend to be neglected in more mainstream media, they are thriving as part of online communities as part of the phenomenon of net.Goths. This paper considers some of the recent manifestations of such subcultural activities online, especially in relation to the practice of demarcating the boundaries of participation through displays of cultural capital (such as music and fashion), and aspects of communication that have emerged on the Internet such as ‘trolling’. The overarching concern of this paper is to explore some of the ways in which defining a subculture virtually may reinforce activities of the group in other environments


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    Contribution for a publication by Nico Dockx & Clara Meister entitled, 'A Poem A Day'. "When in 2012, Nico and I talked about utopias and the upcoming Utopia Station exhibition, our conversation quickly turned towards his poster A Poem a Day (2003). Very soon our verbal exchange turned into an idea, into a plan, into an open invitation to friends, asking them to respond to this idea of a poem for every day of the year. Open in the sense that poetry—especially in daily situations—an happen at every moment and in all possible forms and disguises. Our daily hustle and bustle is often too loud and too fast for subtle observations or quiet thoughts. It assigned strolling and whispering the role of their poor cousins of everyday life. But it is exactly their shyness and elegance that may turn a moment of attention into a lasting impression. When a neon light is reflected in a puddle, when crumpled pages are opened and read aloud, when a saying is drawn as a witty sketch, or when a note becomes a song. Then you may pause for a while for all these forms of poetry around you. And so the invitation turned into poems, turned into a calendar, turned into a performance, and now turned into this exhibition. A poem a day keeps indifference away." - Clara Meister This short text is part of 'The Outlands' a long-term, collaborative creative critical writing project with Ola Ståhl and occasionally other invited collaborators. The Outlands seeks to explore writing primarily as a collaborative process and has generated several outputs (chapbooks, artist books, published essays and performances) that define a twisting trajectory in which, beyond all the ruptures and disjunctures, environments and characters, artefacts and objects, turns of phrase and concepts appear, disappear and reappear in a continuous movement

    Collaboration and Originality

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    Commissioned as part of the sculptural project Sculptomatic, the essay tries to dismantle what may seem at first glance to be a tension or opposition between the two terms of the title. It sketches a constant exchange of information, a constant shifting of the forms and roles of maker, medium and “product” as the continuous, or background process within which genuinely new things and ideas arise. Understood in this way, “collaboration” no longer appears to be an exception, but rather forms the essential substrate, the foundation for the new. The book’s publication coincided with an exhibition by the established collaborative team of Dunhill and O’Brien. The exhibition opened at The James Hockey Gallery in Farnham and then travelled to the Kunstvereniging Diepenheim, Holland

    Agile Behaviour Design: A Design Approach for Structuring Game Characters and Interactions

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    In this paper, a novel design methodology---Agile Behaviour Design---is presented which accommodates the requirements for developing complex game agents suitable for industrial environments. An essential part of the design approach is to supported independent work of both designers and programmers by reducing bottleneck situations. The approach then fosters the creation of more loose and fluid interactions between design and implementation leaving more freedom for creative expression

    The vacuum cleaner under the stairs: women, modernity and domestic technology in Britain between the wars

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    This paper draws on and extends the author’s earlier work on the history of the Daily Mail Ideal Home exhibition and suburban modernity in Britain. It contributes to historical research in material culture studies and design history on modernity and domesticity, drawing on contemporary ethnographic methodologies. It explores the ways in which new domestic technologies helped form modern identities for women as housewives and consumers in the inter-war years in Britain. This paper rejects functionalist critiques of domestic labour-saving technologies by feminists and Modernist design historians. It argues that for many women who lived in the new suburbs the significance of technology was in its symbolism rather than its rational claims to functionalism and efficiency. It posits that although appliances did not necessarily save labour, they enhanced the status of the task, by recognising women’s labour. It argues that domestic appliances were not just valued for their labour-saving potential; they were also valued for the images of modernity that they projected. Moreover, it argues that the motive for the acquisition of appliances could be to participate in a shared sociability

    Rewind-Play-Fast Forward

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    This book-chapter examines the works of Ainsley Hillard (UK), Christy Matson (USA), Jane Harris (UK), Barbara Layne (Canada), Janis Jefferies (UK) and Nancy Tilbury (UK) as they as framed by future-facing paradigms of textiles and technologies seeking to incorporate sound and interaction into otherwise visual registers. The writing is subdivided into sections on ephemerality, temporality, transitoriness and fast-forwarding to reflect the future-oriented aesthetic. This book accompanied an exhibition of the same name that I curated at Mykolas Žilinskas Art Gallery, Kaunas, Lithuania (the city’s main gallery). This exhibition comprised five installed works to showcase audio/visual textiles which use new materials and technologies

    Mis-guided for Belluard Bollwerk International

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    Wrights & Sites curated projects by international artists; mentored the stages of development: created the Mis-Information Office, elements of the artists’ work were exhibited and maps for 'mis-guided' events were provided. Here, we hosted artists' dialogues and offered opportunities to walk, talk and construct situations with Wrights & Sites. Also the location for the launch of the festival, the M-I Office including an exhibition presentation by Wrights & Sites about our work and the significance of the chosen projects. My practical and theoretical contributions to Wrights & Sites is research on a continuum with the development of the company practice. We work with agreed and shared structures on each project whilst identifying the individual angle, lens and content that each member wishes to pursue. This allows for individual voices to thrive within collaborative outcomes., My research into the contextual impact of this project surfaced via theoretical framing of the of the project; curatorial work with regard to selection of artists and discursive and mentoring practice in the delivery of experiential investigations of the city with the selected artists and public participants., Our perception of space is shaped by habitual and conventional relationships to it, by the tangible and intangible laws of place. Our movement through city space is deeply affected by dominant spatial frameworks. These are constructed by municipal authorities, the tourism or heritage industries, architects and planners, estate agents, surveillance camera manufacturers, and so on, with the aid of devices such as guidebooks, maps/plans, information sheets, guided tours, CCTC and security, signposts and pathways., As the backbone of the Belluard Bollwerk International 2008, we presented a programme of new „mis-guided” work aimed to disrupt and reveal the unexpected, the “elsewheres” in the city of Fribourg as ‘Mis-Guide’ events taking inspiration from Wrights & Sites initial concept

    Editorial: On Falling

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    Fall away, fall apart, fall on, fall in, fall back, fall behind. Falling is a movement between one place and another, a process of uncertainty, of risk and exhilaration. With each breath out, with every step we take, falling is so much part of our ongoing daily lives as to go almost unnoticed. The consequences of falling can be devastating, destroying lives, communities and infrastructures. The earthquakes in Hawaii, the collapse of Rana Plaza in Bangladesh, the fall of the Twin Towers, reveal the stark honest reality of gravity, a fundamental natural phenomenon that is mocked or disregarded only at our peril, asking us to beware, notice, respect and to accept. Western culture, for the most part, continues in its endeavour to resist falling, striving towards verticality, linearity and steadfast uprightness with all its moral underpinnings. Political and economic successes depend on rising, not falling and a persistent binary of positive/negative flourishes between the two terms. Not surprisingly the etymology of the term follows two routes, the Latin cado, cadera (I fall, to fall) and the Germanic fall, (fail). So falling becomes associated with shame and failure

    Diagrams for Seriality

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    Diagrams for Seriality is a book of unforgettable images and strange characters. Here the reader is thrown into a world where expectations of series and sequence are turned inside out; this story creates a narrative of haunting and mysterious affect. ‘A startling meditation on the relation of seeing to saying, the possibility and impossibility of communication, and the very business of making and writing – Diagrams for Seriality is a work of fictioning in which set pieces and scenes, a cast of bodies and conceptual personae and a singular prose style produce a book that demands to be reread.’ Simon O’Sulliva

    Exploring the complexity of understanding, managing and marketing codes for sustainability in the current economic climate – issues for the small builder

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    In the UK the Code for Sustainable Homes (CSH) is set to become mandatory in 2016. However current attitudinal research highlights unwillingness within the major construction industry although there is some promising research regarding occupier awareness. Little is known about attitudes of Small to Medium Building Enterprises regarding the CSH. We conducted an in-depth interview study with builders and found that by and large they have a good understanding of the CSH and value a good relationship with building inspectors. In addition they are not computer illiterate and have been using technology for decades. Their use of “estimating” software allows them to gain intricate knowledge of all the different stages of the building process and as such presents itself as a promising vehicle to also educate them about the CSH
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