Gê Orthof intimate architectures

Gê Orthof discusses in his work the behavior of the public in art exhibitions and the strength of the object as an activator of perception. The artist uses small objects that compose the space of the gallery in installations that suggest the deceleration of time, the immersion of the spectator and foments the debate about the potency of things as an invitation to the approach and the intimacy. His creative process is based on literature and personal experiences which results in a fertile topic of reflection in today’s artinfo:eu-repo/semantics/publishedVersio

Scrutinising UN Peacebuilding: Entangled Peace and its Limits

© 2021 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/ licenses/by/4.0/).This article examines the suitability of entanglements and relations to think and see peacebuilding events. Through a reflection upon the limited results of the United Nations (UN) in securing lasting peace in war-torn scenarios, the text critically engages with three debates on contemporary peacebuilding literature: the inclusion of ‘the locals’, the achievement of an organisational system-wide coherence and the agential condition of peacebuilding actors. Whilst acknowledging the analytical potential of affirming the entangled ontogenesis of actors and processes in the conflict-affected configuration, the article ends with a cautionary argument about entanglement fetishism, namely the celebratory, normative and exclusionary projection of a relational world. Entangled peace is an invitation to read the peacebuilding milieu, and by extension the broader theatre of the real, as radical openness, where events emanate from the collision of an infinite multiplicity of possible worlds.Peer reviewedFinal Published versio

Librarian and Faculty Collaborative Instruction: A Phenomenological Self-Study

Several models of librarian and faculty collaboration are found in the professional librarian literature. The literature on collaborative self-study research in higher education settings indicates collaborative self-study research can improve interdisciplinary and collaborative approaches to teaching and research and facilitate the transfer of knowledge. A research librarian and assistant professor of special education conducted a phenomenological self-study to examine their multiple roles as researchers, collaborators, and educators who collaborated to develop, implement, and evaluate distance-delivered instructional services for public school teachers who live and work in remote, rural, and Native communities throughout the state of Alaska. Several themes emerged from this study, including: (a) the authors’ interdisciplinary and collaborative efforts resulted in increased opportunities to team teach and conduct future collaborative research; (b) the authors struggled to communicate effectively with students via audio-conference; and (c) the beliefs and practices of both authors were transformed by their participation in this self-study. The study suggests implications for further and improved interdisciplinary collaboration between librarians and faculty. The authors believe this collaborative approach to self-study research facilitates reflective and authentic teaching and research for academic librarians working in collaboration with teaching faculty.Ye

Miscellaneous

Miscellaneous. Oftentimes, this word makes me curious and excited. For me, this word is an invitation to discover those things that just don\u27t fit into clear categories. Upon reflection, I think its the unknown that really entices me to the miscellaneous. Miscellaneous boxes, folders, and drawers can be filled with fascinating trinkets that tell pieces of a story from another time... or they could hold little more than old cell phone chargers and spare change. [excerpt

Neil Bottle exhibition catalogue

Neil Bottle exhibition catalogue with a critical review by Sue Prichard, Curator of Fashion and Textiles at The Victoria and Albert Museum in London. The text is in Welsh and English. The exhibition took place during September 2010 at the Ruthin Craft Centre, Denbighshire, Wales

Paradox as invitation to act in problematic change situations

It has been argued that organizational life typically contains paradoxical situations such as efforts to manage change which nonetheless seem to reinforce inertia. Four logical options for coping with paradox have been explicated, three of which seek resolution and one of which ‘keeps the paradox open’. The purpose of this article is to explore the potential for managerial action where the paradox is held open through the use of theory on ‘serious playfulness’. Our argument is that paradoxes, as intrinsic features in organizational life, cannot always be resolved through cognitive processes. What may be possible, however, is that such paradoxes are transformed, or ‘moved on’ through action and as a result the overall change effort need not be stalled by the existence of embedded paradoxes

Sub/versing mentoring expectations: Duration, discernment, diffraction

The three of us have shared co-mentoring relationships over the last decade. Rita was the PhD supervisor for both Natalie and Valerie and while working with them and other PhD students, came to believe that goals are reciprocal in many ways. In this article, we attend to the concept of co-mentoring, an exchange that includes three qualities guiding ongoing artistic, professional and scholarly work. These subversive qualities are described as: a) duration, b) discernment, and c) diffraction. From a practice-based, new materialist lens, we take turns describing how each quality is important to co-mentoring relationships and we provide theoretical and practical examples for each. It is our hope that in considering these qualities, co-mentoring relationships might help us reimagine what is possible among graduate students and faculty members, encouraging co-mentoring relationships in today’s academy

Giving voice to equitable collaboration in participatory design

An AHRC funded research project titled Experimenting with the Co-experience Environment (June 2005 – June 2006) culminated in a physical environment designed in resonance with a small group of participants. The participants emerged from different disciplines coming together as a group to share their expertise and contribute their knowledge to design. They engaged in storytelling, individual and co-thinking, creating and co-creating, sharing ideas that did not require justification, proposed designs even though most were not designers …and played. The research questioned how a physical environment designed specifically for co-experiencing might contribute to new knowledge in design? Through play and by working in action together the participants demonstrated the potential of a physical co-experience environment to function as a scaffold for inter-disciplinary design thinking,saying, doing and making (Ivey & Sanders 2006). Ultimately the research questioned how this outcome might influence our approach to engaging participants in design research and experimentation

The Space of Experience in the Architecture of Richard Hamilton

Richard Hamilton realiza tres exposiciones en el Institute of Contemporary Arts (ICA) en el Londres de los años 50, participando del ambiente interdisciplinar del Independent Group. Estos montajes exploran la transformación de la sala a través de la construcción de estructuras que incentivan la participación activa del espectador. A partir del estudio realizado, para el que se reconstruyen estas propuestas siguiendo su lenguaje técnico original, se analiza cómo los montajes de Hamilton siguen un proceso evolutivo, en el que parte de la exploración de la forma a partir de patrones de crecimiento natural, continúa elevando la técnica a herramienta creativa y concluye con la formulación del espacio de interacción con el espectador. Este último montaje, an Exhibit, sintetiza los hallazgos de los anteriores, dando lugar a una propuesta arquitectónica a modo de tablero de juego que es protagonizada por la experiencia vivida de sus visitantes. Esta arquitectura es una estructura soporte que se genera a partir de un crecimiento orgánico ilimitado de un módulo estandarizado, de combinaciones variables y cambiante a cada momento por sus ocupantes. Los espacios expositivos de Hamilton recogen influencias de las vanguardias y tienden puentes hacia propuestas arquitectónicas contemporáneas entendidas como soporte para la incentivación de la experiencia de sus habitantes.Richard Hamilton held three exhibitions at the Institute of Contemporary Arts (ICA) in London in the 1950s, participating in the interdisciplinary environment of the Independent Group. These exhibitions explored the transformation of the room through the construction of structures that encouraged the active engagement of the viewer. Based on the study carried out, for which these proposals are reconstructed following their original technical language, an analysis is made of how Hamilton’s montages follow an evolutionary process, in which the exploration of form based on patterns of natural growth continues to elevate the technique to a creative tool and concludes with the formulation of the space of interaction with the spectator. This last montage, an Exhibit, summarised the findings of the previous ones, giving rise to an architectural proposal in the form of a game board whose focal element is the experience of its visitors. This architecture acts as a supporting structure that is generated from an unlimited organic development of a standardised module, with varying combinations, and which constantly changes for its occupants. Hamilton’s exhibition spaces draw on influences from the avant–garde and build bridges towards contemporary architectural proposals understood as a support for incentivising the experience of its inhabitants