The Visual Matrix Method: Imagery and Affect in a Group-based Research Setting

The visual matrix is a method for researching shared experience, stimulated by a sensory stimulus relevant to a research question. It is led by imagery, visualization and affect, which in the matrix take precedence over discourse. The method enables the symbolization of imaginative and emotional material, which might not otherwise be articulated and allows "unthought" dimensions of experience to emerge into consciousness in a participatory setting. We describe the process of the matrix with reference to the study "Public Art and Civic Engagement" (FROGGETT, MANLEY, ROY, PRIOR & DOHERTY, 2014) in which it was developed and tested. Subsequently, examples of its use in other contexts are provided. Both the matrix and post-matrix discussions are described, as is the interpretive process that follows. Theoretical sources are highlighted: its origins in social dreaming; the atemporal, associative nature of the thinking during and after the matrix which we describe through the Deleuzian idea of the rhizome; and the hermeneutic analysis which draws from object relations theory and the Lorenzerian tradition of scenic understanding. The matrix has been conceptualized as a "scenic rhizome" to account for its distinctive quality and hybrid origins in research practice. The scenic rhizome operates as a "third" between participants and the "objects" of contemplation. We suggest that some of the drawbacks of other group-based methods are avoided in the visual matrix—namely the tendency for inter-personal dynamics to dominate the event

Recovery From Design

Through research, inquiry, and an evaluation of Recovery By Design, a ‘design therapy’ program that serves people with mental illness, substance use disorders, and developmental disabilities, it is my assertion that the practice of design has therapeutic potential and can aid in the process of recovery. To the novice, the practices of conception, shaping form, and praxis have empowering benefit especially when guided by Conditional and Transformation Design methods together with an emphasis on materiality and vernacular form

Generative theatre of totality

Generative art can be used for creating complex multisensory and multimedia experiences within predetermined aesthetic parameters, characteristic of the performing arts and remarkably suitable to address Moholy-Nagy's Theatre of Totality vision. In generative artworks the artist will usually take on the role of an experience framework designer, and the system evolves freely within that framework and its defined aesthetic boundaries. Most generative art impacts visual arts, music and literature, but there does not seem to be any relevant work exploring the cross-medium potential, and one could confidently state that most generative art outcomes are abstract and visual, or audio. It is the goal of this article to propose a model for the creation of generative performances within the Theatre of Totality's scope, derived from stochastic Lindenmayer systems, where mapping techniques are proposed to address the seven variables addressed by Moholy-Nagy: light, space, plane, form, motion, sound and man ("man" is replaced in this article with "human", except where quoting from the author), with all the inherent complexities

Measuring the cultural value of the Royal Scottish Academy New Contemporaries Exhibition as a platform for emerging artists

In our analysis of the cultural value of the Royal Scottish Academy New Contemporaries Exhibition, we assessed the institution’s role in shaping emerging artists’ careers, as well as wider cultural value. Supported by our conceptual framework of value creation, issues assessed included the expected versus experienced value of the exhibition and the individual artworks, price setting, the market mechanism surrounding the exhibition, and its enhancement. The created cultural value is facilitated by high-visibility media exposure and through development of career-enhancing networks. We have generated new insight into cultural value more generally by moving beyond dominant instrumental valuation approaches. We have addressed many of the gaps in understanding the mechanisms behind engagement with contemporary art. We have progressed theory with the assistance of our conceptual framework and supporting qualitative data. Cultural value is expressed in contemporary art through artistic production systems and its cultural messages. Artists’ cultural value is often constructed via the intrinsic worth of their work, rather than from market influences. Cultural value is often personal to the viewer, shared with others and remembered over time. It is also co-created among the other stakeholders involved

Exhibiting Pain: Creative Representations of Life with Chronic Pain

This work provides an exploration of the effects of sharing creative representations of life with chronic physical pain. Social media platforms (Facebook and WordPress) have been used to carry out the research, hosting two online galleries of creative works depicting life with chronic physical pain. Comments on the works, and discussions surrounding them, have been examined to show how different audiences respond to the works, according to whether or not they have pain. In keeping with the postmodern epistemology underpinning this research, issues of interpretation and multiple interpretations have been considered. In addition, responses have been assessed to consider how effective such works are in communicating the experience of living with this invisible and subjective condition. My role as a researcher with chronic physical pain is explored in relation to the use of reflexivity in carrying out the research. The conflict involved in seeking empathy and recognition of experiences living with pain, while balancing this with the desire to keep this personal experience private and the feeling that other people do not want to hear about the condition, is discussed in relation to the concept of public-private dualism. Issues regarding the elicitation of empathy and understanding with the creators’ experiences are considered in the light of the creative works. In addition, the benefits arising from sharing such works in online exhibitions are highlighted, demonstrating the potential for creative approaches to the expression of pain to facilitate the effective communication of the experience

Triple Helix: AI-Artist-Audience collaboration in a performative art experience

Imagine an art exhibition that morphs its content according to the audience’s experience like a chameleon, reflecting the audience’s mind and culture and turning the artist’s exhibition into the viewer’s. But when the viewers leave, the work fades back to the creator’s original work and waits for the next audience. In this project, my team introduced an interactive exhibition called Triple Helix, where audience members were provided the opportunity to alter the artworks created by the artist, thus imbuing them with their own perspectives. This interactive exhibition was held at three physical-locations and online, and a comprehensive user study was conducted, exploring changes in creative confidence, i.e., an individual\u27s willingness to create and to share. This project includes three main contributions. First, my team proposed an innovative exhibition system, allowing audience members to actively modify artworks in real-time using AI technology. Second, the results of the user study demonstrate the multiple individual factors that appear to influence creative confidence, such as an individual’s art knowledge. Third, by analyzing participants’ feedback after the Triple Helix exhibition, certain shortcomings in current generative AI systems have been identified, including the weakness of current text-to-image transformation methodology in non-representational pieces and the cons of rapid image generation. These insights can serve as valuable guidelines for improving the human-AI co-creation experience in the future. I hope this work will serve as a step toward a richer and more comprehensive understanding of the application of generated AI into the realm of art

Wearable performance

This is the post-print version of the article. The official published version can be accessed from the link below - Copyright @ 2009 Taylor & FrancisWearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment. Wearable computing devices worn on the body provide the potential for digital interaction in the world. A new stage of computing technology at the beginning of the 21st Century links the personal and the pervasive through mobile wearables. The convergence between the miniaturisation of microchips (nanotechnology), intelligent textile or interfacial materials production, advances in biotechnology and the growth of wireless, ubiquitous computing emphasises not only mobility but integration into clothing or the human body. In artistic contexts one expects such integrated wearable devices to have the two-way function of interface instruments (e.g. sensor data acquisition and exchange) worn for particular purposes, either for communication with the environment or various aesthetic and compositional expressions. 'Wearable performance' briefly surveys the context for wearables in the performance arts and distinguishes display and performative/interfacial garments. It then focuses on the authors' experiments with 'design in motion' and digital performance, examining prototyping at the DAP-Lab which involves transdisciplinary convergences between fashion and dance, interactive system architecture, electronic textiles, wearable technologies and digital animation. The concept of an 'evolving' garment design that is materialised (mobilised) in live performance between partners originates from DAP Lab's work with telepresence and distributed media addressing the 'connective tissues' and 'wearabilities' of projected bodies through a study of shared embodiment and perception/proprioception in the wearer (tactile sensory processing). Such notions of wearability are applied both to the immediate sensory processing on the performer's body and to the processing of the responsive, animate environment

Shared talent: an exploration of the potential of the 'Shared Talent' collaborative and hands on educational experience for enhanced learning around sustainability in fashion practice

Shared Talent is a fashion for sustainability framework, developed by Dilys Williams to facilitate a means for fashion designers to exchange expertise with other protagonists across the supply chain, transcending traditional divisions, be they linguistic, geographic, or discipline based. In 2009, Shared Talent India brought together a diverse group of like-minded designers to share their ideas about fashion, challenge their motivations as designers, and question how they create collections. Equipped with research carried out through Shared Talent 1 and 2, and geographically specific research in a number of locations across India, their collaborative concepts were realised with beautiful results. Through partnership between Defra’s led Sustainable Clothing Roadmap and the Indian Government under the UK:India Sustainable Development Dialogue, Shared Talent India explored and shared knowledge on sustainable design practice with established and emerging designers, makers and NGOs. Participants included twelve designers, based both in the UK and India, suppliers and communities of Indian textile producers, buyers and undergraduates from London College of Fashion, Pearl Academy of Fashion Delhi, and Amsterdam Fashion Institute. The research outcomes aim to innovate towards improved ecological, ethical and cultural criteria in selecting and creating collections, and a means to connect designers and buyers to more sustainable textiles in India. Outputs are available as an open-source online resource to help fashion designers, researchers, students, entrepreneurs and businesses to establish strategies for sourcing sustainability from India; the resource is a culmination of the collaboration and includes contribution by key project team members, project managed by Alex McIntosh and led by Dilys Williams