What is the material agency of digital decay and how is it revealed through curatorial practice?
The concept of decay has been commonly associated with still life in art practice. Since the 1980s, the presence of digital technology in art has grown and notions of matter, the medium and immateriality had to be reconsidered in order to address art practices that deal with new materials. Building on Jussi Parikka’s idea of ‘geology of media’ (2015), the PhD aims at reconsidering the concept of decay and its intrinsic nature of material process, following new parameters of matter and time brought into discussion by digital technology. Considering materiality as materials immersed in an instable flow means to think of both software and hardware obsolescence as crucial elements in defining decay as a form of agency.
Persistence of Vision: Authorship and Visual Style in the Work and Cinematographer
Authorship in film is often difficult to attribute due to the complex nature of the collaborative processes involved. Since its inception the auteur theory has provided a convenient, although simplistic, view of authorship, which credits the director of a film with sole authorship.
Can ‘Augmented Reality Games’ be a positive influence? The project will take the form of a series of walking interviews with players of the ARG Ingress to attempt to ascertain whether the game encourages healthy physical and social activity and, if so, whether this has wider implications for the use of ARGs in public spaces.
Creating Images of Belonging through Diasporic Touch
My research project examines issues of belonging in the Swedish diaspora in the north of England bringing a minority discourse into the public realm. I am developing a notion called diasporic touch exploring how a combination of seeing, touching and creative writing opens up an imaginary space where ‘there and then’ is ‘here and now’, and where the process of making art generates a sense of belonging.
In the world of hypercomplexity and hyper rapid changes the answer to the escalating economic and social problems can only be a complex, comprehensive solution. And such a solution is more likely to emerge from design focused interdisciplinary collaborative networks which I believe will have the advantage in innovation. The question is how to "manage" such complex networks.
Formal Thought Disorder as Iterative Ambiguation; the Cognitive Constraints on Figurative Thought, Language, and Communication: Neurocognitive Correlates?
Formal Thought Disorder (FTD), the symptoms of which alter language at the levels of organisation and expression, entails incoherent discourse; which often exacerbates the implicit sensitivity of complex clinical interactions. Linguistic creativity, i.e., the manipulation of language for artistic purposes, also involves alterations at these same levels. The difference, however, is volitional. Investigations into the extent to which these processes are related are scarce; therefore, this project recruits experimental psycholinguistic methods to explore the symptoms of FTD as involuntary expressions of linguistic creativity. That is, as a pathology located in the neurocognition of creativity.
Algorithmic iconography: Intersections between iconography and social media image research
63% of social media consists of images: about 2,000,000,000 pictures are shared daily. I use iconography to understand why people find some pictures more resonant than others. As a case study, I examine the 1,000 most widely-shared tweets arising from the refugee crisis arising from the death of Alan Kurdi, the Syrian refugee child found drowned on a Turkish beach in 2015.
Are UK universities committed to information literacy?
Information literacy is defined by the Chartered Institute of Librarians and Information Professionals as: “Knowing when and why you need information, where to find it, and how to evaluate, use and communicate it in an ethical manner.
Pattern Making For New Fabric Joining Technologies
Over recent years, a number of new fabric joining technologies have increasingly been used in fashion and clothing manufacture, replacing or reducing the need for traditional sewing. Does this create a need for re-thinking and re-defining pattern making specifically for their use?
Opening up the Wig: An exploration of the wig using photographic and sculptural strategies to reveal the relationships between the wig, the self, society and the construction of female identities.
My practice is situated in the intersection between sculpture and studio-based photography and will employ a range of strategies to unpack the function and definition of the wig, and interrogate the social context that currently produces and values it. This will involve investigating both the intention of the wig - representing, idealising and projecting the ‘feminine’ - and its material origins - the physicality of it and the cultural context that produces it. The female wig in particular offers a space for public and private ideas of femininity to interact. Women’s wigs can act as a metonym for the female body as both an artificial construct (the ideal female body), and an absence (the intended wearer, or, in the case of natural hair, the persons whose hair it was).
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