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In response to this issue’s call to “engage aesthetic processes of
remembering,” this paper analyses Fair Play (2014), a stereoscopic 3-D
cinema installation by Toronto-based filmmaker Ali Kazimi. Produced in
conjunction with the centennial anniversary of the arrival and detainment
of the Komagata Maru steamship in Vancouver, British Columbia, Canada,
the installation engages in an act of critical commemoration by imagining
the lives of members of the South Asian diaspora affected by this
incident. I argue that by centering affect within the formal and
conceptual framework of the installation, Kazimi produces a decolonial
aesthetic that restructures our relationship to this past, bringing to
the fore ways of living and knowing that had previously been devalued and
violently erased by colonial agendas and neoliberal art historical
critiques.
‘Looking Back Forward_Quip Nayr’ is based on the Aymara concept of time
and space called ‘qhip nayr’. As the Bolivian sociologist Silvia Rivera
Cusicanqui refers to it, ‘quip nayr’ is a way of looking into the past to
orient your path to the future. I use this concept to reflect on
processes of change, concerning language, identity and place. Expressing
identity on fabric recuperates my ancestors’ tradition from the Andean
region in Abya Yala (Latinamerica). The layering of textiles is inspired
by Gloria Anzaldúa, who uses fabrics as a synonym to talk about the
construction of identity in her concept ‘Haciendo Caras’.
For Issue 8 of wissenderkuenste.de, filmmaker Ali Kazimi has contributed
five images from an anaglyph version of his installation Fair Play. The
principle is simple: Each stereo image consists of a pair of images: one
for the left eye and the other for the right eye. All stereo viewing
systems seek to isolate the images, so the left sees only the one
intended for it, and the right sees the one intended for it. Our brain
creates the perception of a 3D image while viewing a 2D screen by fusing
these two slightly offset images together. Fair Play brings together all
strands of Kazimi’s research including stereoscopic 3D filmmaking,
stereoscopic 3D photographic history and images, as well as early
twentieth-century Canadian immigration history and colonialism.
With her photographic series Character Recognition (2006–2007) U.S.
artist Myra Greene examines historical constructions of race and racist
ways of looking from a perspective that undermines the assumed neutrality
of photography. She transforms the old ambrotype technique and encourages
to reflect on the power that visual technologies hold over the
representation of race and identity. Greene recalls yet disobeys
nineteenth-century ethnographic visual practices and looking
instructions, creating a technical and metaphorical deferral of the past
into the present and of the present into the past. Her photographic
practice unveils the ongoing violent effects of nineteenth-century
scientific racism on present-day bodies and embodied ways of looking. At
the same time, Character Recognition gives new life to the archives of
visual colonialism and experiments with photographic representation and
body memory as tools for decolonial options of non-normative (visual)
spaces.
Memoirs of Saturn
(2020)
In a set of para-fictional texts which interweaves the life of cultural
historian Dr. Shahidul Zaman with key moments in the ruptured history of
Bangladesh, the artist Omar A. Chowdhury, builds a reflexive mirror to
examine the nature of memory, of historiography, and the processes of the
art system. Recounting the history of an exhibition that was censored and
closed down in Dhaka in 2016, Chowdhury constructs a narrative that
doubles back on itself along multiple axes of the personal and public as
he and Dr. Zaman delve into the uncertainties in the presentation of
identity, the recollection of history, and the compromises of political
commitment.
In this work, I relate to the path of conocimiento, a concept developed
by Gloria Anzaldúa, which is a form of spiritual inquiry/activism,
reached via creative acts—writing, art-making, dancing, healing,
teaching, meditation, and spiritual activism. In writing and drawing, I
weave lines to different realities: the rural upbringings of the women
who raised me, my migration from the Third World, the meaning of home and
belonging, and my connection to all that exists on the planet as
political consciousness.
Looking at examples of presenting practices in Berlin and Toronto, this
essay sketches the difficulties that arise when embarking on a curatorial
practice with a decolonial impulse. This text is a partner to “On
Smuggling and Drawing. A Conversation in Blocks”, a dialogue between
curator Juana Awad and artist Luisa Ungar, written in 2020 and appearing
in the publication Künste dekolonisieren. Ästhetische Praktiken des
Lernens und Verlernens (edited by Julian Bauer, Maja Figge, Lisa
Grossmann, Wilma Lukatsch; Berlin, Transcript Verlag, forthcoming.)
But while the dialogue focuses on Ungar’s creation process of the over
one hundred original drawings intervening throughout the publication,
this essay brings to the forefront Awad’s questions about, and
experiences and observations with the mingling of the curatorial and the
decolonial, from her perspective as a curator and cultural worker.
Within the application context of interior spaces, this thesis investigates the emerging area of body-driven energy harvesting technologies from the perspective of human computer interaction (HCI) design. Upcoming innovations in new materials and low-power devices have enabled the conversion of body movements such as steps and arm movements into electrical energy for powering small computational things. Everyday interior spaces such as public buildings or homes can be fitted with new materials that harness human kinetic energy to produce electrical energy. Recent developments in the area of engineering and materials science aim to make these technologies more efficient. However, research about the implications of implementing them in the everyday from the perspective of the experiences and interactions of the people adopting these technologies is highly under-explored. In order to examine this design space, this research proposes to identify emerging concerns and challenges brought by everyday engagement with electricity production that need to be addressed through an interaction design inquiry.
To investigate the above proposition, a design program situated between the field of human computer interaction research and the practice of e-textile design is formulated with the aim to
investigate, at the scale of the interior, how static electricity can bring new perspectives and possibilities for ways of engaging with e-textiles, and designing interactions for energy harvesting with textiles.
The research sets up four research studies to systematically explore the design program. These research studies focus on four questions of how static electricity shapes e-textiles, how electrostatic textiles shape e-textile interactions, how e-static interactions shape everyday behaviours and how e-static studies shape energy interpretations. By developing a working knowledge of textile-based triboelectric generators, various body-generated electricity systems of different scales are envisioned. In the process of making, discovering and exploring different textile systems, questions regarding human interactions, material behaviours and the role of electricity in the everyday are discussed.
This thesis contributes to the practice of e-textiles by creating the foundational knowledge of using static electricity as a resource in e-textile design and development without needing specialised materials. Furthermore, it contributes to the field of human computer interaction research by further developing the topic of energy harvesting as a research area of interaction design. The thesis identifies two key areas for addressing challenges presented by body-driven energy harvesting with HCI which include considering accumulation of interactions over time and incorporating the electric properties of the body in interaction.
Additionally, practical outcomes of this research include:
1) www.estatictextiles.cc- An online handbook for learning about and working with static electricity and e-textiles which includes tutorials and examples from the research process.
And 2) E-static textiles prototyping board- A prototyping board developed for easy integration of static electricity and textiles to be used as an educational tool for designing and prototyping electrostatic energy-related interactions.
Repetition of morphological or lexical units is an established technique able to reinforce the impact of one's argument upon the audience. Rhetoric tradition has canonized dozens of repetition-involving schemas as figures of speech. Our article shows a way how hitherto ignored repetition-involving schemata can be identified. It shows that certain classes of repetitive figures can be represented in terms of specific sequences of integer numbers and vice versa, how specific sets of integer numbers can be translated into sets of regexes able to match repetition-involving expressions. A "Shakespeare number" S is simply defined as an integer with at least one repeated digit in which no digit bigger than X can occur if ever a digit X had not yet occurred in S's decimal representation. Hence, 121 is a Shakespeare number, while 123 or 211 are not. A set of "entangled numbers" is subsequently defined as a subset of "Shakespeare numbers" with an additional property that all digits which occur in them are repeated at least twice in the decimal representation of the number. Thus, a 1212 is an entangled number while 1211 is not. A complete set E of entangled numbers of maximal length of 10 digits is subsequently generated and every member of E is translated into a regex. Each regex is subsequently exposed to all utterances in all works of William Shakespeare, allowing us to pinpoint 3367 instances of 172 distinct E-schemata. This nomenclature may allow scholars to lead a discussion about schemata which have escaped the attention of classical interpretators.
Digital education: ”education-with” / ”education-about” distinction and the teleological definition
(2020)
Despite being an object of multi-billion public policies and private sector initiatives, the term ”digital education” seems to lack a clear, unambigous, lexicon-ready definition. A closer analysis reveals that in common parlance, the term is used to denote phenomena related to overlapping but distinct topics like ”technology”, ”media” or ”informatics”. Such polysemy implies an overall lack of
clarity which a public debate about education policies should rather avoid. For this reason, we propose to start sorting things out by defining the term ”digital education” in terms of dichotomy of two subordinated concepts, which we label as ”education-about-digital” and ”education-with-digital”. Postulation of this dichotomy combined with analysis of "school's mission" as defined in the legal codices of Land Berlin naturally leads to ”teleological definition” which delimits the concept of digital education in terms of its ideal human result.