petrification
Emile de Visscher & Ophélie Maurus
Emile de Visscher & Ophélie Maurus material transmutations and speculative archaeology Emile de Visscher Ophélie Maurus about this contribution Petrification is a process of transformation from cellulose to rock making it possible to imagine a ceramic artifact with a simple shape from paper rope cotton wood or cardboard It consists of two stages the infusion of a silica solution into the model followed by atmospheric pyrolysis During this firing carbon and silica fuse to form silicon carbide a rigid and abrasive ceramic technically comparable to that of a diamond This project—developed by Emile De Visscher in collaboration with scientists from ESPCI Jérôme Bibette UPMC Florence Babonneau Chimie ParisTech Philippe Barboux ENSAD SACRe l’Université PSL and Humboldt Universität Cluster Matters of Activity —combines experimental scientific development with research through design to imagine an innovative artisanal manufacturing process At the heart of the project lies the question of the durability of our forms of knowledge knowhow and heritage Petrifaction as a transmutation of organic matter toward the inorganic from the vegetal to the mineral perpetuates ephemeral forms destined to deterioration At a time when the ecological crisis and capitalism are generating major declines in biological forms disappearance of species and seed varieties but also in practices disappearance of traditional techniques the question arises of how to keep track of our knowledge and fragile material forms Beyond its formal technical principle the process of petrifaction is symbolic in that it invokes a series of cultural contents rooted in many civilizations and regions of the world in Greek mythology with Medusa among the Celts with the dolmens but also in Japanese Papuan and preColumbian traditions Ubiquitous in the 18th and 19th centuries both in connection with the practice of collecting fossils and the development of techniques for petrifying bodies this process is still very much present in many current cultural forms such as video games sciencefiction novels and Hollywood films This recurrence of petrifaction in the collective imagination refers to fundamental dualities shared between the fantasy of surviving death the curse of stability eternal life or fear of apocalypse The project thus unfolds as a speculative archaeological proposal which stabilizes endangered elements for a distant future The collaboration with Lucile Vareilles and Ophélie Maurus sought to account for this theoretical and historical dimension within the framework of the publication able The iconographic element of this project refers us directly to the question of the Anthropocene because it uses firing certainly energy consuming to sequester carbon in a land base instead of in the atmosphere Rather than helplessly endure the relentless accumulation of fossil wastes plastics and reinforced concrete the project explores the possibilities of a collective and therefore political decision to populate the Anthropocene credits authors Emile de Visscher PhD research associate Cluster of Excellence Matters of Activity Image Space Material Humboldt Universität Berlin EA SACRe École Nationale supérieure des Arts Décoratifs Université PSL Paris Ophélie Maurus art director and photographer scientific support Jérôme Bibette Laboratoire Colloïdes et Matériaux Divisés ESPCI ParisTech Université PSL Paris Florence Babonneau Laboratoire de Chimie des Matières Condensées Sorbonne Université CNRS Philippe Barboux Chimie ParisTech Université PSL as well as the students from the PIG program at Chimie ParisTech research and financial support PhD program Science Art Création Recherche SACRe Université Paris Sciences et Lettres thesis prepared at EnsadLab under the supervision of Samuel Bianchini and Roger Malina Matters of Activity Image Space Material Cluster of Excellence Humboldt Universität Berlin artistic direction photography and graphic design Ophélie Maurus production support Lucile Vareilles acknowledgments Project developed with the help of Morgane Liger The author acknowledges the support of the Matters of Activity Image Space Material Cluster of Excellence funded by the Deutsche Forschungsgemeinschaft DFG German Research Foundation under Germany’s Excellence Strategy – EXC 2025 – 390648296 references and rights illustration rights and references Emblematic of the presence of petrification in mainstream culture the White Witch of C S Lewis’s Chronicles of Narnia possesses a power that turns the living into stone The Chronicles of Narnia The Lion the Witch and the Wardrobe 2005 dir Andrew Adamson screenshot VOD 000220 Walt Disney PicturesWalden Media All rights reserved 8211 Since their earliest days sciencefiction films have been exploring petrification The 1957 movie Monolith Monsters recounts the strange events following the crash of a meteorite into masses of black fragments with odd properties in the Californian desert Brought back by a geologist in the small town of San Angelo these fragments quickly reveal to have the particularity of growing when encountering water and seem to cause the petrification of the inhabitants of the village A story of human survival while facing an unnatural disaster encroaching into an ecological nightmare Reynold Brown The Monolith Monsters 1957 film poster httpscommonswikimediaorgwindexphptitleFileTheMonolithMonstersjpgampoldid530274906 Public domain 8211 Naturally occurring petrification can be witnessed in Arizonian deserts and gave birth to a vibrant and surprising local craft in the forms of vessels sinks and bathtubs Stefan Pauli Petrified tree in Petrified Forest National Park 2001 photograph httpscommonswikimediaorgwindexphptitleFilePetrifiedtreeinPetrifiedForestjpgampoldid459806609 Creative Commons License CCBYSA 30 8211 Medusa is probably the most iconic figure in mythology involving petrification in Latin cultures Capable of petrifying through her gaze Medusa had her head cut off by Perseus who gave it to Athena as a gift By placing Medusa’s head on her shield the goddess inherited the power Sir Edward Coley BurneJones The Death of Medusa I 1882 mixed media on paper 1245 × 1169 cm Southampton City Art httpswwwsouthamptoncityartgallerycomobjectsotag109 Photo © 2018 Southampton City Art Reproduced with permission 8211 The portrait of Medusa as her head is just cut off by Italian painter Caravaggio is renowned for the realism and dramatic facial expression of horror Caravaggio Medusa 1595–1598 oil on linen canvas mounted on a poplar shield 60 × 55 cm Galeria degli Uffizi httpswwwibiblioorgwmpaintauthcaravaggiomedusajpg Photo © WebMuseum Creative Commons License CCBYSA 30 8211 The rock formation of Hvítserkur is tied to a Nordic legend where a troll would have crossed the sea to destroy a Christian church and been caught by the daylight and petrified into rock Alexandre Buisse The freestanding seastack of Hvitserkur Iceland 2011 photograph httpscommonswikimediaorgwindexphptitleFileHvitserkurseastackIcelandjpgampoldid499363410 Creative Commons License CCBYSA 30 8211 Carlo Vannini Untitled 2018 Published in Ivan Cenzi The Petrifier The Paolo Gorini Anatomical Collection Modena Logos Edizioni 2018 All rights reserved 8211 The Poisson de Grandmont from the area of Beaune in Bourgogne First specimen of petrified fish found in France in 1747 the “Beaune salmon” has been the source of many analyses fictions and appropriations Despite appearances it is not a salmon but a bony fish of the type “Pachycormus macropterus” dating from the Jurassic period The scientific interest in this fish led Buffon to acquire it for the king’s collections in 1767 Engraving of specimen MHNHFJRE50 published in Faujas de SaintFond’s Essai de géologie 1803 pl 8 based on a drawing by Nicolas Maréchal 1753–1802 painter at the Muséum National d’Histoire naturelle Published in Geodiversitas 3 no 4 2017 695 https doiorg105252g2017n4a2 8211 Scanning electron microscopic images of SiC materials a crosssection b radial and c pits and SiC whiskers prepared form pinesilica and d crosssection e radial and f an open cell image prepared from polarsilica composites after gasification at 700°C Shin et al 2005 fig 3 8211 Edward Goodrich Acheson in the lab with his omnipresent cigar testing Aquadag a colloidal suspension of his artificial graphite httpswwwsciencehistoryorghistoricalprofileedwardgoodrichacheson All rights reserved Acheson Industries bibliography and references De Visscher Emile Forthcoming “Matière and Matériau Thoughts on two ways of considering materials and their design” In Environment 21 Let’s Get Sustainable Edited by Annika Frye Christiane Kruse Antje Majewski and Sandra Schramke np De Visscher Emile 2021 “The Persistence of Fragile Assemblages” Matters of Activity EXC Berlin Annual Conference November 17 2021 httpswwwvirtualspacemattersofactivityde Eom JungHye Kim YoungWook Santosh Raju 2013 “Processing and properties of macroporous silicon carbide ceramics A review” Journal of Asian Ceramic Societies 1 220–242 httpsdoiorg101016jjascer201307003 Shin Yongsoon and Gregory J Exarhos 2007 “Conversion of cellulose materials into nanostructured ceramics by biomineralization” Cellulose 14 269–279 101007s1057000691010 Shin Yongsoon Chongming Wang and G J Exarhos 2005 “Synthesis of SiC Ceramics by the Carbothermal Reduction of Mineralized Wood with Silica” Advanced Materials 17 no 1 January 13 httpsdoiorg101002adma200400371 Shin Yongsoon Chong M Wang William D Samuels and Gregory J Exarhos 2007 “Synthesis of SiC nanorods from bleached wood pulp” Material Letters 61 httpsdoiorg101016jmatlet200610035 Shin Yongsoon Jun Liu Jeong Ho Chang Zimin Nie and Gregory J Exarhos 2001 “Hierarchically Ordered Ceramics Through SurfactantTemplated SolGel Mineralization of Biological Cellular Structures” Advanced Materials 13 no 10 May 17 httpsdoiorg101002152140952001051310lt728AIDADMA728gt30CO2J Vidor Gian Marco 2010 “Androlithe et pétrification des cadavres humains au XIXème siècle” Frontières 23 no 1 httpsdoiorg1072021004025ar exhibition Emile De Visscher Petrification in the exhibition Au Charbon Pour un Design PostCarbone curated by Amandine David and Giovanna Massoni CID Grand Hornu 2022–2023 to cite this article This article is using Chicago format for its references De Visscher Emile and Ophélie Maurus 2023 “Petrification Material Transmutations and Speculative Archaeology” able journal httpsablejournalorgpetrification MLA EN De Visscher Emile and Ophélie Maurus “Petrification Material Transmutations and Speculative Archaeology” able journal 2023 httpsablejournalorgpetrification ISO 690 EN DE VISSCHER Emile and MAURUS Ophélie Petrification Material Transmutations and Speculative Archaeology able journal online 2023 Available from httpsablejournalorgpetrification APA EN De Visscher E amp Maurus O 2023 Petrification Material Transmutations and Speculative Archaeology able journal httpsablejournalorgpetrification anthropocene archaeology biodesign carbon cellulose ceramics chemistry cycle design ecology engineering firing fossilization lnow-how matter object-design paper pyrolysis speculative transmutation
Ozu in 2.5D
Ho Tzu Nyen & Clélia Zernik
Ho Tzu Nyen & Clélia Zernik Ho Tzu Nyen Clélia Zernik about this contribution “Ozursquos films are comparable to deep clear water perfectly still” Maurice Pinguet The simplicity of Ozursquos images is perfectly apparent It is in the transparency of these lines that the true depth of his films is played out Everything happens as if we were dealing with the most natural most common world and yet from the outset we notice a lapse—the characters move in an artificial way their expression is always missing they seem to float between presence and absence This panable is an invitation to meditate at the borders between visual arts and the psychology of perception To think this inbetween between the 2D of the image and the 3D of reality the 25D can be understood both as a new approach to perspective construction and as a specific relationship to the world In the sense of perspective the Ozuian image does not seem to be constructed linearly according to the rules of the vanishing point that unify a homogeneous and structured space Rather it is constructed according to a principle of superimposed layers like cartoons The panable shows the passage from an image as a section of the real to an image as a recomposition of the real from a conception of unified space to a conception of stratified space Metaphorically this inbetween time of 25D reveals that behind the purity and serenity of Ozu’s images a form of drama is at play the character haunts the world more than he inhabits it He is in the lining He is no longer a singular character in a fiction but a prototype an idea There Was a Father in reference to the title of another Ozu film The procedure of the panable enables us to appreciate this disconnect of the real space and its substitution by an artificial and stratified image It gives the impression of both looking at a fun flip book and facing a ghost escaped from its body lost in its own reverie Between an amused tenderness and a sensory reflexivity this is precisely where Ozu’s films take place between the surface and the depth between presence and absence between the singular and the typical—in this inbetween space of the 25D credits authors Ho Tzu Nyen artist and independent film maker amp Clélia Zernik Beauxarts de Paris PSL University editorial mediation Clélia Zernik graphic designer Arp is Arp studio Dimitri Charrel with Lorène Gaydon and Joséphine Mas photo credits see “illustration rights and references” below supported by SACRePSL laboratory references and rights illustration rights and references Ozu Yasujiro Director Tokyo Story Tokyo Monogatari Shōchiku 1953 136 min In the public domain Digitally modified images bibliography and references Bordwell David Ozu and the Poetics of Cinema Princeton Princeton University Press 1988 Burch Noël Pour un observateur lointain Forme et signification dans le cinéma japonais To the Distant Observer French translation by Jean Queval Paris Gallimard 1982 Doganis Basile Le silence dans le cinéma d’Ozu polyphonie du sens et des sens Paris L’Harmattan 2005 Lamarre Thomas The Anime Machine A Media Theory of Animation Minneapolis University of Minnesota Press 2009 Pinguet Maurice “Transparence et profondeur drsquoOzu” in Pour un temps Ecritures japonaises Paris Editions du Centre Pompidou 1986 Pinguet Maurice “Voyage à Tokyo d’Ozu” In Le texte Japon Introuvables et inédits compiled and presented by Michaël Ferrier Paris Editions du Seuil 2009 Zernik Clélia L’œil et l’objectif La psychologie de la perception à l’épreuve du style cinématographique Paris Vrin 2012 to cite this article This article is using Chicago format for its references Ho Tzu Nyen and Clélia Zernik 2023 “Ozu in 25d” able journal httpsablejournalorgozuin25d MLA EN Ho Tzu Nyen and Clélia Zernik “Ozu in 25d” able journal 2023 httpsablejournalorgozuin25d ISO 690 EN HO Tzu Nyen and ZERNIK Clélia Ozu in 25d able journal online 2023 Available from httpsablejournalorgozuin25d APA EN Ho T N amp Zernik C 2023 Ozu in 25d able journal httpsablejournalorgozuin25d DOI EN httpsdoiorg98765432 animation borders cinema iconography japan perception philosophy presence psychology psychology-of-perception space spatial theater visual-art
yōkobo
Dominique Deuff, Gentiane Venture, Isabelle Milleville-Pennel & Ioana Ocnarescu
Dominique Deuff, Gentiane Venture, Isabelle Milleville-Pennel & Ioana Ocnarescu an object of sensitive presence Dominique Deuff Gentiane Venture Isabelle MillevillePennel Ioana Ocnarescu about this contribution As part of a multidisciplinary research and a PhD project to strengthen the connection between retired couples living at home we imagined and designed Yōkobo It is a robot at the crossroads of a sensitive approach and a robotic trend that bridges the gap between humans HumanRobotHuman Interactions field As a theoretical contribution Yōkobo is at the intersection of various concepts behavioral objects robjects weak robotics and slow technology Yōkobo is a trinket bowl placed in the entrance of homes Its discreet presence expresses hospitality and celebrates small moments of everyday life welcoming visitors and inhabitants of the house The name comes from the contraction of “yōkoso” welcome in Japanese and “robot” with French pronunciation In addition to these functions Yōkobo expresses the state of the home using data from connected IoT devices combining various house parameters such as temperature air quality etc to express the home’s “mood” through its motions Finally Yōkobo used in tandem with house keys can convey a trace a message based on motion And a trace is a memory of the partner’s passage Yōkobo is resolutely innovative and disruptive It does not sit within the lineage of the general vision of what robots are and what they can do it is an object intended to be unobtrusive stemming from ambient computing while having an ongoing subtle presence It does not make sounds unlike voice assistants and the trend for using voice modality interaction It expresses itself and its environment only through motion and light to move away from homersquos companion robots and the biases they can generate through facial representation Yōkobo has neither an anthropomorphic shape nor can talk Yōkobo is intended to be made of natural materials such as ceramic wood or wool to break with the idea of plastic disposable and toy robots and to improve its integration in everyday home life as a slow technology product understanding and integrating Yōkobo into one’s life takes time and requires accepting not having a clear repetitive and instantaneous response to an action Its contribution is not measured in terms of efficiency and utility it is the sum of different experiences with the product over time that creates the object’s meaning and value Getting to know Yōkobo’s expressive motions is continuous and progressive Yōkobo is an object that is understood through perception and touches the poetic sensibility of its users Yōkobo is a concept that puts people’s relationships at the center It does not impose itself to propose an exclusive HumanObject relationship It reveals the presence of the other by expressing the last impermanent trace of the otherrsquos passage It is an object of sensitive presence This work is the result of interdisciplinary research between roboticists designers and ergonomists The navigation directions and overlay of this panable demonstrates the design and engineering processes as well as the interaction modalities credits authors Dominique Deuff ergonomist and designer Orange Gentiane Venture roboticist Tokyo University of Agriculture and Technology Isabelle MillevillePennel cognitive ergonomist LS2N UMR CNRS 6004 Ioana Ocnarescu designer Strate Research Strate School of Design with Enrique Coronado roboticist Tokyo University of Agriculture and Technology Liz Rincon roboticist Tokyo University of Agriculture and Technology Dora Garcin experience designer Strate School of Design amp Tokyo University of Agriculture and Technology Corentin Aznar product designer Strate School of Design amp Tokyo University of Agriculture and Technology Shohei Hagane roboticist Tokyo University of Agriculture and Technology Simeon Capy roboticist Tokyo University of Agriculture and Technology Pablo Osario roboticist Tokyo University of Agriculture and Technology Remi Dupuis product designer Strate School of Design Dino Beschi product designer Strate School of Design amp Tokyo University of Agriculture and Technology Nicolas Pellen designer Orange support Orange GV lab LS2N UMR CNRS 6004 Strate School of Design Strate Research acknowledgements université de Nantes université de technologie et d’agriculture de Tokyo équipe des ateliers de Strate Valentina Ramirez Millan references and rights illustration rights and references Layer 1 Original drawings Dora Garcin 2020 Image credit and graphic transformation Dominique Deuff 2021 Layer 2 images from left to right Images 1 to 8 3Dgenerated images Dino Beschi 2021 Image credit and graphic transformation Dino Beschi 2021 Image 9 photograph Dominique Deuff 2021 Photo credit and graphic transformation Dominique Deuff 2021 Images 10 3D Model Nicolas Pellen 2021 3Dgenerated images Clément Laurenziani 2021 Image credit and graphic transformation Dominique Deuff 2021 Images 11 3D model Nicolas Pellen 2021 3Dgenerated images Nicolas Pellen 2021 Image credit and graphic transformation Dominique Deuff 2021 Images 12 and 13 drawings Dominique Deuff 2021 Image credit and graphic transformation Dominique Deuff 2021 Images 14 and 15 3Dgenerated images Corentin Aznar 2020 Image credit and graphic transformation Dominique Deuff 2021 Images 16 and 17 drawings Corentin Aznar 2021 Image credit and graphic transformation Dominique Deuff 2021 Layer 3 Drawings Dominique Deuff 2021 Image credit and graphic transformation Dominique Deuff 2021 bibliography and references Ashmore Sondra and Kristin Runyan 2014 Introduction to Agile Methods Upper Saddle River NJ AddisonWesley Bevins Alisha and Brittany A Duncan 2021 “Aerial Flight Paths for Communication How Participants Perceive and Intend to Respond to Drone Movements” In HRI ’21 Proceedings of the 2021 ACMIEEE International Conference on HumanRobot Interaction New York Association for Computing Machinery 16–23 httpsdoiorg10114534340733444645 Birmingham Chris Zijian Hu Kartik Mahajan Eli Reber and Maja J Matari´c 2020 “Can I Trust You A User Study of Robot Mediation of a Support Group” In 2020 IEEE International Conference on Robotics and Automation ICRA New York IEEE 8019–8026 httpsdoiorg101109ICRA4094520209196875 Brock Heike Selma ˇSabanovi´c and Randy Gomez 2021 “Remote You Haru and Me Exploring Social Interaction in Telepresence Gaming with a Robotic Agent” In HRI ’21 Companion Companion of the 2021 ACMIEEE International Conference on HumanRobot Interaction New York United States Association for Computing Machinery httpsdoiorg10114534340743447177 Broers H A T J Ham R Broeders R De Silva and M Okada 2013 “Goal inferences about robot behavior Goal inferences and human response behaviors” In 2013 8th ACMIEEE International Conference on HumanRobot Interaction HRI Piscataway NJ IEEE 91–92 httpsdoiorg101109HRI20136483516 Brooke John 2013 “SUS A Retrospective” Journal of Usability Studies 8 2 29–40 Campa Riccardo 2016 “The Rise of Social Robots A Review of the Recent Literature” Journal of Evolution amp Technology 26 1 106–113 Cannon Christopher Kelly Goldsmith and Caroline Roux 2019 “A SelfRegulatory Model of Resource Scarcity” Journal of Consumer Psychology 29 1 104–127 Cao Zhe Gines Hidalgo Tomas Simon ShihEn Wei and Yaser Sheikh 2018 “OpenPose Realtime MultiPerson 2D Pose Estimation using Part Affinity Fields” IEEE Transactions on Pattern Analysis amp Machine Intelligence 43 1 172–186 arXiv 181208008 Capy Siméon Pablo Osorio Shohei Hagane Corentin Aznar Dora Garcin Enrique Coronado Dominique Deuff Ioana Ocnarescu Isabelle Milleville Gentiane Venture 2022 Yōkobo A Robot to Strengthen Links Amongst Users With NonVerbal Behaviours Machines in process of publication Coronado Enrique and Gentiane Venture 2020 “Towards IoTAided Human– Robot Interaction Using NEP and ROS A PlatformIndependent Accessible and Distributed Approach” Sensors 20 5 1500 Coronado Enrique Gentiane Venture and Natsuki Yamanobe 2020 “Applying KanseiAffective Engineering Methodologies in the Design of Social and Service Robots A Systematic Review” International Journal of Social Robotics October 1–11 httpsdoiorg101007s1236902000709x Deuff Dominique Ioana Ocnarescu Luis Enrique Coronado Liz RinconArdila Isabelle Milleville and Gentiane Venture 2020 “Designerly way of thinking in a robotics research project” Journal of Robotics Society of Japan 38 8 692–702 Deuff Dominique Isabelle MillevillePennel Ioana Ocnarescu Dora Garcin Corentin Aznar Simeon Capy Shohei Hagane Pablo Osario Luis Enrique Coronado Liz RinconArdila and Gentiane Venture 2022 “Together alone Yōkobo a sensible presence robject for the home of newly retired couples” DIS 2022 Duarte Nuno Ferreira Mirko Raković Jovica Tasevski Moreno Ignazio Coco Aude Billard and José SantosVictor 2018 “Action anticipation Reading the intentions of humans and robots” IEEE Robotics and Automation Letters 3 4 October 4132–4139 httpsdoiorg101109LRA20182861569 Erel Hadas Yoav Cohen Klil Shafrir Sara Daniela Levy Idan Dov Vidra Tzachi Shem Tov and Oren Zuckerman 2021 “Excluded by Robots Can RobotRobotHuman Interaction Lead to Ostracism” In HRI ’21 Proceedings of the 2021 ACMIEEE International Conference on HumanRobot Interaction New York Association for Computing Machinery 312–321 httpsdoiorg10114534340733444648 FeilSeifer David and Maja J Matarić 2011 “Socially Assistive Robotics” IEEE Robotics amp Automation Magazine 18 1 March 24–31 httpsdoiorg101109MRA2010940150 Georgiev Aleksandar and Stephan Schlögl 2018 “Smart Home Technology An Exploration of End User Perceptions” Innovative Lösungen für eine alternde Gesellschaft Konferenzbeiträge der SMARTER LIVES 18 no 2002 Gomez Randy Deborah Szapiro Kerl Galindo and Keisuke Nakamura 2018 “Haru Hardware Design of an Experimental Tabletop Robot Assistant” In 2018 13th ACMIEEE International Conference on HumanRobot Interaction HRI New York Association for Computing Machinery 233–240 GROOVE X httpslovotlifeen Haring K S K Watanabe and C Mougenot 2013 “The influence of robot appearance on assessment” In 2013 8th ACMIEEE International Conference on HumanRobot Interaction HRI New York Association for Computing Machinery 131–132 httpsdoiorg101109HRI20136483536 Heenan Brandon Saul Greenberg Setareh AghelManesh and Ehud Sharlin 2014 “Designing social greetings in human robot interaction” In DIS ’14 Proceedings of the 2014 conference on Designing interactive systems New York Association for Computing Machinery 855–864 Hoffman Guy 2012 “Dumb Robots Smart Phones A Case Study of Music Listening Companionship” IEEE International Symposium on Robot and Human Interactive Communication September 358–363 httpsdoiorg101109ROMAN20126343779 Hoffman Guy and Wendy Ju 2014 “Designing Robots with Movement in Mind” Journal of HumanRobot Interaction 3 1 91–122 Intuition Robotics httpselliqcom Knight Heather 2011 “Eight Lessons Learned about NonVerbal Interactions through Robot Theater” In Social Robotics Third International Conference ICSR 2011 Amsterdam The Netherlands November 24–25 2011 Berlin Springer 42–51 Latikka Rita Tuuli Turja and Atte Oksanen 2019 “SelfEfficacy and Acceptance of Robots” Computers in Human Behavior 93157–163 Lehmann Hagen Joan SaezPons Dag Sverre Syrdal and Kerstin Dautenhahn 2015 “In Good Company Perception of Movement Synchrony of a NonAnthropomorphic Robot” PloS One 10 5 e0127747 Levillain Florent and Elisabetta Zibetti 2017 “Behavioral Objects The Rise of the Evocative Machines” Journal of HumanRobot Interaction 6 1 4–24 Li Dingjun PL Patrick Rau and Ye Li 2010 “A CrossCultural Study Effect of Robot Appearance and Task” International Journal of Social Robotics 2 2 175–186 Liang Jun Deqiang Xian Xingyu Liu Jing Fu Xingting Zhang Buzhou Tang Jianbo Lei et al 2018 “Usability Study of Mainstream Wearable Fitness Devices Feature Analysis and System Usability Scale Evaluation” JMIR mHealth and uHealth 6 11 e11066 Luria Michal Guy Hoffman and Oren Zuckerman 2017 “Comparing Social Robot Screen and Voice Interfaces for SmartHome Control” In CHI ’17 Proceedings of the 2017 CHI Conference on Human Factors in Computing Systems New York The Association for Computing Machinery 580–628 Martin Bella and Bruce Hanington 2012 Universal Methods of Design 100 Ways to Research Complex Problems Develop Innovative Ideas and Design Effective Solutions Beverly MA Rockport Publishers Miseikis Justinas Pietro Caroni Patricia Duchamp Alina Gasser Rastislav Marko Nelija MIseikien˙e Frederik Zwilling Charles de Castelbajac Lucas Eicher Michael Fruh et al 2020 “LioA Personal Robot Assistant for HumanRobot Interaction and Care Applications” IEEE Robotics and Automation Letters 5 4 5339–5346 httpsdoiorg101109LRA20203007462 Mondada Francesco Julia Fink Séverin Lemaignan David Mansolino Florian Wille and Karmen Franinovi´c 2016 “Ranger an example of integration of robotics into the home ecosystem” In New Trends in Medical and Service Robots 38 181–189 httpsdoiorg101007978331923832615 Mori M K F MacDorman and N Kageki 2012 “The Uncanny Valley From the Field” IEEE Robotics amp Automation Magazine 19 2 98–100 httpsdoiorg101109MRA20122192811 Nielsen Jakob and Thomas K Landauer 1993 “A Mathematical Model of the Finding of Usability Problems” In CHI rsquo93 Proceedings of the INTERACT ’93 New York Association for Computing Machinery 206–213 httpsdoiorg101145169059169166 Odom William T Abigail J Sellen Richard Banks David S Kirk Tim Regan Mark Selby Jodi L Forlizzi and John Zimmerman 2014 “Designing for Slowness Anticipation and ReVisitation A Long Term Field Study of the Photobox” In CHI rsquo14 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems New York Association for Computing Machinery 1961–1970 httpsdoiorg10114525562882557178 Ostrowski Anastasia K Vasiliki Zygouras HaeWon Park and Cynthia Breazeal 2021 “Small Group Interactions with VoiceUser Interfaces Exploring Social Embodiment Rapport and Engagement” In HRI ’21 Proceedings of the 2021 ACMIEEE International Conference on HumanRobot Interaction New York Association for Computing Machinery 322–331 https doiorg10114534340733444655 Palaver Wolfgang 2013 René Girard’s Mimetic Theory Translated by Gabriel Borrud East Lansing Michigan State University Press Paschal T M A Bell J Sperry S Sieniewicz R J Wood and J C Weaver 2019 “Design Fabrication and Characterization of an Untethered Amphibious Sea UrchinInspired Robot” IEEE Robotics and Automation Letters 4 4 3348–3354 httpsdoiorg101109LRA20192926683 Ramirez Milan Valentina Dominique Deuff and Gentiane Venture Forthcoming “Egg shaped white and emotional robots” Journal of Intelligent amp Robotic Systems Scassellati Brian Laura Boccanfuso ChienMing Huang Marilena Mademtzi Meiying Qin Nicole Salomons Pamela Ventola and Frederick Shic 2018 “Improving social skills in children with ASD using a longterm inhome social robot” Science Robotics 3 21 httpsdoiorg101126sciroboticsaat7544 Trovato Gabriele Massimiliano Zecca Salvatore Sessa Lorenzo Jamone Jaap Ham Kenji Hashimoto and Atsuo Takanishi 2013 “Crosscultural study on humanrobot greeting interaction acceptance and discomfort by Egyptians and Japanese” Paladyn Journal of Behavioral Robotics 4 2 83–93 httpsdoiorg102478pjbr20130006 Vaussard Florian Michael Bonani Philippe R´etornaz Alcherio Martinoli and Francesco Mondada 2011 “Towards autonomous energywise RObjects” In Towards Autonomous Robotic Systems Proceedings of the 12th Conference Towards Autonomous Robotic Systems Berlin Springer 311–322 Venkatesh Alladi 1985 “A Conceptualization of the HouseholdTechnology” Advances in Consumer Research 12 189–194 Venkatesh Alladi 1996 “Computers and Other Interactive Technologies for the Home” Communications of the ACM 39 12 4–54 Venture Gentiane and Dana Kuli´c 2019 “Robot expressive motions a survey of generation and evaluation methods” ACM Transactions on HumanRobot Interaction 8 4 1–17 Verhagen Tibert Bart Van Den Hooff and Selmar Meents 2015 “Toward a better use of the semantic differential in IS research An integrative framework of suggested action” Journal of the Association for Information Systems 16 21 to cite this article This article is using Chicago format for its references Deuff Dominique Gentiane Venture Isabelle MillevillePennel and Ioana Ocnarescu 2023 “Yōkobo an object of sensitive presence” able journal httpsablejournalorgyokobo MLA EN Deuff Dominique Gentiane Venture Isabelle MillevillePennel and Ioana Ocnarescu “Yōkobo an object of sensitive presence” able journal 2023 httpsablejournalorgyokobo ISO 690 EN DEUFF D VENTURE G MILLEVILLEPENNEL I and OCNARESCU I Yōkobo an object of sensitive presence able journal online 2023 Available from httpsablejournalorgyokobo APA EN Deuff D Venture G MillevillePennel I amp Ocnarescu I 2023 Yōkobo an object of sensitive presence able journal httpsablejournalorgyokobo data design engineering ergonomy exploration human-robot-interaction human-robot-human illustration light object-design presence relationship robot robotics slow-technology sociology soft-robotics speculative technology
imprimer la lumière
Mette Ramsgaard Thomsen, Guro Tyse, Martin Tamke & Aurélie Mosse
Mette Ramsgaard Thomsen, Guro Tyse, Martin Tamke & Aurélie Mosse bacterial luminescence as a 3Dprinted spiral microarchitecture Mette Ramsgaard Thomsen Guro Tyse Martin Tamke Aurélie Mosse about this contribution Modern biology is in the process of reinterpreting our body Where the body was once considered an autonomous controlled and essentially closed organism we are now understood as participating in an ecology of commensal symbiotic and pathogenic microorganisms It is believed that we are inhabited by 10–100 trillion microbial cells Ursell et al 2012 Yang 2012 This radical rethinking of our body has existential consequences Helmreich 2016 What is it to be human how is the body functioning and what does health and will mean in such an open interacting system Imprimer la lumière asks if architecture is based on a humanism—that is an understanding of being human—how will such a new selfunderstanding create profound differences in how architecture is conceived shaped and materialized Sitting at the intersection of architecture and textile design practices and underpinned by a design probes approach the project examines—from a practicebased perspective—the digital crafting of 3Dprinted bioluminescent microarchitectures While bioluminescence is commonly used as a marker in biology and medicine in the fields of design and architectural it has mainly been investigated as an alternative to public and domestic lighting Estevez 2007 Chassard 2015 van Dongen 2014 Thomsen 2017 Here we use bacterial luminescence as the means to explore the appropriation of living microorganisms as an architectural materiality both from a critical and practical perspective In terms of fabrication the project investigates new means by which to design with the lightemitting Vibrio fischeri bacteria through advanced robotcontrolled 3Dprinting technologies based on the extrusion of an agarbased bespoke nutritive medium The technological setup relying on a collaborative robot and methods supporting the experiments are discussed in more depth in earlier publications Tyse et al 2022 Ramsgaard et al 2022 Ramsgaard et al 2021 Here we share a series of material probes on selfilluminating living microarchitectures exploring the printability of a nurturing medium for bioluminescent bacteria and how its formal resolution—its height thickness and geometry—affect and control their light performance In particular we propose a visual comparison of 3D printedspiral towerbased variations in time a typological structure chosen for its ability to channel the water in which the bioluminescent bacteria thrive in These microarchitectures are part of a larger study exploring the relationship between the architecture of the 3Dprinted nutritive medium and the bacterial propagation throughout this milieu in other words how the design of the ecosystem’s topology affects the lightemitting metabolism and the perception of their luminescence through time Thomsen et al 2021 They also constitute a practicebased ground from which to question and reflect on how architecture can become host for an ecology of species in symbiotic coexistence credits authors Mette Ramsgaard Thomsen Martin Tamke Guro Tyse Aurélie Mosse Centre for Information Technology and Architecture Royal Danish Academy Copenhagen Denmark Soft Matters research group EnsadLab École des Arts Décoratifs Université PSL Paris France graphic designer Arp is Arp Studio Dimitri Charrel editorial mediator Aurélie Mosse references and rights illustration rights and references A 3Dprinted spiral microarchitecture inhabited by the bioluminescent Vibrio fischeri bacteria in darkness Imprimer la lumière project 2021 CITASoft Matters Photo credit Guro Tyse Reproduced with permission bibliography and references Chassard Maëlle 2015 “Bioentreprise Glowee bioéclaire les villes de demain” Biofutur 367 64–64 Van Dongen Teresa 2014 Ambio httpwwwteresavandongencomAmbio Estévez Alberto 2007 “Genetic Barcelona Project The genetic creation of bioluminescent plants for urban and domestic use” Leonardo no 4 Helmreich Stefan 2016 “Homo Microbis” In Sounding the Limits of Life Essays in the Anthropology of Biology and Beyond 62–72 Princeton NJ Princeton University Mosse Aurélie 2021 ImpressioVivo httpssoftmattersensadlabfrimpressiovivo Thomsen Mette Ramsgaard Martin Tamke Aurélie Mosse and Guro Tyse 2021 “Designed Substrates for Living Architecture Performance—Imprimer La Lumière” Conference paper CEES 2021 – Construction Energy Environment amp Sustainability Itecons University of Coimbra Portugal Thomsen Mette Ramsgaard Martin Tamke Aurélie Mosse Jakob SiederSemlitsch Hanae Bradshaw Buchwald Emil Fabritius and Maria Mosshammer 2022 “Imprimer la lumière 3D printing bioluminescence for architectural materiality” In Proceedings of the 2021 DigitalFUTURES CDRF 2021 Singapore Springer httpsdoiorg101007978981165983628 Roosegaarde Daan 2017 Glowing Nature httpswwwstudioroosegaardenet Ursell Luke Jessica Metcalf Laura Parfey and Rob Knight 2012 “Defining the human microbiome” Nutrition Reviews 70 suppl 1 S38–44 httpsdoiorg101111j17534887201200493x Yang Joy 2012 “The human microbiome project extending the definition of what constitutes a human” National Human Genome Research Institute httpswwwgenomegov27549400thehumanmicrobiomeprojectextendingthedefinitionofwhatconstitutesahuman to cite this article This article is using Chicago format for its references Mosse Aurélie Guro Tyse Martin Tamke and Mette Ramsgaard Thomsen 2023 “Imprimer la Lumière Bacterial Luminescence as a 3DPrinted Spiral MicroArchitecture” able journal httpsablejournalorgimprimerlalumiere MLA EN Mosse Aurélie Guro Tyse Martin Tamke and Mette Ramsgaard Thomsen “Imprimer la Lumière Bacterial Luminescence as a 3DPrinted Spiral MicroArchitecture” able journal 2023 httpsablejournalorgimprimerlalumiere ISO 690 EN MOSSE Aurélie TYSE Guro TAMKE Martin and RAMSGAARD THOMSEN Mette Imprimer la Lumière Bacterial Luminescence as a 3DPrinted Spiral MicroArchitecture able journal online 2023 Available from httpsablejournalorgimprimerlalumiere APA EN Mosse A Tyse G Tamke M amp Ramsgaard Thomsen M 2023 Imprimer la Lumière Bacterial Luminescence as a 3DPrinted Spiral MicroArchitecture able journal httpsablejournalorgimprimerlalumiere 3d-printing architectural-materiality architecture bacteria bio-inspired bio-digital-crafting biodesign biology bioluminescence bioprinting color design digital-craft ecology environment light living-matter matter micro-architecture printing textile
Chaitén: land of volcanoes
Karen Holmberg, Andrés Burbano, Constanza Gomez, Pierre Puentes, Javiera Letelier, Amy Donovan, Jul…
Karen Holmberg, Andrés Burbano, Constanza Gomez, Pierre Puentes, Javiera Letelier, Amy Donovan, Jul… Karen Holmberg Andrés Burbano Constanza Gomez Pierre Puentes Javiera Letelier Amy Donovan Julie Morin Rory Walsh Thierry Dupradou about this contribution This panable visual essay traces both a coastline and timeline of northwestern Patagonia which is part of a highly dynamic environmental region Indigenous peoples who traversed its coast for millennia were witnesses to glacial retreat dramatic sea level rise and repeated volcanic eruptions amongst other landscape and climate changes Permanent settlement of the area near the Chaitén volcano in Chilean Patagonia began only a century ago when settlers from other areas including Osorno the Chiloe islands and Argentina built homes and developed a local culture based on industries that included fishing boat making basket making textiles livestock and bee keeping in a remote but thriving town In May 2008 the Chaitén volcano erupted prompting one of the largest evacuations in modern Chilean history Within two days the human populations of Chaitén and nearby Futaleufú were relocated and dispersed in distant cities with little time to plan and no clear knowledge of the length of time they would be displaced Farm animals pets family mementos and the familiar landscapes of home were lost over the three years of exile that elapsed before resettlement was permitted Even if it did not cause largescale loss of human life the eruption was still a deeply disruptive and traumatic event for residents In the process of surveying a new site for the town of Chaitén a cave complex filled with prehistoric rock art and shell middens was encountered in a distinctive landscape monument called the Vilcún While the proposed new location for the town was rejected by townspeople who fought to rebuild on the site of the old town the cultural heritage represented by the Vilcún rock art caves and the geological heritage represented by the volcanic landscape are now contributing to the ongoing rebirth of the town A new interpretive center in Chaitén was built in the midst of houses ruined by the eruption Together they are designed to serve as a nexus for community memory tourism information science communication and education and art as part of a development strategy based on local heritage and educational outreach This offers opportunities for academic and technical programs for local youth that did not exist prior and also conveys future risks and community resilience This is part of a vibrant creative explosion inadvertently prompted by the volcanic eruption Once the site of disaster Chaitén is now a site of regeneration credits graphic design Pierre Puentes editorial mediator Karen Holmberg authors Karen Holmberg New York University Andrés Burbano Universitat Oberta de Catalunya in Barcelonas Constanza Gomez Fundación ProCultura Pierre Puentes independent designer Javiera Letelier Universidad Austral de Chile amp Centro de Investigación en Ecosistemas de la PatagoniaCIEP Amy Donovan University of Cambridge Julie Morin University of Cambridge Rory Walshe University of Cambridge Thierry Dupradou independent photographer acknowledgment This project was made possible by the unflagging efforts of Constanza Gomez with ProCultura to assist the recovery of Chaitén and is dedicated to the Chaitén townspeople and their resilience financial support The graphic design work for this submission was funded by the This is Not a Drill program directed by Mona Sloane through the Future Imagination Fund at NYU Tisch references and rights illustration rights and references Copyrights 2023 by the authors Reproduced with permission bibliography and references Borrero Luis A Amalia Nuevo Delaunay and César Méndez 2019 « Ethnographical and historical accounts for understanding the exploration of new lands The case of Central Western Patagonia Southernmost South America » Journal of Anthropological Archaeology 541821116 doi httpsdoiorg101016jjaa201902001 Carn S J Pallister L Lara J Ewart S Watt A Prata R Thomas and G Villarosa 2009 « The unexpected awakening of Chaitén volcano Chile » Eos Transactions American Geophysical Union 90 24 2056 doi 1010292009EO240001 Fuentes Pino Anita and Ana Maria Ugarte Caviedes 2015 ReCreando Chaitén en Comunidad Santiago Mavel SA Morabito García Ezequiel Alejandro BeltránTriviño Carla M Terrizzano Florencia Bechis Jeremías Likerman Albrecht Von Quadt and Víctor A Ramos 2021 « The Influence of Climate on the Dynamics of Mountain Building Within the Northern Patagonian Andes » Tectonics 40 2e2020TC006374 doi httpsdoiorg1010292020TC006374 Holmberg Karen 2020 « Landing on the terrestrial volcano » In Critical Zones The Science and Politics of Landing on Earth edited by Bruno Latour and Peter Weibel 5657 Cambridge MA MIT Press Jara Ignacio A Patricio I Moreno Brent V Alloway and Rewi M Newnham 2019 « A 15400year long record of vegetation fireregime and climate changes from the northern Patagonian Andes » Quaternary Science Reviews 226 106005 doi httpsdoiorg101016jquascirev2019106005 Museo de Sitio de Chaitén Chaíten Chile httpswwwinstagramcommuseodesitiochaitenigshidNTdlMDg3MTY3D ProCultura 2018 Chaiten Inventario de Inmuebles Patrimoniales Edited by Constanza Gómez Santiago Andros Impresores ProCultura 2018 Patagonia Verde Edited by Constanza Gómez Santiago Andros Impresores Reyes Omar Carolina Belmar Manuel San Román Flavia Morello and Ximena Urbina 2020 « Avances en la secuencia cronologica del mar interior de Chiloe Patagonia Occidental Sitios arqueologicos San Juan 1 Tauco 1 y 2 » Magallania Chile 48 no 1 173184 to cite this article This article is using Chicago format for its references Holmberg Karen Andrés Burbano Constanza Gomez Javiera Letelier Amy Donovan Julie Morin Rory Walshe Pierre Puentes and Thierry Dupradou 2023 “Chaitén Land of Volcanoes” able journal httpsablejournalorgchaitenlandofvolcanoes MLA EN Holmberg Karen et al “Chaitén Land of Volcanoes” able journal 2023 httpsablejournalorgchaitenlandofvolcanoe ISO 690 EN HOLMBERG Karen et al “Chaitén Land of Volcanoes” able journal online 2023 Available from httpsablejournalorgchaitenlandofvolcanoes APA EN Holmberg K Burbano A Gomez C Letelier J Donovan A Morin J8230Dupradou T 2023 Chaitén Land of Volcanoes able journal httpsablejournalorgchaitenlandofvolcanoes archaeology archive climate coastline communitymemory crisis culturalheritage disaster ecology environment environmental-change environmentalsciences excavation exploration geography geoheritage geosciences identity landscape memory migration natural-sciences regeneration resilience rockart territory
holding on
Jean-Robert Dantou, Florence Weber & Ninon Bonzom
Jean-Robert Dantou, Florence Weber & Ninon Bonzom photography and reflexive ethnography JeanRobert Dantou Florence Weber Ninon Bonzom about this contribution What resources do people facing great difficulties linked to the increase in social inequalities between territories use daily Why do some people in precarious situations move from one region to another and not others How do these relocations endured or chosen contribute to locking them in or giving them back control over their lives A loss of income or the hope of an easier life may lead to residential relocation to areas where the cost of living is lower rent food where relatives are available to share domestic tasks in the broadest sense Staying put when neighbors leave having to leave a neighborhood where the cost of living has risen sharply seeing one’s neighborhood become impoverished empty collapsed seeing adjacent neighborhoods get richer all these factors obfuscate attitudes towards the future and lead to emotions such as anger shame or sadness These questions are raised by a collaborative social science study that examines the role of economic dynamics and public authorities in the selective collapse of portions of the French territory The photographic investigation conducted in Tonnerre between 2017 and 2022 is the first unit implemented by this collective research It focuses on the conditions necessary for photography to be an effective heuristic tool in the service of scientific knowledge Formally the work is part of a lineage partially interrupted during the second half of the twentieth century that of alliances between photography and social sciences forged a century earlier in Europe Thomson and Smith in Australia Gillen and Spencer and in the United States Boas and Hastings The project advocates the notion of photographic and ethnographic practice closer to a craft rather than an art form a profession rather than an artistic gesture for production of knowledge at the service of accretion of understanding and interdisciplinary cooperation rather than the competitive search for innovation On the zoomable platform the visual essay unfolds on three levels The first layer presents a map of the city of Tonnerre that highlights the important structures for the survey pictograms indicate the entry points to the territory the caring institutions that allow people to survive the vacant places that play a key role in the arrival of precarious populations and the shelters that provide protection from the cold and rain The second layer shows a selection of portraits with captions providing information on the different ways in which people have settled in Tonnerre over the past ten years The framework engages the people photographed at several stages of the production They have chosen the places where the pictures were taken They have also chosen the places to which their portraits are linked on the map either because they spend time there or because they have in those locations an emotional connection related to their hopes and doubts And they have also coauthored the captions accompanying the photographs to explain their singular relationship to the area The third layer follows two rationales the places identified on the map refer to photographic documentation of the territory while each portrait refers to the resources mobilized to deal with daily life as well as photographic situations From an epistemological perspective this is about restoring the gap between the observed world and its photographic representation a reminder that photographic materials in order to be usable must be related to the singular context of their production the distance between photographer and subject monochromatic effects and things that are outofframe such as the photographer’s body language during the shoot More information about the images can be found in the « illustration rights and references » section credits authors Jean Robert Dantou Florence Weber and Ninon Bonzom photographs and artistic direction JeanRobert Dantou photographer PhD candidate SACRe ENS Université PSL Agence VU’ scientific director Florence Weber sociologist and anthropologist ENS Université PSL graphic design Ninon Bonzom coordination and project management Léa SaintRaymond ENS Université PSL supported by Published with the support of Ministère de la Culture 8211 Bibliothèque Nationale de France Grande commande nationale « Radioscopie de la France regards sur un pays traversé par la crise sanitaire » École universitaire de recherche Translitteræ Investissements d’avenir program ANR10IDEX000102 PSL and ANR17EURE0025 and the EA SACRePSL See references and rights below for image captions references and rights illustration rights and references Dantou JeanRobert Florence Weber and Ninon Bonzom 2021 First layer Map of the city of Tonnerre Credits © 2021 Ninon Bonzom Reproduced with permission Dantou JeanRobert 20192021 Portraits from the photography series « Arriver » Photos © 20192021 JeanRobert DantouSACRe ENS PSLAgence VUrsquo Reproduced with permission Dantou JeanRobert 20192021 Portraits from the photography series « Tenir » Photos © 20192022 JeanRobert DantouBNFSACRe ENS PSLAgence VUrsquo Reproduced with permission Dantou JeanRobert 2021 Portraits from the photography series « Photographier » Photos © 2021 JeanRobert DantouSACRe ENS PSLAgence VUrsquo Reproduced with permission 8211 W152 Bouchra Prés Hauts district January 2021 W101 Olivia Prés Hauts district December 2020 W114 Ludovic Prés Hauts district December 2020 W132 Éric Felder Prés Hauts district January 2021 W135 Sébastien Prés Hauts district January 2021 W141 Gérald Prés Hauts district January 2021 W086 Luca Canal de Bourgogne November 2020 W206 Isabel Quartier de l’Europe February 2021 DAJ8140 Patrick Les Lices district June 2019 W100 Bachir Tonnerre Heights December 2020 DAJ8276 Giuseppe Trotti Rue du Général Campenon March 2019 W169 Lugrid Valdi “La Cascade” February 2021 8211 W152 Bouchra arrived in Tonnerre in February 2020 at the age of 43 after spending several months in a night shelter in Migennes Her portrait appears on the map at the level of the limestone cliff that overlooks the city which corresponds to the horizon she sees from her bedroom window from the PrésHauts district She describes this hill as a « horizon to overcome » a metaphor for the daily difficulties of leaving her room and apartment Behind her portrait appears a series of screenshots that put into perspective the long time it took to take the picture W101 Olivia arrived in Tonnerre in September 2020 at the age of 30 after a long hospitalization in Auxerre Her portrait presents an ordinary everyday scene during which she listens to Ethiopian music on her cell phone Olivia wanted her photograph to appear on the map at the Pavillon Bleu a brasserie where she goes almost every day to buy her tobacco and meet a friend W114 Ludovic arrived in Tonnerre in 2010 at the age of 40 after several years on the street His portrait was taken at his home at the end of the day in December in the winter light at the table where he explains he used to sit to think His portrait is attached to some photographs from the series Photographier taken at a place called « La Cascade » which question the issue of distance in the photographic relationship W132 Eric Felder arrived in Tonnerre in 2010 at the age of 42 after having lived in a hostel in Auxerre for two years His portrait appears on the map at the Bar des Sports where he likes to stop for a coffee on the terrace « This morning I had eight or ten coffees I drink one smoke a cigarette and order another » Eric doesnrsquot like his portrait very much he thinks he leans his head too much that itrsquos unbalanced His portrait is linked to photographs from the series Photographier a reflective documentation of the operation of cutting up the world which the photographic act does W135 Sébastien arrived at the Résidence Accueil in the PrésHauts district in 2020 at the age of 43 He wanted his portrait to appear on the map at the Cascade « I donrsquot like it Tonnerre there is no work itrsquos dead The only quiet place is the Cascade » His portrait is attached to photographs questioning one of the paradigms of the photographic relationship the choice of background W141 Gérald is originally from Tonnerre he arrived at the Résidence Accueil in the PrésHauts district five years ago at the age of 47 Here he poses on the bed in his room which he describes as the place where he spends most of his time Gérald wanted his portrait to appear on the map at « La Glacière » a cave near the house where he arrived in Tonnerre at the age of three His portrait is linked to photographs from the series Photographier in a reflexive documentation of the photographic gesture W086 Luca arrived in Tonnerre at the end of October 2020 at the age of 20 after a month spent on the streets of Auxerre His portrait is linked to three forms of resistance that are part of his daily life regular weight training a knife to defend himself and drawing Luca left town a few days after we met and we have since lost contact with him His portrait appears on the map at the location where the photograph was taken W206 Isabel arrived in Tonnerre from Portugal in August 2013 at the age of 41 to join her husband who had found a job in the vineyards in Chablis a few months earlier She describes her exile and arrival in Tonnerre as a difficult ordeal Her portrait is attached to a sequence of photographs taken moments later for which she brought together her children and husband Her portrait appears on the map at Notre Dame de Tonnerre Church « Every Sunday or so I come to light a candle and say a prayer so that one day I can go back to my country » DAJ8140 Patrick arrived in Tonnerre with his partner Céline in May 2015 He was 60 years old at the time and she was almost 40 Originally from the inner suburbs of Paris they arrived in Tonnerre after staying with a cousin in SaintOuen for several years They got married in Tonnerre on May 14 2016 Patrickrsquos portrait appears on the map at La Cascade where they like to go for a walk meet friends or have a picnic The last layer shows a series of photographs presenting both the circulation of photographs in the investigation and Patrickrsquos close family his wife brother and nephews W100 Bachir arrived in Tonnerre at the end of November 2020 at the age of 54 after staying for a few months with friends in a nearby town He was only in Tonnerre for a few days before finding social housing about 50 kilometers away in the town of Joigny Two photographs appear behind his portrait a scene of rest on the cell phone in the emergency housing of the Centre Communal drsquoAction Sociale and a portrait dressed for boxing a sport he practices daily to keep fit and stay in shape His portrait appears on the map at the location where the photograph was taken DAJ8276 Giuseppe Trotti has lived on Rue Campenon for about sixty years Regarded as one of the best dancers in the city he poses here in March 2019 in ballroom attire in the street in front of his home Almost every morning Giuseppe rides his bike to buy bread and run a few errands before returning to make lunch for his wife He wanted his portrait to appear on the map at the level of Rue Campenon which he describes as the place where he founded his family His portrait is linked to a series of photographs from the Tenir series which on the one hand depicts a morning routine structuring his days and on the other hand refers to the rhythm of the fieldwork relationship JeanRobert Dantou spent approximately one week every six weeks in Tonnerre and each of his field days begins with a photograph of Giuseppe on his bicycle at the same street corner usually between 830 and 900 am W169 Lugrid Valdi arrived in Tonnerre in March 2020 at the age of 40 after several months in a parenting center in Auxerre Her portrait is linked to a series of photographs taken a few minutes later on the banks of the Armançon River where she likes to come for a walk Lugrid wanted her portrait to appear on the map at the train station « I wasnrsquot used to seeing an abandoned train station It affected me not to find an agent to ask what time the train was passing I was used to Paris I was completely lost here » bibliography and references SOCIAL SCIENCES Gramain Agnès and Florence Weber 2003 “Modéliser l’économie domestique” In Charges de famille Dépendance et parenté dans la France contemporaine edited by Séverine Gojard et al 9–42 Paris La Découverte Gramain Agnès and Samuel Neuberg 2009 “Réagencements territoriaux récents et conduite des politiques sociales à l’échelle locale” Travail et Emploi 119 77–87 Piketty Thomas Capital in the TwentyFirst Century Translated by Arthur Goldhammer Cambridge MA Harvard University Press 2014 Schwartz Olivier 2011 “La pénétration de la ‘culture psychologique de masse’ dans un groupe populaire paroles de conducteurs de bus” Sociologie 2 4 345–361 Weber Florence 2017 “Le souci du territoire Un espoir pour le XXIe siècle” Presented at Ethnographies et engagements conference Rouen November 9 httpswwwacademiaedu43931280LesouciduterritoireUnespoirpourleXXIesiC3A8cle PHOTOGRAPHY Berlière JeanMarc and Pierre Fournié 2011 Fichés Photographie et identification 18501960 Paris Perrin Bourgois Philippe and Jeff Schonberg 2009 Righteous Dopefiend Berkeley University of California Press Dantou JeanRobert Florence Weber Solène Billaud and Christian Caujolle 2015 The Walls Don’t Speak Three Photographic SetUps for a Fieldwork within Psychiatry TwentySeven Documents NinetySix Photographs Heidelberg Kehrer Evans Walker and James Agee 1941 Let Us Now Praise Famous Men Boston MA Houghton Mifflin Gillen Walter Baldwin and Francis James Spencer 1899 The Native Tribes of Central Australia London Macmillan and Co Joseph Camille 2018 “Des images typiques L’anthropologie physique et la photographie aux ÉtatsUnis dans les années 19201930” Gradhiva 27 no 1 118–143 Lange Dorothea and Paul Taylor 1939 An American Exodus A Record of Human Erosion New York Reynal amp Hitchcock Muratet Myr 2020 Paris Nord Paris Building Books Pataut Marc 2012 Humaine Texts by JeanFrançois Chevrier Véronique NahoumGrappe and Philippe Roussin CherbourgenCotentin Le Point du Jour centre d’art éditeur Robert Denis and René Taesch 1997 Portrait de groupe avant démolition Paris Stock Sander August 1929 Antlitz der Zeit Sechzig Aufnahmen deutscher Menschen des 20 Jahrhunderts preface by Alfred Döblin Munich Kurt Wolff Verlag Thomson John and Adolphe Smith 1878 Street Life in London London Sampson Low Marston Searle and Rivington Le Collectif d’enquêtes politiques and MariePierre Brêtas Pierre Cabanes Daniel Colson Didier Demorcy Ursula Gastfall Marc Monaco Isabelle Stengers 2016 Vivre expérimenter raconter VaulxenVelin Des Mondes à Faire to cite this article This article is using Chicago format for its references Dantou JeanRobert Florence Weber and Ninon Bonzom 2023 “Holding on Photography and Reflexive Ethnography” able journal httpsablejournalorgholdingon MLA EN Dantou JeanRobert Florence Weber and Ninon Bonzom “Holding on Photography and Reflexive Ethnography” able journal 2023 httpsablejournalorgholdingon ISO 690 EN DANTOU JeanRobert WEBER Florence and BONZOM Ninon Holding on Photography and Reflexive Ethnography able journal online 2023 Available from httpsablejournalorgholdingon APA EN Dantou JR Weber F amp Bonzom N 2023 Holding on Photography and Reflexive Ethnography able journal httpsablejournalorgholdingon displacement documentary documentary-photography ethnography geography identity image inequalities memory mental-strength migration photography polarization poverty relationship relegation rural social-inequalities sociology territory
a world that contains many worlds
Francesca Cozzolino & Kristina Solomoukha
Francesca Cozzolino & Kristina Solomoukha from ethnography to interactive visual narration an imagebased investigation of Zapatista iconography Francesca Cozzolino Kristina Solomoukha about this contribution This article presents imagebased research on the iconographic production of the Zapatistas Chiapas southeastern Mexico and the visual universes that are invoked here Product of the collaboration between an anthropologist and an artist this research project is composed of an interactive visual atlas made up of images from different sources temporalities and systems of historicity We question how these images reflect transnational and transhistorical political cultures and how the Zapatistas repurpose different iconographic traditions Drawing inspiration from Aby Warburgrsquos Mnemosyne Atlas and his method we have created a constellation of images based on the repetition of a motif the caracol which evokes for the Zapatistas the imagery of a political process that is « slow » in opposition to the idea of capitalist progress and also the marine snail or concha which is found in the symbolic system of the ancient Maya This motif ranging from the representation of the snail to the spiral and the seashell embodies both the Mayan past and the Zapatista ideals of the present Gossen 1996 Benjamin 2000 To determine the links between the images that make up our corpus we have organized them into two shapes–the snail and the spiral–used in Zapatista embroideries Then we associate other images with these representations from Mayan archaeological sites codices and preHispanic museum collections where these visual motifs are found by taking into account the actors who produced them by variegating them with a color code Ancient Maya in green Zapatistas in blue Zapatista supporters in purple At the iconographic level the ambition of this research is to reveal “significant associations” between different visual cultures by bringing these images together through the effects of proximity and formal or symbolic resemblance The caracol would constitute then the “core” of this cultural continuity LopézAustin 2001 59 that we show through the image On the anthropological level one of the aims is to question the way in which a culture produces the images that constitute its visual and political identity Another of our objectives through our approach is to visually translate the processes specific to anthropological reasoning such as ethnological analogy Kubler 1972 Dehouve 2020 which enables us to postulate the existence of a cultural continuity between the past and the present in a given cultural area Thus this imagebased research aims to test both the semiotic and formal legacy of an iconographic motif and the disjunctions that occur when a visual form acquires different meanings over time Playing with scales unit comparison image combinations we want to deploy a knowledge that displaces the relationship of the visual to the objectivity of scientific analysis and seek the emergence of heuristic pathways through the image Our aim is to shape an interpretative space of the image that is formed through the perspective of the readerspectator and opens to a form of knowledge that is as much structured as aware Laplantine 2005 Learn more about this article here credits authors Francesca Cozzolino Anthropologist Professor and researcher École des Arts Décoratifs Paris Université PSL Lesc CNRS Université Paris Nanterre Kristina Solomoukha Artist lecturer at École des Arts Décoratifs and at EESAB Rennes graphic designer Silvia Dore photo credits see « Illustration copyrights and references » below acknowledgments with the help of Joséphine Mas Hissane Temmar Coraline Arena Malou Messien and Gwenaëlle Lallemand supported by EUR ArTeC 8211 Université Paris 8 references and rights illustration copyrights and references A A1 Polychrome vase depicting one of many scenes of the destruction of the Lords of Xibalba Chama 750–850 CE Published in M D Coe The Lords of the Underworld Princeton NJ Princeton University Press 1978 K578 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber578ampdateaddedampmsnumberampsite Photo © Justin Kerr 2000 Public domain image A2 Polychrome vase representing Chama God N in a shell and a smaller version of the same vegetation ChamaNebaj 800–850 CE K3124 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber3124ampdateaddedampmsnumberampsite Photo © Justin Kerr 1998 Public domain image A3 Polychrome vessel showing God N being pulled from his shell to be cut up by one of the Hero Twins who is holding a knife ChamaNebaj 600–800 CE Princeton Art Museum Princeton197418 K2847 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber2847ampdateaddedampmsnumberampsite Photo © Justin Kerr 1998 Public domain image A4 Polychrome vase showing an unusual scene with God N out of his conch shell Chama 750–850 CE K8334 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber8334ampdateaddedampmsnumberampsite Photo © Justin Kerr 2000 Public domain image A5 PreColumbian shallow ceramic bowl dating from before 1492 Mexico Memorial Art Gallery of Rochester 199614 httpmagartrochestereduobjects1infoqueryPortfolios3D22168522amppage506 Photo © Memorial Art Gallery of Rochester Reproduced with permission A6 Polychrome vase showing a conch shell God N inscription Primary Standard Sequence Dumbarton Oaks Washington DC PCB206 Published in Coe 1975 Polychrome vase 600–800 CE Published in Ancient Maya Art at Dumbarton Oaks Harvard University Press 2012p 311 K2787 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber2787ampdateaddedampmsnumberampsite Photo © Justin Kerr 1998 Public domain image A7 Polychrome vessel showing God N in his shell with a text also mentioning God N 600–800 CE Mint Museum of Art Charlotte NC 79232 K5380 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber5380ampdateaddedampmsnumberampsite Photo © Justin Kerr 2001 Public domain image A8 Polychrome vase showing one of the Hero twins pulling the old God N from his shell while holding a stone knife in his other hand 600–800 CE Published in The Maya Vase Book Vol 6 p 966 K6434 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber6434ampdateaddedampmsnumberampsite Photo © Justin Kerr 2001 Public domain image B B1 Maya figural rattle of God N Jaina Late Classic period c 550–950 CE African Oceanic and PreColumbian Art auction May 13 2011 Sotheby’s New York Sale Number N08749 Lot 137 httpwwwsothebyscomenauctionsecatalogue2011africanoceanicandprecolumbianartn08749lot137html Photo © Sotheby’s Reproduced with permission B2 Large vase representing Itzamnaaj Early PostClassical period Museo Maya de Cancún Mexico Photo © Paolo Codeluppi 2019 Reproduced with permission B3 Incense Burner Pacific Coast Guatemala Middle Classic period AD 350500 The Walters Art Museum Baltimore MD httpsartthewaltersorgdetail80347incenseburner7fbclidIwAR0njy9eVHzliOFCXYKpEOQRO6iRT20zQkBYXscbXp23qWSOFq7LcJy71VE Photo © The Walters Art Museum Public domain image B4 Threedimensional vessel in the form of snail shell with God N emerging and Chak or an impersonator holding a Kawil axe with flint in mouth with incised text Early Classic period Chrysler Museum Norfolk VA 86427 K1285 Astill httpwwwmayavasecom1285stillspdf Photo © Justin Kerr 1980 Public domain image B5 Vessel in the form of a conch shell from which the bust of an elderly man emerges Late Classical period Museo Nacional de Antropología de México httpsmnainahgobmxcoleccionesdetallephpid68401ampsala9amppg6 Photo © Mediateca INAH Reproduced with permission C C1 Drawing studio CompArte 2018 Caracol Morelia Chiapas Mexico Photo © Francisco Lion 2018 Reproduced with permission C2 Mural painting Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2021 Reproduced with permission C3 Cover of Rufián magazine titled “Estética de la autonomía autonomía estética” no 17 January 2014 Photo © Rufián magazine C4 Mural painting Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2021 Reproduced with permission C5 Caracol Jacinto CaneK formerly CEDECI Earth University San Cristobal de Las Casas Chiapas Mexico Photo © Kristina Solomoukha 2021 Reproduced with permission C6 Embroidery made by Zapatistas Chiapas Mexico Photo © Kristina Solomoukha 2021 Reproduced with permission C7 Painting on fabric made by Zapatistas httpsdorsetchiapassolidaritywordpresscom20170101zapatistanewssummaryfornovember2016 Photo © All Rights Reserved C8 Autonomous University for Social Movements logo image website screenshot httpsausmcommunity D D1 Mural painting Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2021 Reproduced with permission D2 Mural painting Resistance and rebellion for humanity Caracol Oventic Chiapas Mexico Photo © ProtoplasmaKid 2018 CC BYSA 40 D3 Mural painting Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2019 Reproduced with permission D4 Mural painting Caracol Oventic Chiapas Mexico httpsdorsetchiapassolidarityfileswordpresscom201308oventic6jpg Photo © All Rights Reserved D5 Paliacate “Aqui estamos Resistimos” Here we stand we resist Schools for Chiapas httpsschoolsforchiapasorgstoreclothingandbootsbandanaclothingandbootspaliacateaquiestamosresistimos2 Photo © Schools for Chiapas All rights reserved E E1 Conch shell trumpet Nayarit Mexico 200 BCE–500 CE LACMA M8629650 httpscollectionslacmaorgnode253539 Photo © LACMA Public domain image E2 Polychrome vase showing birds conch shell deer insects and an inscription Rio Hondo 600–800 CE Published in The Face of Ancient America p106 K2993 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber2993ampdateaddedampmsnumberampsite Photo © Justin Kerr 1998 Public domain image E3 Maya musical conch Early Classic period c 250–450 CE Christie’s auction no 18648 PreColumbian Art Lot 46 httpswwwchristiescomlotlotconquemusicalemayaclassiqueancienenv250450ap6256769lid3ampsclangzh Photo © Christie’s Reproduced with permission E4 Conch shell 2nd century BCE–4th century CE Monte Alban The Metropolitan Museum New York httpswwwmetmuseumorgartcollectionsearch313132 Public domain image E5 Polychrome vase with a red background waterbirds with conches text on the rim and base 600–800 CE K665 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber6665ampdateaddedampmsnumberampsite Photo © Justin Kerr 1998 Public domain image E6 Polychrome vase depicting waterbirds with fish in their beak standing on an abstract section of conch shell marking the entrance to the watery realm Published in The Maya Vase Book vol 4 p 590 K4687 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber4687ampdateaddedampmsnumberampsite Photo © Justin Kerr 1999 Public domain image E7 Conch shell trumpet Museo de las Culturas de Oaxaca Mexico Photo © Kristina Solomoukha 2018 Reproduced with permission E8 Mural painting Comandanta Ramona auditorium Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2018 Reproduced with permission F F1 Conch trumpet player Early PreClassical–Late Classical period INAH Mexico City Photo © Paolo Codeluppi 2019 Reproduced with permission F2 Detail of a painting on cardboard httpeskalequilombofreefrEskaleQuilomborevueschroniqueszapatisteshtm Photo © All rights reserved F3 Mural painted during CompArte 2018 Caracol Morelia Chiapas Mexico Photo © Francisco Lion 2018 Reproduced with permission F4 Mural painting Caracol Oventic Chiapas Mexico httpsprofessionmlaorgdancingwiththezapatistas Photo © Diana Taylor 2013 Reproduced with permission F5 Polychrome vase depicting a hunting scene with a deer in a mesh backpack and a rabbit being cut up 750–850 CE K1373 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber1373ampdateaddedampmsnumberampsite Photo © Justin Kerr 1998 Public domain image F6 Reproduction of an image from the Codex Magliabecchi XIII 11 3 mid15th century held in the Biblioteca Nazionale Centrale di Firenze and available online via the University of Utah httpscollectionslibutaheduark87278s6qn9gd5 Photo © J Willard Marriott Library 2020 Public domain image F7 Polychrome vase showing a dance scene with a person making a fire offering and a deity with a jaguar headdress holding two dance scepters 600–800 CE Published in The Maya Vase Book vol 3 p397 K3247 httpresearchmayavasecomkerrmayalistphpallSearchampholdsearchampx0ampy0ampvasenumber3247ampdateaddedampmsnumberampsite Photo © Justin Kerr 1999 Public domain image F8 War scene Decapitated head dismembered bodies conch player with HASAL on penis Painting the Maya Universe Royal Ceramics of the Classic Period Durham NC Duke University Press1994 K4625 httpresearchmayavasecomkerrmayalistphpallSearchK4625ampholdsearchampx13ampy13ampvasenumberampdateaddedampmsnumberampsite Photo © Justin Kerr 1998 Public domain image G G1 Embroidery made by Zapatistas Chiapas Mexico Photo © Kristina Solomoukha 2017 Reproduced with permission G2 Balumilna mural painting Caracol Oventic Chiapas Mexico Photo © Francesca Cozzolino 2018 Reproduced with permission G3 Painting murals CompArte 2018 Caracol Morelia Chiapas Mexico Photo © Francisco Lion 2018 Reproduced with permission G4 Painting made by Josué 2018 Chiapas Mexico Photo © Kristina Solomoukha 2018 Reproduced with permission G5 Painting made by David 2017 Chiapas Mexico Photo © Francisco Lion 2018 Reproduced with permission G6 Drawing workshop CompArte 2018 Caracol Morelia Chiapas Mexico Photo © Francisco Lion 2018 Reproduced with permission G7 Painting made by Omar in January 2014 Schools for Chiapas httpsschoolsforchiapasorgstoreartesaniapaintingscaracolivstretchedpainting Photo © Schools for Chiapas All rights reserved G8 Mural painting 2014 Caracol Realidad Chiapas Mexico Photo © Kristina Solomoukha 2019 Reproduced with permission G9 Feliz navidad painting by Lucio 2005 Chiapas Mexico httpssextaazcapotzalcoblogspotcom201705comoseriaunacasadondequepanmuchoshtmlm1 Photo © All Rights Reserved G10 Mural painted by Promotores de la Educación and youth in the Horizonte region 2018 Zona altos Chiapas Mexico httpsradiozapatistaorgp27931 Photo © Unknown CC BYSA 4 0 H H1 Embroidery made by Zapatistas Chiapas Mexico Photo © Kristina Solomoukha 2017 Reproduced with permission H2 Postcard with the image of the painting made by Beatriz Aurora 2003 San Cristobal de Las Casas Chiapas Mexico Photo © Kristina Solomoukha 2019 Reproduced with permission H3 Mural painting Resistance and rebellion for humanity Caracol Oventic Chiapas Mexico Photo © ProtoplasmaKid 2018 CC BYSA 40 H4 American students from CELMRAZ The Zapatista Autonomous Rebel Center of Mayan Languages Tzotzil and Spanish painting a mural 2018 Caracol Oventic Chiapas Mexico Photo © Francesca Cozzolino 2018 Reproduced with permission H5 Mural painted by CELMRAZ international students 2018 Caracol Oventic Chiapas Mexico Photo © Francesca Cozzolino 2018 Reproduced with permission H6 Mural painting Caracol Oventic Chiapas Mexico httpwwwkombiruteracomar201401yaseraanonuevohtml Photo © Kombi Rutera 2014 Reproduced with permission H7 Poster CEDECI Earth University San Cristobal de Las Casas Chiapas Mexico Photo © Kristina Solomoukha 2019 Reproduced with permission H8 Mural painting laj jak’betutik li jme’tik balumile Caracol Oventic Chiapas Mexico Photo © Francesca Cozzolino 2019 Reproduced with permission H9 Sketch of the mural painted by the international students of CELMRAZ Caracol Oventic Chiapas Mexico Photo © Francesca Cozzolino 2018 Reproduced with permission H10 DVD cover of the CompArte festival documentary produced by Los Tercios Compas 2018 Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2018 Reproduced with permission H11 Painting on canvas by Gersam 2018 Photo © Francisco Lion Reproduced with permission H12 Mural painting Caracol Torbellino de Nuestras Palabras Chiapas Mexico httpssipazenwordpresscom20131207chiapasdenunciationofharassmentandattacks fromthewhirlwindofourwordscaracol Photo © SIPAZ 2013 Reproduced with permission H13 Women forming a spiral shape known as “Caracol Semillero de la Comandanta Ramona” at the Second International Meeting of Women Who Fight 2019 Caracol Morelia Chiapas Mexico httpswwwcitynews1130com20191230mexicoszapatistashostwomenwhofightgathering Photo © Photo SIPA PressIsabel Mateos 2019 Reproduced with permission I I1 Mural painting Chiapas Mexico Chiapas Mexico httpswwwindymediaorguken200712388584html Photo © All rights reserved I2 Mural painting detail Chiapas Mexico httpeskalequilombofreefrEskaleQuilomborevueschroniqueszapatistesintrohtm Photo © All rights reserved I3 Mural painting Chiapas Mexico httpeskalequilombofreefrEskaleQuilomborevueschroniqueszapatistesintrohtm Photo © All rights reserved I4 Mural painting Chiapas Mexico httpeskalequilombofreefrEskaleQuilomborevueschroniqueszapatisteshtm Photo © All rights reserved J J1 Screen capture Zapatista musical group “Los Originales de San Andrés del Caracol II de Oventic Corridos Revolucionarios” 2017 httpskomanilelorg20170413pueblomiolosoriginalesdesanandresvideoclipoficial Photo © All rights reserved J2 Mural painting Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2019 Reproduced with permission J3 Mural painting 2014 Caracol Realidad Chiapas Mexico httpswwwlabellerevueorgfrdossiersthematiqueseducationalcomplexentretiengiap Photo © Alessandro Zagato 2014 Reproduced with permission J4 Zapatista snail drawing colored pencils on paper 2005 httpssitesgooglecomsiteedithlopezovallelanegraobrazapatistas Photo © Edith Lopez Ovalle 2005 Reproduced with permission K K1 Embroidery made by Zapatistas httpsschoolsforchiapasorggiftsofchange Photo © Schools for Chiapas All rights reserved K2 Puy ta Cuxlejaltic film festival banner 2018 Caracol Oventic Chiapas Mexico httpswwwresumenlatinoamericanoorg20181201mexicomilesdebaseszapatistasparticiparoncomopublicodeunparticularfestivaldecine Photo © Noé Pineda 2018 All Rights Reserved K3 Mural painting yai jk’opojel Caracol Oventic Chiapas Mexico Photo © Francesca Cozzolino 2017 Reproduced with permission K4 Painting on a basketball backboard 2013 Caracol Oventic Chiapas Mexico httpscronkiteasueduprojectsbuffettchiapasforzapatistasrevolutionmovesatasnailspacewhileglobalappealendures Photo © Rachel Leingang Cronkite Borderlands Project 2014 CCBYSA K5 Mural painting by Adrian Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2019 Reproduced with permission K6 Mural painting Caracol La Garrucha Chiapas Mexico httpswwwsipazorgdossierlecheminducaracollescargotverslautonomielangfr Photo © SIPAZ 2005 Reproduced with permission K7 Mural painted by La RED students 2017 Caracol Oventic Chiapas Mexico Photo © Kristina Solomoukha 2018 Reproduced with permission bibliography and references Benjamin Thomas 2000 “A Time of Reconquest History the Maya Revival and the Zapatista Rebellion in Chiapas” The American Historical Review 105 no 2 417–450 httpsdoiorg1023071571458 Cozzolino Francesca and Kristina Solomoukha 2021 “De l’ethnographie à la narration visuelle interactive une enquête par l’image sur l’iconographie zapatiste” In Ethonographiquesorg Numéro 42 “Rencontre ethnoartistiques” Leïla Baracchini Véronique Dassié Cécile Guillaume Pey and Guy Kayser coordinators httpswwwethnographiquesorg2021CozzolinoSolomoukha Dehouve Danièle 2020 “Anthropologie et histoire Le rapport ethnographique comme source pour les historiens aire mésoaméricaine” In Encyclopédie des historiographies Afriques Amériques Asies Volume 1 Sources et genres historiques edited by Nathalie Kouamé Eric P Meyer and Anne Viguier 53–63 Paris Presses de l’Inalco Gossen Gary H 1996 “Maya Zapatista Move to the Ancient Future” American Anthropologist 98 no 3 528–538 Kubler George 1972 “La evidencia intrínseca y la analogía etnológica en el estudio de las religiones mesoamericanas” In Sociedad Mexicana de Antropología Religión en Mesoamérica XII Mesa Redonda p 124 Lopez Austin Alfredo 2001 “El núcleo duro la cosmovisión y la tradición mesoamericana” In Cosmovisión ritual e identidad de los pueblos indígenas de México edited by Johanna Broda and Jorge Félix Báez 46–65 Mexico City Fondo de Cultura Económica Laplantine François 2005 Le social et le sensible introduction à une anthropologie modale Paris Téraèdre to cite this article This article is using Chicago format for its references Cozzolino Francesca and Kristina Solomoukha 2023 “A World that Contains Many Worlds From Ethnography to Interactive Visual Narration an ImageBased Investigation of Zapatista Iconography” able journal httpsablejournalorgaworldthatcontainsmanyworlds MLA EN Cozzolino Francesca and Kristina Solomoukha “A World that Contains Many Worlds From Ethnography to Interactive Visual Narration an ImageBased Investigation of Zapatista Iconography” able journal 2023 httpsablejournalorgaworldthatcontainsmanyworlds ISO 690 EN COZZOLINO F and SOLOMOUKHA K A World that Contains Many Worlds From Ethnography to Interactive Visual Narration an ImageBased Investigation of Zapatista Iconography able journal online 2023 Available from httpsablejournalorgaworldthatcontainsmanyworlds APA EN Cozzolino F amp Solomoukha K 2023 A World that Contains Many Worlds From Ethnography to Interactive Visual Narration an ImageBased Investigation of Zapatista Iconography able journal httpsablejournalorgaworldthatcontainsmanyworlds anthropology atlas caracole chiapas ethnography iconography mayan mayan-culture political-cultures tangible-knowledge visual-anthropology visual-atlas zapatista zapatista-movement
Illustration copyrights and references
This article is using APA format for its references. How to cite images: https://www.scribbr.com/apa-examples/image/ Artist Name, N. (1992). Name of the picture under a Creative Commons licence [Painting]. URL or DOI. CC BY-NC Artist Name, N. (1684). Name of the picture [Photograph]. URL or DOI. In the public domain. Copyright Holder Name, N. (2015). Name of the picture [Photograph]. URL or DOI. Copyright 2021 by Copyright Holder Name. Reproduced [or adapted] with permission van Gogh, V. (1889). The starry night [Painting]. Museum of Modern Art, New York City, NY, United States. https://www.moma.org/collection/works/79802. Reproduced with permission. Goya, F. (1819–1823). Saturn devouring his son [Painting]. Museo del Prado, Madrid, Spain. In the public domain. Thompson, M. (2020). Canyon wren [Photograph]. Flickr. https://flic.kr/p/2icfzq4. Copyright 2021 by Thompson, M. Reproduced with permission. [Photograph of a violent confrontation during the Hong Kong protests]. (2019). https://twitter.com/xyz11111112. Rights reserved.Bibliography and references
This article is using APA format for its references. American Psychological Association. (2015). Mood induction. In APA dictionary of psychology (2nd ed., p. 667). Dillard, J. P. (2020). Currents in the study of persuasion. In M. B. Oliver, A. A. Raney, & J. Bryant (Eds.), Media effects: Advances in theory and research (4th ed., pp. 115–129). Routledge. Fagan, J. (2019, March 25). Nursing clinical brain. OER Commons. Retrieved January 7, 2020, from https://www.oercommons.org/authoring/53029-nursing-clinical-brain/view Fleming, V. (Director). (1939). Gone with the wind [Film]. Selznick International Pictures; Metro-Goldwyn-Mayer. Goodwin, J. (2019, September). The best part of attending the American Psychological Association's 2019 Convention in Chicago this year was having the opportunity to [Image attached] [Post]. LinkedIn. https://www.linkedin.com/posts/jongoodwin3_apa2019-activity-6569581103441682432-CN98 Grady, J. S., Her, M., Moreno, G., Perez, C., & Yelinek, J. (2019). Emotions in storybooks: A comparison of storybooks that represent ethnic and racial groups in the United States. Psychology of Popular Media Culture, 8(3), 207–217. https://doi.org/10.1037/ppm0000185 Harvard University. (2019, August 28). Soft robotic gripper for jellyfish [Video]. YouTube. https://www.youtube.com/watch?v=guRoWTYfxMs Martinez, J.-L., & Douar, F. (2018–2019). Archaeology goes graphic [Exhibition]. The Louvre, Paris, France. https://www.louvre.fr/en/expositions/archaeology-goes-graphic Merriam-Webster. (n.d.). Semantics. In Merriam-Webster.com dictionary. Retrieved January 4, 2020, from https://www.merriam-webster.com/dictionary/semantics O’Donohue, W. (2017). Content analysis of undergraduate psychology textbooks (ICPSR 21600; Version V1) [Data set]. ICPSR. https://doi.org/10.3886/ICPSR36966.v1 Sapolsky, R. M. (2017). Behave: The biology of humans at our best and worst. Penguin Books. Schaefer, N. K., & Shapiro, B. (2019, September 6). New middle chapter in the story of human evolution. Science, 365(6457), 981–982. https://doi.org/10.1126/science.aay3550 Torino, G. C., Rivera, D. P., Capodilupo, C. M., Nadal, K. L., & Sue, D. W. (Eds.). (2019). Microaggression theory: Influence and implications. John Wiley & Sons. https://doi.org/10.1002/9781119466642 van Gogh, V. (1889). The starry night [Painting]. The Museum of Modern Art, New York, NY, United States. https://www.moma.org/learn/moma_learning/vincent-van-gogh-the-starry-night-1889/ World Health Organization. (2018, May 24). The top 10 causes of death. https://www.who.int/news-room/fact-sheets/detail/the-top-10-causes-of-death1,001 handshakes
François-Joseph Lapointe
François-Joseph Lapointe FrançoisJoseph Lapointe about this contribution I inhabit the microbial world Microbes live on my body and inside my body Every opening in my body envelope is populated by millions and millions of different microbes I eat microbes swallow microbes digest microbes and defecate microbes When I kiss my wife I share microbes with her When I shake hands with my neighbor we swap our microbes We are both part of a complex network of microbes commonly referred to as the microbiome which is an essential part of our individual and collective bodies The composition of my microbiome fluctuates on a daily basis according to my all my actions and encounters Although my genome is fixed my microbiome is changeable and adaptable I can transform my microbiome as I wish to change my identity As part of my artistic practice I expose my own body to various types of experiments aimed at changing the makeup of my microbiome I then use the tools of science to quantify the effects produced On February 3 2016 I shook hands with 1001 people at the Berlin Transmediale gradually transforming the invisible community of microbes living in the palm of my right hand At regular intervals assistants took samples of this skin microbiome to study how contact with others transforms who we are Since then I have repeated this hybrid project at the interface of art and science in Copenhagen Montreal Perth San Francisco Baltimore and Paris The performance of 1001 handshakes raises awareness through physical engagement through acts of participation and exchange at the social individual and microbial levels As a scientist the objective of this experiment was to collect scientific data on the human microbiome the dynamics of contamination of my microbiome in contact with the microbiome of others As a bioartist it was more the notion of individuality that appealed to me a philosophical concept that I formalize through microbiome selfportraits or microbiome selfies generated from the DNA of bacteria harvested from the palm of my hand Hidden beyond the visible in the palm of a hand as the most curious visitors zoom in these microbiome selfies reveal themselves on a micro scale Am I still the same after a thousand handshakes with strangers These multicolored bacterial networks attest to my metamorphosis This mundane action of the handshake comes to us today in a new light amidst a global pandemic exacerbated by social distancing The limits of my body are not those of my skin I touch therefore I am I carry traces of your microscopic identity with me I am a network of microbial cells that dance with my own cells to construct the person that I am in real time credits author FrançoisJoseph Lapointe biologist and bioartist Professor amp Researcher at Université de Montréal editorial mediation Gwenaëlle Lallemand graphic designer Bertrand Sandrez photo credits see below acknowledgments Copenhagen Adam Bencard Louise Whiteley curators Linda Fønss Anna Simone KofoedKristiansen Lea Korsholm Louise Kristensen Maria Loroño Leturiondo Anne Sofie Pinstrup Jørgensen Elin Rosenbek Severinsen Mika Rosenberg Emma Strip Lisa Sutherland assistants Berlin Christian de Lutz Regine Rapp curators Alanna Lynch assistant Montréal Geneviève Dubois Virginie LemieuxLabonté assistants Cindy Bouchard Etienne Lord photovideo Baltimore Margaret MacDonald curator Anne Estes assistant San Francisco Alexandra Carmichael assistant Paris Gwenaelle Lallemand assistant Olivier Kruzer video Perth Carley Ternes assistant supported by Fonds de recherche du Québec – Société et culture references and rights illustration rights and references Copyright 2022 by the author Reproduced with permission FrançoisJoseph Lapointe Microbiome Selfie 2014–2020 Photo and data visualization credits FrançoisJoseph Lapointe bibliography and references Gimbert Carine and FrançoisJoseph Lapointe 2015 “Selftracking the microbiome where do we go from here” Microbiome 3 70 httpsdoiorg101186s401680150138x Hutter Thiago Carine Gimbert Frédéric Bouchard and FrançoisJoseph Lapointe 2015 “Being human is a gut feeling” Microbiome 3 9 httpsdoiorg101186s4016801500767 Lapointe FrançoisJoseph 2017 “De la transformation expérimentale du microbiote cutané” Images en Dermatologie 10 202–205 Lapointe FrançoisJoseph 2017 “Je touche donc je suis” Inter Art Actuel 125 56–57 httpsideruditorgiderudit84838ac Lapointe FrançoisJoseph 2019 “La performance artistique comme dispositif d’expérimentation scientifique” In Art performance manœuvre coefficients de visibilité edited by M Collet and A E Létourneau 195–202 Dijon Les Presses du Réel Lapointe FrançoisJoseph 2020 “Autoportraits au microbiome” Pour la science horssérie 109 28–31 Lapointe FrançoisJoseph 2021 “Die experimentelle Veränderung des menschlichen Mikrobioms als künstlerische Praxis” In Naturkultur 8211 Alles ist Interaktion edited by M Schneider 61–68 Berlin SteidlVerlag Parke Emily C Brett Calcott and Maureen A O’Malley 2018 “A cautionary note for claims about the microbiomersquos impact on the ‘self’” PLoS Biology 1 no 9 e2006654 httpsdoiorg101371journalpbio2006654 Rees Tobias Thomas Bosch and Angela E Douglas 2018 “How the microbiome challenges our concept of self” PLoS Biology 16 no 2 e2005358 httpsdoiorg101371journalpbio2005358 to cite this article This article is using Chicago format for its references Lapointe FrançoisJoseph 2023 “1001 handshakes” able journal httpsablejournalorg1001handshakes MLA EN Lapointe FrançoisJoseph “1001 handshakes”able journal 2023 httpsablejournalorg1001handshakes ISO 690 EN LAPOINTE FJ 1001 handshakes able journal online 2023 Available from httpsablejournalorg1001handshakes APA EN Lapointe FJ 2023 1001 handshakes able journal httpsablejournalorg1001handshakes bacteria biology borders cartography colonization contagion data data-visualization geography identity living-matter microbiome networks performance relationship selfie spatial
alchemy of color
Jean-Marc Chomaz & Olga Flór
Jean-Marc Chomaz & Olga Flór enlightening nanoworlds JeanMarc Chomaz Olga Flór about this contribution Alchemy of Color Enlightening Nanoworlds is a researchcreation project designed to challenge the certitudes of our perception by presenting gold and silver objects sculpted at a nanoscale invisible to all optical processes The result is two complementary installations A Thousand Shades of Green an Attempt – nanolithographies a nanoengraving on a glass disk and Alchimie de la lumière – nanosculptures Coloring is an artistic gesture a sensitive use of light associated with human visual perception But coloring is also a physicochemical process associated with the interaction between photons and the molecular matter of pigments and inks The colors of nanoparticles are a consequence of another light and matter interaction Smaller than the photons that strike them the metal nanosculptures are electrified and deflect the rainbow’s path Here color is no longer a molecular property of light absorption by pigments or dyes but a resonance that makes form tangible This photonic resonance of light with nanoscale textures belongs to the family of structural coloration It differs from the latter through interferences that occurs when the object is larger a fraction of a micron in size about half the photon’s wavelength Classical pigments absorb light as do plants they appear green since the chlorophyl absorbs the blue and the red of the visible spectrum One of alchemy’s ancient goals was to transmute matter lead into gold copper into silver In the present project the nanoscale sculptures that interfere with light are made of gold and silver and the alchemy refers here to the transmutation of the photons into plasmon In an inversion of roles invisible gold and silver objects are performing in front of the spectator the alchemical transformation of light producing new colors as if light and colors were matter A Thousand Shades of Green an Attempt is a nano engraving test using electronic lithography employing millions of gold cylinders whose diameters increase from 50 to 100 nanometers on a 2squarecentimeter glass disk During the process some parts of the metal layer deposited through the lithographic mask—too large for current technologies limited to 1 square millimeter—are torn away when the mask is peeled off The damaged areas then reveal a world of iridescence in green orange and blue The two installations Alchimie de la lumière – nanosculptures resemble cabinets of curiosity cabinet they were created for the exhibition OUERT in Bourges 2019 and Bourges contemporain in 2021 The glass forms isolated or creating a landscape change color according to the transformations of the light scene The blown forms contain metallic nanoparticles produced by chemical assembly which emit a thousand new shades of green depending on the angle that we look at it from The aqueous nanoparticle solution thus appears green when seen in direct light and orange or blue in transparency Thus the two installations constitute a modern form of vanities In classical painting earthly goods money scientific instruments or symbols of knowledge were represented scattered or broken on the ground alluding to their all being in vain with respect to a higher inaccessible reality a transcendence Here the nano engraving on the disk is broken and the perfect silver and gold nano spheres are invisible and only reveal their presence in the transformation of light into the multiple shades produced the sensible dimension taking over the sensitive control credits authors Olga Flór artist designer and JeanMarc Chomaz physicist artist Hydrodynamics Laboratory CNRSÉcole Polytechnique Palaiseau France in collaboration with Giancarlo Rizza physicist and researcher at the French Alternative Energies and Atomic Energy Commission CEA Vincenzo Giannini researcher at the Institute for the Structure of Matter Madrid Spain and the researchers at the Department of Applied Science and Technology Politecnico di Torino Italy Sébastien Joulie and Caroline Bonafos Centre for Materials Elaboration and Structural Studies Toulouse France JeanMichel Wierniezky glassblower École Polytechnique Palaiseau France Hynd Remita Mireille Benoit and Anaïs Lehoux researchers in physical chemistry at the Physical Chemistry Laboratory CNRSUniversity ParisSud Orsay France editorial mediation Julie Sauret graphic designer Olga Flór rights and references illustration rights and references JeanMarc Chomaz and Olga Flór 2020 Alchemy of Color – Enlightening Nanoworlds Copyright 2021 by the authors Reproduced with permission Photo Olga Flór bibliography and references Chen Yifang 2015 “Nanofabrication by electron beam lithography and its applications A review” Microelectronic Engineering 135 57–72 Colomban Philippe 2015 “Nanoparticules et couleur une tradition millénaire” Photoniques 37–41 Encyclopédie ou Dictionnaire raisonné des sciences des arts et des métiers 1765 Edited by Denis Diderot and Jean d’Alembert Volume 12 Paris first edition “Perroquet rouge et vert” 398 “Perroquet vert commun” 399 “Petit perroquet vert” 399 de Jaucourt Louis “Perroquet vert varié” 399 de Jaucourt Louis “Perroquet tapissé” 400 de Jaucourt Louis “Plumes des oiseaux” 800 Gangnaik Anushka Yordan Georgiev and Justin Holmes 2017 “New Generation Electron Beam Resists A Review” Chemistry of Materials 29 no 5 1898–1917 Hooke Robert 1665 Micrographia or Some physiological descriptions of minute bodies made by magnifying glasses London J Martyn and J Allestry Kolle Mathias 2014 Photonic Structures Inspired by Nature Doctoral thesis httpsdoiorg1017863CAM16723 Kinoshita Shåuichi 2008 Structural Colors in the Realm of Nature Singapore World Scientific Publishing Co Mouchet Sebastien and Olivier Deparis 2021 Natural Photonics and Bioinspiration Boston MA Artech House Pluchery Olivier Hynd Remita and Delphine Schaming 2013 “Demonstrative experiments about gold nanoparticles and nanofilms an introduction to nanoscience” Gold Bulletin 46 319–327 Ruste Jacky 2013 “Microscopie électronique à balayage 8211 Principe et équipement” Techniques de lrsquoingénieur March 10 httpsdoiorg1051257av3p865 Schaming Delphine Olivier Plucheery and Hynd Remita 2014 “La ruée vers le nanoor” Pour la Science no 444 32–38 Schaming Delphine and Hynd Remita 2015 “Nanotechnology from the ancient time to nowadays” Foundations of Chemistry 17 187–205 Sun Cheng Erich Müller Matthias Meffert and Dagmar Gerthsen 2018 “On the Progress of Scanning Transmission Electron Microscopy STEM Imaging in a Scanning Electron Microscope” Microscopy and Microanalysis 24 no 2 99–106 Venel Gabriel François and Louis de Jaucourt 1765 “Paon 8211 Paon du Tibet” In Encyclopédie ou Dictionnaire raisonné des sciences des arts et des métiers Edited by Denis Diderot and Jean d’Alembert Volume 11 830–833 Paris first edition Bergström Ingvar 2014 “Les trois catégories de vanités en peinture” vanitesamsterdam httpsvanitesamsterdamwordpresscom20140408lestroiscategoriesdevanitesenpeinture to cite this article This article is using Chicago format for its references Chomaz JeanMarc and Olga Flór 2023 “Alchemy of Color Enlightening Nanoworlds” able journal httpsablejournalorgalchemyofcolor MLA EN Chomaz JeanMarc and Olga Flór “Alchemy of Color Enlightening Nanoworlds” able journal 2023 httpsablejournalorgalchemyofcolor ISO 690 EN CHOMAZ JM and FLÓR O Alchemy of Color Enlightening Nanoworlds able journal online 2023 Available from httpsablejournalorgalchemyofcolor APA EN Chomaz JM amp Flór O 2023 Alchemy of Color Enlightening Nanoworlds able journal httpsablejournalorgalchemyofcolor alchemy behavioral-matter color fluids landscape light lithography nanoparticles nanoscience oscillation sculpture
solve for (x)futurisms
Peter Lunenfeld, Denise Gonzales Crisp, and the students of UCLA’s Design Futures 2021
Peter Lunenfeld, Denise Gonzales Crisp, and the students of UCLA’s Design Futures 2021 a design brief Peter Lunenfeld Denise Gonzales Crisp and the students of UCLA’s Design Futures 2021 about this contribution The United States of America went through a radical selfexamination in 2020 The shock of the Covid pandemic combined with economic and social dislocations followed by the police murder of George Floyd forced a reckoning on race racism and state violence That same year Opal Tometi a cofounder of Black Lives Matter wrote that she believes “that what we are witnessing now is the opening up of imaginations where people are beginning to think more expansively about what the solutions could be”1Isaac Chotiner “A Black Lives Matter CoFounder Explains Why This Time Is Different” The New Yorker June 3 2020 See article In the Design Media Arts department at UCLA I teach a course titled Design Futures that has historically been an incubator for hybrid research and production In response to the issues of the moment we look to investigate how design theory and praxis could open up a series of new more inclusive futures The question before us was what can design do to help us through this moment How could we conceive or design futures that we actually want to live in rather than as briefs from commercial interests We determined one answer to a series of design research provocations that we termed Solve for xFuturisms These ran the gamut from Afro Futurisms to Latinx Futurisms Indigenous Futurisms to Queer Futurisms The group researched extant practices modeled design ethnographies and then mocked up their own bespoke future scenarios What follows is a visual primer of the x Futurisms of a small group of young makers on the edge of the Pacific Ocean in a year that was definitively in and of the 21st century Peter Lunenfeld credits course conceptualization and organization Peter Lunenfeld Professor of Design Media Arts UCLA design and reconceptualization Denise Gonzales Crisp North Carolina State Professor and designer and Maya Lu design intern at UCLA students groups Lichen House Omar Ababneh Jessica Till Arin Fazio Jennifer Hotes Haley Penn Kathleen Yang Fewturism Sihan Li Chuyu Liu Lala Luo Qiao Li Guo Chen ecoFuturist Dormitory Henry Barbera Kaize Xie Sejun Park Amie Xu Min Li Kat Sung Greedy Sheep Sabrina Chang Emily Kim Rachel Kim Fabian Rios Serena Tie amp Charles Tran AquaFuturism Albert Acosta Zara Aiken Helena Alcala Nel Alpysbayeva Sascha Barnes Natalia Beltran Symbiotica Nickolas Brogdon Paige Brunson Joanna Chen Charlie Chica Peyton Gee Sustainability Center Eli Henriksen Eun Seo Kang Max Gruber Christine Kao Chloe Kim United Terra Adam Lomeli Collette Lee Sophie Lin Jane Lee Justin Lee Ruth Lee Wavation Max Loy Anika Murthy Anton Nguyen Aileen Oh Hannah Oh Ashley Ong references and rights illustration rights and references xFuturisms 2022 Denise Gonzales Crisp Lichen House 2021 Omar Ababneh Jessica Till Arin Fazio Jennifer Hotes Haley Penn Kathleen Yang Fewturism 2021 Sihan Li Chuyu Liu Lala Luo Qiao Li Guo Chen ecoFuturist Dormitory 2021 Henry Barbera Kaize Xie Sejun Park Amie Xu Min Li Kat Sung Greedy Sheep 2021 Sabrina Chang Emily Kim Rachel Kim Fabian Rios Serena Tie amp Charles Tran AquaFuturism 2021 Albert Acosta Zara Aiken Helena Alcala Nel Alpysbayeva Sascha Barnes Natalia Beltran Symbiotica 2021 Nickolas Brogdon Paige Brunson Joanna Chen Charlie Chica Peyton Gee Sustainability Center 2021 Eli Henriksen Eun Seo Kang Max Gruber Christine Kao Chloe Kim United Terra 2021 Adam Lomeli Collette Lee Sophie Lin Jane Lee Justin Lee Ruth Lee Wavation 2021 Max Loy Anika Murthy Anton Nguyen Aileen Oh Hannah Oh Ashley Ong Graphic design and graphic transformation of images by Denise Gonzales Crisp bibliography and references Burdick Anne 2019 “Designing Futures from the Inside” Special Issue Design and Futures Vol I Journal of Futures Studies 23 no 3 Crisp Denise Gonzales 2003 “Towards a Definition of the Decorational” Design Research Methods and Perspectives ed Brenda Laurel Cambridge MA MIT Press Candy Stuart and Kelly Kornet 2019 “Turning Foresight Inside Out An Introduction to Ethnographic Experiential Futures” Special Issue Design and Futures Vol I Journal of Futures Studies 23 no 3 Donohue Micah 2020 “SciFi Ain’t Nothing but Mojo Misspelled Latinx Futurism in Smoking Mirror Blues” Chiricú Journal Latinao Literatures Arts and Cultures 5 no 1 Heinrich Ari Howard Chiang and Tawei Chi 2020 “Toward a Queer Sinofuturism” Screen Bodies 5 issue 2 Hogan Ernest 2001 « Stuck outside Tenochtitlán with the Tezcatlipoca Blues” Excerpt from Smoking Mirror Blues La Grande OR Wordcraft of Oregon Kilgore De Witt Douglas 2014 “Afrofuturism” The Oxford Handbook of Science Fiction ed Rob Latham Oxford Oxford University Press Lunenfeld Peter 2011 “Bespoke Futures” In The Secret War Between Downloading and Uploading Cambridge MA MIT Press Lunenfeld Peter 2019 “The California Design Dominion” Los Angeles Review of Books Quarterly no 24 httpslareviewofbooksorgarticlecaliforniadesigndominionthirteenpropositions Lunenfeld Peter 2021 “Colloidal Suspension Immersion and the Pedagogies of Making” Design Denise Gonzales Crisp Sensate Journal 2021 httpssensatejournalcomcolloidalsuspensionimmersionandthepedagogiesofmaking Wallis Keziah and Miriam Ross 2020 “Fourth VR Indigenous Virtual Reality Practice” Convergence 27 no 2 It’s an excerpt of a LatinX futurist novel « »Stuck outside Tenochtitlan with the Tezcatlipoca Blues” an excerpt of Ernest Hogan LatinX futurist novel Smoking Mirror Blues to cite this article This article is using Chicago format for its references Lunenfeld Peter Denise Gonzales Crisp and the Students of UCLA DESMA 104 2023 “Solve for xFuturisms A Design Brief”able journal httpsablejournalorgsolveforxfuturisms MLA EN Lunenfeld Peter Denise Gonzales Crisp and the Students of UCLA DESMA 104 “Solve for xFuturisms A Design Brief” able journal 2023 httpsablejournalorgsolveforxfuturisms ISO 690 EN LUNENFELD Peter GONZALES CRISP Denise and the Students of UCLA DESMA 104 Solve for xFuturisms A Design Brief able journal online 2023 Available from httpsablejournalorgsolveforxfuturisms APA EN Lunenfeld P Gonzales Crisp D amp the Students of UCLA DESMA 104 2023 Solve for xFuturisms A Design Brief able journal httpsablejournalorgsolveforxfuturisms afrofuturism bespoke-futures critical-design critical-race-theory design design-pedagogy design-research identity indigenousfuturism inequalities latinxfuturism pedagogy sinofuturism speculative
seeing beyond the frame(s)
Francesco Sebregondi & Emile Costard
Francesco Sebregondi & Emile Costard a case study of imagetospace analysis for citizen investigation Francesco Sebregondi Emile Costard about this contribution On December 1 2018 on the margins of a gilets jaunes protest in Marseille 80yearold Zineb Redouane was struck in the face by a tear gas grenade as she was standing at the window of her fourthfloor apartment The following day she died in hospital In partnership with the French investigative media organization Disclose the Londonbased research agency Forensic Architecture produced a counterinvestigation into the circumstances of her death The resulting report published in video format in December 2020 provided evidence of the responsibility of the French police for her killing In the proposed publication the lead researcher on the case for Forensic Architecture and the independent journalist filmmaker who together authored the report use it as a casestudy to discuss the methodology of imagetospace analysis for citizen investigations By revisiting the case the publication brings questions of methods and techniques of visual analysis to the foreground in an effort to discuss the benefits as well as the limitations of using such tools in the particular research framework of a citizen investigation namely one in which access to data is limited by underlying structures of power and where the question of seeing beyond the established frames—of images of discourses—forms the primary research challenge By unpacking the argument presented in the counterinvestigation of Zineb Redouane’s killing the publication uses the videoable format to deploy an multilayered visual explanation of the techniques pioneered by Forensic Architecture to produce its investigative reports In so doing the aim of the publication is to foster the development and widespread adoption of opensource visual techniques for citizen investigations credits “The Killing of Zineb Redouane” Forensic Architecture investigation team project coordinator Francesco Sebregondi researcher Martyna Marciniak video editing Emile Costard Disclose team Mathias Destal Magali Serre acknowledgements Collectif « DésarmonsLes » Milfet Redouane references and rights illustration rights and references Video shot by anonymous neighbor of Zineb Redouane December 1 2018 18h04 Rights reserved Portrait of Zineb Redouane date unknown Courtesy of Milfet Redouane Google Maps Google Street View Views of Noailles district in Marseilles France Map data Photos © 2020 Google Maps Google Street View Reproduced with permission All other images by Forensic Architecture © Forensic Architecture Reproduced with permission bibliography and references Weizman Eyal Shela Sheikh Susan Schuppli Francesco Sebregondi and Anselm Franke eds 2014 Forensis The Architecture of Public Truth Berlin Sternberg Press Weizman Eyal 2019 Forensic Architecture Violence at the Threshold of Detectability New York Zone Books to cite this article This article is using Chicago format for its references Sebregondi Francesco and Emile Costard 2023 “Seeing Beyond the Frames a Case Study of ImagetoSpace Analysis for Citizen Investigation” able journal httpsablejournalorgseeingbeyondtheframes MLA EN Sebregondi Francesco and Emile Costard “Seeing Beyond the Frames a Case Study of ImagetoSpace Analysis for Citizen Investigation” able journal 2023 httpsablejournalorgseeingbeyondtheframes ISO 690 EN SEBREGONDI F and COSTARD E Seeing Beyond the Frames a Case Study of ImagetoSpace Analysis for Citizen Investigation able journal online 2023 Available from httpsablejournalorgseeingbeyondtheframes APA EN Sebregondi F amp Costard E 2023 Seeing Beyond the Frames a Case Study of ImagetoSpace Analysis for Citizen Investigation able journal httpsablejournalorgseeingbeyondtheframes architecture counter-investigation expertise geolocation open-source spatial spatial-analysis state-violence visual-evidence
Rêve quantique
Virgile Novarina, Walid Breidi & LABOFACTORY (Jean-Marc Chomaz, Laurent Karst)
Virgile Novarina, Walid Breidi & LABOFACTORY (Jean-Marc Chomaz, Laurent Karst) the day I imagined the ocean Virgile Novarina Walid Breidi LABOFACTORY JeanMarc Chomaz Laurent Karst about this contribution While a sleeper may seem inert their brain is going through subconscious creative states Nonrapid eye movement sleep in particular is associated with a lesser perception of their self and their environment During this stage intense exchanges occur between brain regions The brain is a fathomless entity involving billions of interconnected neurons exchanging electrical chemical and physical signals The electronic activity is described by the Schrodinger equation of quantum mechanics for the wave function associated with the electrons shared between all the cells The waveparticle duality applies and depending on the measurement apparatus electrons may be observed as a coherent wave pattern covering large regions of the brain or as particles localized on individual neurons Thus thoughts and dreams belong to the wave functions space neither undulatory nor corpuscular and any measurement corresponds to an arbitrary projection Alpha beta … delta waves are such observables traditionally used to project quantic states of mind onto a predetermined representation But what is lost or gained in such a simple abecedary To explore the richness of brain activity during sleep sleep artist Virgile Novarina in collaboration with digital artist Walid Breid has teamed up with physicistartist JeanMarc Chomaz and architectdesigner Laurent Karst of LABOFACTORY who produce art installations to question our relationships with wind waves clouds and oceans “Full fathom five thy father lies”1William Shakespeare The Tempest Act I Scene 2 the ocean origin and close limbo and shroud The ocean transmits electromagnetic signals only a few meters down Deeper data may only be collected through sound scattering or waterborn measurements from ships buoys or gliders The ocean is animated by streams vortices and waves at all scales Water masses retain the elusive memory of the Earth’s climate at the time they left the surface and sunk deep The associated vertical circulation is slow one thousand years to close the loop It is called Thermohaline Circulation driven by heat and salt density variations Presently it is tempering global warming returning the heat of the past But its fate in the changing world is unknown Could the oceanic circulation stops leading to the next anoxic event as in previous geological periods Rêve quantique the Day I Imagined the Ocean is conceived as an immersive installation that creates connections between the brain and the ocean both unfathomable An installation that keeps the quantum idea of projection onto observables that define a system of states similar in their semantics for ocean and brain waves vortexes streams and pulsations What would happen if the semantics of one universe is translated into the other in a kind of inside out automatic writing Would the visitor entering the transcoded world feel themselves diving into the dream or falling into the ocean or would reality itself be subdued the visitor drowned in their own unconscious The documentary film traces the project’s genesis and the research involved The film brings together the two unfathomable worlds sleep and the ocean It constitutes a visual exploration of the space opened up by the imbalance between the poetic dimensions of the project the scientific facts and knowledge and the human experience of shared research The documentary also interrogates the experience of a visitor entering the intimate space with the sleeper in his bed close to a sort of a lighthouse that contains a miniature ocean Getting closer she notices the headband the cellphone monitoring the brain waves On the floor she observes the shadowgraphic projection of the internal oceanic movements making a bright changing circle 4 meters in diameter What is the connection The artists have patiently built an abecedary of delta wave states from measurements The time series of different states forms a neverending phrase transcoded live into a second abecedary to control a motorized device at the surface of the ocean mimicking the winddriven entrainment Could the visitor perceive that Or be lost in the translation dreaming with the ocean flowing with the sleeper credits authors Virgile Novarina sleep artist Walid Breidi digital artist LABOFACTORY JeanMarc Chomaz physicistartist CNRS École Polytechnique and Laurent Karst architectdesigner in collaboration with Didier Bouchon computer engineer Chaire Arts amp Sciences Antoine Garcia engineer LadHyX École Polytechnique Giancarlo Rizza physicist LSI École Polytechnique “Entre deux insondables À la recherche de Rêve quantique” film direction and editing Hélène Bozzi sound composition Walid Breidi interviews and editorial mediation Julie Sauret Chaire Arts amp Sciences assisted by Anna Acevedo and Lior Toledano captions integration Christophe Pornay sound mixing Frank Williams guitar Martin Machieu piano Stéphane Cochet stock footage Frédéric Picazo Lasse Ronne 3D images Vladimir Kolosov ship images Océane Richet acknowledgements The installationperformance “Rêve quantique The Day I imagined the Ocean” was collectively conceived from 2018 to 2022 at the Hydrodynamics laboratory of École Polytechnique LadHyx CNRS – École Polytechnique with the support of La Chaire Arts amp Sciences of École Polytechnique École des Arts Décoratifs and La Fondation Daniel et Nina Carasso We would like to thank the places and structures that have supported and exhibited the successive prototypes of “Rêve quantique” during the research period musée des Arts et Métiers Paris – Night of Ideas 2020 CC91 La Science de l’Art Biennial – la Piscine d’en Face SainteGenevièvedesBois Festival accesss – Le Bel Ordinaire Pau Nemo Biennial – La Scène de recherche ENS ParisSaclay Festival ZÉRØ1 – La Coursive La Rochelle Festival Les Nuits d’Orient – Un singe en hiver Dijon Institut Français and La Chaire Arts amp Sciences references and rights illustration rights and references Copyrights 2023 by the authors Reproduced with permission bibliography and references Artiushin Gregory and Amita Sehgal 2020 « The glial perspective on sleep and circadian rhythms » Annual Review of Neuroscience vol 43 Barreiro Marcelo Alexey Fedorov Ronald Pacanowski and George Philander 2008 « Abrupt climate changes how freshening of the northern Atlantic affects the thermohaline and winddriven oceanic circulations » Annual Review of Earth and Planetary Sciences vol 36 Boly Mélanie Vincent Perlbarg Guillaume Marrelec Manuel Schabus Steven Laureys Julien Doyon Mélanie PélégriniIssac Pierre Maquet and Habib Benali 2012 « Hierarchical clustering of brain activity during human nonrapid eye movement sleep » Proceedings of the National Academy of Sciences 109 15 58565861 Crary Jonathan and Grégoire Chamayou 2016 247 Le capitalisme à lrsquoassaut du sommeil Paris La Découverte Davis Hallowell 1939 « Electrical phenomena of the brain and spinal cord » Annual Review of Physiology vol 11 Dement William and Nathaniel Kleitman 1957 « Cyclic variations in EEG during sleep and their relation to eye movements body motility and dreaming » Electroencephalography and Clinical Neurophysiology vol 94 673690 Fogli Alessandro Luca Maria Aiello and Daniele Quercia 2020 “Our dreams our selves automatic analysis of dream reports” Royal Society Open Science vol 7 no 8 httpsroyalsocietypublishingorgdoi101098rsos192080 Garrett Chris and Eric Kunze 2007 « Internal tide generation in the deep ocean » Annual Review of Fluid Mechanics vol 39 Goldstein Andrea and Matthew Walker 2014 « The role of sleep in emotional brain function » Annual Review of Clinical Psychology vol 10 Gottesmann Claude 1971 « Psychophysiologie du sommeil » LrsquoAnnée Psychologique vol 71 no 2 pp 451488 He Bin Abbas Sohrabpour Emery Brown and Zhongming Liu 2018 « Electrophysiological source imaging a noninvasive window to brain dynamics » Annual Review of Biomedical Engineering vol 20 Holman Bruce Glen Elliott and Jack Barchas 1975 « Neuroregulators and sleep mechanisms » Annual Review of Medicine vol 261 Legg Sonya 2021 « Mixing by oceanic lee waves » Annual Review of Fluid Mechanics vol 53 Maxworthy Tony and Fred K Browand 1975 « Experiments in rotating and stratified flows oceanographic application » Annual Review of Fluid Mechanics vol 71 More Rishabh and Arezoo Ardekani 2022 « Motion in stratified fluids » Annual Review of Fluid Mechanics vol 55 OrsquoHara Casey and Benjamin Halpern 2022 « Anticipating the future of the worldrsquos ocean » Annual Review of Environment and Resources vol 47 Paller Ken Jessica Creery and Eitan Schechtman 2021 « Memory and sleep how sleep cognition can change the waking mind for the better » Annual Review of Psychology vol 721 Roberts James Leonardo Gollo Romesh Abeysuriya Gloria Roberts Philip Mitchell Mark Woolrich and Michael Breakspear 2019 « Metastable brain waves » Nature Communications 10 1 1056 httpsdoiorg101038s41467019089990 Rogers Alex David 2015 « Environmental change in the deep ocean » Annual Review of Environment and Resources vol 401 RoyantParola Sylvie 2017 « Le manque de sommeil nous tue » Interview by Pascale Kremer Le Monde httpswwwlemondefrmpersoarticle20171117lemanquedesommeilnoustue52164804497916html RoyantParola Sylvie 2022 Comment retrouver le sommeil par soimême Paris Editions Odile Jacob Samson David R 2021 « The Human sleep paradox the unexpected sleeping habits of Homo sapiens » Annual Review of Anthropology vol 50 Shipton Harold 1975 « EEG analysis A history and a prospectus » Annual Review of Biophysics and Bioengineering vol 4 Solms Mark and Olivier Turnbull 2015 Le cerveau et le monde interne Paris Presses Universitaires de France Translated by Fabian Guenolé and Geoffrey Marcaggi Strassberg Richard 2022 Wandering Spirits Chen Shiyuanrsquos Encyclopedia of Dreams Berkeley University of California Press Thakor Nitish and Shanbao Tong 2004 « Advances in quantitative electroencephalogram analysis methods » Annual Review of Biomedical Engineering vol 6 Thorpe Stephen 2004 « Recent developments in the study of ocean turbulence » Annual Review of Earth and Planetary Sciences vol 32 Walker Matthew “You’re Not Getting Enough Sleep—and It’s Killing You” Wired httpswwwwiredcomstoryyourenotgettingenoughsleepanditskillingyouclientserviceid31209ampserviceuserid178e16ampclientservicenamewiredampsupportedservicenameinstagrampublishing Wunsch Carl and Raffaele Ferrari 2004 « Vertical mixing energy and the general circulation of the oceans » Annual Review of Fluid Mechanics vol 36 no 1 to cite this article This article is using Chicago format for its references Novarina Virgile Walid Breidi JeanMarc Chomaz and Laurent Karst 2023 “Rêve Quantique The Day I Imagined the Ocean’” able journal httpsablejournalrevequantique MLA EN Novarina Virgile Walid Breidi JeanMarc Chomaz and Laurent Karst “Rêve Quantique The Day I Imagined the Ocean” able journal 2023 httpsablejournalrevequantique ISO 690 EN NOVARINA Virgile Walid BREIDI JeanMarc CHOMAZ and Laurent KARST Rêve Quantique The Day I Imagined the Ocean able journal online 2023 Available from httpsablejournalrevequantique APA EN Novarina V Breidi W Chomaz JM amp Karst L 2023 Rêve Quantique The Day I Imagined the Ocean able journal httpsablejournalrevequantique architecture brain mode ocean performance physics sleep
clinique vestimentaire
Jeanne Vicerial with the mechatronics department of MINES ParisTech - PSL
Jeanne Vicerial with the mechatronics department of MINES ParisTech - PSL for a new paradigm of creation custommade clothing design Jeanne Vicerial with the mechatronics department of MINES ParisTech PSL about this contribution Today the two techniques for designing and making clothes are generally opposed to each other madetomeasure and readytowear While the latter imposes a size category and requires the individual to adapt the former is adapted to the person The research involved in Jeanne Vicerial’s Clinique vestimentaire merges the two approaches converging to form new systems for the design and making of clothes creating a new paradigm “readytomeasure” This model combines the speed of readytowear with the unique specific nature of madetomeasure in which the clothingobject is connected to the body of the person who wears it This system of designing and making clothes is based on a new approach to composing thread partly “bioinspired” tricotissage or “knittingweaving” between knitting—a single thread—and weaving which enables the creation of a textile assembled in a similar way to human muscular tissue In collaboration with the mechatronics department at MINES ParisTech – PSL led by Yvon Gaignebet the Clinique vestimentaire research project has developed a prototype knittingweaving machine A tool for creation and production the unit is a computerdriven mechanical system for knittingweaving madeto measure clothing at a semiindustrial scale with no waste Dialogue begins with the first encounter with the customer for taking measurements through verbal communication consciously expressed desires and sensations but also nonverbal communication postures and behavior Measures that take into account not only anatomical considerations but also anthropological physiological and psychosociological elements The production of the garment by the knittingweaving table is then done according to the body’s dimensions translated and interpreted digitally and electronically During the production process manual interactions remain possible for adjustments the machine is also a tool and leaves room for interventions reviving the classic interactions of the craft A digital craft with the ultimate goal of designing a custom garment without remnants with a knowhow focused on the precision of the « cut » and assembly and delivering personalized clothing with and for the customer More recently Sculptures vestimentaires continues this research aiming to give women their place and voice with regards to fashion norms and sizing More recently Quarantaine is a formal and visual response to the health crisis at a time when closing and distancing are the order of the day A work is being created every day for 40 days using the only body available—the confined body of its author credits author Jeanne Vicerial designer and SACRe Design PhD École des Arts Décoratifs Paris – PSL Research amp Creation project carried out at EnsadLab thesis supervision by Prof JeanFrançois Bassereau and Dr Aurélie Mosse in collaboration with the mechatronics department of MINES ParisTech – PSL directed by Yvon Gaignebet editorial mediation Gwenaëlle Lallemand graphic designer Arp is Arp Studio Dimitri Charrel photo credits see below sponsors this contribution is supported by the Chaire Beautés PSL rights and references illustrations rights and references Copyright Photos reproduced with permission from the author in 2022 Jeanne Vicerial Clinique vestimentaire 2015 © Béryl Libault de la Chevasnerie École des Arts Décoratifs Jeanne Vicerial Clinique Vestimentaire 2017 © Vivien Bertin Jeanne Vicerial Details of the tricotissage Clinique Vestimentaire 2016 © Clara Giaminardi for Bullet Magazine András Szunyoghy Le Grand Cours drsquoanatomie artistique 2000 Drawings © Adagp Paris 2022 © Ullmann Medien GmbH Rolandsecker Weg 30 53619 Rheinbreitbach Germany All rights reserved Jeanne Vicerial Pattern of the dorsal muscle tissue reproduced in thread by means of tricotissage and affixed to the image above © Adagp Paris 2022 © Ullmann Medien GmbH Rolandsecker Weg 30 53619 Rheinbreitbach Germany Jeanne Vicerial collection Lignes Noires in collaboration with Jennifer Chambaret Clinique Vestimentaire 2017 © Vivien Bertin Jeanne Vicerial Clinique Vestimentaire 2015 © MarieElodie Fallourd École des Arts Décoratifs Jeanne Vicerial 155km long thread dress Clinique Vestimentaire 2015 © Thibaut Della Gaspera Jeanne Vicerial Clinique Vestimentaire 2015 © Maxime Imbert École des Arts Décoratifs Jeanne Vicerial Clinique Vestimentaire 2015 © Maxime Imbert Graphic design Arp is Arp Studio Dimitri Charrel Jeanne Vicerial Clinique Vestimentaire 2019 © Mathieu Faluomi Graphic design Arp is Arp Studio Dimitri Charrel Jeanne Vicerial Clinique Vestimentaire 2019 © Joseph Schiano di Lombo Jeanne Vicerial Clinique Vestimentaire 2019 © Aleksandr Kontini bibliography and references Acuna Diego 2004 Méthodes scientifiques de conception de produit approche francoaméricaine Paris PhD Thesis ENSAM Alberti LeonBattista Pierre Caye and Françoise Choay 2010 L’art d’édifier Paris Seuil Anzieu Didier 1985 Le MoiPeau Paris Dunod Archer Bruce Ken Baynes and Phil Roberts 1992 The nature of research into Design and Technology education Loughborough Loughborough University Arnold Janet 1966 Patterns of Fashion 2 2e ed 1997 London Macmillan London limited Article of the Danish Fashion institute 2017 Pulse of the Fashion industry Barde FA 1834 Traité encyclopédique de l’art du tailleur pp 7374 Section Deuxième Des instruments nécessaires pour bien prendre les mesures pp 73 Barthes Roland 1967 Système de la mode Chap11 Ed 2014 Paris Seuil Barthes Roland Encore le corps Œuvres Complètes V pp 56162 Paris Seuil Bassereau JeanFrançois forthcoming L’essence des matériaux Paris Edition des Mines Bassereau JeanFrançois 2013 Design sensoriel une recherche interdisciplinaire en actionrecherche p141 Tours HdR UFR de Tours Belfanti Carlo Marco 2008 Civilta della mode Bologne Il Mulino Belfanti Carlo Marco 2008 Histoire culturelle de la mode French edition 2017 pp249 Paris IFMregard Birglen Lionel 2016 Mécatronique Cours et exercices corrigés p416 Malakoff Dunod Black Sandy 2012 The Sustainable fashion handbook London Thames and Hudson Black Sandy 2008 Ecochic the fashion paradox London BlackDog Publishing Boucher François and Yvonne Deslandres 2008 Histoire du costume en Occident Des origines à nos jours p 40 Paris Flammarion Bourdieu Pierre and Yvette Delsaut 1975 “Le couturier et sa griffe contribution à une théorie de la magie” Actes de la Recherche en sciences Sociales 1 no1 pp 736 Brossard Michel 1998 “Assis ou debout Réflexions sur l’implantation de l’organisation modulaire de travail dans le vêtement” Relations industrielles Industrial Relations vol 53 no 3 summer 1998 p 403429 Bruna Denis 2013 La Mécanique des Dessous Une Histoire indiscrète de la silhouette pp 2122 Paris Les Arts Décoratifs Caves Richard 2000 Creative industries Contracts between Art and Commerce CambridgeLondon Harvard University Press Chapman Jonathan 2005 Emotionally durable design objects experiences and empathy pp 4042 London Earthscan Charter Martin 2019 Designing for the Circular Economy London Routledge Collet Carole 2012 “Biolace An exploration of the potential of synthetic biology and liing technology for future textiles” Studies in material Thinking vol 7 Deleuze Gilles and Félix Guattari 1980 Capitalisme et schizophrénie 2 Mille plateaux p 549 Paris Éditions de Minuit Ibid pp 594595 Deforge Yves 1989 L’œuvre et le produit Paris Champ Villon Detrez Christine 2002 La construction sociale du corps pp 7677 Paris Seuil Eberle Hannelore Hermann Hermeling Marianne Hornberger and Dieter Menzer 2012 La Technologie du vêtement Paris Éditions Guérin Findeli Alain 2008 As an introduction during Ateliers de la Recherche en Design Nîmes Fletcher Kate and Lynda Grose 2012 Fashion amp Sustainability Design for change London Laurence King Fletcher Kate 2008 Sustainable Fashion and Textiles design journeys pp 9899 London Earthscan Franklin Kate 2018 Radical Matters rethinking materials for sustainable future London Thames amp Hudson Frayling Christopher 19934 “Research in art and design” Royal College of Art Research Papers vol 1 no 1 pp 15 Gautrand Pascal 2012 L’artisanat la main et l’industrialisation Paris IFM Mode de recherche n° 18 Godart Frédéric 2010 Sociologie de la mode Paris La Découverte Grau FrançoisMarie 1998 Histoire du costume Paris Puf Gray Carole and Julian Malins 2004 Visualizing research A guide to the Research Process in Art and Design Abingdon Oxon Asgate eBook Grumbach Didier 2008 Histoires de la mode Paris Éditions du Regard Hagene Bernard and Pierre Saliot 1995 Mesures amp Démesure Paris Les éditions de la Cité des sciences et de l’industrie Hegel Georg Wilhelm Friedrich 1944 Esthétique p147 Paris Aubier III 1ère partie Ingold Tim 2018 Faire anthropologie art et archéologie p 108 Bellevaux Dehors Ibid p 263 Ingold Tim 2013 “The Materials of life” Making Anthroplogy Archeology Art and Architecture London Routledge Kandinsky Vassily 1926 Point et ligne sur plan Ed1991 Paris Gallimard Laski Gary 2011 Le design Théorie esthétique de l’histoire industrielle Philosophy thesis Paris Université ParisEst Le Corbusier 1924 Urbanisme Ed1994 p 10 Paris Flammarion LeroiGourhan André 1945 Milieu et technique Ed1975 Paris Albin Michel Levy Strauss Claude 1955 Tristes tropiques Ed 2001 pp 347360 Paris Pocket Morin Edgar 2004 “Éthique” La méthode 6 p 65 Paris Seuil Mosse Aurélie 2014 Gossamer Timescapes Designing selfactuated textiles for the home Danemark The Royal Danish Academy of Fine Arts Schools of Architecture Design and Conservation pp 7479 Ibid pp 219220 Mosse Aurélie and JeanFrançois Bassereau 2019 “Soft Matters en quête d’une pratique du design textile et matière plus résiliente” Sciences du design no 9 p 53 Naylor Maxine and Ralph Ball R 2005 Form Follows Idea An Introduction to Design Poetics pp 2627 London Black Dog Ormen Catherine 2009 Histoires du prêtàporter Paris IFM Prost Robert 1995 Concevoir inventer créer Paris Autrement Quinn Bradley 2010 Textiles futures fashion design and technology pp 5355 Oxford Berg Sèze Claudette 1990 Confort moderne une nouvelle culture du bienêtre Paris Autrement Sherwood James 2010 Savile Row Les maître tailleurs du surmesure Britannique Paris L’Edit Simmel Guido1904 Philosophie de la mode Ed 2015 Paris Allia First publication 2015 Source Bibliothèque nationale de France departement Sciences et techniques 4 V 1180 Vergani Guido 1992 La renaissance de la Mode Italienne Florence la Sala Bianca 19521973 French edition 1993 Milan Electa Waugh Norah 1968 The Cut of Womenrsquos Clothes 16001930 London Faber and faber limited Waugh Norah 1968 Corset and Crinolines London Faber and faber limited Waugh Norah 1968 The Cut of Menrsquos Clothes 16001900 London Faber and faber limited Zacklad Manuel 2017 Design conception création Vers une théorie interdisciplinaire du Design Paris Conservatoire national des Arts et Métiers – Équipe Innovation Published November 07 2017 to cite this article This article is using Chicago format for its references Vicerial Jeanne 2023 “Clinique Vestimentaire for a New Paradigm of Creation amp CustomMade Clothing Design” able journal httpsablejournalorgcliniquevestimentaire MLA EN Vicerial Jeanne “Clinique Vestimentaire for a New Paradigm of Creation amp CustomMade Clothing Design” able journal 2023 httpsablejournalorgcliniquevestimentaire ISO 690 EN VICERIAL Jeanne Clinique Vestimentaire for a New Paradigm of Creation amp CustomMade Clothing Design able journal online 2023 Available from httpsablejournalorgcliniquevestimentaire APA EN Vicerial J 2023 Clinique Vestimentaire for a New Paradigm of Creation amp CustomMade Clothing Design able journal httpsablejournalorgcliniquevestimentaire digital-craft fashion-design ready-to-wear ready-to-measure tailoring
all-embracing view
Arno Gisinger & Anne Bationo-Tillon
Arno Gisinger & Anne Bationo-Tillon genèse des regards Arno Gisinger Anne BationoTillon about this contribution This panable initially anchors the user’s attention in a portrait of a viewer to reveal progressively and successively image display devices with contrasting purposes Using the conceptual framework of the instrumental approach Rabardel 1995 seems to us to be heuristic in order to bring out the instrumented activity of the gaze which is situated in different times and places Shaping the problematic of our research through a visual approach is not to close the analysis but to accompany the genesis of the views in the process of being made Indeed if the user first discovers a portrait of a viewer the questions on either side of the portrait invites them to navigate either towards the object of this viewer’s activity “What is she contemplating” or toward the instrumentation of her gaze “How does she look at what she is looking at” Questions guide the user in the different aspects of the conceptual model which constitutes the core of the instrumental approach the instrument the image display device the subject the Viewer and the object of the activity Faux Terrain The successive questions allow the user to browse within two photographic series by Arno Gisinger Betrachterbilder and Faux Terrain to address the question of the gaze’s formatting through the intermediary of a panoramic device of the end of the 19th century that of the battle of Bergisel in Innsbruck As a counterpoint to the panorama that conditions the gaze the user is then invited to discover this double series Betrachterbilder and Faux Terrain exhibited opposite each other in Frankfurt’s Schirn Kunsthalle in a scenography that encourages the emancipation of the gaze Indeed according to their own path and their own singular logic each visitor can rearrange the images shown in the rotunda Through this gesture within this panable combining photographic and conceptual prisms reiterated in a variety of contexts we invite able users to become progressively aware of the framework of their gaze by making visible image display devices through graphic representations When there is a genesis of the gaze the gaze initially stumbles and is prevented from seeing as usual Then if and only if the experience is opened up the world being viewed and the viewer are both transformed in the interweaving of the gaze It is by wandering through the staging of successive recreations of Arno Gisinger’s photographic and scenographic work that viewers of the able journal come into contact with the experiential depth of their own gaze It is thus the successive reworkings that give shape to the experience of the gaze which settles in a superimposition an accumulation of worlds like nesting dolls This mise en abyme is extended in the reflexive gesture of inviting able’s viewers to look back on their own gaze within the panable The aim of this visual publication is to open a researchcreation program titled “genesis of gazes” at the crossroads of ergonomics photography and education credits authors Anne BationoTillon HEPL Lausanne amp Arno Gisinger Université Paris 8 texts Anne BationoTillon photographs Arno Gisinger designers Arp is Arp Studio Dimitri Charrel with Odilon Coutarel Supported by MSH Paris Nord references and rights illustration rights and references Two photographic series by Arno Gisinger Copyright 2022 Reproduced with permission Betrachterbilder 1998 series of twelve color photographs Lambda prints 151 × 124 cm Faux Terrain 1997 series of seven black and white photographs printed on barytine paper laminated on aluminum wooden frames 129 × 156 cm bibliography and references BationoTillon Anne 2013 “Ergonomie et domaine muséal” Activités 10 no 2 82–108 BationoTillon Anne and Françoise Decortis 2016 “Understanding museum activity to contribute to the design of tools for cultural mediation new dimensions of activity” Le Travail Humain 79 no 1 53–70 BationoTillon Anne and Pierre Rabardel 2015 “L’approche instrumentale conceptualiser et concevoir pour le développement” In Concevoir pour les enfants Edited by Françoise Decortis Paris Presses universitaires de France Georges DidiHuberman 1992 Ce que nous voyons ce qui nous regarde Paris Les éditions de Minuit Gisinger Arno 2014 “Faux terrain et Betrachterbilder Voir l’histoire dans un panorama” In Théorème 19 Paysages et Mémoire Cinéma photographie dispositifs audiovisuels Edited by Michèle Lagny Christa Blümlinger Sylvie Lindeperg and Sylvie Rollet Paris Presses de la Sorbonne Nouvelle Lugon Olivier 2020 “‘L’espace est resté voyou’ entretien avec Arno Gisinger” Focales 4 Photographies mises en espaces entretien httpsfocalesunivstetiennefrindexphpid2800 portfolio httpsfocalesunivstetiennefrindexphpid2836 8211 Arno Gisinger 2013 Topoï Paris Trans Photographic Press Rabardel Pierre 1995 Les Hommes et les technologies Approche cognitive des instruments contemporains Paris Armand Colin to cite this article This article is using Chicago format for its references Gisinger Arno and Anne BationoTillon 2023 “AllEmbracing View Genèse des Regards” able journal httpsablejournalorgallembracingview MLA EN Gisinger Arno and Anne BationoTillon “AllEmbracing View Genèse des Regards” able journal 2023 From httpsablejournalorgallembracingview ISO 690 EN GISINGER A and BATIONOTILLON A AllEmbracing View Genèse des Regards able journal online 2023 Available from httpsablejournalorgallembracingview APA EN Gisinger A amp BationoTillon A 2023 AllEmbracing View Genèse des Regards able journal From httpsablejournalorgallembracingview architecture dispositif ergonomy ethnographic-writings genesis genesis-of-gazes history illustration immersive memory panorama pedagogy perception photography psychology scenography space theater visual-anthropology
going with the flow
Acer saccharum, Cameras, Christoforos Pappas, Computers, Daniel Kneeshaw, Data loggers, Dendrometers…
Acer saccharum, Cameras, Christoforos Pappas, Computers, Daniel Kneeshaw, Data loggers, Dendrometers… exploring ecotechnologies in practice Acer saccharum Cameras Christoforos Pappas Computers Daniel Kneeshaw Data loggers Dendrometers Electricity Heat Humidity Gisèle Trudel Manon Huberland Maple Grove MarieEve Morissette Médiane Microphones Québec Rain SainteÉméliedelÉnergie Sap flow sensors SmartForests Canada Softwares Soil Sugar Bush Sun Time Touch Designer Water Wind 60 frames per second about this contribution Trees scientists artists and their instruments sense how water flows Trees take risks during the growing season by boosting transpiration sap flow or they hold back Veins expanding contracting Water is pulled upwards from the soil to the air passing by tree stems But if drought occurs trees could die Scientists and trees are both sensing in tandem with environmental conditions Because of its regular fluctuations the process can be compared to the pulse of a heart During daytime trees transpire resulting in stem water movement This decreases from the outer to the inner sapwood and because of dehydration stem shrinkage ensues During the night the stem swells due to rehydration and water recharge Pulling funneling decreasing expanding The pulsing relays these functions in relation with light and atmospheric humidity Scientists monitor the tree stem with heated needles and encircle the tree trunks with straps and machines A dendrometer quantifies the changes in the stem’s size due to swelling shrinkage and growth rendering it in microns On July 3 2020 for a mature sugar maple tree its diameter was 35500013 μm at 300 pm and 35506247 μm at midnight On the same day and for the same tree a sap flow sensor combined with a data logger and algorithms reported the transpiration in centimeters per hour 105 cmh at 500 am and 1489 cmh at 200 pm The sampling concurs the tree is constantly changing The tree’s experience is shared with humans Building together from experience the knowledge about and in changing climates opening up to multiplicities embracing ecotechnologies in practice the tree’s own the instrumentation and the milieu of cooccurrence Visualizations weave relations of this meeting between quantitative and qualitative sensing an interoperability with computers Is this data fidelity Here sap flow becomes a series of dots densifying the tree water deficit is inferred by the changing dimensions of the intervals between lines pointing to local changes and changes in the tree Still Flowing On references and rights illustration rights and references Copyright 2022 All photos by Gisèle Trudel on location at Smartforests Canada research site at SainteÉméliedeL’Énergie Québec Reproduced with permission bibliography and references Ælab 2021 “Ælab bois eau métal 2021 Installation artistique au Jardin botanique de Montréal Documentation of the art installation entitled bois eau métal by Ælab produced by MÉDIANE Canada Research Chair in Arts Ecotechnologies of Practice and Climate Change and in collaboration with SmartForests Canada” Vimeo video httpsvimeocom597377505 Boisclair Louise and Enrico Pitozi 2019 Art immersif affect et émotion L’expérientiel 1 Paris L’Harmattan Boisclair Louise 2020 “ART IMMERSIF AFFECT ET ÉMOTION L’expérientiel 1 – expériencier cartographier événementier” YouTube video httpswwwyoutubecowatchv53HPmnm2uW0 Boisclair Louise 2021 Art écosphérique de l’anthropocène… au symbiocène L’expérientiel 3 Paris L’Harmattan Gabrys Jennifer 2020 “Smart forests and data practices From the Internet of Trees to planetary governance” Big data amp society 7 no 1 httpsdoiorg1011772053951720904871 Pappas Christoforos Nicolas Bélanger Yves Bergeron Olivier Blarquez Han Y H Chen Philip G Comeau Louis De Grandpré Sylvain Delagrange Annie DesRochers Amanda Diochon Loïc D’Orangeville Pierre Drapeau Louis Duchesne Elise Filotas Fabio Gennaretti Daniel Houle Benoit Lafleur David Langor Simon Lebel Desrosiers Francois Lorenzetti Rongzhou Man Christian Messier Miguel Montoro Girona Charles Nock Barb R Thomas Timothy Work and Daniel Kneeshaw 2022 “Smartforests Canada A Network of Monitoring Plots for Forest Management Under Environmental Change” In ClimateSmart Forestry in Mountain Regions Managing Forest Ecosystems Edited by Roberto Tognetti Melanie Smith and Pietro Panzacchi Cham Springer httpsdoiorg101007978303080767216 credits website medianeuqamca instagram medianeforestsensing authors Christoforos Pappas civil engineer researcher and professor in geosciences Daniel Kneeshaw forest ecologist and professor Gisèle Trudel artist and professor MarieEve Morissette designer and masterrsquos student in digital design designers Gisèle Trudel MarieEve Morissette project manager Manon Huberland editorial mediation Jean Dubois financial support The Social Sciences and Humanities Research Council of Canada the Canadian Foundation for Innovation the Fonds de recherche du Québec – Société et culture acknowledgements Université du Québec à Montréal UQAM in TiohtiákeMontreal is situated on the traditional territory of the Kanien’kehàka a place which has long served as a site of meeting and exchange amongst many First Nations including the Kanien’keháka of the Haudenosaunee Confederacy HuronWendat Abenaki and Anishinaabeg to cite this article This article is using Chicago format for its references Acer Saccharum Kneeshaw D Morissette ME Pappas C Trudel G et al 2023 “Going with the Flow Exploring Ecotechnologies in Practice” able journal httpsablejournalorggoingwiththeflow MLA EN Saccharum A et al “Going with the Flow Exploring Ecotechnologies in Practice” able journal 2023 httpsablejournalorggoingwiththeflow ISO 690 EN SACCHARUM A et al Going with the Flow Exploring Ecotechnologies in Practice able journal online 2023 Available from httpsablejournalorggoingwiththeflow APA EN Saccharum A et al 2023 Going with the Flow Exploring Ecotechnologies in Practice able journal httpsablejournalorggoingwiththeflow biology borders climate data-visualization dispositif ecology engineering environment environmentalsciences exploration fluids geosciences immersive landscape living-matter natural-sciences oscillation perception scenography sensors space territory trees
