Journal & Book Publications

The model addresses multiple art forms simultaneously through practices that are tailored for a heterogeneous educational setting yet encompasses a unified perspective. New knowledge is created with students from a heterogeneous setting when they share creative theories from within their own arts discipline. Responding to the common core of the program from various backgrounds provides an opportunity for collaborative, crossdisciplinary, and interdisciplinary work. This new knowledge is shared knowledge, and is created as the students continue to move the boundaries of their scholarly study to include theory and practice from other arts disciplines. Case examples from the program at LASALLE College of the Arts as well examples from the field of arts education in Singapore will be presented to show how both commonalities as well as differences in pedagogical practice are used in the model to foster collaboration, cross-arts communication, and to create new methodology within research and practice.

Citation:
Watkins, Kie. "Heterogeneous Pedagogy: A Model for Tertiary Teaching and Learning across Arts Disciplines." Journal of Beijing Dance Academy, vol. 26, no. 03, 2017, pp. 111-115.

In the same way, this paper examines changing attitudes in Thailand towards photography's artistic status and presumed indexicality as paradigmatic examples of a transformation from the modern to the contemporary. Photography's crucial role in this shift is located in key alterations to the medium's functions and perceptions of its artistic legitimacy. On the one hand, the acceptance of photography as an art form reflects developments in imbricated networks of legitimation, occurring with the rise of international education and exhibition opportunities in the post-Cold War period. On the other hand, the conditions of photography itself, or rather its ontology, produce a conceptualisation of the contemporary as manifested in a desire for proximity with difference. In examining works by a number of contemporary Thai artists, I argue that photography's visualisation of the 'optical unconscious' allows one to fulfil this desire for contemporaneity, while also pointing to the limits of representation as a means of asserting coevality.
Citation:
Veal, Clare Elisabeth. "The Photographic Conditions of Contemporary Thai Art." Journal of Taipei Fine Arts Museum, vol. 34, no. 11, 2017.

Through an iterative design process, we have enhanced existing technical implementations such as wireless data transfer, battery lifespan, two-way communication and data analysis including machine-learning techniques. We conducted object-making sessions and developed software prototypes for audio and visual feedback. We explored a range of experiments related to visual arts, dance, and music by attaching the Twiz to different types of objects to allow users to carry out impromptu interactions. As a result of this process we have gained a better understand of an object’s expressive potential whilst capturing and analyzing its movement.    

Citation:
Schlegel, Andreas, and Cedric Honnet. “Digital Oxymorons: From Ordinary to Expressive Objects Using Tiny Wireless IMUs.” 4th International Conference on Movement Computing, 28-30 June 2017, New York, edited by Kiona Niehaus, Association for Computing Machineries, 2017, doi: 10.1145/3077981.3078040.

Urging readers to "fill the tiny / unmade bed of the search box," these alluring poems build on radically changing communication technologies to explore a new sexuality that does (and does not) dare to tweet its name. Here, finally, is the language of digital love.

Citation:
Whetter, Darryl. Search Box Bed. Palimpsest Press, 2017.

By situating alternate reality games (games that transcend the spatio-temporal delimitation of the “magic circle”) within the discourse of positive and negative freedom, Lushetich queries the capacity of existential amplification (found in all forms of performance and play) to reaffirm corporeally the (neoliberal brand of) negative freedom through what may be termed “ludic servitude”.

Citation:
Lushetich, Natasha. "Performative Disciplinarity in Alternate Reality Games from Foucault to McKenzie and Beyond." Inter Views in Performance Philosophy, edited by Anna Street et al., Palgrave Macmillan, 2017, pp. 107-116.

This existential relation is created through movement, sound, language, chronotypes, physical and symbolic objects, all of which weave bio-social matrixes, micro-cultural landscapes, even individual inscapes – internalized terrains of symbolic meaning. This essay offers a socio- phenomenological account of a medium-security forensic service unit River House, part of the Bethlem Royal hospital, a psychiatric hospital located in Bromley, south London. Its aim is to articulate the interdependence of practice, space, and inscape, while simultaneously shedding light on a very particular, emergent form of existential vulnerability caused by the increasing precarization, the reponsibilization of the individual, and the culture of blame. 

Citation:
Lushetich, Natasha. "The Art of Being Elsewhere: Neoliberal Institutions of Care." The Journal of Somaesthetics, vol. 3, no. 1&2, 2017, pp. 68-92

In the knowledge economy, which produces value from accelerated innovation (also interpretable as the overproduction of the minimally different) value is extracted in two chief ways: via the misplaced rhetoric of excellence, and via netocratic quantification. Both of these processes are further aggravated by the additive nature of the digital media (Han); the irrationality of rationality (Ritzer); and attention deficit. Despite the fact that knowledge in general, and artistic knowledge in particular, is heterogeneous as well as, essentially, undecidable, in this essay I argue for a specific brand of knowledge: idiosyncratic, and, if need be, incomprehensible. Not as a weak ‘I would rather not’ strategy of resistance – to borrow from Herman Melville’s over-exploited, half-dead anti-hero Bartleby – but as an antidote to reductionism, information deluge, and their increasing neurological consequences, such as Information Fatigue Syndrome. 

Citation:
Lushetich, Natasha. "Idiosyncrasy as Strategy in the Age of Epistemic Violence." Artnodes Journal of Art, Science and Technology, no. 20, 2017, doi:10.7238/artnodes.v0i20.3149.

The paper comprises the following points: A discussion of older studies in the area; An outline of the research methodology deployed for the design right infringement survey; A discussion and analysis of key research findings. The conclusions drawn provide insight not only into how design rights are used and enforced in the UK. They also help to establish clarity about the level of robustness of design-related IP options. The paper provides orientation to designers and design IP stakeholders. It culminates in a range of ideas of how the IP system surrounding designs can be enhanced in the UK and in comparable countries.

Citation:
Hillner, Matthias. "Design IP Legislation in the UK - an Opportunity to Innovate?" Conference proceedings of the Design Management Academy, vol. X, 2017, pp. 563-593, doi:10.21606/dma.2017.46.