Art Installation Research Articles

Rêve Quantique

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 wave-particle 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 physicist-artist Jean-Marc Chomaz and architect-designer Laurent Karst of LABOFACTORY, who produce art installations to question our relationships with wind, waves, clouds, and oceans. “Full fathom five thy father lies,”[mfn]William Shakespeare. The Tempest. Act I, Scene 2.[/mfn] 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 water-born 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 never-ending phrase transcoded live into a second abecedary to control a motorized device at the surface of the ocean mimicking the wind-driven entrainment. Could the visitor perceive that? Or be lost in the translation, dreaming with the ocean, flowing with the sleeper?

Retracted: Applying Lightweight Deep Learning-Based Virtual Vision Sensing Technology to Realize and Develop New Media Interactive Art Installation.

[This retracts the article DOI: 10.1155/2022/9119316.].

Searching for Roth, Kafka, and the Other Europe in Spain

Searching for Roth, Kafka, and the Other Europe in Spain Martyna Bryla (bio) When doing my phd on the literary image of eastern europe in the American Cold-War imaginary, I went to Prague one summer, just like Philip Roth did via Vienna, to follow in the footsteps of Franz Kafka. What I actually did was to follow in the footsteps of Roth tracing the steps of Kafka. Whenever I think back to that trip, I am reminded of this evocative sentence from Angelo Maria Ripellino's Magic Prague (1973): "To this day, every evening at five, Franz Kafka returns home to Celetná Street (Zeltnergasse) wearing a bowler hat and black suit" (3). In my mind, I follow Ripellino's lead: as Kafka's dark silhouette recedes into the distance, another figure materializes on an otherwise empty street hazed in golden afternoon light. That other man is of a similar height (they say Kafka was tall!)1 but of a more athletic build than Kafka. By contemporary standards, the man is dressed in a somewhat old-fashioned but still fairly modern manner. If these were the seventies, he would be pinpointed as a Westerner. Kafka never turns around, and the other man never manages to reach him, but they are linked by an invisible bond that transcends time and place that only literature, with its infinite possibilities for imagining other lives in different places, is capable of accommodating. For a long time, I was not aware that Philip Roth had a meaningful connection to Kafka and my part of Europe. As a teenager, I read bits of Portnoy's Complaint (1969), which, per Roth himself, was inspired by Kafka's stories of "spiritual disorientation and obstructed energies" ("In Search"). At the time, however, I would simply reach for whatever my older brother was reading, and Portnoy must have found its way into my hands somewhere between Polish modernism, which we were studying at school, and Henry Miller's Tropic of Cancer (1934). Roth's fiction was not on the syllabus when I was a student of English Philology at the Jagiellonian University in Kraków, Poland, but I remember devouring several [End Page 102] novels by Milan Kundera after my translation theory professor recommended The Unbearable Lightness of Being (1984). The mind likes to detect patterns in seemingly unrelated occurrences, so, in hindsight, there seems to be something augural about my reading of Kundera, who had been friends with Roth and whose works I would be rereading several years later for my Roth-inspired PhD. However, when I was an undergraduate, the events of the Prague Spring, Soviet "normalization," and the Velvet Revolution were to me, born in 1983, little more than history book entries vaguely related to Poland's own struggle against communism epitomized in the red clumped letters of the Solidarity logo and Lech Wałęsa's mustachioed profile. My earliest association with the former Czechoslovakia must have been the rubber squeaky toys, including the little mole Krtek—the Mickey Mouse of the Eastern Bloc—my father once brought me from Prague for Christmas. Since we lived close to the border with eastern Slovakia, in the summer we would take short trips to Svidník, Bardejov, or the adjoining spa town, Bardejovské Kúpele, where the empress Sissi once took her water treatments. Whenever we crossed the border between Poland and Slovakia, following a routine wait and search at customs, I was amazed at the jarring contrast between the lush greenery of the Slovakian forests and the ugliness of World War II tanks and planes exhibited along the road in a manner of giant art installations. I was reminded of this intrusion of history and politics into the landscape of everyday life when as a teenager I was introduced to the East-Central European canon: Hašek, Kafka, and Hrabal. However, it was Kundera who brought Czechoslovakia into light for me, even if at the time I was reading him mostly for the titillating intertwining of politics and eroticism. In comparison to Kraków in the early 2000s, the Prague of the 1970s seemed tragic and romantic at the same time, while Kundera's fiction evoked the...

Introduction

A scene from Grand Panorama, directed and designed by Theodora Skipitares. Photo: Richard Termine.The ever-expanding world of puppetry presents a rich fabric of cultural influences encompassing old and new styles that approach nearly every subject imaginable: from climate change to the performance of ancient texts to contemporary politics and immigration. The pieces collected here provide a snapshot of this artistic field and a plethora of styles, including shadow puppets, hand puppets, Japanese bunraku-style puppets, rod and arm puppets, marionettes, stick puppets, and a melding together of puppetry with dance, physical theatre, and opera.Claudia Orenstein explores the impact of the three-week-long visit of the ten-year-old Syrian refugee puppet Little Amal to New York City from September to October 2022. Created by the South African Handspring Puppet Company, the U.S. itinerary of this performance followed after the gigantic puppet’s 5,000-mile journey across Turkey, Europe (France, Germany, Switzerland, Italy, and Belgium, among other countries), and the UK in search of her mother. Walking in NYC across all five boroughs with the assistance of numerous puppeteers, and followed by large crowds everywhere she went, the itinerant performance drew together New York’s many immigrant communities and spread a message of hope and inclusion to audiences throughout the city.John Bell revisits the legacy of the radical Bread and Puppet Theater, founded by Peter Schumann in 1963, which remains one of the longest-running puppetry companies in the U.S. Just shy of its sixtieth anniversary, the celebrated activist ensemble’s work continues today under Schumann’s direction as documented in reviews of the two recent Covid-era productions included here, written by Skye Strauss and Paul Bedard. The company continues to address contemporary politics head on with the playfulness and do-it-yourself aesthetic for which they have long been known.Kate Brehm offers us a snapshot of puppetry in New York City over the Winter 2022 season, covering four puppetry events and a broad range of artists from the U.S. and abroad. These works include Book of Mountains and Seas, a collaboration between Basil Twist and Huang Ro at St. Ann’s Warehouse, which also hosted multiple productions in the Puppet Lab series also reviewed here; Song of the North by Hamid Rahmanian at the Brooklyn Academy of Music; and Theodora Skipitares’s Grand Panorama at La MaMa Experimental Theatre Club.Lastly, Robin Frohardt provides an excerpt from her production The Plastic Bag Store, “a tragicomic ode to the foreverness of plastic,” which premiered in Times Square in 2020 and has since toured to Los Angeles, Chicago, and Austin, Texas. The Plastic Bag Store is a public art installation that questions the enduring effects of our single-use plastics. In the piece, shelves are stocked with thousands of original, hand-sculpted items to mimic store products made from discarded plastics and packaging. During timed activations, the store transforms into an immersive stage involving inventive puppetry, shadow play, and intricate handmade sets.Considered together, these pieces are a testament to some of the most exciting work happening in the theatre now, and offer new meaning to the power of objects to speak for the human. As humankind becomes ever-more fragile and divided, puppets seem to provide a universal language to explore an unknown future.

Art Collaboration between Companies and Artists and the Attraction of Urban Brands

Art collaboration is for artists to create new added value, and individuals, companies, and countries create artistic business opportunities through creative collaboration at the boundary between technology and art. Places where exhibitions and art are held have become famous, increasing the value of urban brands and becoming tourist destinations. As a research method, the phenomenon of art collaboration was studied through literature and case studies. You can see the collaboration cases of Uniqlo and MoMA Gallery, Louis Vuitton and Jeff Koons, and Lee Woo-hwan and Chateau-Mutong Wine as convergence exhibitions and businesses of domestic and foreign companies and arts. It can be seen that the collaboration research between companies and arts through KOTRA's matching of companies and arts, Sejong Center installation art, Seongsu-dong non-mainstream art street culture, and Arttainer pop-up store can be a unique way of attracting. As a result of the study, the development patterns of domestic art collaboration are as follows. First, national-led social values and art collaboration contain social values such as eco-friendly and upcycling, and are mainly led by KOTRA institutions. Second, companies combine ABSOLUT companies and eco-friendly special paints to convey the public message of sustainability to the public as art, and third, individuals prefer non-face-to-face lounges and private spaces in luxury hotels where artists' works are displayed in order to have life-shot attractions. In conclusion, the artist drew the conclusion that the existing value of exhibition and sale of works can create an art collaboration synergy value that strengthens the artist-centered urban brand attraction through the industrialization of art collaboration.

Instalaciones arquitectónicas como experimentos espaciales

This article focuses on architectural installations that emerged as an extension of installation art after the 1960s, mainly in the Western context. Architectural installations range from experimental folded geometrical structures by Lygia Clark to spatio-temporal performances by Vito Acconci, from corporeal performances by Bruce McLean and Klaus Rinke, to monumental and monolithic architectural spaces and digital/immersive environments. In these spatial experiments carried out by artists as well as by architects, the direct interaction from the audience with the established space emerges as crucial for the perception and completion of the work. In this article, the aim is to understand theinteraction between them, and the interdisciplinary boundaries of architecture within the framework of concepts such as boundary making, corporeality, and the monolithic through some of the chosen examples. The article aims to figure out what expansions these spatial experiments can create in the perspective of ourunderstanding and perception of architecture and interaction.

Temporary Urban Interventions in Public Space

Insufficient research on the typology of temporary urban interventions, which has become a common tool for pointing out possible scenarios in the development of unused and neglected urban areas in recent 21st century projects, indicate the relevance of the article’s topic. A literature review has allowed for a definition and analysis of the typology of temporary urban interventions in order to determine their basic characteristics, the relationship between the intervention and public space, and the establishing initiatives. The paper determines the formative period through an analysis of architectural and artistic events in 20th century and distinguishes three direct predecessors: events in public space, experimental architectural projects of the 60s, and art installations in public space in the second half of 20th century. A synthesis of collected data is an important prerequisite for understanding the role and impact of temporary urban interventions on future public space. Based on the obtained results, the research emphasizes the importance of the relationship between temporary urban interventions and public space for the creation of contemporary urban space in 21st century.

Lampah: expression canvas of Java’s spirituality in the new media art

Malioboro is an integral part of the architectural artwork of the city of Yogyakarta, which is full of meaning, philosophy, and noble values of Javanese culture. Currently, Malioboro has developed into a tourist area and a quite existing public cultural space. However, along with the times, the philosophical meaning and noble values embedded in the architecture of the city of Yogyakarta by HB I as the founder of Ngayogyakarta Hadiningrat seem to be unclear and increasingly difficult to read. The video art installation Lampah is a form of creative response to the existence of contemporary Malioboro as a public space as well as a meaningful piece of architectural art. By using interpretative-subjective approaches and artistic methods, the creator reads this phenomenon and represents it in the form of Lampah artwork. As a contemplative space, 'Lampah' also offers an alternative way to transform Javanese noble values and spirituality by using idioms and ways of speaking in Javanese culture. Models in architecture are used to complete the design of this work. It is hoped that this concept can provide new insights and discourses in art, especially new media art

Coalescing, Cross-Pollinating, Crystalising: Developing and Evaluating an Art Installation About Health Knowledge

The HIVE is an arts-based knowledge translation (ABKT) project that showcases work undertaken across Maridulu Budyari Gumal: the Sydney Partnership for Health, Education, Research and Enterprise (SPHERE). Here, we present two distinct forms of data (reflective and evaluative) to tell the story of The HIVE and outline the project's achievements and shortcomings. Reflective data are used to describe the process of establishing a creative, cross-disciplinary collaboration, in order to devise and produce The HIVE. Evaluative data are used to assess the impact of The HIVE on audiences. By presenting reflective and evaluative data together, we highlight that impact in ABKT cannot be reduced to an assessment of audience engagement with an ABKT end-product. Although audience impact is vital, in our experience, The HIVE also had a powerful impact on the researchers, health service users, artists and others who worked together to create it. The process of creating The HIVE informed research- and art-practice change, forged interdisciplinary networks, and enabled the growth of new patterns of knowledge sharing and collaboration. The reflective and evaluative data we present attest to different forms of impact resulting from the creation and exhibition of an ABKT project.

Taming the Glitter Ball: A Diagnosis of Shakespeare ‘for all time’—Sketched from South Africa

Shakespeare travels the globe more variously and unpredictably than any other dramatist. In performance his texts have shown themselves hospitable to vastly different ideological interpretations. By making these two points, I do not mean that Shakespeare pops up around the globe, sometimes in quite extraordinary guises, without rhyme or reason. Far from it. Where Shakespeare makes his appearance this is an act of deliberate choice, by a producer, a production company, an arts foundation, a school or university, a national arts authority, or even simply an ad hoc group of Shakespeare enthusiasts. His advent is always intentional, and often contextually explicit, whatever the rationale. But the sheer variety of guises in which his work appears, the disparate cultural and ideological vogues that attach to his work, the geographical spread of art pieces, performances and installations based on Shakespeare, not to mention the diverse artistic disciplines which seize on him as an inspiration, calls for explanation. No other artist in any medium exhibits comparable artistic fertility across time and space. To claim the limelight for more than 400 years without any sign of diminution is remarkable. This article seeks to understand why this ubiquity is possible. Specifically, is there a definable textual mechanism underlying his historical and international success? At the outset it should be indicated that this paper focuses on a technical diagnosis of textual prerequisites for Shakespeare’s international success. It is not about what his plays say or mean, and only incidentally about the values they exemplify. While the paper sets out to describe textual features which make possible some of his manifold theatrical enchantments, there is no intention to describe, evoke, or celebrate those enchantments.

The Greenhouse in the Bathhouse: Ecosexuality and the Legacy of Libertine Botany

This article offers a reflection on the legacy of libertine botany from a contemporary perspective, arguing that its impulses and quirks can be found in projects such as Pony Express's "Ecosexual Bathhouse" art installation and the artivisim of Annie Sprinkle and Beth Stephens. The essay also offers a critique of some of these projects from an asexuality studies perspective, noting that they tend to take plants as avatars of sex positivity – thus occluding their asexual capacities—and that they often conflate categories such as the erotic and the sexual.

Situated Knowing: Epistemic Perspectives on Performance

Situated Knowing: Epistemic Perspectives on Performance

The Singapore Mall Generation: History, Imagination, Community ed. by Liew Kai Khiun

Reviewed by: The Singapore Mall Generation: History, Imagination, Community ed. by Liew Kai Khiun Linda Lim and Pang Eng Fong The Singapore Mall Generation: History, Imagination, Community, edited by Liew Kai Khiun. Singapore: Marshall Cavendish, 2022, 304pp. ISBN: 978-981-5009-39-2 This collection of 10 essays and a foreword by 12 academics, arts and cultural studies researchers and practitioners, traces ethnographically the evolution of Singapore malls and their place in shaping memories and communities. It focuses on ‘older’ malls of the 1980s and 1990s, whose strata-title ownership—where different entrepreneurs own particular spaces in the mall—enabled and encouraged what might be termed a ‘bottom-up’ evolution of shop types and ancillary mall activities according to the eclectic interests of individual shop-owners, local customers and other mall participants. Most interestingly, the book peels back the veneer of shopping malls as primarily icons of the materialist consumption which dominates Singapore’s proudly pragmatic society, to reveal a more complex reality. Mall merchandising both facilitated and was shaped by community and artistic ‘fringe activities’ that spontaneously emerged to eventually define both the character and the commercial appeal of particular malls. Unintended and unplanned, art installations, indie music, dancing, and various youth and migrant worker subcultures sprung up to occupy the interstices and sometimes the main thoroughfares of certain malls. Lodging themselves in the collective memory of both locals and transients, many downtown malls like Far East Plaza, Peninsula Plaza, Takashimaya, Lucky Plaza, Tanglin Shopping Centre, and Orchard Towers can claim to be part of the national heritage. The book mentions, but does not explore in depth, the more recent transformation of Singapore’s malls as strata-title ownership gives way to S-REITS (real estate investment trusts) owned and operated by GLCs (government-linked corporations) and large global or foreign conglomerates. These employ a ‘top-down’ model of planned use, thematic unity and price-point conformity aimed at maximizing rental revenues. This usually means modernist architecture housing the luxury transnational chains found in other expensive global cities catering to a target market of high-end and international customers. Rising rental costs, together with competition from online shopping preferred by young people who also increasingly socialize and find recreation online, exacerbated by the remote working trend which reduces downtown and even suburban ‘foot traffic’, are already eroding the commercial fortunes of heritage malls and erasing their evocative past. The redevelopment of Funan Centre from a hub selling computers and component parts into a gleaming glass palace (with dedicated space for community-oriented activities), and a wide selection of eateries, provides an example of corporate ambition in line with new values, but not with people with fond memories of the old Funan. This reflects the ambivalence in [End Page 141] many Singaporeans’ hearts — we are captivated by the new while longing for an imagined simpler communal past. As economists who personally experienced the entire trajectory of Singapore’s malls, and as members of what the authors call ‘the mall generation’, we would have liked to see more analysis of the reasons for, impact, and implications of this transformation in the context of Singapore’s entire socio-economic development. What has been the relative role of ‘top-down’ public policy and corporate globalization versus ‘bottom up’ market forces and local entrepreneurs in mall evolution? Looking to the future, what are the commercial as well as cultural implications for national identity, heritage and the ‘Uniquely Singapore’ branding once purveyed by the Singapore Tourism Board? Perhaps the lack of thematic unity, beyond nostalgia, among the book’s chapters is an unconscious reflection of respect for the messy yet vibrant, spontaneous ‘co-creation’ of ‘authentic’ localized spaces and voices that inhabited Singapore’s malls in our recent past. Linda Lim University of Michigan Pang Eng Fong Singapore Management University Copyright © 2022 Malaysian Branch of the Royal Asiatic Society

Editorial

This double issue of Artifact: Journal of Design Practice contains six revised and double-blind peer-reviewed articles linked to the ninth biannual conference of the Nordic Design Research Society (NORDES). The conference, titled Matters of Scale, was held in the Danish City of Kolding in August 2022. This NORDES issue is a result of a series of constructive dialogues between the journal’s editorial team and the NORDES community around the need for more publication venues explicitly invested in high quality practice-based, constructive design research. In addition to the research articles, the issue also includes a reflection paper on an art installation as a new type of format in the journal. This format is intended to support the journal’s aim to provide a platform for sharing and discussing artistic (design) project work without going through a traditional peer review process.

Disabled, Chronically Ill, Severe Artist

Disabled, Chronically Ill, Severe Artist Panteha Abareshi (bio) Keywords art, disabled artists, Panteha, Abareshi, installation art, visibility, sickjle cell anemia, chronic illness Click for larger view View full resolution A Lively Corpse 2022 Image description above: A chair with its arms wrapped in bubble wrap and legs wrapped in foam cylinders on a concrete floor, against a white wall. Medical boots, painted with butterflies, are attached with a metal bar to the chair seat, where a square brace faces front. [End Page 681] MY NAME IS PANTEHA ABARESHI; I am an artist currently based in Los Angeles, CA. My work is rooted in my existence as a body with sickle cell zero beta thalassemia, a genetic blood disorder that causes debilitating pain and bodily deterioration that both increase with age. Being a chronically ill body has shaped my experience into one that is extremely and highly isolating. The nuances of disability and chronic illness are lost on the average able-bodied individual, and the marginalization, erasure, and violence that I have endured from it alone is devastating. In combination with my personal notions of gender, racial and sexual identity, I am fully immersed in otherness. There is so little discussion surrounding this, and little to no exploration of these topics in contemporary work, and I aim to push against that lack of representation. In my practice I am warping concrete, physical forms into highly disembodied abstractions. Through my work I aim to discuss the complexities of living within a body that is highly monitored, constantly examined, and made to feel like a specimen. Taking images that are recognizable as human forms, and reducing them to gestural forms is a juxtaposition of my own body's objectification and dissection. Being in hospital for as far back as I can remember, my condition has informed my conceptions of body and self. What are the implications of being told you are unhealthy, fragile, and defective from a young age? Click for larger view View full resolution 2 gallery shots from solo show, This is Not a Body 2022 Hunter Shaw Fine Art, Los Angeles Above: CrutchOpposite: the artist Image description opposite page: The artist, a Black woman with blonde dreadlocks, wears a white sleeveless T-shirt, black pants, and black boots. She is sitting in a blue wheelchair in front of a sunny window, looking at the camera. The floor is gray, the wall is white, and the window is next to a brick column. Above: Installation art of a medical bariatric crutch suspended sideways by red wires and a silver L racket, on a white wall with vents. [End Page 682] Click for larger view View full resolution How does the early and reinforced knowledge of decreased lifespan, and a life of increasingly poor health, pain, and bodily deterioration, influence the relationship between one and their body? Identity becomes a daunting concept when there is a rift formed between one's mind and their body, when the body seemingly functions with a mind of its own, malfunctioning and causing harm. Able-bodied individuals do not realize the supreme privilege in trusting and knowing their own body. Identity as we know it is so highly linked to bodily form and linked to aspects of bodily existence that are taken for granted. I aim to explore these questions, this region of identity, pushing to articulate my own fears, insecurities, and confusions around my illness-identity. My abstracted imaging of my own body is heavily influenced by being so regularly in the hospital, as I am constantly experiencing a very unique form of objectification in which my body is truly treated as a pound of flesh, the vitals that it produces, and the malfunctions it abounds in. In my performance work, I am pushing my own vulnerability and objectification to discuss the realities of mortality and fragility, and the complexities of empowerment in the face of literal powerlessness. Currently, I am contemplating the prosthetic, and the simultaneous abstraction and mechanization of the "body." [End Page 683] Click for larger view View full resolution Above: Performance and installation detail, receipt. Comfort and Care 2019 Opposite: Stills from video/performance work Not Better Yet 2019 VHS...

Scale in passing: Re-calibrating narrowness through spatial interventions

Reflecting on the art installation Motion of Scales, which was temporarily installed in the city centre of Kolding, Denmark, as a part of the NORDES 2021 conference, this article explores the interrelation between body, material and its performative potential. Analysing the design process through description and observation of how it was experienced and interacted with by urban public, the design-led research aims to interrogate subjectivity, emotion and embodied knowledge in academic research and its methods. How could movement within scale open up new perspectives? Does material hold a potential to reveal new modes of thinking in design research? How and to what extent could emotion contribute to design practices?

Eksplorasi Tenun Tapestri Dengan Tema Kerusakan Alam Akibat Sampah Sebagai Karya Seni Instalasi

The creation of textile art from the use of leftover fabric (patchwork) using tapestry weaving techniques as a campaign medium to invite changes in awareness and behavior in protecting the surrounding environment due to waste, on the other hand, the installation art genre can still be explored, so textile craft works may still have a need for development even though its use is not practical, considering the value of meaning and moral messages contained in the work to invite the audience to think about environmental damage due to waste. This creation uses the method of creating craft art according to Gustami, which is divided into 3 stages in the process of creating craft works, namely, first, the exploration stage includes collecting information data (field observations/observations) and extracting theoretical foundations (sources, references and visual references). Second, namely the design stage which includes pouring out ideas from the results of the first stage in a two-dimensional visual form by considering various aspects concerning the value of craft and visualization of selected alternative sketches into a detailed form of a prototype model. Third, the end of the embodiment stage, namely making it happen at the actual size along with the final completion of the work along with the packaging system and evaluation of the results of the completed embodiment.The creation of this textile craft resulted in 6 designs of tapestry weaving works, namely as follows: (1) Raising the concept of a non-realistic landscape form with the theme of natural damage due to waste as a source of ideas for visually processing tapestry woven structures combined using patchwork. (2) 3 of the 6 alternative design developments will be realized by using a patchwork material of polyester type, as well as using an earth tone reference.

Entering hyper-reality: “Resonance-In-Sight,” a mixed-reality art installation

Enhanced virtual communicative technologies extend human perception in extraordinary ways that junction in detaching or augmenting its operator from physical reality. Prospects of the metaverse are progressing towards a possibly fully immersive cyberspace in which users will be entirely disconnected from their analogue physical surroundings. As we advance towards such an alternative reality, the practice-based research project discussed in this paper, titled “Resonance-In-Sight,” foresees and demonstrates the near-future of the metaverse to be a blended hyper-reality in which fiction and reality seamlessly blend into a “Mixed Reality” (MR)-based, co-urban design environment. As digital content in such an environment creatively coexists with our physical cityscape, the research question posed by this project is how such media environment can be used as a proactive cultural educational tool to engage with and inform user audiences of otherwise challenging art-historical content. Through this demonstrator project, the article discusses and reflects on applied methods for user experience (UX) design and the development of MR mobile applications for effective mixed-reality installations. It further reports on employed “Simultaneous Localisation And Mapping” (SLAM) techniques, which are essential for merging co-virtual design content in a hybrid metaverse, and concludes with an assessment of the project’s community impact from an analysis of available user data.

Designing Immersive Art Installation Highlighting Culture using Spatial Augmented Reality: Case Study in Kuching, Malaysia

People have recently discussed Augmented Reality (AR) in art. In the present society, technological advancement has expanded the understanding and creation of art. Augmented Reality is not just limited to interacting using digital devices by the creators or viewers. It is also used as a non-interactive such as with the application of Spatial Augmented Reality. However, more research needs to be conducted on the potential and integration of Spatial Augmented Reality's role in art to promote culture. Based on previous observational studies and surveys among local youth, we proposed a design for art installation employing SAR. The aim was to present to local youth an immersive art as a case study that highlights local artistic motifs to seek its potential as a strategy to create an immersive art experience while promoting local culture. As a result, the study's findings are divided into two categories. First was the process of integrating SAR with an art installation that focused on local aesthetics. Second, the understanding of how SAR-based impact on spectators' experience.

Anti-War Actionism (Art-Actionism): Features, Forms, and Evaluation of Possibilities

In the article, the author elucidates the features of the postmodern approach to asserting the value of peace using the techniques of actionism (performance, happening, art installation, flash mob, etc.). Anti-war actionism is considered as an element of the system of sociopolitical actionism. A set of spectacular forms of non-violent public protest against armed aggression and its consequences are analyzed. The fact that today’s anti-war actionism has gone beyond the narrow artistic environment and entered the broad social dimension is proved. The empirical basis for the conceptualization of anti-war actionism includes two groups of actions: (1) anti-war actions carried out since the 1960s in the United States and Western Europe; 2) anti-war actions carried out in various countries in response to the Russian invasion of Ukraine in 2022. The author argues that anti-war actionism corresponds to its nature and purpose only if those who initiate and conduct actions are participant types of political culture. In other cases, only external form will be borrowed from actionism, but not content (pseudo-actionism). The symbolic language of anti-war actionism, which is based on objects, images related to the nature of war and its consequences, is investigated. The structure of anti-war actionism is determined: 1) professional actions of representatives of the artistic environment, which are elaborated in terms of artistic characteristics; 2) actions of public activists who use avant-garde artistic tools at the amateur level to organize and hold actions. The advantages and disadvantages of anti-war actionism as a technology of peace building are identified. The functions of anti-war actionism are determined.