Suchergebnisse

MILIĆ1 BG:LOG exemplifies the importance of digital heritage praxes being grounded in local, vernacular knowledge in order to understand processes of placemaking. Delivered by the NGO, Kulturklammer, the project consisted of participatory art and design workshops where Belgraders shared memories of their city online, reflecting on their lived experiences of place. They sought to escape traditional representations of the Serbian Capital associated with the wars in the 1990s, by digitally re-assembling the city in accordance with their subjectivities. Thus, BG:LOG is an online archive of Belgrade, generated through residents' personal and communal narratives and visual artefacts. The project aimed to highlight the significance of public reminiscence, collective memory, and intergenerational exchange in fostering community spirit and musings about place. Tension over the authority of Belgrade's account as place emerged between the long memories of its older residents, versus newer depictions provided by migrants and young people. This provoked questions concerning storage and transmission of the past, explored both within the project itself and in this chapter.

This paper argues that responsible designers are responsive to the needs of the community, detailing how social designers can have a global impact through shaping their localities and therefore challenging the neoliberal economy. The author sees co-design — whether it is social, participatory or community design — as an active agent in initiating the urgent social change needed for political equality, environmental justice and community wellbeing. The Social Design Institute's specially commissioned position papers showcase some of the diverse thinking and innovative practice in social design and design for sustainability that exists across UAL.

This paper examines the contemporary ruins in relation to memory of conflict. It juxtaposes the well-known notion of ruins as demarcation of romanticism in art history with destruction of landscape during the war. This comparison is achieved through depiction of everyday performance that the residents of Sarajevo conduct in order to bridge their most recent history of the siege in the 90s and their Ottoman past. Through mapping, walking and photographing, the inhabitants explore the city architecture, wrapping their memory around it with the creative manifestation that allows for the visual and embodied narrative to emerge. This approach provides them with the opportunity to engage with their creative and political agency, whilst discounting the unjustifiable disconnect between seemingly rational and objective as well as empirical and affective quality of one's historical account. Arts practice most successfully depicts this strategy, but just like the produced artefacts mainly stays the object of study by memory scholars. Arts practitioners delving into memory studies field are often misunderstood and even marginalized as not reflecting scientific backgrounds or following traditional methodologies in humanities that propelled memory academics in that same direction. Participatory practice used to surface memories in the artwork examined here is also be evaluated as a tool for social engagement and a method in memory studies field. This paper is developed from the AHRC funded project Art and Reconciliation, partnership of three London universities: UAL (LCC), LSE (Governance) and Kings (Department of War Studies).

This installation is an interactive representation of a search for the meaning of reconciliation after mass atrocity. It is a product of the AHRC funded research project "Art and Reconciliation: Conflict, Culture and Community" - a partnership between 3 universities: Kings College London, London School of Economics and Political Science (LSE) and University of the Arts London (UAL). The artwork is a response to text mining in Balkan languages conducted by LSE team. The artist and the political scientists joined to discuss the process of interdisciplinary collaboration to convert quantitative text analysis into a designed object. Milic conducted research about the representations of the word "reconciliation" in Croatian, Serbian and Bosnian languages. This enquiry led her to the laser cutting technique with Perspex which she has been experimenting with for creating her art piece. Milic created a word game that includes acrylic letters contained in the word 'reconciliation'. The letters are suspended in a specially constructed dark room, they can be moved up and down, and their various combinations form different words, such as nation, coalition, creation, NATO, etc. Some words also transition from one language into another. For example, 'rat' means war in Serbian-Bosnian-Croatian languages. Words can also be faded in and out with a torch that is provided. It tackles the problem with data visualization that is often expected from artists and designers in the process of beautifying research outputs of scientists. Her work is a different response to scientific research as it reflects on it whilst in the process. It demonstrates change in the modus of interdisciplinary collaboration and explores how "reconciliation" discourse can change through design. Text Illuminations gives new prominence to the words and their meanings and the suspension of words in a three-dimensional space – that mimics the method in a palpable way. This design research engages with a raft of socio-political processes and opens up learning across disciplines.

This installation artwork is part of exhibitions which are part of a major AHRC-funded project, 'Art & Reconciliation: Conflict, Culture and Community', led by King's in collaboration with the University of the Arts London and the London School of Economics, and funded by the UK Arts and Humanities Research Council (AHRC) Partnership for Conflict Crime and Security Research Programme (PaCCS) and by the Global Challenges Research Fund (GCRF). 'Art and Reconciliation' explores the politics of reconciliation across the Western Balkans and beyond from a variety of perspectives in three strands; History, Discourse and Practice.

Panels: Visualizing Inequalities. Engaging with (critical) visual methods in Geography Performing urgency: space, performance and politics

The Serbian upraising in '96/'97 was an attempt to overthrow dictatorship of president Milosevic after he annulled elections because of the victory of the opposition party. Ashamed by the unsuccessful outcome of their protest, the people of the capital Belgrade, where number of protesters reached 200,000 daily, have never produced an archive of photos, banners and graffiti, which emerged during these demonstrations. Scarce information on the Internet and the inability of the media to reveal the data gathered during the protest has left the public without the full account of the upraising. My project is that archive - the website of images, leaflets, badges, flags, vouchers, cartoons, crochets, poems etc, an online record of the elucidated protest available to the participants, scholars and the public. The narratives of this event known as "The Winter of Discontent" have been locked within the community and there are only odd visual references hidden in people's houses. My research generated them through interviews and image elicitation that looks at the uprising by analysing the accumulated historic relics. Presented in sections on the website (dates, artists, routes) and pages of art formats (poems, photos, badges), this overview of the geographical, political and social circumstances within which the protest's artwork was produced demonstrates how it influenced the actions of the citizens.

In this paper, I explore the narratives that surround my Serbian and English identity, the personal accounts gathered through some of my projects, research and arts initiatives that are expressed here in photography and narrative vignettes. I depict the emotional cartography of exile and the selfhood through images and text, reveal the challenges of subjectivity that exile brings and I invite the moderation of history as a vital step towards democratisation, not only of the national, but political imagination. My work is a dip into the experience in order to articulate it in a bearable vein and reflect on my predominantly artistic endeavour largely influenced by the story of exile. The work is positioning the Balkans in relation to the Western, mostly European prism and proposes the idea that the colonial heritage is permeating that relationship. In my photographs and texts I perform imaginary reunification of myself. In the images I take and pose for, I am marrying the old self pre-exile and the new one post-event, trying to answer who is it now looking at me and who is it that the others see. I look at my dual identity as it did not exist before my exile or as it is unique because the ones who do not have the experience of exile have no access to such knowledge, but as everybody else, they have a varied experience of self. It is that multiple self in the others that I am provoking by my bodily presence and the refusal to allow them (to any of their selves) to mediate my experience by telling my story. As Said wrote reflecting on exile: "Only. someone whose homeland is "sweet" but whose circumstances make it impossible to recapture that sweetness, can answer those questions." (1984:55)

BG:LOG is an alternative map and the archive of Belgrade. It is reviving the forgotten spirit of the city through a depiction of memory about the fellowship between people, little known events, everyday practices, neighbors; all that significantly changed in the last five decades. Belgrade's map is the digital repository of records obtained at workshops with its citizens. The aim of it was to raise the visibility of public reminiscence and collective memory as well as to disrupt the official history of the local place, introducing into it the new transnational communities arrived with the old and new wave of refugees and migrants. Our enquiry is also born out of observations of the regeneration/gentrification, which clashes with previous political and social system existed in this urban environment. This condition provoked the question - does end of socialism mean the end of the community and for the answer we searched across four representative Belgrade boroughs.

Wedding Bellas is a digital photography and oral history project that explores a wish to belong to the European borderscape. The photographs are the stories of twelve women who found themselves at a time when they refused to leave. Many have been rejected – by partners, by landlords,
by employers – and many have been refused leave to remain in the United Kingdom by the state. The women displayed resilience and resourcefulness in the face of these rejections, sometimes all happening at once, and the burden of those denials made them escape to fantasy. Some opted for
equally stable, rooted and good-looking 'Queen's subjects' – a lamp post, a tree, a traffic sign; London landmarks. The artwork presents the brides as physically connected to their rooted British fellows. The images show desperation and illusion as with a true wedding
ceremony. The paradox of this loss of reality, due to the pressures of life circumstances, is portrayed in the photographs, questioning if the situation the women are in is imaginary – a concept shared by both the audience and the person in the picture. With the nexus of text and image,
the project troubles the perception of refugees and asylum seekers in the United Kingdom today and the role that digital technology plays in that process. It deals with the question of mediation of migrancy through the historic visual representation and mnemonic depictions in photographs that
are challenged by the interventions of the migrants themselves in that process.

Organizational Aesthetics is about how the five senses and artistry inform business, non-profit, and government organizations. We mean for both terms, aesthetics and organizational, to be understood broadly to include a range of topics. Examples are the use of arts-based methods in organizations, theoretical accounts of aesthetic phenomena in organizations such as beautiful (or grotesque) leadership, and the art about/in/behind organizations. In fact, we hope that authors and artists will take us to places we haven't even begun to describe here. The content of the journal is organized into four sections: Theory, Practice, Art, and Reviews. This special issue brings together work produced for the London Design Festival (LDF) by researchers at the Design School at London College of Communication within the University of the Arts London, UK.