Continuum study programme in Shenzhen, China

Continuum: A Story in 48 Screenshots

24.02. 13:50 – 14:20 Martijn van Boven Introduction
How do we encourage new fields of work in design education, design practices, and research? How can research in an educational context have an actual effect on how we live and work, from the small level of learning and exploring, to the big impact of scaling and embedding? How can design education have an impact on new working practices and new ways of thinking among existing disciplines? The Continuum programme maps and explores tomorrow’s fields of work and is an alliance of the departments of Product Design, Graphic Design, and Interaction Design at the ArtEZ Academy of Art and Design, Arnhem. The Continuum theme highlights the wide diversification between students across these departments. A constantly changing world gives impetus to new demands, needs, and transformations that designers cannot ignore. Change is a driver of creative processes, questions, and output. By initiating a series of graduate courses, the Continuum programme investigates what this means for the next generation of design. The programme, which included a trip to Shenzhen (China), guides students through research and fieldwork in areas ranging from programming, electronics, craft, and materials, to industry food, bio-design, and science.
24.02. 14:20 – 14:30 Michelle van Ool Artist presentation

How I Made a Film in Shenzhen

Michelle van Ool made a book of several stories explaining how she made a film in Shenzhen. The main challenges were approaching people, not speaking the language, mediations of language via translating app, social situations, misunderstandings, not having a word for ‘no’, censorship, borders, ideals of beauty, and being a 21-year-old Western girl in China.

24.02. 14:30 – 14:40 Iris de Vries Artist presentation

I Wonder Who’s Watching Me Now

While in Shenzhen, Iris de Vries translated her vivid dreams and experiences into fictional scenarios in which someone is controlled or manipulated. These short stories describe the power an authority can have when it possesses someone’s private information. Is there a way to protect oneself from being controlled? What would an amulet look like in our current lifestyle that protects us from ‘negative powers’ of data manipulation?

24.02. 14:40 – 14:50 Mijke Pasmans Artist presentation

Overload

How copying results in innovation; how efficiency leads to inefficiency or over efficiency; how data is stored; how a generic city functions; how culture influences the use of technology; how we control technology and how technology controls us; technology as the object or subject; the cycle of destroy and repair; duplicating mechanisms; biomimicry; memory; the evolution of products by duplication; vestigiality; retroreflection; overexposure; out of focus; circulation; hub; mass production; stacking; control; the loss of information; mausoleum; bombardment; gunpowder; oxidation; corrosion; Library of Alexandria; technology and religion; creating narratives; controlling nature; symbiosis; material objects and immaterial forces; language as a copying mechanism; generation loss; connection of meaning and sound; visualising sound or language; tetraphobia; Google translate; Tower of Babel; copy of a copy of a copy; cycle; possibilities; decision making; rules.

24.02. 14:50 – 15:00 Miron Galić Artist presentation

Home (working title)

Miron Galić will talk about his iPhone 5s and how he uses it to produce small, conceptual experiments. Relying on his iPhone has allowed him to work nomadically, moving swiftly from one context to the other. Shenzhen, in Guangdong, China, was a particularly interesting place to execute some of his experiments. It is a city exploding with smartphone technology and houses factories that very likely assembled his iPhone. He produced works there in which three personal interpretations of the iPhone interface served as triggers to fathom the ‘grand scheme of things’.

24.02. 15:00 – 15:30 Mario de Vega Performance

Vertical

Vertical is a 30-minute live performance. It manifests the failure of unstable arrangements: raw electronic signals produced and altered by electric obstructions and mixed with scattered acoustic activity resulting from chemical reactions, voltage fluctuations, and abrupt signal-routing variations. All the while, objects are piled on top of one another and are prone to collapse.

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