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The Conversation #17 — Laura Musikanski

What’s key…is that we all need to work togeth­er. There’s no way for all of us to know about each oth­er. We’re in that part of this new way of being that there’s too many play­ers. It’s too chaot­ic. There is no cen­ter, there is no hub. But we need to find ways to work togeth­er, and to lose the idea that any one of us is the solu­tion. Because if any one of us were the solu­tion, we would­n’t be where we are now.

The Conversation #5 — Andrew Keen

We’ve got two para­dox­i­cal trends hap­pen­ing at the same time. The first is what I call in my book the cult of the social,” the idea that on the net­work, every­thing has to be social and that the more you reveal about your­self the bet­ter off you are. So if your friends could know what your musi­cal taste is, where you live, what you’re wear­ing, what you’re think­ing, that’s a good thing, this cult of shar­ing. So that’s one thing that’s going on. And the oth­er thing is an increas­ing­ly rad­i­cal­ized indi­vid­u­al­ism of con­tem­po­rary, par­tic­u­lar­ly dig­i­tal, life. And these things seem to sort of coex­ist, which is para­dox­i­cal and it’s some­thing that I try to make sense of in my book.

Traditional Knowledge and Copyright: the Implications for Digitising Pacific Island Cultural Heritage Collections

So what would this mean for those with an inter­est in dig­i­ti­za­tion? Despite being a new legal frame­work, the pro­pos­al may lead to some famil­iar prob­lems for cul­tur­al her­itage insti­tu­tions. Many of you are aware of the prob­lem of orphan works in copy­right. This is where the own­er of a pro­tect­ed work is uniden­ti­fi­able or uncon­tactable, and because they can’t be found it fol­lows that they can’t grant per­mis­sion to oth­ers to copy their work.

Senongo Akpem at The Conference 2015

Over the past few years, I’ve start­ed to expose, both in my work and also in giv­ing talks and writ­ing and so on…this idea of what it means for design to be respon­sive to the cul­ture that it’s speak­ing to, that it’s com­ing from is what I’d like to go over today.

Khaleeji Design: An Imported Aesthetic?

If you are giv­en the task to lec­ture on design some­where in the Middle East, do you think you’ll need to tai­lor your approach? Maybe think about your ref­er­ences, the lan­guage, the vast­ly dif­fer­ent back­ground? The answer most prob­a­bly is yes.” But the real­i­ty of design edu­ca­tion in the Middle East, and more specif­i­cal­ly the Gulf Region, prove otherwise.

Collusion episode 3: Food

Food has always been tight­ly inter­twined with cul­ture and iden­ti­ty. As a result, it’s also been a com­mon tar­get of colo­nial­ism. Colonizers under­stood that by wip­ing out peo­ple’s food tra­di­tions, it would be eas­i­er to wipe out their ori­gins, their iden­ti­ty, and their his­to­ry. This kind of trend isn’t only in the past, though. In many areas of the world, dietary habits are chang­ing, food inequal­i­ty is rife, and some­how both obe­si­ty and hunger are on the rise on a glob­al scale.

Collusion episode 2: Water

Throughout the colonies of the var­i­ous European pow­ers, water engi­neers used dams, ditch­es, and sluices to con­trol the flow of water. They claimed that their approach to water man­age­ment was more ratio­nal and effi­cient than exist­ing indige­nous approaches. 

Deep Lab intro­duc­tion by Golan Levin

I con­ceived to invite Addie Wageknecht, who is an American and Austrian artist, who’s been deal­ing with issues of pri­va­cy and secu­ri­ty to say, What would you do?” and she pro­posed to get a dozen of the baddest-ass ladies that she knew togeth­er to brain­storm what it meant to make art nowa­days, and to deal with culture.

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