Visual Arts

Reconstructing the American Dream
Life Inside the Tiny House Nation
Over the past decade Tiny Housing has become something of a viral sensation in the US. From Instagrammable enclaves for young professionals to vast municipality-supported schemes seeking to address homelessness tiny house sites are proliferating across the country.
This book takes a look at life inside the ‘Tiny House Nation’ shining an intimate light on a phenomenon widely celebrated in the mainstream media. The book presents textured narrative accounts from and striking images of Tiny Home residents their homes and communities while analysing the broader socio-economic structures shaping their lives. In so doing it paints a compelling and complex picture of a trend at the crossroads of several key social cultural and economic shifts at a pivotal moment for America’s housing future.
Fundamentally this is a book about paradoxes. The paradox of tiny housing offering freedom from the constraints of capitalism whilst at the same time remaining embedded within capitalist systems. The paradox of those who ‘go tiny’ both choosing an alternative lifestyle and those who are pushed into tiny housing as a consequence of limited choice. The paradox of Austin Texas as both a countercultural enclave and hyper-capitalist tech haven. And the paradox of tiny house ethoses in Austin as both centring community and shared assets and individualist libertarianism. These paradoxes do not necessarily sit in opposition to one another but are all bound up in the complexity of what tiny housing has to offer as an alternative way of living.
Despite its unattainability for all but the most privileged the American Dream - the home-owning society the suburban bliss the white picket fence - remains emblematic of the residential Good Life. But in the decades since the turn of the millennium the dream has been shrunk down expectations of a decent home literally reduced. Whilst for some this has led to forms of freedom and fulfilment it has also contributed to the normalisation of cities so outrageously expensive that all people can afford are miniature homes on the urban periphery. As this book shows both impacts of tiny housing are equally true and one does not cancel out the other. Tiny housing embodies an important societal crossroads. In some respects it offers an alternative to the prevailing housing status quo. In others it demonstrates what options have already been taken away from us.
from the Introduction
‘In the rest of this book we’ll lead you through our exploration of tiny housing in Texas. We’ll start in the next chapter by introducing some of the places and people we encountered on our travels to set the scene. Then the ‘pathways’ chapter examines the various conditions and journeys through which people end up living tiny. As you’ll see our attempt to produce a diagram of pathways to tiny living escalated into the production of a fully blown board game. We describe this diagrammatic board game to show the complex and nuanced personal and structural circumstances that lead people into tiny housing. From there we go into three empirical chapters focusing on economies of tiny living the materiality of tiny housing as domestic spaces and community culture. We then draw the book to a close and speculate about what tiny housing means for the future of domestic life especially in relation to the American Dream.
‘Throughout the book our descriptions are accompanied by photographs taken by Cian Oba-Smith who accompanied us on our first trip to Texas in 2022. The hype around tiny housing is undoubtedly driven in large part by the aesthetic cultures surrounding it. Tiny homes are the picturesque boutique upmarket cousin of mobile homes and trailers. They are distinguished from these other types of small housing as we’ll argue in this book specifically by their aesthetics. Anyone who ventures into the world of tiny housing for more than five minutes will see how thick this aesthetic culture is. From beautifully curated Instagram pages to countless coffee table books to Etsy shops dedicated to crafted tiny house merchandise a key part of living tiny is enjoying and embracing its aesthetics. By working with Cian we were able to focus (literally) on these aesthetic dimensions of tiny housing. However we were also able to capture some of what’s not presented in promotional tiny house materials; the constraints the challenges and the complexities that come along with the joy and the freedom. We’re positioning this book as something of a disrupted coffee table book. On an initial flick through it might not look too different to the photography books that valorise tiny living but you’ll already know if you’ve read this far that our approach is more nuanced. Our attempt has been to expose the ‘real’ Tiny House Nation. Not to attack it not to deny its beneficial impacts for a huge number of people but to inject some nuance into the debate so that we can take forward the positives of tiny living without normalising the negatives.’

Reconstructing the American Dream
Life Inside the Tiny House Nation
Over the past decade Tiny Housing has become something of a viral sensation in the US. From Instagrammable enclaves for young professionals to vast municipality-supported schemes seeking to address homelessness tiny house sites are proliferating across the country.
This book takes a look at life inside the ‘Tiny House Nation’ shining an intimate light on a phenomenon widely celebrated in the mainstream media. The book presents textured narrative accounts from and striking images of Tiny Home residents their homes and communities while analysing the broader socio-economic structures shaping their lives. In so doing it paints a compelling and complex picture of a trend at the crossroads of several key social cultural and economic shifts at a pivotal moment for America’s housing future.
Fundamentally this is a book about paradoxes. The paradox of tiny housing offering freedom from the constraints of capitalism whilst at the same time remaining embedded within capitalist systems. The paradox of those who ‘go tiny’ both choosing an alternative lifestyle and those who are pushed into tiny housing as a consequence of limited choice. The paradox of Austin Texas as both a countercultural enclave and hyper-capitalist tech haven. And the paradox of tiny house ethoses in Austin as both centring community and shared assets and individualist libertarianism. These paradoxes do not necessarily sit in opposition to one another but are all bound up in the complexity of what tiny housing has to offer as an alternative way of living.
Despite its unattainability for all but the most privileged the American Dream - the home-owning society the suburban bliss the white picket fence - remains emblematic of the residential Good Life. But in the decades since the turn of the millennium the dream has been shrunk down expectations of a decent home literally reduced. Whilst for some this has led to forms of freedom and fulfilment it has also contributed to the normalisation of cities so outrageously expensive that all people can afford are miniature homes on the urban periphery. As this book shows both impacts of tiny housing are equally true and one does not cancel out the other. Tiny housing embodies an important societal crossroads. In some respects it offers an alternative to the prevailing housing status quo. In others it demonstrates what options have already been taken away from us.
from the Introduction
‘In the rest of this book we’ll lead you through our exploration of tiny housing in Texas. We’ll start in the next chapter by introducing some of the places and people we encountered on our travels to set the scene. Then the ‘pathways’ chapter examines the various conditions and journeys through which people end up living tiny. As you’ll see our attempt to produce a diagram of pathways to tiny living escalated into the production of a fully blown board game. We describe this diagrammatic board game to show the complex and nuanced personal and structural circumstances that lead people into tiny housing. From there we go into three empirical chapters focusing on economies of tiny living the materiality of tiny housing as domestic spaces and community culture. We then draw the book to a close and speculate about what tiny housing means for the future of domestic life especially in relation to the American Dream.
‘Throughout the book our descriptions are accompanied by photographs taken by Cian Oba-Smith who accompanied us on our first trip to Texas in 2022. The hype around tiny housing is undoubtedly driven in large part by the aesthetic cultures surrounding it. Tiny homes are the picturesque boutique upmarket cousin of mobile homes and trailers. They are distinguished from these other types of small housing as we’ll argue in this book specifically by their aesthetics. Anyone who ventures into the world of tiny housing for more than five minutes will see how thick this aesthetic culture is. From beautifully curated Instagram pages to countless coffee table books to Etsy shops dedicated to crafted tiny house merchandise a key part of living tiny is enjoying and embracing its aesthetics. By working with Cian we were able to focus (literally) on these aesthetic dimensions of tiny housing. However we were also able to capture some of what’s not presented in promotional tiny house materials; the constraints the challenges and the complexities that come along with the joy and the freedom. We’re positioning this book as something of a disrupted coffee table book. On an initial flick through it might not look too different to the photography books that valorise tiny living but you’ll already know if you’ve read this far that our approach is more nuanced. Our attempt has been to expose the ‘real’ Tiny House Nation. Not to attack it not to deny its beneficial impacts for a huge number of people but to inject some nuance into the debate so that we can take forward the positives of tiny living without normalising the negatives.’

Photo Obscura
The Photographic in Post-Photography
Photo Obscura: The Photographic in Post-Photography discusses the profound transformation of post-photography. It argues post-photography is not merely a trend but a significant movement that redefines photography by integrating it with emerging technologies and creative practices resulting in works that may not even resemble photographs but still retain a photographic influence.
It is is structured around various themes including AI-generated images the intersection of digital and physical art forms and the changing relationship between visual representation and perception. Drawing on photo history media studies visual studies art history and the digital humanities and through discussions of specific artworks and artists it provides insights into how post-photography continues to evolve offering new ways to understand define and engage with the photographic image in the digital age. It highlights the influence of digital culture where the abundance of images and information has led to novel approaches in art that question the very nature of photography truth and reality. Still it maintains that despite this radical shift photography's influence remains central even when hidden or abstracted in the final work.

Dystopian and Utopian Impulses in Art Making
The World We Want
Contemporary art has a complex relationship to crisis. On the one hand art can draw us toward apocalypse: it charts unfolding chaos reflects and amplifies the effects of crisis shows us the dystopian in both our daily life and in our imagined futures. On the other hand art’s complexity helps fathom the uncertainty of the world question and challenge the order of things and allows us to imagine new ways of living and being – to make new worlds.
This collection of written and visual essays includes artistic responses to various crises – including the climate emergency global and local inequalities and the COVID-19 pandemic – and suggests new forms of collectivity and collaboration within artistic practice. It surveys a wide variety of practices oriented from the perspective of Australia New Zealand and Asia. Art making has always responded to the world; the essays in this collection explore how artists are adapting to a world in crisis.
The contributions to this book are arranged in four sections: artistic responses; critical reflections new curatorial approaches and the art school reimagined. Alongside the written chapters three photographic essays provide specific examples of new visual forms in artistic practice under crisis conditions.
The primary market for the book will be scholars and upper-level students of art and curating at both undergraduate and postgraduate level. Specifically the book will appeal to the burgeoning field of study around socially engaged art.
Beyond the academic and student market it will appeal to practicing artists and curators especially those engaged in social practice and community-based art.

Ken Gonzales-Day
History’s “Nevermade”
This book which accompanies an exhibition by the same name addresses the life work of Ken Gonzales-Day a Los Angeles based artist scholar teacher and curator who explores race and place in his photographic and filmic works drawings and paintings as well as through his research. He achieves this through a fundamental focus on the body—as intersectionally identified place-making empowered or occluded—which he centralizes while (in some cases) literally erasing it. When we engage with his work we engage his body with our bodies; we experience or own situatedness our intersectionality as we position ourselves and are positioned in social space always in relations of power.
Ken Gonzales-Day: History’s “Nevermade” puts the artist’s major series of art works in context showing the deep political aesthetic and theoretical concerns through which he animates his practice and pointing to larger political issues in relation to which each series can be understood. The book is organized in a roughly chronological and thematic structure according to the major series of his work all of which overlap and interrelate. The sections are: Finding a Path (Early Work) Rethinking History (Family) Rethinking History (Archives) Collecting Race (Museums) Forging Community (Publics) Imaging Bodies (Portraits) Redrawing Boundaries (Land).

Arts Education in Ireland
From Pedagogy to Practice
This book examines the distinctive nature of Arts Based Learning in Education (ABLE) in the context of a changing curriculum in Ireland. It draws on recent research on the state of the arts in Irish schools from early years primary schools post primary to higher education institutions.
The wide range of perspectives from pedagogy to practice draws on research in the visual arts literature and the arts within teacher education. Teacher identity formation and students’ perceptions of learning within the writers in school’s scheme are some of the themes within the book. It also includes examples of collaborative interdisciplinary practice between educational and cultural institutions. The book is situated within a rapidly changing curriculum policy framework and examines the relevance of arts-based learning against the backdrop of the drive for 21st century skills.

artmaking as embodied enquiry
entering the fold
What can a fold be? Virtually anything and everything.
For centuries folds and folding have captured the world’s imagination. Folds readily appear in revivals of the ancient craft of origami amid the simplest acts of pedestrian life within the philosophical turnings of the mind and in art design architecture performing arts and linguistics around the world. What awaits our understanding is how deeply the fold figures into embodiment into our very impulse to create.
This book is about folding as a vibrant stimulus for inter/trans/postdisciplinary artistic research whether for the performative for product realization or simply to enliven body mind and spirit. Destined for artmaking—for making any art—the f/old practice etches into the very fabric of embodiment. As such the f/old reaches outside the constraints of disciplinary silos into nice areas that embrace the unknown with all its underlying tensions and ambiguities. In conceiving of art made differently two seasoned facilitators Susan Sentler and Glenna Batson share the abundance of their decade-long collaboration in developing their approach to practice research in the fold. In addition to their insights they invite eight of their collaborators to contribute each a veteran artist of a diverse genre.
Featuring a wide variety of practice samples and images this book reflects on a current and unique somatic-oriented arts research practice and pedagogy with an intriguing blend of interdisciplinary concern and practice.

Last Artist Standing
Living and Sustaining a Creative Life over 50
Last Artist Standing shares the essays of the lives of 31 artists over the age of 50 how they have sustained their creative lives what paths they have led showing who contemporary artists are today.
They are mentors to other artists having learned how to thrive and be creative through decades of life's travails. Sharon Louden wants to share these stories with the public so that their models can be replicated by all age groups both within and beyond the art world.
This collection addresses the ability of these artists to remain contemporary as they adapt through generational shifts the physical financial and professional challenges they have overcome to remain vibrant and sustaining artists and their role as inspirational models to others who may be turning to art late in their lives.

Film production and screen media: HyFlex practice and adaptive pedagogies in tertiary-level film education
The COVID-19 pandemic caused significant global disruption at educational institutions which to varying degrees in 2020 and beyond were required to transition to online teaching delivery. However as people started to trickle back onto campus many institutions within the tertiary sector needed to make provision for students who were unable for a variety of reasons to physically attend classes. One of the dominant delivery modes implemented to facilitate this was HyFlex which combines the synchronous delivery of classes for in-person and remote students alongside opportunities for students to engage with course content asynchronously. Staff at Swinburne University of Technology’s film and television course received some institutional support to implement this delivery mode as part of an Adobe Innovation Grant. This article reflects on the teaching practices adopted and applies a theoretical lens to evaluate the implementation of such a delivery mode and understand the key research question: ‘How can the Adobe Creative Suite be utilized to implement HyFlex learning and teaching in a tertiary film institution context?’ To interrogate this question this article outlines five key pillars which guide the implementation of HyFlex delivery. These pillars have been derived from an overview of the literature in the field. Using a case-study approach a studio class and a theory class were identified and its diverse results discussed. While this article is not aiming to generalize the HyFlex approach these specific findings will inform teaching and learning and are of interest for those who would like to embrace a more dynamic approach to pedagogy.

Studio pedagogies: Cultivating research through artistic practice
This study explores the methods in which studio instructors present artistic research practices to students in their courses. Despite extensive literature examining librarians’ support for art students’ needs there is little written on connections between library services and the unique modes of research that take place in the studio classroom. Through qualitative analysis of semi-structured interviews with studio instructors this study aims to fill this gap in understanding how research is conceptualized and taught within art studio contexts. The findings uncover themes of relationality reflection and research as concurrent with and inseparable from making. The authors advocate for increased interdisciplinary collaboration and expanded librarian involvement in supporting and enriching artistic research endeavours.

Artists as Writers
Part of the Living and Sustaining a Creative Life series Artists as Writers joins the tradition of writing books designed or intended to inspire would-be writers to write but distinguishes itself by offering succinct first-person narratives by writers of varied genres about the day-to-day life of writing for a living.
Artists as Writers offers accounts of the journeys that thirty two writers have taken to becoming a real writer what decisions were made which paths were taken rejected charted and why. It answers the question: What magic keeps a writer writing?
Writers from Ethiopia Guatemala Nigeria Palestine Poland and Sweden as well as several who live throughout the United States: California Colorado Georgia Louisiana Pennsylvania Texas and Washington contribute their stories. They each provide vividly detailed accounts of the circuitous roads that each individual took to earn the title “writer.” These are richly descriptive stories from writers who write consistently relating how they came to the writing life who helped them get there and what sustains them as writers.

An immersive virtual reality learning system for building systems in architectural design education
Since building systems play a key role in shaping the final design of a building knowledge about their foundations has been an integral part of the undergraduate architecture curriculum. However building systems are often considered by architecture students as engineers’ main responsibility. This mindset has caused inadequate attention in education. VR technology with its ability to simplify complex concepts through immersive interactive experiences offers a promising solution. This study proposes a VR-based building systems-learning (VR-BSL) system which aims to increasing architectural students’ motivation and engagement in understanding the fundamentals of building systems. A prototype of the VR-BSL system was integrated into the classroom activities where students and lecturers explored virtual spaces of major building systems using HMDs and controllers. This study demonstrated that VR-BSL enhances learning experience by allowing students to easily grasp distributed information and knowledge through the visualization of mechanical electrical and plumbing systems in the VR.

The building that was a timepiece: Translating The Time Regulation Institute to architecture
How could one forge a creative dialogue between texts and the physical spaces that they document imagine or reinvent? This article explores the idea of intersemiotic translation from a work of literature to architecture through a selection of student works produced in an undergraduate elective (Building Texts) offered online in 2020 in the Department of Architecture and Design at the American University of Beirut (AUB). In the course students were given the task of ‘building’ the Turkish novelist Ahmet Hamdi Tanpınar’s internationally acclaimed novel The Time Regulation Institute (1961) in the form of visual representation. The purpose was not to illustrate the content but trigger an intermedial exchange: Tanpınar’s novel gives a detailed account a fictional modern institute which serves no purpose other than synchronizing every clock in the country and fine those whose watches are running slow. But the complexity and eclectic character of the architecture as well as the absurdity of its supposed function compelled students to go beyond straightforward solutions and minimized the likelihood of ‘translating’ the content into familiar shapes and forms. By introducing one final project in more detail that explores translation as a central theme the article discusses how such interactions between architecture and literature could be mobilized as an imaginative pedagogical tool. As the project illustrates students have not only connected textual spaces to the ‘actual spaces’ informing the novel’s narrative structure but also critically resituated these spatial discourses within the mutually dependent social political and cultural contexts in which they were imagined.

Wild Renaissance
New Paradigms in Art, Ecology, and Philosophy
A Renaissance is underway. It can be seen as a response to environmental societal and ethical issues so acute that human survival is in question. Artistic philosophical and political it builds on the scientific revolutions of the last decades and positions itself in relation to technoscientific and transhumanist promises. Within this Wild Renaissance man no longer positions himself as master and owner imposing his will on a passive and purposeless nature. He makes ready to listen to a new partner: the world around him. He discovers the potential of its forces which he both harnesses and engages with joining them with his own. A new era is taking shape restoring man to his “wild” dignity and giving his existence meaning joy and ambition. An art is emerging that is redefining the paradigms of creation. Its work is in the vanguard of this societal project.
There is a major tendency in contemporary art and design and perhaps the most innovative one that is putting in place new ways of working and producing works which represent a significant break with the principles that have guided modernity up to the present. We are witnessing the beginnings of a renaissance that can be described as “wild.” Powerfully ambitious it stands as a response to the acute environmental societal and ethical questions raised in today’s world and at their heart the very survival of the human species as we enter the Anthropocene era. It bears witness to massive shifts in consciousness and echoes a call for a change that is becoming increasingly audible. Nature or more precisely a new way of being “wild” – that is to say of thinking and acting on the Earth is the key reference around which the contents of an alternative common destiny are being articulated. The “Wild Renaissance” is supplanting both the modernity that placed man at the center of the world assigning him the vocation of becoming the master and owner of nature and postmodernity which put an end to the great narratives and left only an absolute relativism incapable of supporting new sustainable models.
The word “renaissance” is not used lightly. It stems from a philosophical and ecological analysis of the turn of the 15th and 16th centuries in Italy. This upheaval did not come out of nowhere. Today as back then a period of some hundred and fifty yeas paved the way for its emergence. The proto-Wild Renaissance goes from the mid-19th century to the early 21st century. The evolution and convergence of art philosophy and the sciences of the environment can be observed there in relation to key historical and political moments that have repeatedly raised the question of the continuing habitability of the Earth.
The Wild Renaissance is articulated around a renewed vision of humankind and nature. Humankind no longer aspires to impose its will on a passive purposeless nature. Instead it is beginning to listen to a new partner: the world around it. Humanity is discovering the potential of these forces and entering into a relation with them allying them with its own. Humanity is going from from master to collaborator assuming an ecological responsibility that goes hand in hand with a revived dignity and an existence that is all the more exciting for all that. Already-established figures in contemporary art and design together with emerging creators are at the forefront of this new movement. The works and practices analyzed here are shown in a new light with a fresh understanding of their historical grounding conceptual underpinnings and significance for the present.
Previously published in French by Presses Universitaires de France (PUF).

Reimagining foundations: Storied-ethnography as a pathway to decolonized design education
This article presents an extensive exploration of design education in Africa with a focus on Ghana employing storied-ethnography to critically contrast it with conventional western methodologies. It draws upon the narratives of prominent Ghanaian design educators – Sela Isaac and Patrique – whose experiences and insights emphasize the need to integrate cultural historical and social realities into the design curriculum. This study uncovers a significant divergence from western educational paradigms which often prioritize technical proficiency and a universal design approach potentially neglecting the rich cultural specificities integral to the African context. The research highlights the necessity for a design education system in Africa particularly in Ghana that balances technical skill with a deep-rooted connection to local culture and social nuances. It advocates for a model that honours and preserves African cultural heritage while preparing students to make impactful contributions in both local and global design spheres. The findings shed light on the complex nature of design education in Africa calling for a decolonized inclusive and culturally sensitive educational model with profound implications for policy-makers and educators across the continent. Relevance to design practice: This research offers practical insights and strategies for integrating Indigenous knowledge and contemporary methodologies shaping a more culturally nuanced and globally relevant design practice.

An examination of the gastronomic landscape in riverside cities of Thailand
This study aimed to examine the potential of gastronomic tourism development related to built environment context for attractiveness and competitiveness in three riverside cities near Bangkok: Pad-Rew Tha-Chalom and Mae-Klong which are often perceived as less known tourism destinations. Employing a mixed-methods approach the research analysed restaurant type and location utilizing Google Maps data and conducted field surveys to assess restaurant menus and their integration with the built environment focusing on establishments offering local specialties. We identified the relationship between local materials the restaurants and their location in the landscape of the cities. The findings revealed a limited number of restaurants that truly represented the local gastronomy but also provided opportunities to develop gastronomic tourism. The study recommended leveraging the abundance of local gastronomic assets to create new activities and businesses related to gastronomic tourism capitalizing on their unique culinary heritage.

Product Design, Technology, and Social Change
A Short Cultural History
This cultural history critically examines product design and its development from pre-industrial times to the present day considering major milestones in the mass production of goods and services aiming to incorporate a more inclusive worldview than traditional surveys of the topic.
The breadth and versatility of product design through history has been profound. Products have long supported the integration and interpretation of emerging technologies into our lives. These objects include everything from tools accessories furniture and clothing to types of transportation websites and mobile apps. Products provide singular or multiple functions are tangible and intangible and in many instances have impacted the quality of our lives by saving time or money or by increasing feelings of personal satisfaction. At the same time many products have negatively impacted people and the environment. For nearly every product that makes it into the hands of a consumer there is also a designer who created it and someone who laboured to make it.
Examines the relationship between products consumption sustainability politics and social movements. This "pocket history" surveys product design from the agricultural revolution and the birth of cities through industrialisation and a digital design revolution.

Product Design, Technology, and Social Change
A Short Cultural History
This cultural history critically examines product design and its development from pre-industrial times to the present day considering major milestones in the mass production of goods and services aiming to incorporate a more inclusive worldview than traditional surveys of the topic.
The breadth and versatility of product design through history has been profound. Products have long supported the integration and interpretation of emerging technologies into our lives. These objects include everything from tools accessories furniture and clothing to types of transportation websites and mobile apps. Products provide singular or multiple functions are tangible and intangible and in many instances have impacted the quality of our lives by saving time or money or by increasing feelings of personal satisfaction. At the same time many products have negatively impacted people and the environment. For nearly every product that makes it into the hands of a consumer there is also a designer who created it and someone who laboured to make it.
Examines the relationship between products consumption sustainability politics and social movements. This "pocket history" surveys product design from the agricultural revolution and the birth of cities through industrialisation and a digital design revolution.

Global Culture after Gombrich
Art, Mind, World
Ernst Gombrich can be considered the most influential art historian of the 20th-century. Until now however the global impact of his work has been under-appreciated. Global Culture after Gombrich: Art Mind World presents essays by historians of art and culture - themselves students of Gombrich or associated with his scholarly home the Warburg Institute - from Asia the USA and Europe.
Subjects range from picture-making’s place in human evolution to the visual marginalia of the Renaissance and from nineteenth-century modernism to the implications of the latest neuroscience for cultural history. Other chapters treat fundamental issues such as the notion of connoisseurship the fate of the idea of ‘culture’ or the cultural specificity of modernism. They range from theoretical broadsides – notably a defence of the ‘intelligence’ of art - to intricate reflections – for example on caricature as a style.
In showing how Gombrich initiated enquiries that have spread in numerous – and global – directions Global Culture after Gombrich: Art Mind World makes a vital contribution to contemporary debates around the languages of art history and showcases the range of approaches and methods by which art history is and has yet to be written.

The Human Shutter
Photographs, Stereoscopic Depth, and Moving Images
This transdisciplinary study offers a fresh perspective on the intersections of photography cinema and visual perception making it an essential addition to collections in art history film studies and photography.
Robert L. Bowen delves into the complex relationship between art binocular vision space and time across both early and modern histories of photography. Central to Bowen’s analysis is the concept of "the human shutter" a metaphor for binocular rivalry which he interprets as a form of proto-cinema—linking early photographic processes with the evolution of cinematic temporality.
The book provides a rich examination of the near-simultaneous emergence of still moving and stereoscopic depth media while challenging the gradualist view of visual technologies. Through a preliminary taxonomy of rare stereoviews Bowen draws connections between experimental film painting philosophy and perception theory opening new avenues for understanding the history of visual media.
Additionally Bowen traces the fascinating journey of early pioneers like Antoine Claudet and Giorgio Sommer whose work in motion and binocular vision plays a pivotal role in rethinking the origins of photographic cinema. Bowen bridges this history with contemporary innovations including the dissolution of time in photography with the advent of generative AI.
The volume also highlights the work of modern and contemporary artists and filmmakers such as Marcel Duchamp Robert Smithson Lucy Raven Ken Jacobs and OpenEndedGroup who have explored stereoscopic spaces and perceptions in innovative ways.
Key for undergraduate and postgraduate students studying art art history film photography and new media. It is also relevant to photographers photo historians experimental filmmakers video artists digital media artists painters and sculptors seeking fresh insights into their respective fields. Will resonate with readers interested in the history of 19th-century photography and the development of stereoscopic media.
![image of Screened and Reconstructed Urban Memory: Remembering and Forgetting İstanbul in Şahsiyet [Persona] Web TV Series image of Screened and Reconstructed Urban Memory: Remembering and Forgetting İstanbul in Şahsiyet [Persona] Web TV Series](/docserver/fulltext/9781789389807/9781789389807.jpg)
Screened and Reconstructed Urban Memory: Remembering and Forgetting İstanbul in Şahsiyet [Persona] Web TV Series
This chapter attempts to explore the screened city of İstanbul in Şahsiyet [Persona] TV series with the aim of providing insights into new cultural meanings intertwined with the urban memory manufactured in web television series. Şahsiyet was first released in a digital media platform in 2018 and has recently become world-wide known after Haluk Bilginer who acted Agâh won the International Emmy Awards in 2019 for his performance in the series. Remembering and forgetting the places with visual representations of Agâh's mental processes to figure out a longveiled crime the urban memory of İstanbul is reconstructed by means of a variety of representation techniques and spatial compositions on which this study attempts to analyze. This analysis shows not only how the urban environments and their spatial qualities become the spine of the visual narrative but also how the representation of city in TV series reconstructs the memory of places.

The Spatial Imagery of Fractal Narratives: Marwan Hamed's The Yacoubian Building
The Egyptian film The Yacoubian Building (2006) is a mosaic of interrelated characters who all live in the same building that exists in Downtown Cairo. Referred to as the social microcosm genre the film ensembles a large cast of people who go about their lives crisscrossing and sometimes colliding all joined together by chance. Such unrelated stories interacting in unpredictable ways are known as fractals. This paper aims to explore and comprehend the notion of fractals as spatial narratives where space is entirely structured by complexity and unexpected encounters rather than linearity and order. The research framework overlaps two theories of fractals. The first is the notion of fractal city drawn from the writings of Greek urban theorist Nikos Salingaros where he highlights urban growth and composition of spatial elements. The second is adopted from Professor Wendy Everett from the University of Bath who examines the idea of complexity in filmic narratives. Through examining The Yacoubian building (2006) the paper attempts to layer the physical and non-physical aspects of fractals i.e. the actual Yacoubian building its physicality against the backdrop of its socio-political historical layers overlayered with the notion of fate and randomness containing the intertwined narratives of our characters.

Architectural Research and Design in Hong Kong through the Creative Use of Film
This essay presents methodological approaches and experimental exercises in the intersection between film and architecture employed in design studios and applied to the urban spaces of Hong Kong. It discusses the results in relation to the larger context of the architectural discipline and urban design research and positions them within a lineage of teachings on architecture through film. The outcomes contribute to an understanding of complex hybrid high-density urban environments and the aesthetic experience thereof and to a reexamination of architectural fundamentals in architectural design and education.

Introduction: Of Stories and Settings – A Familiar Exchange
This is the introduction to the book in which each author's contribution is discussed along with an explanation where the chapter sits in the whole structure of the book. As a brief case study the introduction also provides an insight on contemporary science fiction films with particular focus on set design linking film backdrops and spaces with architectural theory.

Broadcasting the Visage of Urban Warfare: A case study of NaJa & de Ostos’ The Hanging Cemetery of Baghdad
The chapter examines a speculative architectural project The Hanging Cemetery of Baghdad which employs a magical realist narrative to critically interrogate a hypothetical architectural intervention into the city fabric of a city at war. As the artists/architects of NaJa & deOstos devise this thought experiment to show architecture's progressive dematerialization into an image-making practice the chapter asks question regarding its role in relation to designs completely negligent of local contexts. Also it puts forth a supposition akin to Baudrillard's bold statement made about the Gulf War namely: is architecture considered as an image-making practice which can be often independent of the local context (site specificity) create experiences in a thought-provoking way while remaining critical to the protocols of its own making?

Body Talk: Between Architecture and Analogy in Michelangelo Antonioni's The Passenger (1975)
Recent developments in virtual 3D platforms whether in news reporting military training or mixed-media installations have grappled with the space-making techniques inherent in moving image technologies. This arguably disruptive proliferation however can be traced back to earlier origins in virtual design not only in the postwar developments of 3D video games and architectural software platforms but also in the very fabric of film itself. This chapter situates the infamous penultimate scene of one particular film—Michelangelo Antonioni's The Passenger (1975)—within this interdisciplinary context of shifting spatial design. By analyzing the ways in which Antonioni decenters standard camera rhetoric techniques that film critic Seymour Chatman connects to the director's underlying interest in filmic architecture this chapter calls attention to an under-examined historical moment in which film architecture and the origins of virtual design converge. How have such artistic embodied precedents affected continued developments in spatial technologies today?

Illuminating Spaces: Cinematic Travels and Emotional Inhabitation of Tokyo in Café Lumière
This chapter introduces a cinematic approach for studying space by analyzing the architecture of the shot and how emotions are conveyed through the experience of travel in Café Lumière (2003) set in Tokyo. The director Hou Hsiao-hsien's insistence on shooting in real locations reveals how each location is unique and replete with audio-visual cues that can be extracted from the mises en scène. Strategies that privilege the haptic senses are employed to apprehend the spaces and landscapes featured in the film. These methods derived from film studies and architecture exploit the synergistic potential offered by the two disciplines: just as moving images constitute the primary medium for filmmakers drawings are utilized by architectural practitioners to tangibly express and idea or fact. The actualization of drawings can disclose new information about the source material. This methodology underscores cinema's deeply entrenched and intertwined relationship with space.

Tracing Body and Space in Eisenstein's Early Silent Films
In this chapter I will discuss how I have deployed computer algorithms and automation to re-visualize shots from his early silent films — Strike (1925) and Battleship Potemkin (1925). By doing so I will demonstrate ways in which new digital research methods can offer new ways of understanding Eisenstein's use of the body as an active spatial element in his films. This contemporary visual approach takes inspiration from several scholars from throughout history including Sergei Eisenstein who have used new media not just as a mode of representation but also as a research tool in its own right. As an architect operating in a contemporary digital environment I contend that utilising new media as a tool to analyse historic artefacts allows us to not only reveal previously unseen information embedded within them but also offers an opportunity to reflect on current spatial practice.

Architecture and Complexity, New Heterogeneous Spaces, and Old ‘New Media’
Irena Latek Canadian architect and artist is professor at the school of Architecture of l'Université de Montréal director of the laboratory of research-creation « medialabAU ». Architect graduated from the Polytechnic School of Warsaw she also studied at the University of Montreal. She was director of the Research Institute for the History of Architecture (IRHA) of Canadian Centre for Architecture Université de Montréal and the University McGill from 1997 to 2000 and founding member of the Institute Art Culture Technologie of l'Université de Montréal (IACT). Irena Latek situates her research at the junction of architecture and the medias digital arts. The projects she has realized with the « medialabAU » team in video or through interactive interfaces take the form of installations questioning contemporary urbanities. She developed the « collage mouvant » an original method for the conception of architecture and the interpretation of space through video. Her work has been exhibited in Canada Spain Germany and France; notably she presented monographic exhibitions: Intervalles Montreal Cinémathèque québécoise 2015-2016 Flux Montreal Centre d'Exposition UdeM 2015 Transporters Ecotopia —Utopia Montréal Centre d'Exposition UdeM 2009 Ubiquités publiques Desynchronized Public Spaces Montréal SAT 2005 Espaces mouvants Soft Public Spaces Montréal SAT 2003 and Barcelona Galerie Ras 2004. Her work has been the subject of several articles and press reviews. She presents in a theoretical return her work in numerous articles chapters of books and her monographic book among which are: « Espacements ». In In situ / de visu / in motu. Architecture cinéma et arts technologiques. edited by Irena Latek Sophie Paviol Clotilde Simond and Françoise Very Gollion: Infolio 2014. « Sortie du cadre » In Perspectives sur la Perspective edited by Philippe Cardinali and Marc Perelman Paris: Fabula 2017. Flux et Intervalles - Irena Latek. Montreal: Antheism-BookArt 2017.

Gordon Cullen's Serial Vision: A Cinematic Urban Theory
During his long and various career as an architect urban planner consultant and editor of the Architectural Review Gordon Cullen (1914 - 1994) developed innovative and original urban visions.
Despite that not many studies have been conducted on him his projects numerous sketches or his personal vision about Townscape. This paper addresses this lacuna offering in particular a thorough analysis of a never-published series of sketches part of the Gordon Cullen Archive held at the University of Westminster.
Focusing on this suggesting sequence of images this paper will investigate in particular Cullen's original approach describing properly the serial vision as unique cinematic method that he implemented to express and successfully represent the complexity of urban spaces. The main aim is to re-evaluate Cullen's contribution in relation to the seminal urban research of the 50s 60s and 70s stating his crucial role in influencing the contemporary development of urban theories.

Mediatic Umbraculum – Architecture, Cinema, and Multimedia Systems
We live in a world enclosed by images. This is a phenomenon that has been much debated and documented across disciplines for over a century in the age of film television and internet. Today the digital production of images and our screenbased interaction on hand held and laptop devices has become what we may call the defining characteristic of today's spatial and interpersonal experiences. This paper sets out work being done by GIRAC (the Research Group in Architecture and Cinema) at the University of Valladolid Spain on how this manifests itself in architectural design and theory and how it results in a new approach to our understanding of architecture and by extension the city. It is a new hybrid mediaarchitecture approach that we argue more fully exploits the contemporary phenomenological potential of our new media saturated environments and results in new forms of spatial design practice

Watch This Space
Exploring Cinematic Intersections Between the Body, Architecture, and the City
This book and its individual essays examine key emerging and evolving practices theories and methodologies that operate in the blurred boundary between spatial design disciplines such as architecture interior and urban design and film and moving image studies more broadly.
The collection is an exploration of the evolving interdisciplinary rhetoric connecting spatial design disciplines like architecture and urban design with film and moving image studies. It is premised on the argument that the understanding of ‘space’ in these areas continues to draw on each other’s fields of reference and that in recent times this has expanded further to the point in which it blurs with multiple other disciplines including media art cultural studies and art practice to name but three. The result of this evolving interdisciplinary understating of ‘space’ in design disciplines and moving image studies is an expanded field of haptic-visual practice and theory that can be investigated as both a material and an image-based construct.
It engages with this evolving set of ideas and underlines how each of its primary discipline areas now increasingly incorporate tools and methodologies from each other’s fields. For example architects routinely engage with cinematic practice as a means of exploring space cultural theorists inspect filmic space as a two-dimensional surrogate of the real media artists incorporate knowledge of spatial design in video installations and film makers create spaces on screen that are informed by architectural theory. This all follows what can be defined as a discursive turn in our view of spatial relationships across disciplines which by definition is complex eclectic occasionally contradictory and at times characterised by surprising confluences.
Conceived as a form of mapping of these confluences and contradictions this book collects varied essays that in their own unique ways explore the diversity of how we today define understand and engage with notions of the body in architectural-urban space. It does so through a triadic structure that progresses from haptic relationships of the body in architectural space through film readings of represented space in mainstream cinema and concludes with ‘experimental spatial’ projects inspired by film and the moving image. This tripartite structure specifically encourages a look across disciplines broadening architectural urbanist media and cinematic concerns through insightful case studies that engage with their subjects by means of novel techniques i.e. employing graphic software for an analysis of pre-digital films deconstructing cinematography in modernist classics or researching urban edgelands via collaging and montage etc.

Are We Still Connected? Contemporary Chinese Minority-Centred Films and the Depiction of Interdependent Relations between Dwellers, Settlements, and Living Circumstances
Chinese ethnic minority-themed cinema reflects and portrays the diverse living situations of modern non-Han Chinese. The indigenousness of ethnic minorities gives primitiveness to gazing at a complex triangle of interconnections among the inhabitants the exotic environment and the nowness the representation of relationships is more variable affected by the vicissitudes of society. The chapter interprets different emotional connections between minority locals and the settlements/ground with exemplary works. It attributes these relations to cultural geographical concepts the topophilia and other forms of topobased affection and ir includes four patterns: First the settlement of ethnic minorities as a destination for escapism and change; second the settlement of the minority as a territory where various disputes of oldness and newness are encountered; third the settlement of ethnic minorities as a traumatized land creates anxiety; fourth ethnic minority settlements serve as a platform for folkloric and ethnic cultural performances.

Cutting into the Picture Plane: Painting, Binocular Vision

Decolonizing Islamic Art in Africa
New Approaches to Muslim Expressive Cultures
This collection explores the dynamic place of Muslim visual and expressive culture in processes of decolonization across the African continent. Presenting new methodologies for accentuating African agency and expression in the stories we tell about Islamic art it likewise contributes to recent widespread efforts to “decolonize” the art historical canon.
The contributors to this volume explore the dynamic place of Islamic art architecture and creative expression in processes of decolonization across the African continent in the twentieth and twenty-first centuries. Bringing together new work by leading specialists in the fields of African Islamic and modern arts and visual cultures the book directs unprecedented attention to the agency and contributions of African and Muslim artists in articulating modernities in local and international arenas. Interdisciplinary and transregional in scope it enriches the under-told story of Muslim experiences and expression on the African continent home to nearly half a million Muslims or a third of the global Muslim population.
Furthermore it elucidates the role of Islam and its expressive cultures in post-colonial articulations of modern identities and heritage as expressed by a diverse range of actors and communities based in Africa and its diaspora; as such the book counters notions of Islam as a retrograde or static societal phenomenon in Africa or elsewhere. Contributors propose new methodologies for accentuating human agency and experience over superficial disciplinary boundaries in the stories we tell about art-making and visual expression thus contributing to widespread efforts to decolonize scholarship on histories of modern expression.

Calligraphy in Mauritania: Creating a Lost Identity
This paper focuses on the role of calligraphy in contemporary painting in Mauritania. I begin by outlining the history and contemporary status of Arabic calligraphy in this country after which I trace the role of calligraphy in contemporary painting through the work of three artists representing three generations since the inception of a modern art movement in the late 1950s. I argue that the use of calligraphy in contemporary painting reflects an exploration of changing conceptions of Mauritanian identity as situated between North and Sub-Saharan African and between an Arab present and an Amazigh past.

Cybernetics and Postcolonial Utopias
This article argues that in the pre-1965 square-based abstraction by Mohammed Melhi Islamic art as a cultural heritage is mobilized as a space of both creation and re-invention only to be immediately destabilized with a larger project that seeks universalism by transcending national and religious belonging. He locates these abstractions within cybernetics and the language of IBM mobilizing them towards a vision of modernity that is not regional and instead argues that the fundamental question of the era was in his words “the common point between Human and Science.” This work connects Islamic art with a belief in borderless technological modernity as a predecessor to the later strategic nationalism of the Casablanca School. Yet these paintings are also a utopic vision of a modern world of connection and possibility that could exist outside of the ongoing enmeshment of colonialism – not just decolonizing but rejecting the grounds of colonization entirely.

Possessed: The Mystical Post-Surrealism of Wifredo Lam, Abdel Hadi El-Gazzar, and Ibrahim El-Salahi
This essay compares three paintings made by three prominent global modern artists: the Cuban Wifredo Lam (1902–82) the Egyptian Abdel Hadi El-Gazzar (1925–66) and the Sudanese Ibrahim El-Salahi (b.1930). Combining Surrealist techniques with references to mystical practices of their natal communities they express the state of possession of the non-white modern artist. Because of the asymmetrical power relations of colonization they were both ‘possessed’ by a European style of easel painting and ‘possessed’ by local movements that demanded nationalist symbolism. Within this demanding context it is no surprise that they decided to paint their dreams.

Between Art and Architecture, Modernism and Makhzen
This chapter discusses how two architects Abdeslam Faraoui and Patrice de Mazières commissioned artists such as Farid Belkahia Mohamed Chebaa and Mohamed Melehi to create artworks for new building projects across a newly independent Morocco. It considers how artists and architects collaborated to experiment with what a distinctly Moroccan modernism could be and it asks how these artist-architect collaborations intersected with state efforts to promote foreign tourism and repress those it viewed as dissident.

Dispersal, Decolonization, and Dominance: African Muslim Objects from the Swahili Sultanate of Witu (1858–1923)
This article examines four objects associated with the Sultanate of Witu (1858–1923) the last of coastal East Africa's independent Swahili Muslim city-state. The objects were removed from Witu between the late 19th and early 20th centuries and dispersed into British and American collections. They include: 1)an illuminated Qur'an manuscript in the Royal Asiatic Society of Great Britain and Ireland in London UK; 2) an ivory-inlaid chair in the British Museum in London UK; 3) a pair of carved wooden sandals in the Brooklyn Museum; and 4) a carved door in the Museum of Science Boston US. The study argues that decolonizing African Muslim material culture requires accounting for how present-day structures and institutions of power as well their everyday practices reproduce coloniality and dominance over these objects.

Kader Attia's Alternative History of the Grands Ensembles, from France to Algeria and Back
The French phrase “grand ensemble” designates a modernist residential housing typology consisting of the repetition of standardized units into vast-scale compositions. The grands ensembles were imported from France to Algeria by way of colonialism. At the onset of the postcolonial era the dense migration of groups of people in the other direction from Algeria to France where more grands ensembles were constructed to house them brought this episode of architectural history full circle. How have French-Algerian residents of postcolonial grands ensembles perceived metabolized and responded to this circulation of people and architectural forms in time and space? To answer this question this chapter turns to the collages of Kader Attia (b. 1970) a French-Algerian artist who spent his formative years as a resident of grands ensembles in postcolonial France. This chapter argues that Attia's collages tell a resident-centric architectural history of the grands ensembles across France and Algeria thus proposing alternative conceptions of modernity and its relation to vernacular traditions.

Tattooing as Subversive Archive: Safaa Mazirh's Reclamation of Tattoos in Postcolonial Morocco
This chapter concentrates on the photographs of Moroccan artist Safaa Mazirh and her 2017 series “Amazigh.” In this series of 13 black and white photographs Mazirh uses a multiple exposure technique in the camera to place North African tattoo designs over her nude or semi-nude body. She creates a multi-layered palimpsest that critiques colonial-era efforts to record tattooed women as ethnographic objects. The practice of tattooing has largely faded from fashion in Morocco as it is understood to be counter to Islam. Mazirh sees tattoo symbols as an expression of Amazigh identity that should not be forgotten. Mazirh's method of superimposing tattoo symbols over her own body contributes to the subversive nature of her photographic project that reclaims the past and also archives its destruction.

Teaching analysis of fortified monuments in a time of remote learning
First COVID-19 then the war in Ukraine forced educational institutions to adapt to online and hybrid teaching methods in new realms. Despite the challenges presented by this some educators have found innovative ways to teach in hybrid mode such as using new technologies or creative teaching methods. This article shows the method used by Olha Tikhonova and Oresta Remeshylo-Rybchynska to engage students in difficult situations with different kinds of restrictions and challenges both during the COVID-19 restrictions and then after Russia’s invasion of Ukraine from 24 February 2022. The method is rooted in Olha Tikhonova’s comprehensive approach to analyzing case studies focused on castles and the teaching methodology is built around this approach. The method is suitable for use in a partially or entirely virtual teaching environment. It is easily adaptable to interactive communication with participants through web meetings.

Queer Contemporary Art of Southwest Asia North Africa
Presents new perspectives on queer visual culture in the Southwest Asia North Africa region from queer artists as well as scholars who work on queer themes. With contributions from both scholars and artists this volume demonstrates that queer visual culture in the SWANA region is not only extant but is also entering an era of exciting growth in terms of its versatility and consciousness. The volume focuses on artworks produced in the contemporary era while recognizing historical and contextual connections to Islamic art and culture within
localities and regions from the pre-modern and modern eras.
By framing this volume as unambiguously located within queer studies the editors challenge existing literature that merely includes some examples of queer studies or queer representation but does not necessarily use queer studies as a lens through which to engage with visual culture and/or with the SWANA region. Through four interrelated sections - Gender and Normativity Trans* Articulations Intersectional Sexuality and Queer SWANA - this volume probes several previously unexplored academic areas namely the intersections of queer studies with other fields.
Part of the Critical Studies in Architecture of the Middle East series.

Hyperformalism: Notes on Machine Vision and Art Historical Method
This chapter is a critical examination of the relationship between machine vision and art historical method. It looks at many of the assumptions and resulting problems when art historical methods namely the formalistic approaches of Giovanni Morelli and Heinrich Wolfflin are used in computer vision. It then posits an alternative approach (called hyperformalism) based upon the Viennese art historian Alois Riegl's concept of ‘stilfragen’ and the history of ornament arguing that it holds untapped potential for the application of computer vision for the history of art.

Picturing Platformization: Information Infrastructures in Picture Archives Online
This chapter focuses the platformization and datafication of picture collections online. The aim is to consider how or in what ways the transformation from analogue to digital changes the archive qualitatively and to scrutinize how digitization may alter the way we conceive of picture archives particularly photographic archives and of photographs as such. The focus lies on information infrastructure that is how both textual and visual information is organized classified and made accessible with Flickr Commons as an example. Through five visualizations this chapter points out how the underlying systemic thinking in an online platforms like Flickr Commons is based on a bibliographic tradition of library collections rather than information infrastructure used in archives and museum collection.

Source, Surrogate, Store, and Search: Significant Sites in Post-Digitized Art History
Comparative analysis of online platforms frequently consulted by art historians allows us to identify how digitization has affected everyday practices in the discipline at multiple levels. Expanding on Johanna Drucker's (2013) distinction between ‘digital’ and ‘digitized’ art history this chapter analyses a selection of search results from three widely-consulted online platforms that offer access to high-quality digital art reproductions. It suggests that the use of these platforms by art historians can be understood in light of the wider phenomenon of post-digitization where by internet users behave in practice as ifeverything is already digitized even if they know in theory that it is not. To help post-digitized art historians disentangle the results of their research from the research of their search results the chapter argues for the development of a critical methodology centred on the four significant sites of source surrogate store and search.

Deep Art History: Inferences between Google Arts & Culture and Art Museums
The chapter compares the AI methods used by the online platform Google Art & Culture with the application of AI methods on the websites of the national galleries in Denmark and Norway. By re-activating theoretical insights offered by art historian Norman Bryson in the 1980s the chapter critically examines the methodological opaqueness resulting from the art museums’ use of AI. By applying AI methods to their websites the national galleries aim to open theirs collections to the broader public. However paradoxically this process obfuscates the underlying premisses for how the works of art are presented how they are connected and hence how meaning is ascribed to the works.

Critical Digital Art History: An Introduction
Art images are regularly used in computer vision research and generative AI applications. Each art dataset presents a particular point of view that both defines and delimits what art is and this point of view often happens to closely align with the traditional western canon of art. In this chapter I define art data in the context of machine learning and then analyze the history and make-up of one popular online art image collection-turned-dataset WikiArt. I then turn to a discussion of an implied dataset of the popular text-to-image generator DALL-E 2. I argue that art datasets reanimate the western concept of style by instrumentalizing it in such a manner. This zombie canon of art is then deployed in the world in ways that may go unnoticed infecting not only how we see art but how it is defined and reproduced.

What Is at Stake at the Interface? Agents of Mediation in Digital Curation
In considering the evolving role of digital curation this chapter questions the level of access provided by museum interfaces that replicate gallery spaces through 3D rendered environments and geo-location maps. Although online collections and content might give greater access to content and material by replicating these spaces without context and clarification we arguably risk reiterating the problematic histories of these spaces and the colonial projects of the collections within them. This observation informs a critical consideration of the stakes of replicating examples of historical collections with colonial histories online and examines how digital curation might enable agency and engagement through qualitative access enabled by interfacial technologies.

RE:Inventing the Museum: Co-Creation in Digital Space
The digitisation of museum collections since the1990s while aimed at preservation has alsopresented opportunities for audience engagementand outreach. Putting digital objects ‘online’ is often assumed to make museums more accessible however digital collections often replicate the conceptual and spatial organisation of museums relying on prior knowledge and assumed perspectives in ways that can prohibit access. This chapter discusses the use of co-creative methods of digital production aimed at increasing the physical and digital accessibility of the museum. Discussing a project developed with the Young V&A artists young people and youth workers we highlight the potential for using arts-led methods and web-based tools to collectively reimagine the digital museum experience. The collaborative process and digital technologies employed further informed the reinvention of the physical site through the active involvement of the young participants and long-lasting collaborations between the museum and the youth organisations.

Global Digital Museum Narratives: Representation, Authorship, and Audiences
The COVID-19 pandemic accelerated the adoption of online platforms transforming how we communicate and share stories globally. Museums forced to close during this period shifted their activities online making digital resources and exhibitions more relevant to everyone. Research has shown a significant shift towards digital initiatives in museums during the pandemic but also has questioned their preparedness and the degree of innovation of their digital initiatives. Concurrently the pandemic resurfaced social and geopolitical inequalities exemplified by the global response to George Floyd's murder and the rise of the Black Lives Matter movement. These events raise important questions about the role of museums and their online presence in addressing societal challenges. What stories are museums presenting? Where do these stories originate and from what perspectives are they told? Who are their intended audiences? This chapter adopts digital narratology—a theory that studies digital narratives and storytelling—to interrogate the effectiveness of museums digital resources to truly support social justice.

Zombie Canon: Art Datasets, Generative AI, and the Reanimation of the Western Canon of Art
Art images are regularly used in computer vision research and generative AI applications. Each art dataset presents a particular point of view that both defines and delimits what art is and this point of view often happens to closely align with the traditional western canon of art. In this chapter I define art data in the context of machine learning and then analyze the history and make-up of one popular online art image collection-turned-dataset WikiArt. I then turn to a discussion of an implied dataset of the popular text-to-image generator DALL-E 2. I argue that art datasets reanimate the western concept of style by instrumentalizing it in such a manner. This zombie canon of art is then deployed in the world in ways that may go unnoticed infecting not only how we see art but how it is defined and reproduced.

Critical Digital Art History
Interface and Data Politics in the Post-Digital Era
Digital Art History has often aligned itself with the practical concerns of digital technology and the responsibilities of art institutions and associated institutional roles such as collection managers information specialists curators and conservators. This emphasis on practicalities and implementation while undeniably important has often meant that there is little room for critical examination of the broader implications of digital technology and computational methodologies in art history.
This anthology seeks to address the dearth of critical reflection by approaching the use of digital technology in art history from a theoretical perspective and critically assessing specific case study examples. This book also considers the political dimensions associated with the large-scale digitization and the application of digital tools within museums and collection management.
A long-standing concern of the field—and also a major focal point of this book—is museum and collecting practices in the digital era. While there is a certain degree of continuity in the field there are some important shifts and changes too. One of the key changes is the widespread uptake of artificial intelligence tools and an increased attention to both the broader historical and societal aspects of the use of digital tools within museums and collection management.

Dissens and Sensibility
Why Art Matters
An introduction to pedagogy of dissensus.
A pedagogy of dissensus is informed by the dissensual characteristics of art. The book includes both theoretical foundations and examples of how the theory is unfolded in different contexts ranging from educational practice to arts-based research. Motivated by the author’s long-held interest in the role of art in society in general and education in particular it is a vital new contribution to arts-based approaches to education.
Referencing philosophers and theorists such as Jacques Rancière Gert Biesta Dennis Atkinson and Helga Eng Lisbet Skregelid demonstrates why art matters because of its ability to create necessary disturbance and resistance in education. In this book she argues that art has something to offer education because it challenges existing norms has no definitive answers and contributes to new ways of seeing both oneself others and one’s surroundings. Placing art at the center and enabling dissensus in education can contribute as a contrast to the dominating policy led by economic ambition and competition.

Heart to Heart: Baseera Khan in Conversation with Yasmine K. Kasem
A excerpt from a long form conversation between artists Baseera Khan and Yasmine K. Kasem about Baseera's inspiration and concept behind their poster “Muslim = America”. In this conversation Khan and Kasem discuss their experiences as American muslims the aftermath of 9/11 the lead up before and contextualizing islamophobia through Edward Said's writings.

Sa'dia Rehman's Queer Cartographies: Convivial Opacities
The work of queer Muslim visual artist Sa'dia Rehman (she/they) animates a queer call for no borders. These queer cartographic logics are clear in projects like Mihrab (2019) and The Land of Promise (2020). Through queer aesthetic strategies such as conviviality and opacity Rehman gathers traces as a brown visual commons that cultivates unforeseen affiliations. Their works of art are portals into queer theory committed to dismantling borders to prompting social re-ordering and to ungovernability. As a result she frustrates regulatory logics undergirding visuality announcing the possibility of another kind of visuality altogether.