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16 Research products, page 1 of 2

  • Other research products
  • 2013-2022
  • De Montfort University Open Research Archive
  • Digital Humanities and Cultural Heritage

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  • Other research product . Other ORP type . 2021
    Open Access English
    Authors: 
    Pasternak, Gil;
    Country: United Kingdom

    This special issue of the journal Photography & Culture (volume 14, issue 3) calls for the development of research into the various local and global political circumstances that have influenced the absorption of historical photographs into the realm of digital heritage, alongside the study of the digital photographic heritagization practices triggered by this very process. Presenting case studies from Australia, Britain, Israel, Palestine, Russia and South Africa, it analyses how historical photographs, digital heritage, and cultural conflicts have become interlocked in multiple countries around the globe since the post-Cold War rising prevalence of digital technology, global interconnectedness, and liberal democracy. These related conditions, it is suggested, have informed the growing digital heritagization of historical photographs and the methods used for their digitization, safeguarding and dissemination. Therefore, as a whole, the special issue argues that the confluence of historical photographs and digital heritage must not be understood as a mere response to technological progress but as an articulation of politically-charged aspirations to capitalize on the common association of photographs with the past, to administer approaches to differing cultural values in a time of imposing liberal-democratic politics of consensus.

  • Other research product . Other ORP type . 2019
    Open Access English
    Authors: 
    Streffen, Isabella; Archino, Sarah; McSherry, Siofra;
    Publisher: And Or
    Country: United Kingdom

    One of four temporary, online exhibitions developed by The And Or Project between 2014-2019. Exhibition developed with artist Sara Schnadt for The And Or Project.

  • Other research product . Other ORP type . 2017
    Open Access
    Authors: 
    Streffen, Isabella;
    Country: United Kingdom

    Artwork commissioned for '#exstrange: a curatorial intervention on eBay by Maria-Laura Ghidini and Rebekah Modrak. The artwork consists of two gilded objects, a nutmeg and a quince; the online auction and all correspondence relating to the auction. Who is to say what objects mean to us, or which relationships they manifest and reify? What propositions of care can be explored through this platform's specific taxonomies and terms of engagement? Deep among Collectibles > Fantasy/Myth/Magic > Other Magic, this artworks casts its own spell.

  • Other research product . Other ORP type . 2016
    Open Access English
    Authors: 
    Rahaim, Meg; Eldridge, L.;
    Publisher: Phoenix, Leicester
    Country: United Kingdom

    Luci Eldridge and Meg Rahaim were asked by Phoenix to make new work exploring the relationship between digital and print for this two-person exhibition. It took place as part of Leicester Print Workshop’s Small Print International. Whether rural or urban, peopled or desolate, landscape is encountered on-screen through the cybernetic eyes of drones, web-cameras and robotic explorers. Such imaging devices enable us to take part in a form of virtual travel, allowing us to witness the unknown or traverse the familiar through an unfamiliar eye. Distances shrink with progress and the development of technology invites us to look in ever more detail at distant reaches of the universe. Yet these views of landscape remain partial and immaterial, manipulated and stratified, flattened and framed by technologies we do not fully comprehend. An ongoing fascination with how landscape is represented by digital technologies is what drives the individual practices of Luci Eldridge and Meg Rahaim. Be it a pixelated flourish of cloud algorithmically rendered in the sky above Google Street View or the distant landscape of the planet Mars imaged by NASA’s rovers, landscape as a 360-degree physical experience is reconstructed via these imaging devices, withdrawn into a flat two-dimensional image. Using printmaking as a practical and conceptual methodology, the digital is overturned in favour of the handmade as a means to reposition oneself within landscapes that are often distant and remote. Through analogue photography, etching, collage, and handmade textile techniques both artists offer contemplations on innately familiar landscapes, that would otherwise remain trapped within the digital space of the screen.

  • Open Access
    Authors: 
    Rahaim, Meg; Zhou, J.; Li, Liu; Yicheng, Z.;
    Publisher: Yun Contemporary Arts Centre, Shanghai, China
    Country: United Kingdom

    'Conjunctively Evolving', was an international exhibition in Shanghai, China, curated by Jian Zhou, Liu Li, and Zhang Yicheng. The exhibition was developed as an extension and progression from the exhibition, "Intersecting Practices: Contemporary Printmaking in the UK", including works by artists based in China and the UK. Exhibiting artists: Victoria Ahrens, Hadas Auerbach, Trevor Banthorpe, Ian Brown, Jane Bustin, Stephen Chambers RA, Paul Coldwell, Nicky Coutts, Deng Yuejun, Julia Farrer, Hans Fonk, Oona Grimes, Gu Tingting, Gu Renming, Brian D Hodgson, Ji Wenyu, Jiao Yang, Jin Sheng, Ann-Marie Lequesne, Liu Yincong, Mao Weixin, Charlie Masson, Bob Matthews, Heather Meyerratken, Ni Weihua, Peng Bo, Meg Rahaim, Shen Fan, Hal Stennett, Emma Stibbon RA, Jo Stockham, Finlay Taylor, Wang Ming, Wei Guangqing, Joby Williamson, Wu Xiaoning, Xiao Jianhun, Xie Rong, Xuan Chenhao, Zhou Binlang, Zhou Jian, Zhu Weibing

  • Other research product . Other ORP type . 2016
    Open Access English
    Authors: 
    Streffen, Isabella;
    Publisher: Ma Bibliothèque
    Country: United Kingdom

    Drawing/experimental text in anthology of artists work on paper. Turn Right At The Statue of Love is a double-page spread drawing/text, an original artwork. In 'A Berlin Chronicle' Walter Benjamin describes his autobiography as a space to be walked. The invited contributions to The Lost Diagrams respond to the invitation to accompany Benjamin in reproducing the web of connections of his diagram, which, once lost (he was inconsolable) was never fully redrawn.

  • Other research product . Other ORP type . 2015
    Open Access English
    Authors: 
    Streffen, Isabella;
    Publisher: Cobra Press
    Country: United Kingdom

    Edited commissioned anthology, ninth in series of ten by Cobra Press. Four short experimental texts responding to the 'Calais Crisis' COBRA Committee meetings and the refugee crisis in Europe.

  • Other research product . Other ORP type . 2015
    Open Access
    Authors: 
    Meredith-Vula, L. A.;
    Publisher: GX Gallery
    Country: United Kingdom

    "Folk Art * Sex Fantasy * Kosova Myths * London diaries"
is a solo exhibition and video film. The exhibition was held in London GX gallery in March 2015 that is based on a performance and video art research piece that was originally performed at the Borderlines: conference, De Montfort University, Leicester in June 2014 and is now a video art piece being considered for the video festivals. A catalogue has been produced of the same title. "Folk Art * Sex Fantasy * Kosova Myths * ‏ Artist Statement Normally people hide their contradictions. In this exhibition I wish to show mine in work made over the past three decades. I want to unify all the elements of myself in my art work. It is like a jigsaw puzzle for the viewer to piece together....

  • Other research product . Other ORP type . 2015
    Open Access
    Authors: 
    Meredith-Vula, L. A.;
    Publisher: National Gallery of Art, Kosova
    Country: United Kingdom

    Blood Memory, shown in the National Gallery of Kosova in March 2015, consisted of 40 images from a body of work I carried out in the politically turbulent years of 1990-91. At that time Yugoslavia, where I was born, was on the brink of civil war, threatening the fragile process begun in Kosova of miraculously transforming centuries of bloodshed into a promise of peace and reconciliation. Since the 15th century, families in the region have lived by the grim edict “spilled blood must be met by spilled blood”. In 1990, sickened by the slaughter and destruction as Yugoslavia imploded, the people of Kosova took the future into their own hands. With no formal organisers or leaders, men and women, young and old, all over the country left their homes and trekked all day or hitchhiked on tractors or vans to witness their elders and victims’ families publicly announce forgiveness. They forgave the unforgivable: the destruction of homes and the destruction of lives. Blood Memory shows the crowds assembling with bodies clinging to every incline, mounted on telephone poles, rooftops and trees. At the heart of the group elders ceremonially embrace, arm in arm, hand in hand. Robbed of so many sons and brothers, the grieving crowds give their assent. This exhibition captures the tension of the moment, the solemnity of this life-changing transformation, and the exuberance as the reality of reconciliation strikes home. A dove is released, a white horse is ridden into the crowd, a couple and a drummer clear a space for an impromptu dance. Landscape and figures coalesce in scenes of powerful emotional beauty. How often does a community turn its back on hatred for the good of individuals and society? In a unique re-enactment of the original moment, Erzen Shkololli, Director of the National Gallery, asked to exhibit this work in 2015, a year marked by both European consolidation and growing instability. Working together with Karen McQuaid, of the Photographers’ Gallery, we installed the work, large and small, to encourage the audience to remember, and to move them to relive the moment of 1990-91. My images document the dignity, courage and compassion of ordinary people in an extraordinary time, and serve to inspire future generations to similar acts of altruism. It is about much more than one point in history and one place in Europe. The event it brings to life has powerful implications for other times and other places. That is why the exhibition attracted extensive media attention and was visited by the Presidents of Kosova and of Bulgaria, distinguished representatives of the EU, OSCE, foreign ministers and ambassadors. However, for me the highlight was when it was visited by the people who took part in the movement, their sons and daughters, their grandsons and grand daughters all remembering in front of these photographs. It brought the community together to remember solidarity over hatred. From Kosova in 2015 a message of hope resonates through the world.

  • Other research product . Other ORP type . 2015
    Open Access
    Authors: 
    Streffen, Isabella;
    Country: United Kingdom

    Two versions of an original artwork, one commissioned for Resonate '15, one represented as experimental cabaret. In this work, Streffen problematises the history of technology and ideas of accelerationism by performing a live media archaeology of the GIF format. #unicornthings is a media archaeology of the GIF as performance to camera and as experimental cabaret.

Advanced search in
Research products
arrow_drop_down
Searching FieldsTerms
Any field
arrow_drop_down
includes
arrow_drop_down
Include:
16 Research products, page 1 of 2
  • Other research product . Other ORP type . 2021
    Open Access English
    Authors: 
    Pasternak, Gil;
    Country: United Kingdom

    This special issue of the journal Photography & Culture (volume 14, issue 3) calls for the development of research into the various local and global political circumstances that have influenced the absorption of historical photographs into the realm of digital heritage, alongside the study of the digital photographic heritagization practices triggered by this very process. Presenting case studies from Australia, Britain, Israel, Palestine, Russia and South Africa, it analyses how historical photographs, digital heritage, and cultural conflicts have become interlocked in multiple countries around the globe since the post-Cold War rising prevalence of digital technology, global interconnectedness, and liberal democracy. These related conditions, it is suggested, have informed the growing digital heritagization of historical photographs and the methods used for their digitization, safeguarding and dissemination. Therefore, as a whole, the special issue argues that the confluence of historical photographs and digital heritage must not be understood as a mere response to technological progress but as an articulation of politically-charged aspirations to capitalize on the common association of photographs with the past, to administer approaches to differing cultural values in a time of imposing liberal-democratic politics of consensus.

  • Other research product . Other ORP type . 2019
    Open Access English
    Authors: 
    Streffen, Isabella; Archino, Sarah; McSherry, Siofra;
    Publisher: And Or
    Country: United Kingdom

    One of four temporary, online exhibitions developed by The And Or Project between 2014-2019. Exhibition developed with artist Sara Schnadt for The And Or Project.

  • Other research product . Other ORP type . 2017
    Open Access
    Authors: 
    Streffen, Isabella;
    Country: United Kingdom

    Artwork commissioned for '#exstrange: a curatorial intervention on eBay by Maria-Laura Ghidini and Rebekah Modrak. The artwork consists of two gilded objects, a nutmeg and a quince; the online auction and all correspondence relating to the auction. Who is to say what objects mean to us, or which relationships they manifest and reify? What propositions of care can be explored through this platform's specific taxonomies and terms of engagement? Deep among Collectibles > Fantasy/Myth/Magic > Other Magic, this artworks casts its own spell.

  • Other research product . Other ORP type . 2016
    Open Access English
    Authors: 
    Rahaim, Meg; Eldridge, L.;
    Publisher: Phoenix, Leicester
    Country: United Kingdom

    Luci Eldridge and Meg Rahaim were asked by Phoenix to make new work exploring the relationship between digital and print for this two-person exhibition. It took place as part of Leicester Print Workshop’s Small Print International. Whether rural or urban, peopled or desolate, landscape is encountered on-screen through the cybernetic eyes of drones, web-cameras and robotic explorers. Such imaging devices enable us to take part in a form of virtual travel, allowing us to witness the unknown or traverse the familiar through an unfamiliar eye. Distances shrink with progress and the development of technology invites us to look in ever more detail at distant reaches of the universe. Yet these views of landscape remain partial and immaterial, manipulated and stratified, flattened and framed by technologies we do not fully comprehend. An ongoing fascination with how landscape is represented by digital technologies is what drives the individual practices of Luci Eldridge and Meg Rahaim. Be it a pixelated flourish of cloud algorithmically rendered in the sky above Google Street View or the distant landscape of the planet Mars imaged by NASA’s rovers, landscape as a 360-degree physical experience is reconstructed via these imaging devices, withdrawn into a flat two-dimensional image. Using printmaking as a practical and conceptual methodology, the digital is overturned in favour of the handmade as a means to reposition oneself within landscapes that are often distant and remote. Through analogue photography, etching, collage, and handmade textile techniques both artists offer contemplations on innately familiar landscapes, that would otherwise remain trapped within the digital space of the screen.

  • Open Access
    Authors: 
    Rahaim, Meg; Zhou, J.; Li, Liu; Yicheng, Z.;
    Publisher: Yun Contemporary Arts Centre, Shanghai, China
    Country: United Kingdom

    'Conjunctively Evolving', was an international exhibition in Shanghai, China, curated by Jian Zhou, Liu Li, and Zhang Yicheng. The exhibition was developed as an extension and progression from the exhibition, "Intersecting Practices: Contemporary Printmaking in the UK", including works by artists based in China and the UK. Exhibiting artists: Victoria Ahrens, Hadas Auerbach, Trevor Banthorpe, Ian Brown, Jane Bustin, Stephen Chambers RA, Paul Coldwell, Nicky Coutts, Deng Yuejun, Julia Farrer, Hans Fonk, Oona Grimes, Gu Tingting, Gu Renming, Brian D Hodgson, Ji Wenyu, Jiao Yang, Jin Sheng, Ann-Marie Lequesne, Liu Yincong, Mao Weixin, Charlie Masson, Bob Matthews, Heather Meyerratken, Ni Weihua, Peng Bo, Meg Rahaim, Shen Fan, Hal Stennett, Emma Stibbon RA, Jo Stockham, Finlay Taylor, Wang Ming, Wei Guangqing, Joby Williamson, Wu Xiaoning, Xiao Jianhun, Xie Rong, Xuan Chenhao, Zhou Binlang, Zhou Jian, Zhu Weibing

  • Other research product . Other ORP type . 2016
    Open Access English
    Authors: 
    Streffen, Isabella;
    Publisher: Ma Bibliothèque
    Country: United Kingdom

    Drawing/experimental text in anthology of artists work on paper. Turn Right At The Statue of Love is a double-page spread drawing/text, an original artwork. In 'A Berlin Chronicle' Walter Benjamin describes his autobiography as a space to be walked. The invited contributions to The Lost Diagrams respond to the invitation to accompany Benjamin in reproducing the web of connections of his diagram, which, once lost (he was inconsolable) was never fully redrawn.

  • Other research product . Other ORP type . 2015
    Open Access English
    Authors: 
    Streffen, Isabella;
    Publisher: Cobra Press
    Country: United Kingdom

    Edited commissioned anthology, ninth in series of ten by Cobra Press. Four short experimental texts responding to the 'Calais Crisis' COBRA Committee meetings and the refugee crisis in Europe.

  • Other research product . Other ORP type . 2015
    Open Access
    Authors: 
    Meredith-Vula, L. A.;
    Publisher: GX Gallery
    Country: United Kingdom

    "Folk Art * Sex Fantasy * Kosova Myths * London diaries"
is a solo exhibition and video film. The exhibition was held in London GX gallery in March 2015 that is based on a performance and video art research piece that was originally performed at the Borderlines: conference, De Montfort University, Leicester in June 2014 and is now a video art piece being considered for the video festivals. A catalogue has been produced of the same title. "Folk Art * Sex Fantasy * Kosova Myths * ‏ Artist Statement Normally people hide their contradictions. In this exhibition I wish to show mine in work made over the past three decades. I want to unify all the elements of myself in my art work. It is like a jigsaw puzzle for the viewer to piece together....

  • Other research product . Other ORP type . 2015
    Open Access
    Authors: 
    Meredith-Vula, L. A.;
    Publisher: National Gallery of Art, Kosova
    Country: United Kingdom

    Blood Memory, shown in the National Gallery of Kosova in March 2015, consisted of 40 images from a body of work I carried out in the politically turbulent years of 1990-91. At that time Yugoslavia, where I was born, was on the brink of civil war, threatening the fragile process begun in Kosova of miraculously transforming centuries of bloodshed into a promise of peace and reconciliation. Since the 15th century, families in the region have lived by the grim edict “spilled blood must be met by spilled blood”. In 1990, sickened by the slaughter and destruction as Yugoslavia imploded, the people of Kosova took the future into their own hands. With no formal organisers or leaders, men and women, young and old, all over the country left their homes and trekked all day or hitchhiked on tractors or vans to witness their elders and victims’ families publicly announce forgiveness. They forgave the unforgivable: the destruction of homes and the destruction of lives. Blood Memory shows the crowds assembling with bodies clinging to every incline, mounted on telephone poles, rooftops and trees. At the heart of the group elders ceremonially embrace, arm in arm, hand in hand. Robbed of so many sons and brothers, the grieving crowds give their assent. This exhibition captures the tension of the moment, the solemnity of this life-changing transformation, and the exuberance as the reality of reconciliation strikes home. A dove is released, a white horse is ridden into the crowd, a couple and a drummer clear a space for an impromptu dance. Landscape and figures coalesce in scenes of powerful emotional beauty. How often does a community turn its back on hatred for the good of individuals and society? In a unique re-enactment of the original moment, Erzen Shkololli, Director of the National Gallery, asked to exhibit this work in 2015, a year marked by both European consolidation and growing instability. Working together with Karen McQuaid, of the Photographers’ Gallery, we installed the work, large and small, to encourage the audience to remember, and to move them to relive the moment of 1990-91. My images document the dignity, courage and compassion of ordinary people in an extraordinary time, and serve to inspire future generations to similar acts of altruism. It is about much more than one point in history and one place in Europe. The event it brings to life has powerful implications for other times and other places. That is why the exhibition attracted extensive media attention and was visited by the Presidents of Kosova and of Bulgaria, distinguished representatives of the EU, OSCE, foreign ministers and ambassadors. However, for me the highlight was when it was visited by the people who took part in the movement, their sons and daughters, their grandsons and grand daughters all remembering in front of these photographs. It brought the community together to remember solidarity over hatred. From Kosova in 2015 a message of hope resonates through the world.

  • Other research product . Other ORP type . 2015
    Open Access
    Authors: 
    Streffen, Isabella;
    Country: United Kingdom

    Two versions of an original artwork, one commissioned for Resonate '15, one represented as experimental cabaret. In this work, Streffen problematises the history of technology and ideas of accelerationism by performing a live media archaeology of the GIF format. #unicornthings is a media archaeology of the GIF as performance to camera and as experimental cabaret.

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