The essays collected here are based on two decades of engagement with the residents of the slums of Govindpuri in India’s capital, Delhi. The book presents stories of many kinds, from speculative treatises, via the recollection of a thousand everyday conversations, to an account of the making of a radio documentary.Zig-zagging through the lanes of Govindpuri, Listening into Others explores the vibrant sounds emanating from slum culture. Redefining ethnography as listening in passing, Chandola excels at narrating the stories of the everyday. The ubiquity of smartphones, sonic selfies, wailing, the ethics of wearing jeans, the crossroad rituals of elections, the political agency of slum-dwellers, the war of the sexes through bodily gestures, and conflicts over ownership of both property and sound generated in the slums — these are among the many encounters Chandola opens up to the reader.Slums are anxious spaces in the materiality, experience, and imagination of a city. They are the by-products of the violent and exploitative mechanisms of urbanization. What becomes of the slum-dwellers, who universally, across centuries, cities and continents, befall similar fates of being discriminated, reckoned to be the scum of the earth, and a burden on society? By listening to identified others and amplifying their voices in their own vocabularies and grammar, Tripta Chandola’s praxis creates a methodological, political, and poetic rupture. Slums, she finds, are not anathema to the city’s past, present, or future. They are an integral component of urbanization and a foundational part of the city.With Listening into Others, Tripta Chandola poses the question: ‘Who owns the slum, and who determines which voices are heard? From where you are, listen with me.’
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The Material Sample Management Tool is a label generator and database to support creative communities in documenting and sharing material experiments. It was designed around the idea of collaboratively building an archive of alternative design materials with an emphasis on materials that are easily renewable, reusable, (home) compostable within 90 days, locally abundant and make use of local waste streams. The open-source tool, which functions as a collaborative archive as well as label generator to help showcase material experiments, was developed to help any community of creatives (especially students) share them with peers online and offline, and showcase them the physical material wall in their shared workspaces, studios and tool shops.The “Material Sample Management Tool” was developed in 2020-2021 by AUAS computer engineering students Alec Wouda, Sam Overheul, Kostas Mylothridis, Mitchell de Vries and Jarno van der Velde, with wonderful guidance from Okechukwu Onwunli and the teaching team of the Enterprise Web Applications semester course.Entries into the material archive are produced by students in several courses at AUAS.This tool is part of a larger material archiving project funded by NWO by means of a Comenius Teaching Fellowship awarded to senior lecturer and researcher Loes Bogers. In close collaboration with Textile Lab Amsterdam at Waag, a dedicated project team consisting of design educators, researchers and partners at Waag will develop archiving tools for sharing research into sustainable design materials in higher education. The project is inspired by, and a continuation of the Material Archive developed at Waag by Cecilia Raspanti, Maria Viftrup and other (2017-2019). The project will run until January 2022.The project is further supported by the AUAS learning community on Critical Making and Research through Design: a partnership between the Amsterdam Fashion Institute and various research groups at the Amsterdam University of Applied Sciences: Fashion Research & Technology Visual Methodologies Collective Play and Civic MediaCC BY-NC-SA 4.0 (Attribution-NonCommercial-ShareAlike 4.0)
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This study will examine how branded games in the LEGO Ninjago franchise communicate the brand narrative through their mechanical, semiotic and referential design. Digital games as communicative tools facilitate a new paradigm of marketing focusing on experience creation through integrated marketing communication plans. The LEGO brand creates highly successful games that communicate the brand effectively. To explore the possibilities and counteract the simplistic use of branded games, this study introduces an innovative framework to formally analyze branded games and their communication of a brand narrative through mechanical, semiotic and referential layers. This framework introduces formal game design to advertising studies, while dragging game studies into branded ecosystems. Using the framework, we analyze LEGO Ninjago the Movie – The Videogame, to identify how this paid digital game expands the Ninjago universe and fulfills specific marketing purposes oriented to LEGO toy sets. Our analysis shows that on a mechanical and semiotic layer, the game presents a standalone experience catering to the universe of the Ninjago movie and the values of the Ninjago brand narrative. However, by framing the whole game as LEGO – in its materiality and interactable objects – the LEGO brand narrative of creative construction informs the act of play. The referential design in these games makes use of playful disruption of rules to instill additive comprehension in the player related to purchasable sets and content.
The project is a field study for several diverse hotel chains, including individual properties operated under the Marriott brand, Postillion Hotels. Each brand has unique values, missions, and visions. Therefore, this integration will lead to the development of company-specific sustainability strategies and processes. The study will use the model of levers of control to provide such tailor-made solutions and determine if a generic approach can be developed to match a corporate sustainability strategy with a corporate strategy and develop a supporting management control system for operationalizing the sustainability strategy. Research question: How can a hotel brand formulate and implement a sustainability strategy with a supporting management control system that not only complies with the new CSRD (Corporate Sustainability Reporting Directive) legislation but also emphasizes the creation of substantial value in financial and ESG (Environmental, Social, and Governance) aspects, based on double materiality, in line with the organization's corporate values and beliefs? Objective The aim is to develop a validated method, including tools, that hotels can use to create a sustainability strategy in line with the CSRD guidelines. This strategy should create value for the organization, the environment, and society, while aligning with the hotel's values and beliefs. Merely being compliant with the CSRD is not enough for hotels. Instead, they should view the implementation of the CSRD as an opportunity to stand out in terms of sustainability. By creating value in areas such as environment, safety, and governance, or through the six capitals (financial, manufactured, intellectual, human, social and relationship, and natural) that align with the UN-SDGs, and explicitly taking both an inside-out and an outside in perspective (double materiality), hotels can significantly enhance their sustainability reputation.
This PD project explores alternative approaches to audiovisual technologies in art and creative practices by reimagining and reinventing marginalized and decommodified devices through Media Archaeology, artistic experimentation, and hands-on technical reinvention. This research employs Media Archaeology to uncover “obsolete” yet artistically relevant technologies and hands-on technical reinvention to adapt these tools for contemporary creative practices. It seeks to develop experimental self-built devices that critically engage with media materiality, exploring alternative aesthetic possibilities through practice-based investigations into the cultural and historical dimensions of media technologies. These developments provide artists with new creative possibilities beyond mainstream commercial standardized tools and infrastructures. A key component of this project is collaborative innovation with artist-run analog film communities, such as Filmwerkplaats. By fostering knowledge exchange and artistic experimentation, this research ensures that reinvented tools remain relevant to both analog film communities and contemporary media art practices. The intended outcomes directly benefit two key groups: • Artist-run film labs gain sustainable methods for evolving their practices, reducing dependence on scarce, out-of-production equipment. • Digital-native artists are introduced to alternative methods for engaging with analog processes and media materiality, expanding their creative toolkit. This collaboration also strengthens art and design education by embedding alternative technological perspectives and research methodologies into curricula, providing students and practitioners with resourceful, sustainable approaches to working with technology. It advocates for a more diverse educational paradigm that incorporates media-technological history and critical reflection on the ideologies of linear technological progress. Ultimately, this research fosters critical discourse on media culture, challenges the dominance of corporate proprietary systems, and promotes innovation, redefining the relationship between creativity and technology.
The primary objective of this research is to develop the new practical methodology of "Vocalising Resonance", as a development of existing methods. The approach intends to involve artists and citizens in a multi-sensory engagement with their surrounding environment, by collectively utilizing the 'physical', non-semantic voice as a tool for communication. This methodology's creation is rooted in the application of artistic research to well-formulated arguments within contemporary humanities studies. It also incorporates existing approaches for engaging with sound and voice in a multisensory and multidisciplinary manner. Musicologist, Nina Eidsheim argues that music research should not solely focus on the figure of sound, but should also delve into the materiality of sound as vibration (Eidsheim, Sensing Sound). Similarly, this research aims to explore the voice as an experience connected to the whole body and senses, rather than simply hearing. Several existing strategies offer starting points. The second objective of this research is to investigate how the proposed methodology of "Vocalising Resonance" may have a transformative impact on participants' consciousness, by increasing their exposure to diversity and facilitating their realisation that persons in the literal meaning of the word are “the speaking through - sonare + per- the masks that make up our social selves”(Scapp, A Question of Voice). Broadening the scope beyond traditional norms, the project paves the way for a more inclusive, sensorially rich understanding of performing arts, inviting a holistic approach that goes beyond typical categorisations, enhancing the immersive nature of performances. It prompts reflections on the significance of an audience to define a voice, the essence of a voice irrespective of language, and how the non-semantic use of voice serves as a powerful interdisciplinary communication tool within abstract performance contexts. This process seeks to offer a new perspective and transform our practices.
