This paper puts forward a conceptual proposition that ties the discourses on ‘urban memory’ (Stillman and Johanson, 2009; Ringas, Christopoulou, Stefanidakis., 2011; Loughran, Fine & Hunter, 2015), sensory ethnography (Pink 2017 ), and counter-mapping (Crampton and Krygier 2018; ) with digital methods (Rogers, Sánchez-Querubín, and Kil, 2015). As an ‘interventionist’ approach, we understand co-producing counter (dynamic) maps with local stakeholders (actors), coupled with sensory and sentient data as a way of capturing the memory of urban peripheral landscapes (through intervention and participation) and thus creating archival knowledge.Urban memory is often understood as a form of collective memory that isconstituted by individual experiences within the place itself and through its historyand social environment (Ringas et al., 2011). With rapid changes in digitaltechnologies, digital and material have become “inseparate and entangled inenvironments people move and navigate their lives through'' (Pink and Fors, 2017).Memories are “evoked with material engagement with devices” which “opens up afield of sensory and affective engagement” research (ibid). While Pink and Forspropose to follow such engagement in a mundane and everyday setting, seen as anon-representational, phenomenological approach, we put forward a mixedmethods approach that connects sensory and sentient data (as agents) with the largerenvironmental context.Urban areas are often conceptualized as sites of ‘creative destruction’, in between stability and change, space (that can be developed) and place (that is lived in), often subjected to planning, regulation, and economic forces (Batty, 2007). This is especially true for urban areas that are located outside of the ‘center’ or in the cities’ periphery. These areas have experienced an endless cycle of deconstruction and reconstruction often witnessed and captured by local inhabitants, creatives, and activists. Currently, many of the peripheral areas are emancipating, bringing forward and openly communicating their complexities, values, and engaging various stakeholders in their regeneration efforts (which happens in a broader context of many European cities repositioning themselves in more polycentric and polyphonic ways, (Scott, 2015).To be able to capture the memory of ever-changing, ‘built a new’ urban places, we put forward counter (dynamic) mapping using digital methods as complemented with sensory and sentient data generated through interactions with digital technologies. Building on Crampton’s notion of maps (Crampton and Krygier, 2018), cartography is understood as existence (becoming) rather than essence (fixed ontology). Maps are therefore taken not as ‘objects’, but as performative practices. Digital methods, on the other hand, enable us to understand dynamic place-making, through ‘tracing’ the stakeholders (actors) and their relations overtime to capture the ways the urban environment gets performed.To clarify with an example, in Spinoza Imaginaries Lab & Cafe situated inAmsterdam Southeast we have been capturing the ever changing urbanenvironment in partnership with local stakeholders (actors), mapping their evolvingrelationships (and grouping) using the IssueCrawler and sentient data co-gatheredby researchers and students, with the clear understanding that to be able to capturea place, it is important to map the vernacular knowledge of that place (imaginaries,including art, movies, unrealized plans and initiatives, etc.). We propose this mixedmethods approach as an epistemological practice geared towards archiving thedynamic state of urban peripheral landscapes.
MULTIFILE
During the Dutch Design Week 2020 (DDW2020), researchers of the project ‘Creative & Health Innovation Ways of Working Analysis’ (CHIWaWA) organized together with UCreate an online session on "Co-design in the 1.5 meter society", as part of the program "Embassy of Health" (World Design Embassies). In this online session, five guest speakers presented a case on how COVID-19 has changed the co-design approach in research and design projects. Three cases are Dutch projects in creative industry, and two are research projects from Eindhoven University of Technology.
Society continues to place an exaggerated emphasis on women's skins, judging the value of lives lived within, by the colour and condition of these surfaces. This artistic research will explore how the skin of a painting might unpack this site of judgement, highlight its objectification, and offer women alternative visualizations of their own sense of embodiment. This speculative renovation of traditional concepts of portrayal will explore how painting, as an aesthetic body whose material skin is both its surface and its inner content (its representations) can help us imagine our portrayal in a different way, focusing, not on what we look like to others, but on how we sense, touch, and experience. How might we visualise skin from its ghostly inner side? This feminist enquiry will unfold alongside archival research on The Ten Largest (1906-07), a painting series by Swedish Modernist Hilma af Klint. Initial findings suggest the artist was mapping traditional clothing designs into a spectral, painterly idea of a body in time. Fundamental methods research, and access to newly available Af Klint archives, will expand upon these roots in maps and women’s craft practices and explore them as political acts, linked to Swedish Life Reform, and knowingly sidestepping a non-inclusive art history. Blending archival study with a contemporary practice informed by eco-feminism is an approach to artistic research that re-vivifies an historical paradigm that seems remote today, but which may offer a new understanding of the past that allows us to also re-think our present. This mutuality, and Af Klint’s rhizomatic approach to image-making, will therefore also inform the pedagogical development of a Methods Research programme, as part of this post-doc. This will extend across MA and PhD study, and be further enriched by pedagogy research at Cal-Arts, Los Angeles, and Konstfack, Stockholm.
Brandweermensen lopen het meeste gevaar als ze onder tijdsdruk een gebouw moeten verkennen, of een brand moeten blussen terwijl de situatie nog niet goed kan worden overzien. Omvallende muren, instortende plafonds of gewoon gestruikeld over door de rook onzichtbare brokstukken leiden tot vermijdbare letsels of zelfs slachtoffers. Met name de inzet bij branden in stedelijke parkeergarages onder woontorens vormen een enorm risico. Het inzetten van onbemande, op afstand bestuurbare voertuigen voor verkenning en bluswerk is een oplossing die binnen de brandweer breed wordt gedragen. De brandweer moet deze innovatieve technologie echter zien te omarmen. Zij werken nu vanuit hun intuïtie en weten direct hoe te acteren op basis van wat zij waarnemen. Praktijkgericht onderzoek heeft echter uitgewezen dat scepsis over de inzet van blusplatforms bij incidenten plaats heeft gemaakt voor zeker vertrouwen. Een blusplatform, voorzien van juiste sensoren kan de Officier van Dienst (OVD) ondersteunen bij het nemen van een beslissing om al dan niet tot een ‘aanval’ over te gaan. Praktijktesten hebben echter laten zien dat de huidige blusplatforms nog niet optimaal functioneren om als volwaardig ‘teamlid’ te kunnen worden ingezet. Dit heeft enerzijds met technologische ontwikkelingen (sensoren en communicatieverbindingen) te maken, maar anderzijds moet de informatievoorziening (human-machine interfacing) naar de brandweer beter worden afgestemd. In dit project gaan Saxion, het instituut fysieke veiligheid, de universiteit Twente, het bedrijfsleven en vijf veiligheidsregio’s onderzoeken hoe en wanneer innovatieve blusplatforms op een intuïtieve manier kunnen worden ingezet door training én (kleine) productaanpassing zodat deze een volwaardig onderdeel kunnen zijn van het brandweerkorps. Een blusplatform kan letselschade en slachtoffers voorkomen, mits goed ingezet en vertrouwd door de mensen die daarvan afhankelijk zijn. Het vak van brandweer, als beroeps of vrijwilliger, is een van de gevaarlijkste die er is. Laten we er samen voor zorgen dat het iets veiliger kan worden.
