Isabel Löfgren takes us to the Stockholm high-rise suburbs to show us how art projects and transnational media intermingle with the multicultural urban reality. In this book, she discusses the architecture of her project Satellitstaden, where her artistic interventions with the satellite dishes on façades highlight the voices of its inhabitants through participatory and co-generative artistic processes. In these peripheries, satellite subjects emerge, orbiting around multiple identifications, foregrounding the notion of spatial justice, the subaltern and the importance of grassroots movements.The book outlines a philosophy of hospitality in response to the turn in Europe against refugees, which Löfgren considers to be a crisis of hospitality, not a crisis of migration. Löfgren discusses the ethics that govern the relationship between guest and host, the self and Other. Who has the right to belong? On what terms? She argues for a hospitable turn in art, urban planning and media, in which guest-host relationships are performed, mediated and problematized.We urgently need to re-imagine the ethics of hospitality and habitability for the near future. The 2020 pandemic forces us to reassess our philosophy and practice of human contact, re-engineering how we relate to the Other, and what hospitality means in the face of a global halt.Isabel Löfgren is a Swedish-Brazilian artist, researcher and educator based in Stockholm and Rio de Janeiro. She is currently working at the Media and Communication Studies Department at Södertörn University in Sweden, next to her artistic practice. Her research interests include cultural politics, aesthetics, and the philosophy of diaspora in the fields of contemporary art, media philosophy, and media activism.
MULTIFILE
Whitepaper about Immersive Technologies in Tourism and state of the art application cases and best practices within the field of museums, art, destination marketing, virtual events and much more.
Art therapy is widely used and effective in the treatment of patients diagnosed with Personality Disorders (PDs). Current psychotherapeutic approaches may benefit from this additional therapy to improve their efficacy. But what is the patient perspective upon this therapy? This study explored perceived benefits of art therapy for patients with PDs to let the valuable perspective of patients be taken into account. Using a quantitative survey study over 3 months (N = 528), GLM repeated measures and overall hierarchical regression analyses showed that the majority of the patients reported quite a lot of benefit from art therapy (mean 3.70 on a 5-point Likert scale), primarily in emotional and social functioning. The improvements are concentrated in specific target goals of which the five highest scoring goals affected were: expression of emotions, improved (more stable/positive) self-image, making own choices/autonomy, recognition of, insight in, and changing of personal patterns of feelings, behaviors and thoughts and dealing with own limitations and/or vulnerability. Patients made it clear that they perceived these target areas as having been affected by art therapy and said so at both moments in time, with a higher score after 3 months. The extent of the perceived benefits is highly dependent for patients on factors such as a non-judgmental attitude on the part of the therapist, feeling that they are taken seriously, being given sufficient freedom of expression but at the same time being offered sufficient structure and an adequate basis. Age, gender, and diagnosis cluster did not predict the magnitude of perceived benefits. Art therapy provides equal advantages to a broad target group, and so this form of therapy can be broadly indicated. The experienced benefits and the increase over time was primarily associated with the degree to which patients perceive that they can give meaningful expression to feelings in their artwork. This provides an indication for the extent of the benefits a person can experience and can also serve as a clear guiding principle for interventions by the art therapist.
First Virtual Reality Museum for Migrant Women: creating engagement and innovative participatory design approaches through Virtual Reality Spaces.“Imagine a place filled with important stories that are hard to tell. A place that embodies the collective experience of immigrant women during their temporary stay”. In this project the first museum around immigrant women in Virtual Reality is created and tested. Working with the only migration centre for women in Monterrey, Lamentos Escuchados, project members (professional developers, lecturers, and interior design, animation, media and humanity students) collaborate with immigrant women and the centre officials to understand the migrant women stories, their notion of space/home and the way they inhabit the centre. This VR museum helps to connect immigrant women with the community while exploring more flexible ways to educate architects and interior designers about alternative ways of doing architecture through participatory design approaches.Partners:University of Monterey (UDEM)Lamentos Escuchados
In greenhouse horticulture harvesting is a major bottleneck. Using robots for automatic reaping can reduce human workload and increase efficiency. Currently, ‘rigid body’ robotic grippers are used for automated reaping of tomatoes, sweet peppers, etc. However, this kind of robotic grasping and manipulation technique cannot be used for harvesting soft fruit and vegetables as it will cause damage to the crop. Thus, a ‘soft gripper’ needs to be developed. Nature is a source of inspiration for temporary adhesion systems, as many species, e.g., frogs and snails, are able to grip a stem or leave, even upside down, with firm adhesion without leaving any damage. Furthermore, larger animals have paws that are made of highly deformable and soft material with adjustable grip size and place holders. Since many animals solved similar problems of adhesion, friction, contact surface and pinch force, we will use biomimetics for the design and realization of the soft gripper. With this interdisciplinary field of research we aim to model and develop functionality by mimicking biological forms and processes and translating them to the synthesis of materials, synthetic systems or machines. Preliminary interviews with tech companies showed that also in other fields such as manufacturing and medical instruments, adjustable soft and smart grippers will be a huge opportunity in automation, allowing the handling of fragile objects.
Het Nederlands Openluchtmuseum (NOM) wil actief bijdragen aan een duurzame samenleving met zijn kennis van materialen, producten, diensten en culturele tradities die eeuwenlang functioneerden binnen circulaire gemeenschappen. Ondanks technologische vernieuwing en globalisering heeft het NOM de overtuiging dat deze historische kennis kan bijdragen aan duurzame producten voor de toekomst. Het NOM wil een structurele samenwerking met de creatieve sector om meetbare impact te realiseren binnen en buiten het museum voor de transitie naar een circulaire samenleving. Daarvoor wil het graag zijn collectie en kennis toegankelijk maken voor ontwerpers. Belangrijke praktijkvragen daarbij zijn: Welke rol kan het museum spelen i.s.m. ontwerpers? Hoe kan relevante kennis van het NOM toegankelijk en toepasbaar worden gemaakt voor ontwerpers? Hoe creëer je samen met ontwerpers de gewenste impact in de samenleving? Op basis hiervan is de onderzoeksvraag geformuleerd: Hoe kunnen maatschappelijke organisaties zoals het NOM relevante kennis en artefacten toegankelijk en toepasbaar maken voor ontwerpers t.b.v. meetbare impact voor een circulaire samenleving? Deze onderzoeksvraag is vertaald naar enkele sub-vragen over definities van duurzaamheid en circulariteit, de verwachte rollen van museum en ontwerpers, de gewenste structuur van samenwerking en over de rol van prototypen om de gewenste impact te realiseren. Naast het NOM als MKB, participeren in dit project twee creatieve ondernemers (1 MKB, 1 ZZP-er) die zijn geselecteerd op basis van hun specifieke ontwerpkwaliteiten, hun ervaringen in samenwerken met partners en hun kennis van circulair ontwerp. Samen met docent-onderzoekers en ontwerpstudenten van ArtEZ onderzoeken zij deze vragen. De belangrijkste projectresultaten zijn: prototypen, getest op gewenste maatschappelijke impact; een rapport dat beschrijft hoe het NOM kan samenwerken met de creatieve sector om bij te dragen aan ‘Nederland circulair’; en presentatie- en netwerkbijeenkomsten om kennis te delen en te bouwen aan het netwerk van stakeholders om beoogde impact te realiseren.
