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| 2. |
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Crafting Cultural Heritage
- 2016
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Editorial collection (peer-reviewed)abstract
- The making of artefacts is a core activity in society, the result of which contributes to the building up of our physical surroundings and material culture. Throughout history, craft skills have been highly appreciated and have often been seen as crucial component of a capable human. Despite this, the knowledge base that constitutes the actual making is often overlooked in research. What can we learn about things by learning about their making? How do different craft skills offer an understanding of its historical use? How can theoretical and methodological approaches be developed concerning the actual making? How can we study and understand craft as cultural heritage? This book contains a selecion of papers from the session Crafting Cultural Heritage at the Assosiation of Critical Heritage studies inaugural conference Re/theorising Heritage 2012 in Gothenburg. The contributors are Anneli Palmsköld; Thomas Laurien; Eleonora Lupo and Elena Giunta; Gunnar Almevik and Nicola Donovan. Their common interest are theories and methods of crafting that could benefit heritage studies approach to making.
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| 3. |
- Palmsköld, Anneli, 1962, et al.
(author)
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Handicrafting Gender : Craft, Performativity and Cultural Heritage
- 2018
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In: Gender and Heritage. - London : Routledge. - 9781138208148 - 9781138208162 ; , s. 44-60
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Book chapter (peer-reviewed)abstract
- To write the history of craft and heritage engages with constructing a canon of known practices parallel to deconstructing the differences incorporated in institutions dealing with craft. Craft objects have long since been considered as heritage, but craft is also recognized as ’intangible heritage’. This can be seen in UNESCO’s (2008) designation of ’traditional craftmanship’ as a part of global intangible heritage. However, craft's gendered character is not equally recognized. In this article we will discuss craft, heritage and gender from a performativity perspective on making. The main question is how gender patterns are reflected in the understanding of craft, and in heritage making. The aim is to make visible the gender demarcations in the making of craft. We argue that the making of craft and its heritage status has been highly charged with gender differences. Recognizing this is of importance to be able to understand and to challenge heritage making processes and canons when it comes to craft. After a short theoretical background focusing on performativity and the canon of gender differences, three empirical examples are outlined. The first is about organizational aspects of handicraft, the second concerning the technique of crocheting, and the third considering visual representations of crafting, using empirical archival and published materials from the Home Craft Movement in Sweden.
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| 4. |
- Ávila, Martín, 1972-
(author)
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(De)sign responses as response diversity
- 2020
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In: Biosemiotics. - : Springer. - 1875-1342 .- 1875-1350. ; :13, s. 41-62
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Journal article (peer-reviewed)abstract
- This article addresses the use of the ecological notion of ‘response diversity’ (Elmqvist et al. Frontiers in Ecology and the Environment, 1(9), 488–494, 2003) to develop a biocentric approach for natural-artificial continuums through the practice of design. The article elaborates upon examples from the project Dispersal machines, part of my postdoctoral research entitled Symbiotic tactics. Dispersal machines proposed two complementary artificial systems that were conceived to minimize the damages by a moth (Spodoptera frugiperda) on crops (corn and soy predominantly) in the agroecosystems of Córdoba, Argentina. The proposals were ideated to biologically control this species by interventions that disseminate and/or host species that predate or parasitize the moth at different stages of its life cycle: a diurnal response, based on the dissemination of parasitized eggs of the moth by a minute wasp (Telenomus remus), as well as a nocturnal response, based on the placement of refuges for bats that feed on the adult moth. Considering these design interventions through the notion of ‘semethic interaction’ (Hoffmeyer 2008) as it relates to the more general term, ‘semiosphere’, the article reflects upon (de)sign as a signifying activity and design’s ‘response-ability’ (Haraway 2016), to speculate upon ways to devise and acknowledge inter-species co-adaptive possibilities.
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| 5. |
- Ávila, Martín, 1972-
(author)
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Die Ökologisierung des Designs
- 2020
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In: Hybride Ökologien. - : Diaphanes Verlag. ; , s. 248-260
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Book chapter (pop. science, debate, etc.)
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| 6. |
- Avila, Martin, 1972-
(author)
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Three Ecologies Diffracted : Intersectionality for Ecological Caring
- 2019
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In: Proceedings of the 8th Bi-Annual Nordic Design Research Society Conference - Who Cares? 2-4th of June 2019 Finland. - Espoo, Finland.
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Conference paper (peer-reviewed)abstract
- This essay commemorates the 30th anniversary of the publication of Félix Guattari’s The Three Ecologies. It does so by proposing a ‘diffractive’ reading of the book, suggesting latent potential in each of the overlapping “ecologies” that conformed the ecosophysketched by Guattari. There are mainly two aspects of The Three Ecologies addressed in this essay. Firstly, the understanding of the general frame of the interrelation of the three ecologies as an “intersectional” approach. Secondly, the understanding of this form of intersectionality as a possible platform to acknowledge other-than-human ‘intersections’. Through the essay I exemplify with one of my own design projects to help situating the claims and the questions raised. Finally, I propose a multimodal explorative framework of the three ecologies to explicitly articulate human and other-than-human beings inter and intra-relatedness.
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| 7. |
- Ávila, Martín, 1972-
(author)
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Togetherness
- 2020. - 1
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In: Designing in Dark times. - New York : Bloomsbury Visual Arts. - 9781350070264 ; , s. 306-309
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Book chapter (pop. science, debate, etc.)
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| 8. |
- Berríos-Negrón, Luis
(author)
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Greenhouse Superstructures as Social Pedestals : displaying site-specific non-locality as a possible form of resilience
- 2015
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In: Architecture and Resilience on the Human Scale. - Sheffield, UK : University of Sheffield. ; , s. 70-71
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Conference paper (other academic/artistic)abstract
- In this paper I will propose that greenhouse superstructures are not just the surface envelop of an industrial typology: they are more so a spatial archetype. As such, they are historiographical boundary objects that at times display the spatiotemporal dimensions and geopolitical flows of environmental form in accelerated climate change. This abovementioned hypothesis is reflected through the manifold of “resilience” as defined by Prof. Lawrence Vale - of resilience being “a window into conflicting human values”. The aim of this effort is to ultimately centre the manifold notion of “greenhouse” as an index that points away from itself towards the impact of anthropological and technocratic ideologies on agricultural and spatial production. It is these binary ideologies that arguably create what we sense to be a crisis of scale, now further articulated as the hyperobject of climate change as a disjuncture that we nostalgically entertain as a chasm between the human condition and the living environment. Parsed by augmenting the notion of 'greenhouse superstructure' – as technology, gas, and effect – the hypothesis looks to articulate the greenhouse as a 'site-specific non-local' sensation on the expanding sculptural field. What this expanding sculptural netherworld implies needs to be rigorously addressed for it may very well become what tautologically heightens the greenhouse to the providence of becoming our future atmosphere and landscape. To elaborate this potentiality, I will first present the schematics and precedents of the dissertation, including four installations of my authorship in Germany, Brazil, and Sweden. These sections then lead to an argument instantiated by thinking of the greenhouse as 'social pedestal'. The objective is therefore to embody the notion of non-local site-specific resilience as modes of pedagogy and production that aspire to destabilise the anthropological machine, as resilient modes not limited to historic, scientific, artistic, correlational, nor speculative conventions.
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| 9. |
- Berríos-Negrón, Luis
(author)
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Manners, Parameters and the Gay Sciences : Realities from the Paramannerist Treatise
- 2013
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In: Space Matters. - Vienna : Ambra Verlag. - 9783990435632 - 9783990435762 ; , s. 120-137
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Book chapter (other academic/artistic)abstract
- In this paper I aim to remind a brief projection about the inseparable difference between mental and physical space. This projection intends to thicken the aesthetics of sustainability by rejecting social Darwinism as the normalization of chaos and the irrational by way of evolutionary teleology and technocratic domination. To do so, I describe a mannerist recurrence in cultural production and how I hope it may inform a revitalized movement beyond an age of mass industrialization, beyond claims of Parametricism. I argue that this move can be activated by revising Charles Peirce’s Infinite Community of Inquiry, and Gerald Raunig’s notion of Abstract Machines, as vehicles for anthropocentric cybernetics and contemporary ecology. This is not about metaphorical relations between the visual arts and the hard sciences, but to set forth a topological heuristic, an ongoing inquiry to further categorize aspects between the human and non-human worlds, reflecting through Nietzsche's idea of 'gay science.'
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| 10. |
- Berríos-Negrón, Luis, Associate Professor, 1971-, et al.
(author)
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Method of Indirection : talking to Walter Benjamin through the Arcades Project
- 2018
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In: Legacy. - Amsterdam : Frame Publishers. - 9789492311306 ; , s. 234-239
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Book chapter (pop. science, debate, etc.)abstract
- I’ve wanted to talk to Walter Benjamin ever since encountering his Arcades Project. But – as much as that desire may be attune with Benjamin’s own commitment to bringing the past forth to the present – I can’t. I therefore turn to Arcades translator, and Benjamin scholar, Howard Eiland... and, it was inevitable that I had to return to the Arcades, not just because Benjamin meticulously objectified the glass and iron arcades as method and catalyst of research, but because, to me, ‘greenhouse’ does precede, and succeed, the arcades themselves as display and index of what was, and is to become of ‘natural history.’ For 'Legacy' I share excerpts of an interview (soon to be published entirely) that started at the Harvard Co-op in 2016; a conversation that continues to this day, by way of intermittent emails and other correspondence.
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