All posts by Giovanna Morra

Another Land

Another Land is an exhibition and events programme, devised and produced by LDoc students to showcase experimental visualisations of place in art and design research. Bringing together practitioners from across Kingston University, the Royal College of Art and University of the Arts London, contemporary works and events have been integrated into Kingston Museum, engaging with themes of past and present, real and imagined, identity and community.


The exhibition and programme draw links between creative practice and anthropology, archaeology, architecture and geography, encompassing video, drawing, sculpture, installation, performance, photography and print. This is extended with a series of screenings of moving image works presented at the Stanley Picker Gallery, exploring concepts of human movement, environmental narratives and emerging worlds.


We invite you to join us for the opening at Kingston Museum

4 April 2019 6.30pm – 8.30pm


Please RSVP here



Denise Ackerl, Victoria Ahrens, Maxine Beuret, Karen Bosy, Daniel Brackenbury, Ben Branagan, Pamela Breda, Adriana Cobo, Tom Coward, Sinead Evans, Azadeh Fatehrad, Mireille Fauchon, Matthew Flintham, Leah Fusco, Hugo Glover, Carl Grinter, Ayano Hattori, Greta Hauer, Felicie Kertudo, Marianne Keating, Melanie King, Jina Lee, Lana Locke, Jane Madsen, Gareth Proskourine-Barnett, Emily Richardson, Matthew Richardson, Cole Robertson, Hannah Rollings, Caitlin Shepherd, Matthew Turner




A lecture by Professor Tim Ingold

2.30pm, Tuesday April 9 2019

Lecture Theatre E002


The ground is a surface’, says the dictionary, ‘upon which things or persons stand or move’. But this leaves many questions unanswered. What kind of surface is this? Does it have one side or two? Does it cover the earth or cover it up? Can you roll it, fold it, cut it or make holes in it? What lies above, and what beneath? In seeking to answer these questions, I shall argue that the ground is caught in a double movement, of opening up and closing off, formation and encrustation, thanks to which its inhabitants are at once confidently supported and precariously afloat.’

Tim Ingold


Tim Ingold is Emeritus Professor of Social Anthropology at the University of Aberdeen, and a Fellow of the British Academy and the Royal Society of Edinburgh. Following 25 years at the University of Manchester, Ingold moved in 1999 to Aberdeen, where he established the UK’s newest Department of Anthropology. Ingold has carried out fieldwork among Saami and Finnish people in Lapland, and has written on environment, technology and social organisation in the circumpolar North, the role of animals in human society, issues in human ecology, and evolutionary theory in anthropology, biology and history. In more recent work, he has explored the links between environmental perception and skilled practice. Ingold is currently working on the interface between anthropology, art and architecture. His books include The Perception of the Environment (2000), Lines (2007), Being Alive (2011), Making : Anthropology, Archaeology, Art and Architecture (2013),The Life of Lines (2015), Anthropology and/as Education (2017) and Anthropology: Why it Matters (2018).



This lecture launches APPROACHING ESTATE: methodologies for practices of site and place (9 – 12 April) a four-day encounter with the specificities of site, place and landscape as contexts for artistic and other creative enquiry.

For full details see:


APPROACHING ESTATE is a sensingsite project








APPROACHING ESTATE: methodologies for practices of site and place



Approaching Estate is a three-day encounter between a range of artistic, interdisciplinary and collaborative practices which enquire into site, landscape and place. Gathered together as an event of interlinking presentations, field performances, films and discussion, they expand the conventional definition of estate, and explore how new directions for critical research can arise from shared exchange.



Sophie Alston, Steven Ball, Veronique Chance, Adriana Cobo Corey, The Common Line (John Wylie and Volkhardt Mueller), Kate Corder, Mark Dean, Difference Exchange (Ben Eastop, Tim Eastop, John Hartley), Ann Donnelly, The Dzhangal Archaeology Project (Louise Fowler, Sarah Mallet, Gideon Mendel), Erika Flowers,Warren Harper, Fay Hoolahan, Lucas Ihlein, Greer MacKeogh,Jeremie Magar, Stelios Manganis, Julie Marsh, Matterlurgy (Helena Hunter and Mark Peter Wright), Pat Naldi, Ingrid Pollard, Judy Price, Ingrid Pumayalla, Caitlin Shepherd, Lynn Silverman, James Swinson, Susan Trangmar, Ed Wall, John Wild.


Wednesday 10 – Friday 12 April 2019

Furtherfield Commons, Finsbury Park, London  N4 2DE


More information and bookings:


A keynote lecture ‘What on Earth is the Ground’  will be given by Professor Tim Ingold on Tuesday 10 April at 2.30pm.Lecture Theatre E002 Central Saint Martins. 

Please note: this is an internal UAL staff and student  lecture only.

Information and Booking for lecture only here:


British School in Athens

**Applications now open!**


Deadline: 5pm, Weds 27th March 2019


A collaboration between Research at Camberwell, Chelsea, Wimbledon, and the British School at Athens; Residency & Bursary.


The successful applicant will:


–              Receive £2,500 towards travel/living expenses

–              Be provided with residential accommodation and studio space in Athens, Greece for the duration of the   Residency (2-3 months)

–              Deliver an introductory lecture at the start of the Residency at the BSA in Athens

–              Donate one physical artwork to the BSA at the end of their residency

–              Host an open studio event at some point during the Residency

–              Offer a lecture at Camberwell, Chelsea, Wimbledon on returning from the Residency



Any current UAL PhD Student is eligible for the scheme.  Please note, students should not be in writing up mode when they take up the residency, and students must be registered at the time the residency takes place.  Please note, you must get permission from your current employer (if applicable), to take the time away from existing work commitments, before applying for this scheme.  You must also ensure any current visa terms allow for this residency to take place. You must be available for the panel dates.


Guidance and application form attached/available on request from


Deadline: 5pm, Weds 27th March 2019




Guidance for the British School at Athens Arts Bursary and Residency for UAL PhD Students: 2018-19

The British School at Athens (BSA) and Research at Camberwell, Chelsea, Wimbledon embarked on a joint initiative in 2015/16. Until 2021/22, an annual arts residency in Greece, supported by a bursary and with studio and accommodation provided, will be offered to practice-based PhD students at UAL. This scheme furthers the BSA’s mission to support UK-based researchers within its broad arts, humanities, and social sciences remit.


The BSA, founded in 1886, maintains facilities in Athens which include the Director’s house (with a studio recently created in the roof space); the main building, housing library, archive, museum, common rooms, hostel rooms, kitchen, dining room, and administration; a hostel annexe; the Assistant Director’s apartment; and a laboratory for science-based archaeology. The BSA has a relaxed atmosphere enabling researchers to cross-fertilize their own different fields of interest, as well as to make links with local interests.


The selected student will offer an introductory lecture at the start of their residency at the School and host an open studio event at some point during their residency. The Student will also offer a lecture at Camberwell, Chelsea, Wimbledon on returning from the Residency.


The successful applicant will:

  • Receive £2,500 towards travel/living expenses
  • Be provided with residential accommodation and studio space in Athens, Greece for the duration of the Residency (2-3 months)
  • Deliver an introductory lecture at the start of the Residency at the BSA in Athens
  • Donate one physical artwork to the BSA at the end of their residency
  • Host an open studio event at some point during the Residency
  • Offer a lecture at Camberwell, Chelsea, Wimbledon on returning from the Residency



Any current UAL PhD Student is eligible for the scheme. Please note, students should not be in writing up mode when they take up the residency, and students must be registered at the time the residency takes place. Please note, you must get permission from your current employer (if applicable), to take the time away from existing work commitments, before applying for this scheme. You must also ensure any current visa terms allow for this residency to take place.



Ecstatic Truth IV. Truth of Matter: process and perception in expanded animation practice


16th May, University of Westminster

(a collaboration between the Animation Research Centre, UCA; University of Westminster; Universidade Lusófona de Lisboa)

Call for papers:  in this our 4th symposium on animated documentary, we seek to zoom out and look at animation in its most expanded form and how it can make sense of our realities.

Deadline is 29th March.

Keynote speakers:

Dryden Goodwin / Ruth Jarman, Semiconductor

More information here:

Space and Belonging, 23rd May, UCA Farnham

Call for papers: symposium on lens based and / or moving image practice (including animation) in radical geographies – including issues of migration, mobilities, environment and gentrification.


Deadline is 31st March.


Keynote speakers:

Christine Molloy, Desperate Optimists /
Professor Alison Blunt & Dr Olivia Sheringham, Queen Mary University of London


More information here:





The use•ful•less•ness of the experiment Anthropology and the assembly of the unexpected

4–6 July 2019, Cieszyn, Poland

Second #Colleex Workshop 

EASA network #Colleex – Collaboratory for Ethnographic Experimentation


Deadline extended to 25 March



Submissions. The workshop is open and welcomes to two types of participation: conventional papers, and open formats and interventions. If interested, please send us a 250-words abstract with your proposal in the links provided. More information on submissions below


More information:


Experiments are singular events producing the unexpected: Throwing us questions we didn’t have, changing our notions of values, and creating the conditions of their own appreciation. From experimental cultures in natural sciences to the craft of diverse materials assembled together in artful practices, experiments always entail an assembly: of people, infrastructures, materials and techniques. In this second workshop of the Colleex network we would like to reflect on the ways anthropology arranges its experiments–in fieldwork, representations, or public engagements–and we would like to attend closely to the way these experiments mirror those performed in art practices: What gatherings do our anthropological experiments require? What values do they bring forth?


From practical experiments that test what we already know to experiments carried out for the sake of them, experiments often challenge notions of value–this goes also for the value of the experiment itself. A situation that is not unusual in the experiments of artists and anthropologists: Working with their counterparts in the field and engaging in multiple collaborations, they interfere in coded hierarchies of value and subvert obvious notions of need in shared experimental exercises. Hence, we seek to deepen our reflections on the value of ethnographic experimentation in a dialogue between art and anthropology, particularly foregrounding the use•ful•less•ness of experimentation: that is, the different modes of appreciating their usefulness, uselessness or, even, their ‘usefullessness’. We would like to ask: What new learnings might these dialogues open up? How to appreciate what they bring forth?


In this meeting in Cieszyn (Poland) we foreground how we could relearn our ways of assembling experiments, drawing from a wide variety of artful practices. The Colleex network invites anthropologists who have engaged in art-related experiments, and anthropologically-inclined artful practitioners–such as artists, curators, designers, architects and many others–to share with us the value of our shared experiments. Not limited to these groups, however, the event is open to anyone interested in the workshop’s theme of exploring the use•ful•less•ness of the experiment or the network’s general topic of ethnographic experimentation.


Picking up from our first shared encounter in Lisbon, we want to shift from the conventional workshop and invite any kind of experimental formats, actions and methodologies: interventions, re-enactments, performances, videos, films, installations or mini-exhibitions, and any other format that would provide common room to think while experimenting together. Besides traditional paper-giving we welcome any of these explorations on the way we assemble for learning together.



The workshop is open and welcomes to two types of participation: conventional papers, and open formats and interventions. If interested, please send us a 250-words abstract with your proposal in the links provided. More information on submissions below


  1. Papers.Reflections and nuanced meditations on the value of ethnographic experimentation and its use•ful•less•ness, and more general discussion of ethnographic experimentation.


Paper submission:


  1. Open formats and interventions. Hands-on experiments to try out or develop for the purposes of discussion and provocation, which take place at the workshop venue. We invite a wide variety of actions and interventions displaying an experimental concern with the value and usefulless of ethnographic experimentation: interventions, re-enactments, performances, videos, films, installations or mini-exhibitions, and any other forms of engaging with collected materials that would provide common room/generative space to think while experimenting together. We welcome proposals from both individuals and groups. Please state in your proposal the following: material needs, spatial requirements, time and number of participants. More information on the Colleex open formats:


The network has a very limited funding from EASA that could be used for these formats if required. Please state that in your proposal and the estimated funding needed.


Open format submission:



March 11: Submission deadline.

March 25 (approx.): Communication of acceptance.

July 4-6: Workshop in Cieszyn.



More information:

Overview of the first Colleex workshop:



Political Critique (Cieszyn), Institute of Ethnology and Cultural Anthropology, University of Silesia (Cieszyn), Institute of Ethnology and Cultural Anthropology (University of Warsaw). Supported by EASA


Organizing committee. Eeva Berglund (Aalto University, Finland), Adolfo Estalella (Complutense University of Madrid, Spain), Tomasz Rakowski (University of Warsaw, Poland), Anna Lisa Ramella (University of Siegen, Germany), Eva Rossal (Ethnographic Museum in Krakow, Poland), Tomás Sánchez Criado (Humboldt-University of Berlin, Germany).


Local committee. Anna Pluta, Joanna Wowrzeczka, and Natalia Kałuża /Political Critique (Cieszyn)

Grzegorz Studnicki /Institute of Ethnology and Cultural Anthropology, University of Silesia (Cieszyn)



Post-Doctoral Research Fellow: Materializing Data, Embodying Climate Change 


Materializing Data, Embodying Climate Change brings together Central Saint Martins, the British Antarctic Survey and Birkbeck, University of London in a ground-breaking three-year project to produce art and design artefacts that explore how physical translations of climate data enable new experiences and cultural representations of our changing environment.

The post-holder will be responsible for producing art and design artefacts derived from environmental data resources, employing both digital fabrication and 3D printing as well as more traditional model-making approaches by using a range of materials. You will work closely with a Postdoctoral Research Fellow programmer who will produce software and data resources, and you will have responsibility for academic reporting and documentation of research (conference papers, journal articles and other outputs), in collaboration with the Principal Investigator and other core staff. The role offers a unique opportunity to work with internationally respected artists, designers and scientists as a co-collaborator in a major project funded by the UK Arts and Humanities Research Council.

Full details at the link:

In Transition: How much is technology changing human behaviour?


Ugly Duck is proud to announce that we received more than 50 projects and proposals from artists, curators and activists following our recent open call for the upcoming season In Transition.

With the help of our guest curators, Anna Dumitriu Artist, Tamsin Ace Head of Public Programming at The Southbank Centre and Leyla Reynolds Illustrator and Art Director at Gal-Dem, we have selected 30+ projects to be presented at our venues from February to July 2019. The projects range from complete building takeovers to individual pieces chosen to participate in a showcase event by Ugly Duck.

Alongside this showcase here is a small selection of takeover projects from our upcoming season:

Girls at Night on the Internet –  Slipping and sliding between traditional conventions of gender and sexuality we invite you to swim and bathe in a “secret” digital dimension. A nebulous “place” of intrigue, illusion, curiosity and motherboards, this symposium will research and develop a radical new piece of interdisciplinary theatre that explores how millennial women (trans and cisgender) express and interact with their sexuality digitally.

PostopiaVisions of technology from utopia to dystopia presented by Uncovered Collective – Technology propels the human story. Every invention seems better than the last, forever altering the course of the future…but at what cost? Exploring what it is to be human in an age of rapidly changing technologies, this installation offers visitors a glimpse of the many possible futures they have the power to shape.

The Ether presented by Tinderdust – A futuristic exploration of music, art and technology consisting of live performances and audience participatory pieces. It explores the hybrid worlds that arise through this correlation and how technology awakens us to a multitude of different realities within our own.

Cartographies – An exhibition of recent artists’ film and moving image, curated by Katrina Man and Sam Kaufman, exploring the urgency of how contemporary mapping technologies and cartographic networks are affecting the ways in which we situate ourselves in the world.

The Alternative Art School Weekender presented by The Other MA – Bringing together peers from their current DIY educational landscape to share workshops, screenings, talks and an exhibition for the public to attend, learn and contribute to.

Through the Looking Glass: Humanity’s Changing View of the Universe presented by Lumen – An exhibition of 50 national and international artists, looking at how technology has enabled the development of our understanding of the universe.

The Rock Concert presented by Uta Kögelsberger in collaboration with Atau Tanaka and invited sound artists and performers – A cross-disciplinary sculptural installation involving experimental sound and live performances. Originated as a visceral interpretation in response to the increase of rainfall due to climate change in the UK.

Mx Men presented by PLACE A – This project considers positive masculinity and what this does and can look like. If old ideas of masculinity are outdated then we need to do more than condemn them; we need to devise an alternative model to transition into.


All projects:

Achilles by Pierre & Baby

Alternative Art School Weekender by The Other MA

Between Worlds by S.F. Batchelor

Biomorph by Matthew Warshaw

Biomorpha by Phenotypica

Cartographies Exhibition by Katrina Man and Sam Kaufman

Deep Neuro Imagining by Erik Linuten

Desire Line by Ruini Shi

Emergent Ecosystem by Benjamin Dresner-Reynold

Environment Built for Absence by Tivon Rice

The Ether by Tinderdust

Finding a New Terrain by Daria Jelonek in collaboration with Perry-James Sugden

Garden 2 by Sian Fan

Hoop by Magma Kitchen

Hope u Had a Good Time by FC Izaac

Impact of Human Enhancement Technology by Lesley-Ann Daly

Mx Men by PLACE A

The Nave Installation by The Nave

The Passion According to Bibi by Petar Miloshevski

Postopia: Visions of Technology from Utopia to Dystopia by Uncovered Collective

Playing the Keyboard by Sophie Popper

The Quingdom by De Lovie Photography

Rock Concert by Uta Kögelsberger in collaboration with Atau Tanaka and others

The Simulacrum Unfolds by Gareth Bunting

Skin-awareness by Friendred

Somebody is Constructing Our Ignorance by Jill Laudet

Technologies of Lived Abstraction: FUTURE PRESENT by Monica Tolia

Through the Looking Glass: Humanity’s Changing View of the Universe by Lumen

Woodland Aroma by Kate Lowe

The Work of Desire by Lottie Bolster

You Can Save Me by Hydrocracker


and projects by:

Aeon Industries

Girls at Night on the Internet

The Mechanical Choir


Project Myopia

Marie Molins

Rebecca Culverhouse


47/49 Tanner Street
Registered company: 08172025

The Design Museum: Call for Papers

5th April 2019 – Paper Submission Deadline (maximum 5,000 words)

 Call for Papers

Design Research for Change Symposium
Design Museum, London
Wednesday 11 and Thursday 12 December 2019


A quick search of the word “design” reveals hundreds of different definitions. Likewise, there are many different designers – different disciplines, different attitudes, different goals, different agendas, different ways of working, different ways of doing research, different outputs, and different values. Perhaps, however, the connection between all of these diverse activities is the iterative development of products, services, systems, experiences, spaces, and other stuff in order to improve the human experience. In other words, using the power of human creativity to improve humanity.

Today, with its application across a wide range of different disciplines and fields, design is being used to help address significant, complex, and global issues ranging from antimicrobial resistance to mobility, from healthy ageing to migration. And with its inherent agility and applicability, design helps shape the technological advances which are transforming the world around us.

In recent years, design research has witnessed a “social turn” where researchers have looked to make change in social contexts as opposed to wholly commercial ends. This “social turn” has encompassed a range of activities and interventions that constitute a more “socially-driven” form of design, which suggests that researchers and practitioners from non-design disciplines are central to realising change in social situations.

The Design Research for Change (DR4C) symposium will examine this “social turn” in design in detail and explore how design is increasingly involved in social, cultural, economic, environmental and political change. The DR4C Symposium will highlight the significant roles that design researchers play in some of the most challenging issues we face, both in the UK and globally, such as creating new products with reduced environmental impact, design research that enhances policy-making through greater citizen involvement, gaming interventions that prioritise the rights of girls and women to live a life free from violence, and design research that helps address recidivism by reframing prison industries as holistic “creative hubs”.

The audience for this symposium is wide and will not only include design researchers, design practitioners, and design academics BUT will be of significant interest to researchers in other areas including (but not limited to) education, healthcare, government, biotechnology, engineering, management, computing, and business. Given the reach and interdisciplinary nature of many forms of contemporary design research it is anticipated that this symposium will be of interest to practitioners and researchers in a wide range of disciplines.

The DR4C Symposium is a much-needed, timely, and significant one. The themes proposed (below) are intended to be inclusive (not exhaustive) and contributions are very welcome that challenge these areas and others.

Design Research for Economic Change

Design Research for Social Change

Design Research for Health and Wellbeing Change

Design Research for Environmental Change 

Design Research for Educational Change 

Design Research for Energy Change

Design Research for Public Services Change

Design Research for Behaviour Change

Design Research for Care Change

The DR4C Symposium aims to include a rich mix of design-led research papers, from authors across the world. This will include papers where design research traverses disciplinary, methodological, geographical and conceptual boundaries that highlights the wide-ranging social, cultural and economic impact of emerging forms of design research. We expect that collaboration will be a key factor in these Design Research for Change Symposium papers drawing on expertise, for example, in areas such as business, engineering, environmental science, health and wellbeing working alongside a wide range of design researchers.

We invite authors to submit high-quality, previously unpublished, original contributions that explore one or more of the DR4C Symposium themes. Submitted papers will be assessed through a double-blind review process and accepted papers will be published in a Design Research for Change book.

We ask authors to consider and respond to one or more of the following questions in their DR4C paper:

  • What are we as design researchers with other researchers changing? Why?
  • What difference(s) is your design research actually making?
  • Who decides what to change?
  • Who decides/evaluates if this change is “positive” or “good” or “enough”?
  • What impact has your change delivered? At what cost?

 Also, we ask interested authors to consider how their design research project addresses one or more of the following:

  1. Why is your design research concerned with change-making?
  2. What have you tried to change through your design research?
  3. Who has activated the change? And who has been affected by that change?
  4. How have you delivered change though your design research?
  5. What evidence do you have for the change that you claim?
  6. When has your design research brought about positive change and when has it been detrimental?
  7. Where else have you seen change happening?

 Further, more broadly and looking to the future:

  • What should design research change now?
  • Can design research really change anything?
  • What will you do to make change?
  • In what ways do you envision the impact of such change to be evaluated?

 Submission Details 
DR4C papers should be a maximum of 5,000 words (excluding references) and should include relevant images. Submissions should be anonymised for double-blind review. Accepted paper authors will be given a 30-minute single-track presentation slot at the Design Research for Change Symposium at the Design Museum, London on Wednesday 11 and Thursday 12 December 2019. Submissions should be in PDF format.

* DR4C papers should be emailed to before 5 April 2019. 

 Key Dates 

5th February 2019 – Design Research for Change Symposium Call-for-Papers

5th April 2019 – Paper Submission Deadline (maximum 5,000 words)

3rd May 2019 – Announcement of Paper Decisions

10th May 2019 – Design Research for Change Symposium Registration Open

3rd June 2019 – Final Paper Deadline

11th & 12th December 2019 – Design Research for Change Symposium


The Design Research for Change (DR4C) Symposium is supported by the Arts and Humanities Research Council (AHRC) under the AHRC’s Design Priority Area Leadership Fellowship scheme (Award Ref: AH/P013619/1) and the Design Museum, London.