The conference also aims to illuminate ‘making’ as the action of change in which matter and materials are transformed through collaboration, interaction or negotiation between the collaborative team and their material and non-material environments. This is to understand how individual experiential knowledge - or knowledge gained by practice - is shared, how collective experiential knowledge is accumulated and communicated in and through collaboration, and how it is embodied in the outputs and may be traced back to the origin of the practice. Collaboration here is interpreted in the widest possible sense to include any kind of working together. This conference therefore examines collaboration within research teams of professionals/researchers and members with other diverse disciplinary expertise. Examples include research in the fields of New Materials, Smart Textiles, Virtual Materiality, Material Innovation, Embodied Ideation, and Participatory Practices in Business in which various partners are in dialogue, developing, consolidating and enhancing knowledge while generating new opportunities for interdisciplinary knowledge exchange. They may work with materials and/or non-materials. Bowen et al., 2016 Nimkulrat & Matthews, 2017). A research team may comprise different disciplinary experts, such as scientists, technologists, artists, designers, architects, psychologists, business strategists and policy makers, working across academic, commercial and public sectors (e.g. Collaboration in such research has therefore become vital. Recent research in the creative disciplines has revolved around the changing territorial context of ‘making’ (Ingold, 2013 Sennett, 2008) and has increasingly involved professionals and academic researchers working collaboratively to explore an interdisciplinary inquiry (Plattner, Meinel & Leifer, 2018). In this analysis, I will reveal the interpretive dilemma that masking continues to present as a method of representation.Ĭreative practice has transformed from one based on the production of material artefacts to one that engages expertise and knowledge from multiple disciplines. #INSTARARY DIRECT MESSAGE FOR INSTAGRAM SOFTWARE#Here I will discuss the development of the digital mask, applied through various applications and software technologies, including face editing applications and the recent development of the 'deepfake', which can both damage and protect identity. Second, as social media proves itself to be a force of identity construction and commodification in the early twenty-first century, the digital mask has become increasingly naturalised. The motives for masking are identified here as mirroring those of its earliest uses that is, the protection of privacy, reputation and wellness. The politically charged issues of face recognition technology, Black Lives Matter and other political protests, and climate change have given rise to a range of masking strategies which secure the right to anonymity and safeguard wellbeing. I will explore the mask concerning the emergence of surveillance technologies, protest movements and health concerns. First, the COVID-19 pandemic and concurrent global Black Lives Matter protests have drawn the mask into mainstream consciousness and use through necessity. This presentation will discuss the mask in two seemingly opposing yet connected ways. The mask has emerged in recent times as a particularly charged design artefact.
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