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One key aspect of cinematographic lighting – and lighting in general – is its direction and how the lighting illuminates people and other objects of attention. In a natural setting, the light reaching the target usually has at least some level of directionality instead of being just ambient overall light. In cinematography directionality is used, among other things, to enhance the lit object’s three-dimensionality in an otherwise two-dimensional medium by bringing out its shape and texture and separating it from the background. While lighting has typically been studied based on its physical qualities that render for quantitative measures, such as intensity or color spectrum, less is known about how cinematographic lighting gives rise to the spectator’s emotive-cognitive experiences. Overall, film lighting has been studied surprisingly little, although both practical and academic literature emphasize its important role in cinematic expression. This paper presents a pilot study that examines viewers’ emotional reactions to photographs of an expressionless human face under lighting from different directions. The initial results indicate that lighting that obscures, hides, or distorts facial features creates stronger emotional reactions in the viewer than lighting that reveals them, contributing to the scientific understanding of the audience’s reactions and the filmmaker’s creative decisions.

Trees are “rooted”. Nevertheless, long-term scientific observations have proved that trees do migrate through landscapes and regions, very slowly and over decades to survive the impacts of climate change which advances faster than they do. The Wandering Tree project by artist Agnes Meyer-Brandis observes tree migration in different ecosystems, in Finland at Siikaneva peatland. The project creates narratives and raises questions of the effects of climate change on the ecosystems considered “naturally” unchangeable. This visual essay illustrates yet undiscovered stories of a tree. What happens in the peatland when we are not there? What stories will entangle with the new path of the pine?

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Pandemija covida-19 je v veliko državah povzrocila stevilne nenadne družbene spremembe, med drugim tudi prehod na izobraževanje na daljavo. Na Finskem se izobraževanje na daljavo nanasa tudi na obrt kot na navaden solski predmet, ki v osnovnem izobraževanju združuje vidike umetnosti, oblikovanja, tekstila in tehnologije. Skladno s tem so se finski ucitelji obrti spoprijeli s situacijo poucevanja na daljavo brez primerov, ki pogosto vkljucujejo prakticne dejavnosti z otipljivimi orodji in materiali. Ta raziskava preucuje, kako se je obrtna pedagogika prilagodila izobraževanju na daljavo, pri cemer obravnava priložnosti in izzive, s katerimi se spoprijema, in ucinke na interakcijo v razredu. Podatki so sestavljeni iz rezultatov dveh spletnih seminarjev (tj. 27 skupinskih nalog 123 udeležencev), ki sta bila organizirana jeseni 2020 ter namenjena uciteljem in studentom obrti na razlicnih ravneh izobraževalnega sistema. Kvalitativna vsebinska analiza, ki temelji na podatkih, razkriva, da poucevanje na daljavo zagotavlja koristne priložnosti za vkljucevanje vsakdanjega življenja ucencev in njihovih družin v obrtno izobraževanje. Ostajajo pa izzivi, povezani z neenakomerno porazdelitvijo gradiv ter tehnicnih in socialnih virov na razlicnih ravneh izobraževanja in v razlicnih kontekstih. Nasa raziskava tudi ugotavlja, da je poucevanje na daljavo bolj osredinjeno na ucitelja in nalogo kot interakcija v razredu. Spletni ucni pripomocki uciteljem omogocajo, da ucencem zagotovijo vec individualnih povratnih informacij, vendar otežujejo vzdrževanje medsebojne interakcije ucencev. Ceprav se je zdelo poucevanje obrti na daljavo najprej zelo zahtevno, je uciteljem uspelo ustvariti koristne pedagoske prakse, ki jih je mogoce uporabiti v obdobju pandemije covida-19 in po njem.Alternate abstract:The Covid-19 pandemic caused many sudden social changes, including a shift to remote education in many countries. In Finland, remote education also concerns crafts as a standard school subject, combining aspects of art, design, textile, and technology in basic education. Accordingly, Finnish craft teachers faced the unprecedented situation of teaching remotely a subject, which often involves hands-on activities with tangible tools and materials. The present study explores how craft pedagogy has been adapted to remote education by looking at the opportunities and challenges it faces and the effects on classroom interaction. The data consist of the output of two webinars (i.e. 27 group assignments from 123 participants) organised in the autumn of 2020 and targeted at craft teachers and student craft teachers at various levels of the education system. The qualitative, data-driven content analysis reveals that remote teaching provides beneficial opportunities for involving students' everyday lives and families in craft education. However, challenges exist relating to the unequal distribution of materials, as well as technical and social resources at different levels of education and in various contexts. Our study also finds that remote teaching is more teacher-centred and task-oriented than classroom interaction. Online teaching facilities allow teachers to provide students with more individual feedback but make maintaining students' peer interaction difficult. Although remote craft education was considered very challenging at first, teachers have managed to create useful pedagogical practices to be utilised in and beyond the era of the Covid-19 pandemic.

Daniele Burlando, “Moroccan” Artek—Colonized Textiles within 1930s Modernist Interiors, Journal of Design History, 2022;, epac035, https://doi.org/10.1093/jdh/epac035 Shortly after opening in 1936, the Finnish interior design company Artek organized two exhibitions in Helsinki: a model apartment showroom and a display within its shop, both involving a substantial presence of Amazigh carpets from the French protectorate of Morocco. This article analyses these rugs within Artek identifying them as "colonized textiles." This proposed concept aims to highlight textiles within the appropriation of non-Western cultural fragments by structures of imperialism and coloniality, while parallelly problematizing the inclusion of Amazigh rugs within architectural modernism. The movement of Amazigh rugs from Morocco to Finland, and their transition from Amazigh communities to European modernist interiors, are described through key events and exhibitions from the interwar era. The involvement of Artek actors and the process leading to the founding of Artek are highlighted within this context. Exhibitions are presented as a stage for the interaction of discourses on modernism and imperialism, and for the reiteration of constructed narrations directed by elite circles, supporting the appropriation and commodification of colonized textiles in Europe. Political agendas of cultural supervision within the French protectorate of Morocco are described while situating Amazigh rugs in this context. Parallelly, the relevance of textiles is highlighted within discussions on architectural modernism.

Cannibalism is one of the most recognisable taboos of the West and a benchmark with which a supposedly civilised world has traditionally sought to differentiate itself from the radically “other” of the hinterlands. As such, cannibalism has made its way both into the vocabulary of the West’s pseudo-ethnographic self-reflection (e.g. Freud) and the imaginary of its literary culture (e.g. Grimm). A less-well-known strain in this narrative uses cannibalism as a critical postcolonial metaphor. In 1928, the Brazilian poet and agitator Oswald de Andrade published a short text entitled “Anthropophagic Manifesto.” The aim of the manifesto was to distance an emerging Brazilian modernism from the European ideals that the São Paulo bourgeoisie uncritically embraced, and to synthesise more avant-garde ideas with aspects from the cultures of the indigenous Amazonian peoples into a truly national cultural movement. This essay draws on various aspects of the anthropophagic movement and seeks to understand, whether (and how) it influenced Brazilian urban planning and architecture, and especially if it is detectable in the ways in which architects Lúcio Costa and Oscar Niemeyer designed and executed the legal and political institutions in Brasília, the country’s iconic federal capital. The ana-lysis, however, identifies a colonialist inclination in Costa and Niemeyer’s ideological debt to Le Corbusier. Instead, the radical potential of anthropophagic architecture is developed with reference to the less-known São Paulo architect and polymath Flávio de Carvalho whose aesthetic politics provide parallels with contemporary radical politics, as well. The essay suggests that such a notion of politics would be akin to a radical anti-instrumentalism that I have elsewhere, following Georges Bataille and Maurice Blanchot, called a “politics of the impossible.”

This chapter presents three case studies of Nordic exhibitions that made attempts at communicating the cultural and social meanings of industrial design, which became a pressing concern also in the institutional promotion of design in the 1960s: Norwegian Industrial Design, curated by design historian Alf Bøe at Oslo Museum of Decorative Arts in November 1963;FORM 68 curated by design critic Henrik Sten Møller at the Danish Museum of Decorative Art (Kunstindustrimuseet) in Copenhagen in May 1968.Object and Environment, curated by art critic Jaakko Lintinen and organised by the Finnish Society of Crafts and Design and shown at Finnish libraries, schools and local exhibition spaces around Finland between 1968 and 1971. In the field of design culture studies, the 1960s and 1970s represent an era of increased attention to the expanded concept of design, its social meanings and activist potentials. During this time, institutions of didactic cultural exhibiting were faced with the challenge of communicating design as contemporary culture and as an element of social change. In national museums of applied arts, the traditional art historical practice of highlighting an aesthetic canon held sway, consequently leading to a retrospective approach. Conversely, within the exhibition activities of national and independent associations of craft and design the commitment to advancing industrial export and domestic production dominated and implied a demand for novelties and goods ready for mass production. In order to afford the general public a way of exploring the cultural meaning of design at eye level without addressing them as immediate consumers, the need arose for developing new curatorial strategies.

The purpose of this study was to analyse the early phase of apparel design process and how professional designers develop their kernel idea by sketching and how visual sources stimulate their ideation. Three designers were asked to design a piece of outerwear while thinking aloud in an experimental design session. The data (i.e. verbal and video protocols as well as material written and drawn by the participants) was analysed with qualitative content analysis and by constructing idea development diagrams. The results indicated variations in the (1) use of photographs as sources of inspiration, (2) emphasis on simplification and association in interpretation and adaptation of these sources, and (3) designers’ primary generators. Our findings on how expert designers utilise visual material for example to adapt visual details into their ideas or to envision a suitable fabric could be used to give illustrative examples for students of apparel design.

An ever-growing number of scholars are developing and applying competency frameworks in the context of sustainability education. Despite the strong interest, most of the research has ignored the varying meanings of competency, which can be interpreted as a performed ability, but also as personality development. UNESCO (the United Nations Educational, Scientific, and Cultural Organization) recently suggested self-awareness to be a central sustainability competency. However, the sustainability competency discourse is lacking a thorough analysis of how and if personality development related dispositions can be considered as competencies, how can they be taught in higher education, and how can the potentially transformative experiences resulting from such teaching be considered. This article aims at a deep understanding of the concept of self-awareness and its interpretations. We have reviewed the roots and analyzed the current interpretations of self-awareness in sustainability competency research and explored how the competency frameworks connect to transformative learning. In addition, we give tangible examples from art based and creative practices of design education, in which we have examined how self-awareness is defined and how it connects to transformative learning. The interpretations of self-awareness addressed two perspectives: awareness of oneself and awareness of one’s relation to others and a wider society. Based on our research, becoming self-aware is a process that nourishes transformative learning. We additionally understand self-awareness as a process of internal growth instead of only a performable ability. This needs to be considered when developing the sustainability competency frameworks and their applications in education.

Review of: Anastasio, Matteo and Jan Rhein (eds.): Transitzonen zwischen Literatur und Museum. Berlin/Boston: De Gruyter, 2021. Non

Facial recognition technologies are increasingly used outside of constricted, laboratory-like settings. While supporters of the technologies contend that they help in identifying threats by linking specific bodies to hard evidence, we argue that the indexical relations they exhibit are best described as experimental, pointing to specific situational constellations within which they were initially created. By revisiting key moments in the development of (semi-)automated facial recognition technologies from the late 1960s to the present, we identify varying situational assemblages of facial recognition that depend on different understandings of indexicality. These experimental indices rely on historical dynamics, including significant government interest in the development of facial recognition technology, expansion in the scale of experimental settings, and dissolution of the formerly strict boundaries between the social spheres of private image-sharing, commercial image distribution, and institutional image forensics for identification. In coupling experimental indices with the development of facial recognition technologies, we hope to show a way forward to comparing the histories of other evidential technical images too. publishedVersion

The Art of the Americas exhibition (March – July 2018) at the Max Chambers Library, University of Central Oklahoma (UCO), USA, questioned the practices of assigning cultural objects to different academic disciplines and separate museums. The exhibition brought together diverse cultural objects from North, Central and South America. Using the exhibition as a threshold and a lens, this paper opens a broader conversation on decolonising museums that challenge the knowledge-building system in academic institutions. First, Shikoh Shiraiwa, curator, revisits Art of the Americas to re-examine his motives and positionality. Secondly, Olga Zabalueva dwells on the theoretical implications and importance of constantly re-assessing decolonial efforts. Third, we both explore how ingrained racial hierarchies have crystalised in certain academic disciplines. As a result, we further elaborate on the criticality of challenging institutionalised scholarship, concluding with theoretical pursuit of cultural and socially sustainable museum practice for the future.

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This article describes the expectations and experiences of young (16 to 19 year old) digital game jam participants (N = 34) who attend Finnish general upper secondary schools. Game jams are a form of game creation: events where games are made in co-operation. They are widely used in game design education and in addition, when participated voluntarily, learning has been reported as an important motivation. The existing literature mostly concentrates on game jams for adults, and informal or non-formal learning. This article is adding to the literature by examining learning in formal education for adolescents. As part of our research, we have organised game jams in formal general education, and this article is based on the pre-event and post-event surveys of three game jam events. The article maps 1) the motivations to attend a school related game jam, 2) the expectations and apprehensions the would-be participants have, 3) what kind of learning game jams promote, and 4) how does attending a game jam affect participants’ attitudes and apprehensions regarding learning, STEAM and information technology, and their own skills. Our results indicate the creative side of digital game making, desire to learn new skills and make new friends to be the main motivations for participation, and the lack of confidence in technical skills to cause most anxiety before the jam event. The effects of attending a game jam are mostly positive, with the participants reporting learning experiences in several soft and technical skills and increased motivation to take part in creative and co-creative projects. A gendered result can be seen in the participants’ altered stance on technology and programming: girls and non-binary students report technology and programming being easier and more fun than they had thought before attending a game jam event, which is well in line with previous research on STEM/STEAM education and gender.

The purpose of this study is to promote the experiential learning (EL) method in the pedagogics of art and design in higher education. This article is based on a case study consisting of two pedagogical projects in interior design courses, the probing project and the multisensory space project, carried out between 2014 and 2016 with trainee teachers. Using the data from these projects I analyse using the qualitative content analysis method how and with what implications EL supports learning of art and design in higher education. The results show that EL was found to be inspiring and self-expressive, and was an unusual and motivating way to learn interior design. In a teacher education context EL gave students ideas about collaborative and EL-based methods of learning that could be applied to their own future teaching projects.

John Dewey’s philosophical pragmatism offers a reformatory approach to the arduous relationship between natural sciences and humanities. The crucial issue, which Dewey sets himself to resolve, is the pre-Darwinian influence of classical philosophy upon various scholarly practices. Ancient background assumptions still today permeate a considerable proportion of academic research and argumentation on both sides of the debate. Even evolutionary accounts appear to be affected. In order to avoid the often implicit, but nonetheless problematic, consequences that ensue from such archaic premises, I examine Dewey’s reappraisal of the concepts of art, science and knowledge. An analysis of these key concepts renders it possible to understand the proper function of aesthetic experience. In this paper, natural constitution of an aesthetic experience, which carries one of the intrinsic relations between art and science, comprises the core of the proposed solution. Furthermore, establishment of an integral aesthetic connection forms a fruitful basis for further bridging of the gap between hard sciences and humanities.

Konferenssiesitelmä Pavel Petrov-Bytovin toiminnasta Suomessa 1945-46 ja hänen ideoidensa vaikutuksesta neuvostoelokuvaan ja sen levitykseen

The purpose of the study was to reveal the central elements of combining a critical research approach with hands-on activities in fibre art studies. The article is based on ethnographic data gathered in two fibre art courses at a US university in the autumn of 2018. Intersectionality and interconnectedness, the material context and the process, emerged as the most important concepts of the critical research approach under study. These ideas were combined with hands-on activities so that the students learned both the basic skills and the broader social, cultural and material meanings related to their activities. The students appreciated the critical research approach which broadened their perspectives on fibre art. The low status of fibre art at the academy was revealed and associated with the gendered tradition. Study findings recommend the development of pedagogies that implement a critical research approach in art and craft education.

This article contributes to the understanding of relations between occulture and Decadence in Finnish art at the turn of the twentieth century, focussing on occulture and Decadence in the works of the Finnish artist Oscar Parviainen (1880-1938). The aim is to understand what are the relations between Parviainen's art, the Decadent art movement and occulture, and what are the aspects and cultural phenomena of his time that share similar lines of thought as Parviainen? In which ways did Parviainen address questions of higher truths about human existence, and what kind of role did they play in his thinking?

The five-part relief series The Development of the Human Soul (c.1887–1903) by the Finnish sculptor Sigrid af Forselles is a monumental work consisting of five large plaster reliefs. The artist’s esoteric interests have been noted in previous research, but their impact on her art has not been properly analysed. The first part of the relief series, which has for its subject a theme from Scandinavian mythology, belongs to the collections of the Finnish National Gallery, while the other parts, with seemingly Christian content, are situated in the Kallio Church in Helsinki. The separation of the parts and the apparent inconsistency in the thematic structure of the series has caused confusion among those who have attempted to interpret it as a whole, although occasionally a possible Ttheosophical inspiration has been suggested. This article presents the first attempt at a more profound, esoteric interpretation of the series, arguing that its main theme is a spiritual evolution that attaches itself to the idea of progress and liberation through art. The narrative evolves from materiality and physical strength towards spirituality and immateriality.

Current drivers of 360-degree journalism have been mostly curious about the new medium, its possibilities, and are exploring business opportunities. The early adoption of such technology is often a matter of brand-building – that is, news organizations experimenting with virtual reality (VR) want to demonstrate that their digital strategies are forward-thinking (Watson 2017). After interviewing representatives from leading US newspapers, Bosworth and Sarah (2019, 226) also conclude, “among major media companies that failing to experiment in immersive and experimental stories will mean losing a race”. peerReviewed

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This essay studies the problematics of visualizing climate change through research and photography. Messages in the media about climate change have often been stereotypical, extreme or controversial. This type of imagery may be shocking, but it may also make the issue feel distant, abstract and difficult to relate to. This essay reflects on an empirical research into Instagram users’ posts about climate change, using photography as a mode of articulating awareness about the climate crisis. Theoretically, this paper seeks to elaborate on the epistemic possibilities of visibility and photography as a method of research. The essay draws on two interrelated projects, the first of which is an empirical analysis of 42 Finnish ecological Instagram accounts. The Instagram research identifies six ‘climate practices’ that are ways of connecting to the climate crisis through being and doing. The climate practice of transilluminating and its visualization in Instagram photographs is then further analysed. “Transilluminating” refers to revealing the normalized environmentally harmful practices of carbon-intense modern societies and their production systems. The second project aims to deepen the understanding of climate practices through photography. The photography project allows room for artistic interpretation of empirical results. In the photographic project Intense Carbon, transilluminating is interpreted as a movement against the modern, carbon-intensive society. publishedVersion

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This work seeks to explore and expand the notion of material agency in practice-based and applied ethnography fashion studies. It is carried through a literature review of publications in the field, including foundational literature in fashion theory and more recent publications in journals and doctoral dissertations, following a tabular comparison analysis. The findings of the study point out to new spaces of investigation, and how can the field of fashion studies benefit from a broader and less human-centred approach. This work is grounded especially on theories of affect, theories of more than human agency, and their applications to the field of design and fashion. Non

In the contemporary context of environmental crises and the degradation of resources, certain habitats become unliveable, leading to the death of individuals and species extinction. Whilst bioscience emphasises interdependency and relationality as crucial characteristics of life shared by all organisms, Western cultural imaginaries tend to draw a thick dividing line between humans and nonhumans, particularly evident in the context of death. On the one hand, death appears as a process common to all forms of life; on the other, as an event that distinguishes human from other organisms. Against this background, this article explores how contemporary art—in particular, the series of works The Absence of Alice (2008–2011) by Australian new-media and bioartist Svenja Kratz—challenges the normative and human-exceptionalist concept of death. By employing queerfeminist biophilosophy as a strategy that focuses on relations, processes and transformations instead of ‘essences’, the article examines the ways Kratz’s works deterritorialise the conventional concept of death. In this way, it hopes to attend to the intimacies between materialities of a human and nonhuman kind that form part of the processes of death and dying, and what follows, to reframe ethico-ontology of death as material and processual ecologies of the non/living. Funding agencies: Swedish Research Council (Vetenskapsradet) International PostdocSwedish Research Council [2017-0067] Ecologies of Death: Environment, Body and Ethics in Contemporary Art

Collection SU4522 in the Finno-Ugric Collections of the National Museum of Finland consists of 143 items, mainly textiles from nineteenth-century White Karelia, now part of the current Russia. Forty-one linen textiles were chosen for closer examination, with the aim of evaluating the area's textile culture and identifying the materials using microscopic methods. Flax, hemp and nettle have all been traditional materials for clothing in northern Europe. Additionally, cotton became established in the region during the nineteenth century. Previous research lacked such a deep examination of the textile materials used, leaving room for speculation. Stinging nettle has not been shown before to have been used as a textile material in the Karelian area. Our results show that it appeared commonly in ratsina-shirts and kaspaikka-towels. Against the consensus hemp was rare and appeared only in one of the items. The results are mirrored by concurrent pictorial and written material from I. K. Inha who visited the region in 1894 and collected most of the items in the collection. White Karelian textile traditions from clothing to fabrics, weaving, spinning and fiber production are discussed in the article. Nevertheless, questions concerning the origins of the materials and the effects of the peddling tradition would need further research.

Revised version of my earlier article (2007).

The role and function of public art is currently undergoing some large-scale changes. Many new artworks which are situated within the already existing urban sphere, seem to be changing the definition of public art, each in their own way. Simultaneously, there exists a trend that endorses more traditional forms of public art. Juxtaposing and comparing the aesthetic implications of different types of artworks, it is possible to see how they contribute to the contemporary understanding of the urban sphere. In this paper, I take a look at the explicit and implicit aesthetic values that these simultaneously existing contemporary forms of public art are based on. The cases selected for closer look are examples of prominent and recent works of public art from downtown Helsinki: He who Brings the Light (unveiled in 2017) by Pekka Kauhanen and Running Man (performed in 2016-17) by Nestori Syrjala. What space and what kind of position is subscribed to the perceiver by these very different types of yet equally established artworks? What kind of experiences and possibilities of participation do these works entail? The focus is on the undergoing redefinition of public art that revolves around these questions.

This article scrutinizes the trajectory of an evaluation of the visual appearance of an artistic installation, during a conversation between a visual artist and a critic. The study analyzes how the artist receives and responds to the critic’s evaluations of the artwork in three different phases of evaluative discourse: an initial, an elaborating, and a concluding one. The artist’s responses change from minimal responses and hypothetical solutions, via repeating utterances, to overt agreements and outspoken explanations. The development of the artist’s response to the critic’s evaluations reflects an increase in the participants’ shared intersubjective understanding and in the artist’s strengthened epistemic position: the critique can be accepted only after the artist has gone through interactional phases that lead up to an appreciation of the critique that thus can be commented on and partly transformed. This article scrutinizes the trajectory of an evaluation of the visual appearance of an artistic installation, during a conversation between a visual artist and a critic. The study analyzes how the artist receives and responds to the critic’s evaluations of the artwork in three different phases of evaluative discourse: an initial, an elaborating, and a concluding one. The artist’s responses change from minimal responses and hypothetical solutions, via repeating utterances, to overt agreements and outspoken explanations. The development of the artist’s response to the critic’s evaluations reflects an increase in the participants’ shared intersubjective understanding and in the artist’s strengthened epistemic position: the critique can be accepted only after the artist has gone through interactional phases that lead up to an appreciation of the critique that thus can be commented on and partly transformed.

This article examines the social media campaign “Once I was a refugee” by former refugees as a response to the increasingly hostile political climate in Finland against refugees. With selfie activi...

Contemporary phenomenological discussions on relationship between painting and nothingness have mainly employed Sartrean and Heideggerian notions of nothingness. In this paper, I propose an...

The customary view of today’s recreational physical activities turns the human movement into a rational practice that is pursued for practical reasons only: for health, vitality, stamina and longevity. This prevalent point of view affects the understanding of the ends, content and quality of physical activities and it creates a bias where the biological, physiological and medical characteristics of physical activities are emphasized while the sensuous, experiential and creative aspects are suppressed. This results in a partial understanding about the significance of human movement in contemporary culture. The article analyses the reasons for this distorted view of physical activity and formulates a rationale for the aesthetic justification for the contemporary way of being active. In addition, the article explores on the role of the (aesthetic) experience in contemporary physical activities as well as examines the possibilities of change the aesthetic justification can provide the physical activity.

This paper discusses the diverse roles fashion designers play in the contemporary fashion industry. Taking Finland as a case, it particularly investigates how fashion designers are involved in regional identity formation. By conceptualizing the place-making ability of fashion designers, it adds a new perspective on the expanded roles of fashion designers recognized in design research. This is done through exploration of Pre Helsinki, a platform launched in 2013 seeking to internationalize Finnish fashion. This platform, created and operated mostly by fashion designers, serves as a vivid example of the different roles that designers can play. The study is based on qualitative methods, namely, semi-structured interviews and ethnographic observation. Five characteristics of Pre Helsinki and five fashion designers? corresponding roles were identified, based on thematic analysis of the data. This paper concludes with suggestions for further investigation on fashion designers to establish a dialogue between fashion and design research.

Book review. Reviewed book: A Forest of Symbols: Art, Science, and Truth in the Long Nineteenth Century, by Andrei Pop. New York: Zone Books, 2019. Non

In this book we have critically explored the emerging practices of immersive journalism. In the news business, experimenting with new forms of storytelling has become the new normal. After spending a decade to get familiar with simple virtual reality tools, however, the future of immersive journalism is still considered uncertain. Immersive storytelling appears to become more concentrated on special events and locations. Journalistic virtual reality skills are increasingly crafted away from the newsrooms by small and specialized subcontractors. Sponsoring VR by the big tech companies tends to diminish in parallel with a growing move towards augmented reality investments. peerReviewed

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The collection articles are based on University of Tokyo and Kadokawa Contens Academy Summer School of 2015. The article discusses the role of localization in anime, using Japanese animated Tv series of Moomin as an example. Non

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Empathy is fundamental in our abilities to achieve healthy, happy, socially successful lives. The importance of its inclusion in educational pedagogical practices and classroom instruction is highly emphasized, yet very little research has been conducted to examine artistic exercises as effective ways for promoting empathy through pedagogy. VTS is a dialogical form of aesthetic interview that encourages groups of students to engage critical thinking skills. This article addresses a dissertation study in which VTS was implemented as an arts-based educational research (ABER) methodology to elicit discourse. The data, comprised of an audio recorded VTS exercise, was collected during a workshop at a conference in Vienna, Austria. Participants discussed an illustration taken from Shaun Tan’s The Arrival, a graphic novel telling the story of an Immigrant’s journey. Findings illuminate how VTS exercises elicited empathic discourse and a discussion explores VTS as a pedagogy for eliciting empathy within a theoretical context.

The omnipresence of technology in cities has had an undeniable effect on the urban everyday experience. This experience is increasingly structured by technological objects or constellations of converged technologies. Activities in a city affect how and what technologies are developed but these new and emerging technologies also have an inevitable effect on what is perceived to be the possible sphere of action. The aim of this article is to interpret and understand some of the ways in which new technologies are changing – and have already changed – the way we experience the city. The focus is on those elements of everyday experience that have a clear relation to how the city is experienced aesthetically, through its technological representations or in more direct contact with the physical environment. We set out to examine what type of consequences technological change has regarding the perceptual and interpretative skills that are needed when moving in the urban environment. Of course, we recognize that technology has already profoundly changed the way people come into contact with urban environments. However, there is a shift within the experiential sphere that has not been described thoroughly enough. The implementation of many smart city solutions is affecting urban dwellers and their engagement with the everyday urban environment. Urban aesthetics in its philosophical and applied forms offers perspectives on how and to what extent technologies mediate experiences in the urban sphere. Emphasis is put on understanding and evaluating urban technologies and their role in the constitution of everyday experience by introducing the phenomenological concept of urban lifeworld. We illustrate the theoretical discussion with examples such as contemporary navigation technologies and the metro as a complex technological system. The focus is on the implications of their use on the aesthetic experience and evaluation of urban environments.

On Turner Prize nominee Rosalind Nashashibi and Lucy Skaer's collaborative video work 'Why Are You Angry?' (2017) and on how silence, expressed through artistic means can help formulate new possibilities for the documentary to act politically.

Book review. Reviewed book: Ludwig Qvarnström (ed.): Swedish Art History: A Selectionn of Introductory Texts. Lund Studies in Arts and Cultural Sciences 18. ISBN 978-91-983690-6-9. Non