Studio Studies book launch poster
Two book launches coming up for Studio Studies:
You are cordially invited to celebrate the launch of the edited collection: ‘Studio Studies: Operations, Topologies, Displacements’ edited by Ignacio Farías and Alex Wilkie.
Studio Studies is being launched over two events, the first (at Goldsmiths) with a focus on the social sciences and the second (at the V&A) with a focus on the arts and design.
BOOK LAUNCH AT GOLDSMITHS
19th February 2016, 6:30pm, Clore 55, Victoria & Albert Museum, London.
Panel discussion chaired by Lucy Kimbell, University of Arts, London.
Panel: Professor Daniel Charny (Kingston); Ignacio Farías; Yiyun Kang (V&A Artist in Residence); Professor Peter Lloyd (Brighton) & Alex Wilkie.
ABOUT STUDIO STUDIES
is an agenda setting volume that presents a set of empirical case studies that explore and examine the studio as a key setting for aesthetic and material production. As such, Studio Studies
responds to three contemporary concerns in social and cultural thought: first, how to account for the situated nature of creative and cultural production; second, the challenge of reimagining creativity as a socio-materially distributed practice rather than the cognitive privilege of the individual; and finally, to unravel the parallels, contrasts and interconnections between studios and other sites of cultural-aesthetic and technoscientific production, notably laboratories. By enquiring into the operations, topologies and displacements that shape and format studios, this volume aims to demarcate a novel and important object of analysis for empirical social and cultural research as well to develop new conceptual repertoires to unpack the multiple ways studio processes shape our everyday lives.Studio Studies
is published by Routledge and is part of the CRESC series
which establishes the importance of innovative contemporary, comparative and historical work on the relations between social, cultural and economic changeEditors
: Ignacio Farías is a sociologist and an Assistant Professor of the Munich Center for Technology in Society and the Department of Architecture at the Technische Universität München. Alex Wilkie is a Senior Lecturer in Design at Goldsmiths and a sociologist.Contributors
: Tomás Ariztía, James Ash, Ariane Berthoin Antal, Georgina Born, Ignacio Farías, Emmanuel Grimaud, Antoine Hennion, Sophie Houdart, Mike Michael Erin O’Connor, Laurie Waller, Alex Wilkie.
is a much needed work of enquiry: the studio is by turns an obvious and an unknown thing today. They are far more common and influential spaces than the laboratories about which we know so much – and yet no such signature volume has existed until now. It will be a defining collection by extraordinary contributors.”Chris Kelty
, Associate Professor, Institute of Society and Genetics & the Department of Information Studies, University of California, Los Angeles.
“This book offers an excellent introduction to one of the defining projects in social studies today: the performative analysis of creative practice. Combining case studies and interviews by outstanding scholars in the study of science, technology and culture, it shows how the studio enables the assembly and negotiation of relations between art, design, markets, publics and social studies themselves. It thereby offers a welcome empirical handle on an especially complex contemporary phenomenon, the valuation of creativity across domains.”Noortje Marres,
Associate Professor, Centre for Interdisciplinary Methodology, University of Warwick
“In this sophisticated and theoretically astute collection, the authors make a case for the studio as a rewarding site for ethnographic research. But more profoundly, the studio is offered up – in its ad hoc procedures and modes of emergent organization – as an empirical model for social life and creativity more generally. It makes the studio mundane while showing how the worlds outside – factories, firms and so much more – share in the ‘studio-ness’ that makes things happen.”Harvey Molotch
, Professor of Sociology and Metropolitan Studies at New York University. Author of Where Stuff Comes From: How Toasters, Toilets, Cars, Computers and Many Other Things Come to Be As They Are.
The event of the public: Convolutions of aesthetic and epistemic practice
Joint conference of the Society for Social Studies of Science (4S) and European Association for the Study of Science and Technology (EASST).
31st of August – 3rd September 2016, Barcelona.
This call for papers invites contributions to address the role and place of aesthetics in epistemic practices, with emphasis on the ways in which ‘publics’ are enacted and eventuated.
Mike Michael (University of Sydney)
Gay Hawkins (Western Sydney University)
Kane Race (University of Sydney)
Alex Wilkie (Goldsmiths, University of London)
Abstract Deadline: February 21st 2016
Submit abstracts online at: http://www.sts2016bcn.org/
This track aims to explore the role of the aesthetic in epistemic practices with particular reference to the ways in which ‘publics’ or ‘scientific citizens’ are enacted. While STS has long explored how the epistemic practices of knowledge-making can be linked to a heterogeneous range of other practices (social, ethical, economic, political, care-ful, corporeal, affective, etc.), the place of aesthetic practices has been relatively neglected. The proposed theme aims to examine the role of the aesthetic in the epistemic, with particular reference to the ways in which ‘publics’ are enacted or eventuated. More concretely we can pose such questions as: what counts as ‘aesthetic practice’ and how does this relate to other practices (for example, of care, affect, social)? how do the aesthetics of a technoscientific artifact or assemblage (eg a plastic water bottle, smart monitor, or alternative systems of electricity generation) affect the ways in which publics enact environmental concern? how do the aesthetics of more or less typical STS research tools (such as focus groups, ‘ethnographic’ engagements, data harvesting or speculative design interventions) impact the emergence of particular sorts of ‘epistemic publics’; how do the aesthetics of the representational practices found in STS, policy or the media (eg online data visualization or the narrative structures of academic accounting) shape the public and its issues? More broadly, we ask how might we understand aesthetic practice in the context of ostensibly related traditions, for example non-representational or arts-based modes of inquiry. Papers are therefore invited which consider the complex interactions – the convolutions – between aesthetic and epistemic practices specifically in relation to the ways in which publics (or ‘scientific citizens’) emerge.
- What counts as ‘aesthetic practice’ and how do these relate to other practices?
- What role does aesthetics play in epistemic practices?
- How do the aesthetics of technoscientific assemblages and/or artefacts affect the ways in which publics enact issues?
- How do the aesthetics of STS research methods and tools impact the emergence of ‘epistemic publics’?
- How might STS understand aesthetic practice in the context of traditions that themselves claim expertise on the aesthetic?