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09 JUNE 2015

Compelling motion infographics: The Fallen of World War II

"The Fallen of World War II is an interactive documentary that examines the human cost of the second World War and the decline in battle deaths in the years since the war. The 15-minute data visualization uses cinematic storytelling techniques to provide viewers with a fresh and dramatic perspective of a pivotal moment in history."

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23 • 80 • Africa • AlteredQualiea • Andy Dollerson • Aotearoa New Zealand • Auschwitz-Birkenau • AustraliaAustriaaverage age • battle deaths • Belgium • Belzec • British colonial era • BurmaCanadacasualties • Chelmno • civilian deaths • concentration camp • cost of war • counting the numbers • course of historyD-Day landingdata visualisation • data-driven documentary • death campDenmark • Eastern Front • Estonia • firebombing • Francefutility of wargas chambergassingGreecehistorical perspective • human cost of war • HungaryIndiaIndonesiainfo graphicsinteractive information designItalyJapanJewish HolocaustKoreaLatviaLithuania • long peace • Luxembourg • Majdanek • military conflictMyanmarNazi Germany • Neil Halloran • Netherlands • North American historical perspective • Norwaynumerical scalesOkinawa • Omaha Beach • Pacific Rim • Pacific War • peace • Pearl Harbor • Peoples Republic of ChinaPeoples Republic of PolandPhilippinespicture statisticsPolandRomania • Siege of Leningrad • Slovakia • Sobibor • Soviet armySoviet Russia • Stalingrad • statistical graphics • Steven Pinker • Treblinka • UKvisual information designwarwar crimes • Western Front • World War II • Yellow River • Yugoslavia

CONTRIBUTOR

Simon Perkins
25 JANUARY 2015

Soundweaving: playing traditional Hungarian folk embroidery

"At the core of the Soundweaving project is the traditional cross–stitching pattern used in Hungarian folk embroidery transformed into sound by a punch card comb music player. The cross–stitch pattern of holes on the tape in the musical box were punched by the creator, Zsanett Szirmay.

In this case, the punched tape acts as the score. Embroidered shirts and pillows from the Transylvanian Bukovina, and from Kalotaszeg and Hungary served as a basis for the patterns. As part of the transformation, embroidery patterns turned into laser cut textile pieces, and cross–stitched patterns into melodies. Soundweaving equally stimulates all senses, and calls for interaction. The project uses multiple media and communicates on diverse planes, combining the borderlands of folk art, design and music. It belongs to the analogue and digital realms at the same time as the handmade embroidery is translated into laser cut patterns. At the same time, the visual world is presented in audio, or rather the graphic aspect of music gets a role in developing the tunes. Bálint Tárkány–Kovács, folk musician and composer was instrumental in the audio mapping and developing the tunes."

(Rita Mária Halasi, Moholy–Nagy Művészeti Egyetem, 2014)

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2014analogue correspondence • Balint Tarkany-Kovacs • Bucovina • Carpathians • computational aesthetics • cross-stitch pattern • design and music • design student projectembroidered patternsembroidered textiles • embroidery pattern • folk decoration • handicraft • handmade embroidery • Hungarian folk embroidery • Hungary • Kalotaszeg • laser cut patterns • laser cut textile pieces • listening to imagesMA Textile Design • melodies • Moholy-Nagy Muveszeti Egyetem • music boxmusic player • musical box • musical scoreprogrammable device • punch card comb • punch cardspunched-card systemsequencer • Soundweaving project • traditional crafts • traditional handicrafts • Transylvania • Transylvanian Bukovina • Ukrainevisual pattern • weaving pattern • Zsanett Szirmay

CONTRIBUTOR

Simon Perkins
09 JANUARY 2013

Eighth International Conference on the Arts in Society

Eighth International Conference on the Arts in Society, Eötvös Loránd University, Budapest, Hungary, 24–26 June 2013

"The purpose of the annual Arts Conference is to create an intellectual platform for the arts and arts practices, and to create an interdisciplinary conversation on the role of the arts in society. It is intended as a place for critical engagement, examination and experimentation of ideas that connect the arts to their contexts in the world–on stage, in studios and theaters, in classrooms, in museums and galleries, on the streets and in communities.

Its scope is deliberately broad and ambitious. Our times demand nothing less than cross–disciplinary and holistic approaches. The breadth of the Conference and its accompanying Journal, however, are without prejudice to finely grained discussion of the specific, the local and the grounded practices.

The Conference provides a venue and a framework for the arts and art practices that are situated within the context of international art expositions, festivals and biennials engaged with the international production of art and its global distribution networks. This Conference aims to discover what values, instincts and common ground may exist within the arts and their practices and sites of reception around the world. Your participation shapes the Conference itself.

We are inviting proposals for paper presentations, workshops/interactive sessions, posters/exhibits, or colloquia (See Proposal Types). Virtual participation is available for those who are unable to attend the conference in person. Proposal ideas that extend beyond these thematic areas will also be considered.For more information about the ideas and themes underlying this community, see Our Focus."

TAGS

2013art and design conferenceart and educationart educationart practicesarts • arts conference • arts education • arts history and theory • Arts in Society Conference • arts practices • Budapestcall for paperscolloquiaCommon Ground (publishing)conferencecreative artscritical engagementcross-disciplinary • Eotvos Lorand University • holistic approaches • Hungaryinterdisciplinaryinternational conferencenew media • paper presentations • political and community agendas in the arts • poster sessions • roundtable sessions • scholarly platform • technology and the arts • the arts • The Arts Knowledge Community • the role of the arts in society • theory and practicevisual arts

CONTRIBUTOR

Simon Perkins
24 JUNE 2012

A History of Eastern European Matchbox Design

"Matchbox labels from the former Eastern bloc often display a remarkable degree of sophistication, elegance and artistic quality. They were, at a time, the most convenient,efficient and powerful medium for visual communications. Although they were produced under strict state–controlled production processes; that were aimed at exploiting them as a means of publicizing political initiatives, promoting public health and safety, and selling the communist ideal both at home and abroad, the artists used them as a vehicle to experiment with various imaginative ideas and artistic techniques, achieving truly stunning results."

(Guity Novin – گیتی نوین (ناوران) – ا)

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Albania • Alexander Dubcek • artistic techniques • Bulgaria • Central Europe • communism • communist design • communist reformers • communist systemCzechoslovakiaEast GermanyEastern bloc • Eastern Europe • EstoniaGDR • German Democratic Republic • graphic designgraphic design history • Guity Navran • Guity Novin • history • history of graphic design • Hungarian Uprising • Hungary • Imre Nagy • Jane McDevitt • Joseph Stalin • label design • LatviaLithuania • matchbox • matchbox labels • national identity • NATO Alliance • Nikita KhrushchevPoland • political initiatives • post-war erapostwar • powerful medium • Prague Springpublic healthpublic information • public safety • publicising • RomaniaRussiaSocialist Federal Republic of Yugoslaviasocialist realismSoviet Union • state-controlled • the communist ideal • USSRvisual communication • Warsaw Pact • Western democracies • Yugoslavia

CONTRIBUTOR

Simon Perkins
23 JANUARY 2011

OSA: actively collecting, preserving, and making openly accessible documents related to recent history and human rights

"The Open Society Archives (OSA) at Central European University is an archival laboratory. While actively collecting, preserving, and making openly accessible documents related to recent history and human rights, we continue to experiment with new ways to contextualize primary sources, developing innovative tools to explore, represent, or bridge traditional archival collections in a digital environment. Our approach to acquisition is increasingly proactive and inclusive, and we actively seek out non–traditional material, material previously marginalized based on its content, social origin, or form. At OSA Archivum, professional archival work is integrated with public programs, and our Galeria Centralis serves as the focal point of exhibitions, performances, film screenings, lectures, and seminars. Through all of these endeavors, we advocate: open access and transparency in public administration; equal rights to information; the ethical use of private data; open formats and open standards; and broad access to cultural heritage."

(The Open Society Archives, Hungary)

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archival laboratory • archival work • archive • broad access to cultural heritage • Central European University • collectcollectioncontextcontextualisationcultural formscultural heritagedigital culturedigital environment • equal rights to information • ethical use of private dataethics • Galeria Centralis • Hungaryinformation in contextintegrationknowledge commons • non-traditional material • old mediaopenopen access • open formats • Open Society Archives • open standards • OSA • OSA Archivum • preservationprimary sources • recent history • social construction of knowledgesocial constructionism • social origin • traditional archival collections

CONTRIBUTOR

Simon Perkins
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