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12 AUGUST 2013

UK start-up product design agency Made In Mind

"Made in Mind was founded in 2009 by Matthew Judkins and Min–Kyu Choi. The duo met on the campuses of Imperial College and the Royal College of Art and formed the company to commercialise the Folding Plug design concept that Min–Kyu developed during his studies. Numerous individuals and organisations joined Matthew and Min–Kyu along the way to contribute to the development, funding and marketing of the concept which was realised in 2012 with the launch of the Mu. Made in Mind, now consisting of a diverse team of industry and technical professionals, are in the process of extending the product pipeline and placing the Mu on the global stage."

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2009AC power plugadapterscommercialisationcompact designdesign conceptdesign innovation • folding plug • Imperial College Londonindustrial designMA Product Design • Made in Mind • Matthew Judkins • Min-Kyu Choiminiaturisation • Mu USB Charger • product designredesignRoyal College of Artstart-up businessUK • USB Smartphone charger

CONTRIBUTOR

Simon Perkins
20 OCTOBER 2012

Alain Resnais and Chris Marker's: Les Statues meurent aussi

"Les Statues meurent aussi, co–directed with Alain Resnais. This 30 minute short film has a chequered history of censorship that at one time elevated it to a somewhat mythical status (2), and which prevented it from being brought into the wider public eye until some 16 years after it was completed. After its first screening at the Cannes Film Festival in 1953, and in spite of winning the Prix Jean Vigo in 1954, Les Statues meurent aussi was banned in France by the Centre National de la Cinématographie between 1953 and 1963 owing to its controversial anti–colonialist stance (3). While a truncated version was made available in 1963, the unabridged film only became available in 1968.

Les Statues meurent aussi was commissioned by the literary review and publishing house, Présence Africaine, which was set up in 1947 in Paris as a quarterly literary review for emerging and important African writers. Founded by the Senegalese thinker Alioune Diop, it housed the writings of some of the most important francophone thinkers in the latter half of the 20th century, such as Aimé Césaire, Ousmane Sembene, Léopold Sédar Senghor, in addition to French metropolitan writers such as Jean–Paul Sartre and Albert Camus. The journal also translated groundbreaking works by Chinua Achebe and Wole Soyinka into French for the first time. Having emerged so soon after the new French Constitution of 1946 had declared a 'French Union', Présence Africaine's publications signalled a new, post–colonial status for French and francophone thought, embracing what was then a key notion: that of négritude (4). It is this notion that the second half of Les Statues meurent aussi engages with most deeply, and perhaps most controversially, especially as it strives to connect the death of the statue with the rise in the commercialisation of African art for the pleasure of the colonial classes. Indeed, it is against the backdrop of a France that had so recently lost its colonial power, but which still retained many of the quasi–Manichean distinctions between white, Western culture and black, African culture, that (and in spite of their claims to the contrary) Resnais and Marker's film projected its passionately anti–colonial, anti–racist, even anti–capitalist audio–visual collage. It is little wonder then that such a film should have been censored until the late 1960s, by which time it might have lost some of its topicality, but none of its political vigour."

(Jenny Chamarette, 14 September 2009, Senses of Cinema)

[1] Sarah Cooper, Chris Marker, Manchester University Press, Manchester and New York, 2008. As Cooper points out, Les Statues meurent aussi is available as an extra on the French DVD release of Resnais' Hiroshima mon amour, Arte France and Argos Films, 2004.

[2] See Roy Armes' entry on Les Statues meurent aussi in his The Cinema of Alain Resnais, A. Zwemmer/A.S. Barnes, London and New York, 1968, p. 34.

[3] This is heavily documented in scholarship on Marker and Resnais. In particular, see Cooper, p. 12; Emma Wilson, Alain Resnais, Manchester University Press, Manchester and New York, 2006, pp. 22–4; Nora M. Alter, Chris Marker, University of Illinois Press, Urbana, Chicago, 2006, pp. 58–9.

[4] For further details see V.Y. Mudimbe (ed.), The Surreptitious Speech: 'Présence Africaine' and the Politics of Otherness, 1947–87, Chicago University Press, Chicago, 1992, pp. 3–4.

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TAGS

1953 • African art • African cultureAlain Resnaisanti-capitalism • anti-colonial • anti-colonialist • anti-racist • audiovisual • audiovisual collage • censorship • Centre National de la Cinematographie • Chris Marker • colonial classes • colonial powercommercialisationcritique • death of the statue • European imperialismfilmfilm essayFranceintercultural • Les Statues meurent aussi • negritude • post-colonial • post-colonialismpostcolonial • Presence Africaine • Senses of Cinema (journal)statue • Statues Also Die • Western culture

CONTRIBUTOR

Simon Perkins
25 MARCH 2012

Business incubator: newSplash Communication Design Studio

"The newSplash studio bridges the gap between design education and the workforce by employing students and graduate designers from the Otago Polytechnic in our real–life studio. Then we connect them with you!"

(Otago Polytechnic, Aotearoa New Zealand)

Fig.1 Video showing samples of the film work created by newSplash Communication Design Studio, which is located at Otago Polytechnic.

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Aotearoa New Zealandbrokerbrokeragebusiness incubatorcareercommercialisationcommissioningcreative industriesdesign businessdesign educationdesign studioDunedin • employing • employment agentemployment broker • facilitator • freelancegaining employmentgraduate bridgegraduate designers • graduate entrepreneur • incubator • incubator for graduate entrepreneurs • industry realitiesjob opportunitiesjobsnetworking • newSplash Communication Design Studio • newSplash Studio • on commission • Otago Polytechnic • outsourcepost-graduate employmentpost-graduate schemeproject bidreal-life studioSouth Islandstudents • transactions • transition into and through universitytransition into post-graduate employmentwork placementworkforce

CONTRIBUTOR

Simon Perkins
12 MAY 2011

John Berger: Ways of Seeing

"Published in 1972 and based on a BBC television programme of the same name, this is a very influential text on art criticism. Although the book and programme make the same case, they do so in slightly different ways, and the programme is well worth watching. For the photographer, the book has the advantage of putting photography in the context of western art. For the student new to critical theory, it has the advantage of being produced for a mass audience, and has as a central aim the de–mystification of art. These two points make it relatively easy to understand. A further advantage this book has is that many students have not had the opportunity to study photography, but have studied art, and so the book presents a logical progression for them when they start to study photography.

The television programme is divided into four sections and although the book is divided into seven chapters (three being made up solely of images), the book also covers four areas."

(John Berger, 1990)

John Berger (1990). 'Ways of Seeing: Based on the BBC Television Series', Penguin

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1972academic discourse • advertising photography • artart criticismauthorshipBBC • buying power • commercialisationconnoisseurshipconsumerism • demystifying • John Bergermass audiencemeaningmechanical reproduction • modern consumerist society • nude in western artobjectification of women • objectified women • oil painting • photographic reproduction • photographypictorial reproduction • power of money • publicity • realismrepresentationseeingsocial constructionismspectacletelevision documentarytelevision programmetraditionvisual culturevisual depictionvisual languagevisual literacyvisual representational strategiesWays of Seeingwestern art • what we know

CONTRIBUTOR

Simon Perkins
19 MARCH 2010

Siftables: cookie-sized interactive computers

"Siftables are our first product: sets of cookie–sized computers with motion sensing, neighbor detection, graphical display, and wireless communication. ...

Siftables act in concert to form a single interface: users physically manipulate them–piling, grouping, sorting–to interact with digital information and media. Siftables provide a new platform on which to implement tangible games."

(Sifteo Inc.)

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2010applied research • Brent Fitzgerald • brickbusinesscommercialisation • David Merrill • devicedisplay deviceentertainmententrepreneurshipgestureHCIindustrial designinteractioninteraction designinteractive toyinterface • Jeevan Kalanithi • MITMIT Media LabNational Science Foundation • Siftables • Sifteo • tangibletangible computing • tangible games • technologyTED Talkstoyusabilityvisualisation

CONTRIBUTOR

Simon Perkins
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