CUMULUS CONFERENCE PROCEEDINGS SERIES PART 2 E.O. IN THE FORM 02/2017 CUMULUS CONFERENCE PROCEEDINGS SERIES PART 2 E.O. IN THE FORM 02/2017 FIRST PUBLISHED IN 2018 by Srishti Institute of Art, Design and Technology, CA Site No. 21, 5th Phase, KHB Colony, Yelahanka New Town, Bangalore 560064, India and Cumulus International Association of Universities and Colleges in Art, Design and Media c/o Aalto University, School of Arts, Design and Architecture, Otaniementie 14, 02150 Espoo, Finland The views and opinions expressed in this book are the authors’ own and the facts are as reported by him/her which have been verified to the extent possible, and the publishers are not in any way liable for the same. © 2018. All rights reserved. No part of this publication may be reproduced, transmitted, or stored in a retrieval system, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. EDITOR-IN CHIEF Cumulus President Luisa Collina EDITORS Ayisha Abraham, Pooja Sagar and Tapasya Thapa BOOK CONCEPT Srishti Institute of Art, Design and Technology, Bangalore BOOK DESIGN AND CONCEPT Kena Design, Bangalore (www.kenadesign.com) ISSN 2490-046X Cumulus Conference Proceedings document of the meetings by Cumulus, International Association of Universities and Colleges of Art, Design and Media, established in 1991. Publications in Cumulus Conference Proceedings Series: 01/17 Kolding, REDO 02/17 Bengaluru, Letters to the Future 03/18 Paris, To get there: designing together 04/18 Wuxi, Diffused Transition & Design Opportunities CURATORIAL NOTE A letter is a vehicle for a person’s mind; of thoughts, and ideas of things that are not yet, but can be. The ideas are not limited by the size of the paper nor by the color of the ink. They are free to soar off the pages and spark a new flame in the reader’s imagination. With ‘Letters to the Future’; Cumulus-Srishti 2017, we were inspired to tap into this spirit of can-do and possibility. We invited the world to write us letters of Imagination, Abundance, Resurgence, the Impossible and Ambition. And we discovered that the world is filled with wonderful letter-writers. The dominant narrative today steers us towards an incessant contemplation of wicked problems and global disasters. This is accompanied by a sense of emergency and loss of control. Every time we switch on the news, listen to the radio, surf the internet or tweet, we are confronted by problems that loom over our comparatively small abilities to solve them. The world threatens to collapse into chaos at every turn. We wanted to turn this narrative around. What would happen if we looked at these problems through the lens of empathetic strength and positivity? The world is going to change, we cannot control that. What we can control is the nature of our response. Will our response arise from fear and apprehension or will it arise from a sense of abundance and optimism? The cornered response is different from the visionary response. In the letters we received we have so many visionary responses. Too often, the emotional and the intuitive are ignored as though they have no place in the human experience of solving problems. The sense of joy and hope that fills our body and gives weight to ideas is the reason why we do what we do. Letters to the Future is a resurgence... of positive change through design and artistic practice, of winning over apprehension and bringing the seemingly impossible into action. ACKNOWLEDGEMENTS The ideas in this book have been shaped out of research conducted across the world. We thank the Cumulus Association and its partners and members from 54 countries who arrived in Bangalore to the Cumulus Conference titled ‘Letters to the Future’ in November 2017. This book is dedicated to these practitioners across the world committed to art and design education and research. We thank the following people and organizations that gave us new directions and pathways to think about design education and research. Keynote Speakers: Prof. Ezio Manzini, Shabnam Virmani, Sonam Wangchuk, Neelam Chhiber Geetha Narayanan: Founder- Director of Srishti Institute of Art, Design and Technology, Bangalore Pradyumna Vyas, Director- National Institute of Design, India, for sharing the India Design Council vision and policies for India Conference Curators: Ramesh Kalkur and Sonalee Mandke RMZ Foundation Mahesha Ram and his team of folk musicians from Rajasthan Ravi Gururaj, 10000 startups and NASSCOM Members of Association of Designers of India (ADI) We are indebted to the organizers of various walks, workshops and studio visits around the city of Bangalore – Studio Visits: Himatsingka Seide, FRLHT, SPREAD Design, Mistry Architects, Daily Dump, Mindtree, Industree, Meghshala, Tata Elxsi, Foley Design, IDIOM, Art in Transit, Team Indus Walks conducted by: Centre for Public History, Kabir Project, Blank Noise, Art in Transit, Poetry workshop Sanjay Barnela: “The Colour of My Home” Shabari Rao: “BodyMine”: A solo performance The Unconference working group Organizers of “Occupy Academia: Dismantling the Journal” Organizers of Media Shack Kena Design – Kumkum Nadig and Prachi Prabhu Paper reviewing committee Moderators Ujjwal Trust The Srishti Community JN Tata Auditorium, Indian Institute of Science Mallya Aditi International School LIST OF ILLUSTRATIONS, MAPS & PHOTOGRAPHS 2.1 Performance Lecture in Casanova Costume, Finland. 2017. Page 26 3.1 Sensitive exploration of urban violence, Barcelona. 2017. Page 32 3.2 Exploring relations between drawing and space, Barcelona. 2017. Page 33 3.3 Interpretation of different urban realities of Barcelona city through light drawing, Barcelona. 2017.P age 34 3.4 Sensitive exploration of urban violence, Barcelona. 2017. Page 35 3.5 Tilt Brush session exploring new ways of perception of our environment, Barcelona. 2017. Page 35 3.6 Sensitive exploration of urban violence, Barcelona. 2017. Page 36 4.1 ’Parturient’, students ArtEZ Product Design, 2017. Page 40 4.2 ‘OpenSurgery – Domestic Surgery Theatre’, 2015. Page 41 4.3 ‘Grow on You’, 2017. Page 44 4.4 ‘Digital Artifacts’, 2017. Page 45 5.1 Gastric Tones: A Study in Sound by Paul Holmes; Installation View 1. 2017. Page 49 5.2 Gastric Tones: A Study in Sound by Paul Holmes; Installation View 2. 2017. Page 50 7.1 Student projects to address design future scenarios, presented via visual identity design. 2017. Page 65 7.2 Student projects to address design future scenarios, presented via visual identity design. 2017. Page 66 8.1 View of the vessel of Plastic Odyssey - 3D image of the 25 meters catamaran Plastic Odyssey. 2017. Page 72 8.2 Map of the expedition « 3 years expedition - 33 calls - 40,000 nautical miles sailed. 2017. Page 72 8.3 Plastic sail boat. 2017. Page 73 8.4 Plastic bottle concept. 2017. Page 74 8.5 Video: Plastic Odyssey. Total length: 12’ to 15’. 2017. Page 74 8.6 Concept of origami message boats. 2017. Page 75 11.1 #ungender: Acid Attacks. 2017. Page 102 11.2 #ungender: Child Marriage. 2017. Page 104 11.3 #ungender: Female Infanticide. 2017. Page 106 11.4 #ungender: Rape and Eve teasing. 2017. Page 107 11.5 #ungender: Domestic Violence. 2017. Page 109 11.6 #ungender: Human Trafficking. 2017.P age 110 12.1 Composition of ‘edible community’ service system. 2017. Page 115 12.2 ‘Edible community’ service system map. 2017. Page 116 12.3 Perspective of ‘edible community’ in Fushun Road 363. 2017. Page 117 12.4 Interaction quality map. 2017. Page 118 12.5 Offering map of Bao Hub. 2017.P age 119 12.6 Stakeholder motivation matrix. 2017. Page 120 12.7 Concept Layout. 2017. Page 121 13.1 Details of Hippocampus-Chablon sculpture. 2017. Page 126 13.2 Hippocampus-Chablon. animated by Sara Ekenger. 2017. Page 127 13.3 The Crab. Details. 2017. Page 128 13.4 Sculpture of the seahorse’s head. 2017. Page 129 13.5 Crab and Mussel Details. 2017. Page 130 LIST OF ILLUSTRATIONS, MAPS & PHOTOGRAPHS 14.1 Detailed view of the jacket. 2017. Page 133 14.2 Intertwined tassel skirt. 2017. Page 133 14.3 Neck adornment. 2017. Page 133 16.1 Pattu Thread holder. 2017. Page 147 16.2 Natural colors of Gaddi wool, spindle and woven Pattu. 2017. Page 148 16.3 Jacket details with hand crochet. 2017. Page 149 16.4 Fagotting Techniques of Marken Island on Pattu seams.2017. Page 150 16.5 Pattu Jacket. 2017. Page 151 16.6 Pattu Jacket on model. 2017. Page 152 17.1 The yellow tyre, next to Road One. 2017. Page 157 17.2 Preparation of the membrane bags, filled with juice. 2017.P age 158 17.3 Handling of the press juicing machine. 2017. Page 159 17.4 Preparation of the membrane bags, filled with juice. 2017.P age 160 17.4 Inharrime, southern Mozambique. 2017. Page 161 18.1 Det in the MyFutures film. 2017.P age 166 18.2 Pascale Fung in the MyFutures film. 2017.P age 167 20.1 Kusha grass ring, 2017. Page 176 20.2 Bride to be, adorned with jewelry made of flowers, 2017.P age 177 20.3 Gold Necklace with eighty stylized Arabian jasmine flower buds, each set with a ruby, and central back clasp in the form of a peacock, 2008. Page 177 20.4 Silver Necklace (champakali har), a classic pan –Indian design, its units represent the fragrant buds of evergreen champa tree, given as an offering to Shiva and other deities, 2008.P age 178 20.5 Gold Necklace (rudrakshmalai, or linga padakka muthu malai), Tamil Nadu, 19th century, 2008. Page 179 20.6 Chandan ki mala with 108 beads, 2017. Page 180 20.7 Lotha Naga necklet (soho) of two pairs of matched boar’s tusks with carnelian beads set in a square of conch shell and canework teminals, 2008.