The Millbank Atlas

21 – 28 January 2017, Monday – Saturday, 10 – 4  

Cookhouse Gallery, Chelsea College of Arts

Curated Conversation on the evening of 20 January 2016, 5 – 8
Interactive Mapping on 24 January, 11 – 4
Finnisage / Closing event on 26 January, 5 – 8
everyone welcome

Interior and Spatial Design and Camberwell, Chelsea and Wimbledon Graduate School are delighted to join forces for an exhibition and public events programme exploring the lived experience of Millbank

The Millbank Atlas is a collaborative project that brings together researchers, students and local residents to trace the neighbourhood of Chelsea College of Arts. Students of BA Interior and Spatial Design’s Studio 07 have used practice-based research to create maps and other cartographic experiments that identify distinguishing characteristics of this part of London. At stake here is a better understanding of Millbank as comprised of reciprocal relations between the College and surrounding businesses, residential blocks, civil society groups, transportation links and other amenities, infrastructure and further aspects of this built and natural environment.

This exhibition of The Millbank Atlas is cocurated by Dr Marsha Bradfield and Shibboleth Shechter and will showcase an ongoing community relationship that Shechter established with Millbank local Wilfried Rimensberger in 2014.

The Millbank Atlas is made possible thanks to generous support from Camberwell, Chelsea, Wimbledon Graduate School.

Transpersonal: Susan Kelly | Micropolitics: Practices of Freedom and Rehabilitation

25 Jan 20172:00 pm | Cinema 1 | £3.00 to £6.00 Book Tickets

Micropolitics: Practices of Freedom and Rehabilitation

This lecture, the third in the Transpersonal series, explores what we can learn from terrorist rehabilitation programmes about the relationship between micropolitics and subjectivity, practices of freedom, and the psychic spaces of the (ethno) state today.

From the late 1990s the Egyptian, Yemeni and Saudi Arabian governments developed a series of programmes that sought to ‘rehabilitate’ jihadists as part of broader counterterrorism measures. ‘Jihadi Rehab’ camps employ clerics and scholars to engage in theological debates with prisoners, and provide counselling, education, sports and practical training. Their aim is to re-orientate prisoners toward the family and the private sphere, and to re-programme subjects who are non-violent and accept the legitimacy of the state. Such practices of ‘rehabilitation’ have a long history under British colonialism, and provide us with fascinating blueprints of explicit programmes for the un-making and re-making of political subjects.

The Mau Mau Rehabilitation Camps in Kenya in the 1950s for example, also claimed to transform Kikuyu inmates into loyal and productive citizens. Working with colonially educated ethno-psychiatrists, they attempted to ‘de-programme’ fighters through performative ‘counter-oaths’ that would free the individual from the group. In these contexts, technologies of the self and micropolitical processes are employed not as practices of freedom as thinkers such as Foucault and Fanon conceived of them, but are rather used to consolidate racist and pseudo-medical notions of normalization and submission – coded as ‘cure’.

Susan Kelly is Senior Lecturer in Fine Art at Goldsmiths College, University of London. Her research looks at relationships between art and micropolitics, technologies of the self, space and practices of organisation. She works in the context of various collectives and individually in time-based work, installation and through writing, publishing and convening events and performative/ militant investigations.

Transpersonal: art and life directives is a lecture series on the theory and application of art and design, curated and convened by Dr. Stephen Wilson. It is staged in collaboration with the ICA and the Chelsea, Camberwell and Wimbledon College of Arts postgraduate community at the University of the Arts London.

Image: A still from the British Pathé Newsreel: The Lari Massacre 1953 and the capture of Dedan Kimathi, 1956 

Transpersonal: Gilda Williams | The Tao of Warhol, and Other Tales

18 Jan 20172:00 pm | Cinema 1 | £3.00 to £6.00 Book Tickets

 This talk by Gilda Williams is an experiment in examining the art and life of artists from a spiritual perspective, from Andy Warhol to Amalia Ulman. The lecture is the second in a series of responses to the theme ‘transpersonal’, which relays states of consciousness that go beyond the limits of personal identity. This may include peak and spiritual experiences such as near death phenomena and the expansion of awareness beyond the usual remits of individuality, which may be brought on by experiences of crisis related to the spiritual, ethical and relational extremes of contemporary life.

Gilda Williams is a writer and art critic who teaches on the MFA Curating programme, Goldsmiths. Her most recent book is ON&BY Andy Warhol (MIT/Whitechapel Press, 2016). She has also authored How to Write about Contemporary Art (Thames & Hudson, 2014). Williams is a London correspondent for Artforum magazine and a member of the International Association of Art Critics. She was Editor and Commissioning Editor (from 1997) for Contemporary Art at Phaidon Press 1994-2005, where she commissioned the ‘Contemporary Artists’ monographs, ‘Themes and Movements’ series of anthologies, and other books including Salon to Biennale: Exhibitions that Made Art History (2008).

Transpersonal: art and life directives is a lecture series on the theory and application of art and design, curated and convened by Dr. Stephen Wilson. It is staged in collaboration with the ICA and the Chelsea, Camberwell and Wimbledon College of Arts postgraduate community at the University of the Arts London.

Image: ON&BY Andy Warhol by Gilda Williams (MIT/Whitechapel Press, 2016)

Interview with PhD Annabel Dover | Artist in Residence at The British School at Athens

Original article by Sarah McLean for the Chelsea Blog, see entire interview here…Chelsea Blog

Practice-based PhD student Annabel Dover has been announced as the first recipient of a new award founded by the Camberwell, Chelsea and Wimbledon Graduate School with the The British School at Athens (BSA). The award comprises of a new arts residency in Greece, supported by a bursary and with studio and accommodation provided, which Annabel will undertake from 13 March – 31 May this year.

While in Greece, Annabel will look at Athens through the prism of her own personal narrative, engaging with the BSA research theme of building the archive. She will offer an introductory lecture at the School at the start of her residency and host an open studio event while resident.  She will also offer a lecture at UAL on returning from the residency.

The BSA, founded in 1886, maintains facilities in Athens which include the Director’s house (with meeting rooms and a recently-created artist’s studio in the roof space); the Hostel, housing a specialist library, archive, museum, accommodation, a common room, kitchen, dining room, and administration; a Hostel Annexe; the Assistant Director’s apartment; and the Marc and Ismene Fitch Laboratory for science-based archaeology. The BSA has a relaxed atmosphere enabling researchers to cross-fertilise among their own different fields of interest, as well as to develop links with local practitioners and researchers.

We spoke to Annabel about her work and her plans for the Residency.

Please tell us about your plans for the British School at Athens Residency – what do you hope to achieve? How will this relate to your current work? What attracted you to apply for it?
I’m so  looking forward to having a bed close to a studio and being able to focus on being in the studio and being immersed in my work all of the time. Unless I’m working towards a show I am not very good at making work. Neil Cummings [Professor of Practice and Theory of Fine Art in the Graduate School] talks about there already being too much stuff in the world and I feel I don’t really want to add to it! My PhD research came from and was developed by the practice and I would love to make more practical experiments.

Work from The Psychopathology of Everyday Life by Annabel Dover. Watercolour on paper and porcelain.

Work from The Psychopathology of Everyday Life by Annabel Dover. Watercolour on paper and porcelain.

The environment of the BSA is something I’m excited about too: there’s a really great looking museum with artefacts and a seed collection, which sounds magical. I am looking forward to meeting new people and hearing about their research. Athens itself is a fascinating city – the squashed oranges that fall off the trees are something I remember my mother telling me about. The central theme of my research is based on reliving my mother’s trip to Athens in the late 1980s. With this I hope to explore a new way of working.

I’ve looked at biography with my PhD research and the way I’ve tried to inhabit the Victorian photographer Anna Atkins. I also want to make work about how it feels to be away from ‘home’ and relate that to other ‘explorers’ such as Marianne North. I’m looking forward to having the freedom to make a record of emotional encounters in Athens.

I like the city of Athens and I feel I have only experienced it superficially, so it will be great to be there for three months. Last time I was there I saw a wild tortoise in the plants at the base of the Acropolis. It was very exciting seeing an (ancient) living thing inhabiting an ancient monument.




The Spaces and Narrations Research Group, in collaboration with Wayward, the Interior and Spatial Design Programme Practitioners-in-Residence, present an open lecture series to accompany the Transient Social Environments symposium on Saturday 11 March 2017

Monday 16 January 2017

Monday 23 January 2017

Monday 30 January 2017

Monday 06 February 2017

Monday 13 February 2017

Monday 20 February 2017

Monday 27 February 2017

Monday 27 February 2017

All ISD OPEN LECTURES start at 6:00 pm
Lecture Theatre, Chelsea College of Arts, Atterbury Street Entrance Millbank, London, SW1P 4JU
More information here:

Image courtesy of Wayward.

Transpersonal: art and life directives | ICA/UAL Lecture Series

The term transpersonal relays states of consciousness that go beyond the limits of personal identity, this may include peak and spiritual experiences such as near death phenomena
and the expansion of awareness beyond the usual remits of individuality.

Transpersonal, art and life directives – is a series of ten lectures that engage with the production of psychotechnologies, socio- political consciousness and art and design practices in an automated reality. It looks at hands-on contribution, belonging, profiling, and ownership of institutions that are continuously reinvented, opening up the potential for a new flux of intrapersonal encounters. Transpersonal, art and life directives is a lecture series on the theory and application of art and design curated and convened by Dr. Stephen Wilson in collaboration with the ICA and the postgraduate community at Chelsea, Camberwell and Wimbledon College of Arts, University of the Arts, London.

To book tickets:
Institute of Contemporary Arts, The Mall, London SW1Y 5AH

January 2017
18 Gilda Williams
25 Susan Kelly

February 2017
8 Elizabeth A.Povinelli
15 Rizvana Bradley
22 Revital Cohen & Tuur Van Balen

March 2017
8 Elizabeth Jochum
15 Lina Dzuverovi ´c
22 Kerstin Stakemeier
29 Choy Ka Fai

Call For Papers | Architecture and Culture Journal Special Issue

Architecture and Culture Journal Special Issue…

Behind the Scenes: Anonymity and the Hidden Mechanisms of Design and Architecture

DEADLINE EXTENDED to 27th February 2017
Behind the Scenes: Anonymity and the Hidden Mechanisms of Design and Architecture
Architecture and Culture, Vol. 6, Issue no. 1, March 2018. Editor: Jessica Kelly

Contributions sought from a wide range of practices and disciplines to interrogate the hidden, the intangible and the anonymous in design and architecture. Contributions that consider alternative forms to the conventional academic essay, including the visual and verbal are encouraged.

Contributions might address, but are not limited to, the following themes:

–       Design and anonymity in various contexts such as production, patent and copyright
–       Collective Practices and collaborative dynamics: Design teams, creativity and authorship
–       Networks – public and private, personal and professional
–       Non-masculinist/Feminist perspectives on design production
–       Spaces of production
–       Non-expert producers
–       Inter-disciplinary practices
–       Alternative modes of discourse: orality, non-verbal communication
–       Global perspectives on design practices and discourses

Contributions can range from short observations or manifestos, creative pieces, or visual essays, to longer academic articles. Architecture and Culture is published in both on-line and hard-copy formats: there is capacity to host on-line contributions that operate in a different way to paper-based work.

For author instructions, please go to ‘Instructions for Authors’ at

Upload submissions at:
Or via ‘submit online’ at

If you have any queries or require further information, please contact:
Jessica Kelly [email protected]

Editorial Information
This issue is guest edited by Jessica Kelly

Image: Rudolph, Paul, , Architect. [Paul Rudolph’s architectural office in Manhattan. Man stepping across file cabinet tops among elevated drafting stations]. [Ca, 1965] Image. Retrieved from the Library of Congress, (Accessed May 23, 2016.)

DeSForM 2017: Sense and Sensitivity


10th Conference on Design and Semantics of Form and Movement

October 17-18 Delft, October 19-20 Eindhoven, The Netherlands


Submission Deadlines:

– Papers (Full / Short / Demos): February 10, 2017

– Workshops connecting research and practice: April 21, 2017


This year we celebrate the 10th edition of the DeSForM conference series. In 2005 DeSForM was born in (Eindhoven) the Netherlands with the premise of creating meaning through objects, interactions and people. Over the years, the DeSForM community has explored and designed objects through a multisensorial approach always aiming at enriching users’ experiences with them. Throughout previous editions we have seen the development from digital and mechanical objects that had enriched sensorial presence to adaptive and intelligent objects that feel almost analogous to reality given their increased information processing power and sensory resolution. These are thanks to the recent developments in the material sciences, robotics, information and sensor technology, and improved production techniques. Consequently, the arena that belongs to design researchers and practitioners has gotten more sophisticated by being more technical, but also raises new questions regarding the effect and the impact of the new technologically rich designs. In 2017, DeSForM is returning to its place of birth opening up to a broader audience with deeper insights to debate about the future of dynamic “form” giving and its effects on people and their environment. The conference will be hosted by the industrial design schools of TU Delft and TU Eindhoven.

For the 10th edition, DeSForM will bring you the best Dutch design can offer in collaboration with Design United and Philips Design. Prior to the conference on October 17, business cases will be organized in Delft with leading Dutch design consultancies. Furthermore, participants will have a chance to experience the Dutch Design Week 2017 in EIndhoven, which starts right after the conference on October 21. This international event hosts exhibitions from a great variety of schools, companies and designers.

DeSForM is an intimate, single-track conference that brings together design researchers, practitioners, students, and companies to have in-depth discussions over ongoing projects. It is an excellent platform for making new connections and bridging research interests. Therefore, we warmly invite multidisciplinary perspectives and discussions on current issues addressed in design research. Join us in Delft and Eindhoven and experience the rich and extensive design research and practice tradition that skillfully combines social sciences, arts and engineering to stimulate design-driven innovations!

Accepted submissions of all types will be included in the InTechOpen digital library proceedings. Selected publications will be invited to adapt their publication using the input and discussion during the conference for a special book series that represent and demonstrate the best of design research and practices.

DeSForM 2017

Everyday life offers a range of ordinary to rich experiences facilitated by designed artefacts. There is satisfaction when design contributes to a world full of recognizable objects and familiar experiences, and there is certainly excitement and maybe anxiety when design brings in the ‘new’. Technological developments (discoveries and inventions of bronze, iron, steam, electricity, plastics, computing, connectivity etc.) have always shaken up everyday life. Adapting to change is inevitable as humanity has been reinventing itself in accordance with every technological development. At DeSForM 2017, we are looking for a discussion on how designers deal with some of the challenges that come with this adaptation.

Adaptation to Interactive Technologies

Interactive technologies such as actuators, sensors, chips, lights, smart materials but also social robots and virtual reality, offer a specific challenge that humanity has not faced before. The design of interactive, responsive, and self-evolving artefacts and environments challenges the physical understanding of people’s surroundings and their skills to adapt to it. More than ever before, technologies create a gap between the human senses and the understanding of what is (being) sensed. Therefore, the senses are not to be trusted as much as one was used to. Novel products, interactions, and experiences naturally emerge and question the way users make sense of novelty and interpret its effect on them.

The Perceptual and Experiential Gap

This gap opens up new avenues for designers and researchers to explore the enhanced domain of experience design. First, by exploring the new definition of satisfaction in the realm of novelty. Next, and maybe more exciting, by exploring how the gap can be used to generate new ways of interacting with, interpreting and creating an intriguing new world rather than a mundane one. As a creative community we have reached a crunch point where we are able to shape the future of product, interaction and experience design in an exciting way. Thus, it has become possible to envision a world where people are intrigued by design, have dialogue with designed artefacts, or artefacts that have discussions with other objects. These encounters will move people in surprising ways. The natural design habitat enriches people’s sensory repertoire and deepens the meanings attached to artefacts allowing for, for example, poetry, reciprocity and seduction in relation to designed objects.

Developing Sensitivity

Sensitivity is no longer about ‘knowing the world’ but about ‘being in the world’ and exploring it. This means that people need to continuously adapt to a changing world and give meaning to it in a creative way. The sensitivity of the mind is grounded in the sensitivity of the senses. The question becomes: how do people develop this new sensitivity and how do we design for it? Understanding the process of adaptation sheds light on the working of human body and mind. We are able to tackle sensory and cognitive capacity of users using the knowledge, tools and methods we have been acquiring and building over the years. Designing for sensitivity using these new approaches should result in the creation of unprecedented experiences as well as the envisioning and demonstration of interactive futures.

Design Application Domains

DeSForM explores the range of design from its fundamentals to its application domains. Although technology may challenge people to adapt to all domains of our everyday life, DeSForM 2017 especially calls for examples and initiative in the realm of:

  • Care for our Health
  • Sustainable Well-being
  • Smart and Connected Environments
  • Future of Mobility


We invite to submit high-quality original contributions that face the issue of designing artefacts that explore new materials and technologies (both tangible and virtual) and give rise to innovative interactive forms. The following topics are of particular interest for DeSForM 2017. However, research works addressing more general issues on the topic of meaning, semantics and aesthetics of smart, dynamic and interactive products or systems, are appropriate for the conference:

  • Aesthetics of Interaction
  • Affective Computing
  • Choreography of Interaction
  • Co-creation
  • Tools and Methods for Designing with and for the Senses
  • Design with Interactive Materials
  • Experience-driven Design
  • Generative Design
  • Haptic Interfaces
  • Multisensory Research and Design
  • Senses and Sensors
  • Sensory Experiences (Especially the Tactile, Auditory, Olfactory and Gustatory senses)
  • Tangible Interfaces
  • Wearable Technologies




Papers should be between 2000 and 4000 pages long. Full papers (2000 – 4000 words) address empirical studies, theoretical stand points or literature reviews. Short papers (2000 – 2500 words) describe raison d’être, design process, product description, audio-visual material or activities with participants.

Authors must use the InTech template and submit as a Word or Word compatible file to prepare the manuscripts. PDF’s can be used for the review process. But the camera ready versions must be a Word or Word compatible file.

All papers will undergo a standardized (double-blind) review and publication process. Length must match the contribution, and the same general criteria hold for all papers. Regardless of length, a paper may be presented as a talk, demo and/or poster. All work must be submitted electronically via the DeSForM 2017 easychair conference site at: During submission, authors may propose the presentation format that they feel best suits their contribution, which may include multiple presentation forms. The available formats include:

  • Talk
  • Demo
  • Poster

Please do consider the most appropriate presentation format for your work. In particular we stimulate high quality demonstrators. When submitting your contribution, we want to emphasize that providing a supplementary short video (maximum 2 minutes) for demonstrators will allow the reviewers to evaluate the quality of their design work.

High quality demonstrators will be considered for exhibition at the Dutch Design Week Eindhoven (21-29 October 2017), an event following the DeSForM conference, hosting 2.500 exhibitors and almost 300.000 visitors. This is a unique opportunity provided only for DeSForM participants!

All presentation formats will be included in the conference proceedings and high-quality ones will be considered for an adapted version for the special book series.


DeSForM 2017 will host up to five parallel (half)day workshops on Friday October 20. The aim for these workshops is to translate theoretical perspectives / tools / methods / materials from (design) research to practice. We are interested in workshops that try to explore novel approaches to interaction and holistic experiences involving all our senses and sensitivities in everyday contexts. We encourage workshops to explore applications in healthcare domains. Furthermore, we encourage contributors to seek inspiration in the themes of the conference. The workshops will be organized at the High-Tech Campus Philips Design offices.


A more detailed call for the workshop  submissions will be included in DeSForM second call for papers, expected at the beginning of March 2017. Please keep an eye on for updates.


  • Papers: February 10, 2017
  • Workshops: April 21, 2017

All work must be submitted electronically via the DeSForM 2017 easychair conference site at:


[email protected]


Conference | FROM CODEX TO CODE | Ligatus Research Centre

Ten years of research by graduates of the

Ligatus Research Centre

We invite you to celebrate with us the 10th Anniversary of the Ligatus Research Centre at the CCW Graduate School with a conference at which our first seven PhD and M.Phil graduates will present papers about their current research interests.

The conference will take place on Friday, 24th February, from 10am to 6pm, in Banqueting Hall of the Chelsea College of Arts and Design, University of the Arts London, John Islip Street, SW1P 4JU and it will be followed by a reception.

Tickets for the conference will be available from January 2017


Georgios Boudalis
(Museum of Byzantine Culture, Thessaloniki)
The birth of the codex and the crafts of Late Antiquity

Alberto Campagnolo
(Library of Congress, Washington)
The digital representation of books as objects: from cultural objects to digital cultural objects

Anna Gialdini
(University of the Arts London)
Luxury, Hybridism, and the Strange Greekness of Some Florentine Bindings

Theresa Zammit Lupi
(The Notarial Archives, Valletta, Malta)
On the parchment trail: following music manuscripts from Malta

Heather Ravenberg
(Saint Catherine Foundation)
Documentation schemas for recording conservation activity

Martha Romero
(Universidad Nacional Autónoma de México)
From research to practice

Nikolas Sarris
(National Library of Greece, Athens, Thesaurus-Islamicus project, Cairo)
The Ligatus Condition Assessment Form: a tool for training, studio workflows and surveys: Experiences from Iraq, Ethiopia and Egypt


For more information about Ligatus please visit

Call for Proposals/ Papers | Spectacular Evidence: Theatres of the Observed Mind

Spectacular Evidence: Theatres of the Observed Mind

Call for Proposals/ Papers


A one-day symposium, Spectacular Evidence will include presentations, performances, screenings and talks from the fields of visual art, medicine and critical theory.

Drawing upon histories of madness and its exhibition, and considering how it has been staged as cultural performance, this event will consider behaviours and ‘performances’ exchanged between viewer and physician in relation to patient.

Confirmed contributors to the event include:

  • Zoe Beloff, artist. Her exhibition The Coney Island Amateur Psychoanalytic Society celebrated the centennial of Freud’s visit to Coney Island, by resurrecting the forgotten world of the Coney Island Amateur Psychoanalytic Society, along with the visionary ideas of its founder Albert Grass.
  • Dr Anna Harpin, author of ‘Performance, Madness and Psychiatry: Isolated Acts’ (Palgrave Macmillan, 2014).
  • Dr Joanne Morra, Reader in Art History and Theory, CSM. Founder and principal editor, Journal of Visual Culture. Joanne Morra’s recent book, ‘Inside the Freud Museum’ is pending publication with IB Tauris.
  • Florence Peake, artist, dancer and performer, whose recent piece, Swell: The Thickening Surface Of, explored the gap between inner and outer as a tension between inanimate, figurative carapaces, and imagined interior lives being voiced
  • Dr Michelle Williams Gamaker, artist, filmmaker and collaborator with Mieke Bal on the feature film A Long History of Madness (2011)

The symposium will take place at ArtsAdmin, Toynbee Studios, London, on 24 March 2017.

Spectacular Evidence: Theatres of the Observed Mind is convened by Dr Zoë Mendelson and presented by Camberwell, Chelsea, Wimbledon Graduate School Public Programme in association with ArtsAdmin.


Contributions are welcome from across disciplines with a connection to the subject area covered by the symposium.

We welcome proposals for traditional presentations by speakers and performative contributions / variations on the lecture form.

Your proposal/presentation should be no more than 20 minutes in duration

The deadline for applications is 5 pm on January 10th 2017

For more information, please contact Zoë Mendelson at [email protected]