Mouraria, local colour and sense of place of a historical Lisbon neighbourhood

Mr Lambert Rozema1, Ms Cristina Pinheiro2, Ms Ana Margerida Ferreira2

1Nhlstenden, Leeuwarden, Netherlands,

2Universidadeeuropeia, Lisbon, Portugal

 

Chromatic proposals for neighbourhoods often are aimed at establishing or maintaining the architectural identity of the place. This type of colour research suggests that heterogeneity and unity of colours can contribute to cultural identity. Colour proposals often aim at increasing actual liveability and wellbeing of the users of the public space of the area under scrutiny. Yet, relatively little is known about how residents can use the colours of their neighbourhood to strengthen their own sense of place particularly when the area is under pressure from the tourism industry.

Keywords: Local colour, co-creation, identity and community mapping.


Biography:

Lambert Rozema, artist/researcher/lecturer in the field of local colour and sense of place. Currently in the process of starting a PhD in liaison with UNIDCOM Universidadeeuropeia, Lisbon, Leisure and Tourism Futures NHLStenden and Cultural Geography RUG, Groningen, Holland.

lambertrozema@xs4all.nl

Colour and emotion in the museum

Dr Candice Boyd1, Ms Deborah Tout-Smith2

1School of Geography, University of Melbourne, Melbourne, Australia,

2Society and Technology Department, Museums Victoria, Melbourne, Australia

 

Deborah Tout-Smith is Senior Curator, Home & Community, at Museums Victoria.  Her curatorial responsibilities include the museum’s Military History Collection, while her research interest focus on home life and emotional experience.  Deborah was lead curator for the acclaimed exhibition World War I: Love & Sorrow (2014-2018).

Contemporary museums attempt to design exhibitions that provoke an emotional response in visitors (Waterton, Tolia-Kelly, & Watson, 2016).  This is often done with the intention of promoting social change through the fostering of empathy with people whose histories can be difficult to understand.  Emotions, however, are harder to evaluate than knowledge or attitudes (Düringer, 2014).  In this presentation, we think through the role of colour in curating, designing, and experiencing an exhibition.  Based on a study of the World War I: Love & Sorrow exhibition at Melbourne Museum which used participant drawings in a novel methodological approach, we interrogate both curatorial intentions and visitors’ emotional responses as expressed through colour.  Participant drawings will be presented alongside our analysis, which also considers the non-representational and more-than-visual aspects of the museum visitor experience.


Biography:

Candice Boyd is an artist-geographer and an ARC DECRA Fellow at the School of Geography, University of Melbourne, Australia.  Her interests are in the geographies of mental health, therapeutic spaces, experiences of rurality, and contemporary museum geographies.

Email:  cboyd@unimelb.edu.au

Between Colour and Chromatic Perception: exploring the tensions through movement

Ms Diti Bhattacharya1

1Griffith University, Brisbane, Australia

 

This paper looks at the everyday spatial entanglements between colour, chromatic perception and the act of walking. I draw on two examples from a series autoethnographic observations carried out in Brisbane city, in Australia and in Auckland city, in New Zealand to show how continuous interactions between colour and the act of walking facilitates a process of ‘sense making’ in/with time. In doing so, first I aim to establish a conceptual distinction between colour, and chromatic perception. Second, I revisit the idea of colour in the city as something other than a passive element in the background to movement. Thus, I explore how the composite coming together of a set of colors, interact with the relational process of walking in creating collaborative affective experiential knowledges in city spaces.


Biography:

Diti Bhattacharya is a doctoral candidate at Griffith University. She has submitted her thesis on human geography, looking into spatial movements in College Street’s boipara, in Calcutta.

Blood Red and Neon Stain: the para-site of colour in micro-mobile geographies

Dr Jen Southern1, Dr Rod  Dillon1

1Lancaster University, Lancaster, U.K.

 

This paper, and the authors artwork para-site-seeing.org, uses the Leishmania parasite as a guide to multispecies travel. The parasites mobility ranges from micro-movements through the sandfly gut, to historical and global migrations within the bodies of humans and other mammals, and travel between labs as elite research colonies. The artwork is framed as a travel blogging portal for parasites, with eight different blogs that trace aspects of the historical and geographical mobility of Leishmania. The conceit of the parasite’s eye view orients us to follow the colour of liquids within which they travel, the red of mammalian blood and the blue of the Leishman Stain used to make things visible in the lab. Thinking through the colour of liquids reveals nested micro/macro assemblages of mobility, that have enabled the disease Leishmaniasis to spread with colonial travel. We also distinguish between the complexity of the parasite situated in the ‘wild’ and the parasite isolated for research, and the different politics of care that are mobilised around breeding for research, in order to prevent their mobility in the wild.


Biography:

Jen Southern is an artist, lecturer in Fine Art, and Director of the Mobilities Lab at the Centre for Mobilities Research at Lancaster University. Her research is a hybrid of art practice and mobilities research. With an ethos of shared authorship she collaborates with artists, technologists and members of the public to produce live installations that combine material and digital experience.

For over 25 years her art practice has engaged with mobilities and has exhibited in Australia, Canada, Europe, Japan, Mexico, New Zealand and USA. She curated exhibitions for Global Mobility Futures (2013) and Mobile Utopia: Pasts, Presents, Futures (2017).

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