<i>SHEMZA.DIGITAL</i>: Participatory art as a catalyst for social change

This paper explores the historical discourse around migrant voices within British art history, why now is the time to address these subjects and how through the use of participatory digital art it is possible to educate for social change. The paper will focus in particular on shemza.digital, a digital and interactive participatory art project created by Aphra Shemza and Stuart Batchelor. The project was funded by Arts Council England and based on the work of the British/Pakistani painter Anwar Jalal Shemza.

Content

Author and article information

Contributors

Aphra Shemza

Stuart Faromarz Batchelor

Conference

Publication date: July 2021

Publication date (Print): July 2021

Pages: 155-162

Affiliations

[0001]Art in Flux

LondonUK

Article

DOI: 10.14236/ewic/EVA2021.26

SO-VID: 92525335-5744-460b-8a7c-2517e9160d2d

License:

This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2021

Conference acronym: EVA 2021

Conference number:

Conference location: London

Conference date: 5th July – 9th July 2021

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: AI and the Arts: Artificial Imagination

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2021.26

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

Anonymous user tester. (2020) Testimonial user testing form.
G. Bader (2016) Post war: Art between the Pacific and the Atlantic: 1945-1965. https://www.artforum.com/print/201607/postwar-art-between-the-pacific-and-the-atlantic-1945-1965-62995 (20th March 2020).
Stuart Batchelor. (2019) A Framework For Future Paintings. In: J. Weinel, J.P. Bowen, G. Diprose, and N. Lambert (eds), EVA London 2019 (Electronic Visualisation and the Arts) 2019. [Cross Ref]
W. Benjamin (1931-1934) The Author as Producer. Harvard University Press, 2003) pp.777.
I. Bogost (2007) Persuasive Games: The Expressive power of Videogames, Cambridge MA: MIT Press, p.4.
J Broderick Lewis. (2010) The Art of Sustainability: Visual Arts Organisations and the Modern Environmental Movement. CSPA Quarterly, Volume 2 (1), pp.6-8.
Clare (2020) Testimonial user testing form.
I. Dadi (2016). Anwar Jalal Shemza. Riding House, London, UK.
O. Gingrich (2020) Testimonial user testing form.
C Grant & D. Price (2020) Decolonising Art History. https://onlinelibrary.wiley.com/doi/full/10.1111/1467-8365.12490 (20th March 2021).
A.W. Moore (2018) Brief Genealogy of Social Sculpture. http://www.joaap.org/webonly/moore.htm (26th March 2018).
A. Shemza (2016) My grandfather, Anwar Jalal Shemza. Tate Etc. 16th October 2016.

Comments

Comment on this article

[1] Anonymous user tester. (2020) Testimonial user testing form.

[2] G. Bader (2016) Post war: Art between the Pacific and the Atlantic: 1945-1965. https://www.artforum.com/print/201607/postwar-art-between-the-pacific-and-the-atlantic-1945-1965-62995 (20th March 2020).

[3] Stuart Batchelor. (2019) A Framework For Future Paintings. In: J. Weinel, J.P. Bowen, G. Diprose, and N. Lambert (eds), EVA London 2019 (Electronic Visualisation and the Arts) 2019. [Cross Ref]

[4] W. Benjamin (1931-1934) The Author as Producer. Harvard University Press, 2003) pp.777.

[5] I. Bogost (2007) Persuasive Games: The Expressive power of Videogames, Cambridge MA: MIT Press, p.4.

[6] J Broderick Lewis. (2010) The Art of Sustainability: Visual Arts Organisations and the Modern Environmental Movement. CSPA Quarterly, Volume 2 (1), pp.6-8.

[7] Clare (2020) Testimonial user testing form.

[8] I. Dadi (2016). Anwar Jalal Shemza. Riding House, London, UK.

[9] O. Gingrich (2020) Testimonial user testing form.

[10] C Grant & D. Price (2020) Decolonising Art History. https://onlinelibrary.wiley.com/doi/full/10.1111/1467-8365.12490 (20th March 2021).

[11] A.W. Moore (2018) Brief Genealogy of Social Sculpture. http://www.joaap.org/webonly/moore.htm (26th March 2018).

[12] A. Shemza (2016) My grandfather, Anwar Jalal Shemza. Tate Etc. 16th October 2016.

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SHEMZA.DIGITAL: Participatory art as a catalyst for social change