Seamless: the digital in design.
Museum of Architecture and Design,
Ljubljana, Slovenia.
19th September – 3rd November 2013.

Brezšivno: digitalno v oblikovanju.
Muzej za arhitekturo in oblikovanje,
Ljubljana, Slovenija.
19. september – 3. november 2013.

Participants/ Sodelujoči.
Louise Adkins
Kirsteen Aubrey
Mark Beecroft
Keith Brown
Fabrizio Cocchiarella (+ Emma Hayward)
David Crow
Vanessa Cuthbert
Joe Duffy
Michael Eden
Jon Hannan (+ Robert George)
Steve Hawley
Toby Heys (+ Robert Saucier & Oliver Blank)
Saoirse Higgins
Jonathan Hitchen
Nigel Hurlstone
Hilary Judd
Alice Kettle (+ Huw Wahl)
Amanda Langdown
Jane McKeating
Joe McCullagh
Monomatic (+ Nick Rothwell)
Sally Morfill
CJ O’Neill
Alex Russell
Ulysses Sengupta
Annie Shaw

Senior Lecturer, Graphic Design.
After graduating with a first-class degree in Graphic Arts from Liverpool John Moore’s in 2001, Hilary moved to London. She worked as an Illustrator, Digital Designer and Art Director creating animations, games and interactive campaigns. After 7 years of London design life, Hilary decided that she wanted to concentrate on her own interests and ideas and to put her own practice at the heart of her life. She moved to Manchester and completed an MA in Design & Art Direction at Manchester Metropolitan University and then a postgraduate diploma in Book Arts at LCC.
She has always been interested in design and creativity from a users perspective and so her body of work focuses on interactivity using screen-based environments, paper engineering, artist’s books and real space instillations.
Her keen environmental enthusiasm has led her to a recent love of beekeeping.

In the hive.
The buzz of a bee almost entirely comes from the bee breathing through the fourteen spiracles across its abdomen. The noise produced by a hive creates a huge polyphonic immersive sound. Because there are so many bees within a hive, the sound is one giant loop of never-ending vibrations. When a hive is opened you experience a layered, almost mechanical hum Skeps are traditional beehives woven in straw and bound with willow. Short straw pieces are twisted to create a continuous (seamless) rope. They are rarely used today as they are more difficult to inspect and manage, leading to greater risk of virus and disease. It is also more difficult to collect the honey.
The round shape resonates the sound of the bees and the resulting drone can feel daunting and unyielding for those who fear bees, but beautiful and full of personality for the converted.
Digital recordings of bees have been turned into seamless looped sound files.
The digital sound loops within these naturally created domes create an uneasy feeling of unseen dread, fascination and (as all beekeepers know) vitality and life. As an unattributed but often used quote says: ‘If the bee disappeared off the surface of the globe then man would only have four years of life left. No more bees, no more pollination, no more plants, no more animals, no more man’. Creating a continual, seamless hive ecosystem provides for some a positive future with a mellifluous hum, for others, a deadly cacophony that is preferably hidden away.
The skeps have been made the help of a rural studies expert Robert Manton.


Hilary Judd

Višja predavateljica grafičnega oblikovanja.
Po diplomi iz grafičnih umetnosti, z odliko opravljeni na liverpoolski univerzi John Moore, se je Hilary Judd leta 2001 preselila v London. Kot ilustratorka, digitalna oblikovalka in umetniška diektorica je ustvarjala animacije, igre in interaktivne kampanje. Po sedmih letih londonske oblikovalske scene se je odločila, da se osredotoči na lastna zanimanja in zamisli ter na svojo lastno prakso. Preselila se je v Manchester ter končala magisterij iz oblikovanja in režije na Metropolitanski univerzi v Manchestru, nato pa se vpisala na podiplomski študij knjižne umetnosti na šoli London College of Communication.
Že od nekdaj jo zanimata oblikovanje in ustvarjalnost z vidika uporabnikov, in tako je njeno delo osredotočeno na interaktivnost z uporabo zaslonov, tridimenzionalno oblikovanje papirja, knjig umetnikov in instalacij v realnem prostoru. Navdušena je nad varstvom okolja in nedavno se je ogrela za čebelarstvo.

V panju.
Zvok brnenja čebele skoraj v celoti izvira iz njenega dihanja s štirinajstimi dihalnimi odprtinami na trebuhu. Hrup, ki ga povzroča čebelji panj, je zato polifonične narave. Ker je znotraj panja nešteto čebel, je ta zvok neprekinjen in se ponavlja kot brezkončne vibracije.
Košnice so tradicionalni panji, spleteni iz slame in povezani z vrbovimi šibami. Kratke bilke slame zvijejo tako, da iz njih nastane neprekinjena (brezšivna) vrv. Danes so takšni panji le še redko v uporabi, saj jih je težje pregledovati, kar vodi k večji nevarnosti pojava virusov oziroma bolezni. Prav tako je iz njih težje postrgati med. Zaradi njihove okrogle oblike zvok čebel v njih odmeva in posledično je lahko za tiste, ki se čebel bojijo, njihovo brnenje zastrašujoče in neusmiljeno, za njihove ljubitelje pa lepo in še posebej značilno čebelje.
Digitalni posnetki čebel so postali nekakšna brezšivna zvočna datoteka. Digitalne zvočne zanke znotraj teh naravno ustvarjenih kupol vzbujajo nelagoden občutek nevidne groze, fascinacije in tudi (kot vedo vsi čebelarji) vitalnosti in življenja. Kot pravi anonimen, a pogosto navajan citat: »Če bi čebele izginile s sveta, bi imel človek le še štiri leta življenja. Brez čebel ni opraševanja, ni rastlin, ni živali, ni ljudi.«
Ustvarjanje stalnega, brezšivnega ekosistema čebeljih panjev za nekatere pomeni nekaj pozitivnega in blagozvočnega, za druge pa je to smrtonosna kakofonija, ki jo je najbolje skriti.
Slamnati panji za to umetniško delo so bili izdelani s pomočjo Roberta Mantona, strokovnjaka s področja ruralnih študij.

h.judd@mmu.ac.uk
hilaryj.co.uk