The initial objective was to create proposals out of food waste to create new materials to replace plastic packaging for food. However, it evolved into a Do-It-Yourself open-source material archive where people could start to experiment with these materials from home, know the simplicity of the process and further pressurize industries to move towards more sustainable solutions “because now the people know”.

Having been part of the MENA Grad Show, I was exposed to all kinds of people, including children and teenagers, which was eye-opening to a new direction for the project. I’ve had professors and teachers who were interested in workshops for their students, and little kids seemed to be intrigued by the video recipes and colorfulness of the project.

This made me open a new potential way for the project, and it is to potentially focus my target audience on schools and families, who could start working together on these materials, experimenting, learning about the potential of waste to replace one use or short-term items etc.

This project aims to educate on the simplicity of up-cycling a daily wasted resource, “food waste” to useful materials that would potentially be adopted by industries to move away from plastic Packaging. The prototype is fully functional and is ready to be launched.

Throughout the course the student will discuss ideas of identity and the fluidity surrounding the evolution of self, suspending reality, the fusion of digital space and apparel design, and speculation of future scenarios and environments. Topics central to the course are: science fiction, nostalgia, maximalism, religious dogma, ethical and eco-conscious production and consumption, nature, iconography, and toys.

In Spring 2022, India Cloe will develop and curate a series of garments and support items (accessories, spaces/environments, and short films) framed under the title “Sacred 7”. She will address the notion of the physical self versus the projected/alternative self.

This project imagines an alternative future where Arabic is a primary language and evolved together with the technological innovations of the 20th century. To explore this future, a number of typefaces were envisioned, designed, and produced utilizing technology that represents specific typographic domains. In this case a segmented LED typeface, as well as a dot matrix Arabic typeface. Based on our research, this is the first fully functioning segmented Arabic typeface design ever produced (some patents were created in the 1980s but were not produced). The typeface was designed by Fatima Abbas, programmed by Levi Hammett and Hind Al Saad, and constructed by Levi Hammett.

Replicating old designs into new ones marks the evolution of product functionality. Admiring the authenticity of an iconic piece and embracing how it could evolve towards a product that suits our time, raised a question on our current interaction with daily items that have a direct impact on our lives and way of living.

This led the designer to choose the flower vase and to mold it in a way that awakes the senses, with the floral aromatic scents as the focal point of his project and how the interaction throughout that natural experience differs from one design to another.

Ittr vase consists of two parts illustrating different times, one that is natural with a basic design and the second artificial relying on an industrial technique that suits modern designs, both carved with a diversity of materials generating scents and embracing the aromatic history of flowers.

The installation is nothing less than a tunnel that links the outside representing old vases to the inside where a newly shaped design reflects the product’s recent functionality.

By recreating historic works, we learn what modern tools and approaches have to offer. Through our focus on the building blocks of media art, generative design practice, and computational techniques such as algorithmic composition, typography, imaging, computer vision, and interaction design, the class encourages critical inquiry into what constitutes the canon of computational art by re-verbing “recreating” to take on different forms: reproducing, reenacting, rethinking and reframing. Participants were given a toolkit featuring a series of exercises and questions to unpack and expand on the themes, techniques, and communities of practice engaged by artists. Participants were encouraged to bring their own artists not only to compile a more inclusive list of artists and designers working in and around computation but inspire new generations of computational artists well versed in diverse computational art histories and practices.

The game is set up such that each player learns collaborative work play through collectively managing resources with other players. In turn, every decision a player makes affects those shared resources, and consequently, the rest of the players.

The aim of the project is to introduce basic political, governance and constitutional elements to young adults in order to make them more politically engaged. The game is built on top of the constitution, as it teaches players how constitutional articles directly relate to our day-to-day lives

• 10th March 2022, 5:30 PM
• Atrium
• Upon Registration Only (Limited seats available)

How do we historicise or begin to reflect on a present that is so free-wheeling that it is rife with constant speculation and anxiety? One minute we are in fear of Artificial Intelligence, but in an instant, we are interminably interlinked with them, without realising. Human lives are now fashioned and intertwined into a form of living media. Enter the metaverse—a schematic field laid out decades ago—a paradigm of and for augmenting reality that is accelerating once again. An NFT you say. You want one; the best one; gotta catch ‘em all. A currency that is not your own. A banking system built without plastic or paper; silver or gold. Is it real or is this a game of monopoly? In this closing keynote, Dr. Omar Kholeif, one of the leading experts on digital visual culture, presents a reflective survey of our present, exploring the illusory forms and aesthetics that define it.

Omar Kholeif will be giving this keynote virtually to a live audience. Seats are limited and are only open to VCUarts Qatar or Education city students, faculty, or alumni. In-person attendees must follow VCUarts Qatar guidelines related to COVID-19.

This event will be streamed live. Members of the public are welcome to ask questions in a moderated chat, at the end of each session. Please use the registration button to register and receive a link to your chosen event.