The Non Linear Narrative master programme at the Royal Academy of Art (KABK) merges investigative methods of journalism and forensics with processing technologies of computer science and visual arts into a contemporary, progressive design approach: the non-linear storytelling. It takes the entanglement of relations in the global information society as a starting point, in order to identify and interrogate complex socio-political issues and communicate them to a broad audience.

The programme repositions the graphic design discipline in the changing professional landscape and extends it with new responsibilities towards society. This year’s graduation show presents under the title Please Elaborate, the final projects of 12 young and emerging designers. To elaborate means ( ) to interpret, to experiment, to comment, to expand, to develop, to work out, to compare, to amplify, to improve, to enlarge, to complicate, to specify…

Spanning a range of media, exhibition formats and disciplines, the show pieces cover a multitude of subjects in order to unravel and demonstrate their complexities. As such, Please Elaborate is not only the title of the exhibition, but also the question the recent graduates often asked themselves in the process of making their works. In doing so, they responded with thoughtful and engaging comments to contemporary issues of gender equality, post-truth politics, sound pollution, global warming and neurodiversity. If you aren’t able to see the show in person, the exhibition will be also translated into a digital experience on this website and a series of video interviews. Stay tuned via nln.kabk.nl

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the online exhibition (?)
Niels Otterman (?)
To Stim
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Niels Otterman - To Stim
Can we enlarge current discussions in order to include other-than-neurotypical perspectives?
(To Stim) is an exploration on the distinction between intentional and unintentional movements as well as their social restrictions. Since Niels was young he has been making stimulating repetitive movements – stimming– to manage emotional response, such as joy or anger or as a self-protective reaction to sound and light overexposure. These movements vary from rocking the body, fluttering the hands, to making oral noises without any purpose of communication. If Otterman was to make these movements in public, people would react in a dismissive, uncomfortable or distant manner. Through this project he draws a differentiation between physical freedom of movement and social freedom of movement. The fact that he can only stim at my place, is the result of a lack of social freedom of movement. Investigating the boundary between intentional and unintentional movements, the work examines the limits of humanity and the uncanny.
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