It can be quite difficult to have your creativity on tap : balancing client expectations and artistic practice in the tattoo industry

Tattoo artists work in a commission structure. Their artistic practice, possibly more than in any other creative career, requires the complete approval of the client prior to the creation of the final work. An unsatisfactory tattoo cannot be on-sold, discarded or easily replaced. Rarely can a tattooer practice their art without external participation. Therefore, tattoo artists come up with a number of strategies to manage their client base to ensure that the art they are asked to create satisfies both the client and their own artistic skills and preferences. Drawing on phenomenological research conducted for my PhD investigating artistic persona, this paper will explore the strategies tattoo artists use to construct their portfolios, manage the tattoo consultation and design process, and develop their own artistic skills, in order to build a successful and rewarding career in the tattoo industry.

Tattoo: a multifaceted medium of communication

This article suggests the systems theoretical distinction of form/medium as a useful tool for distinguishing social phenomena that might look as if they stem from the same process. This is shown to be the case for the tattoo and tattooing. The tattoo is conceived as a medium of communication through which different forms of communication emerge. Tattooing is one of these forms of communication that shapes the medium in a particular way. The current article sheds a special light on its intricate, communicational constellation, for which the concept of parallax is suggested. Law, medicine and cosmetics as other forms of communication use the medium of tattoo in their own way as well. The form/medium distinction allows us to grasp these different forms of communication, while it shows that they share the tattoo as medium. The article’s ultimate goal is to illustrate that the tattoo figures as a multifaceted medium of communication.

Woman with tattoo

General note: Title and date provided by Bettye Lane.

The monster chronicles : the role of children’s stories featuring monsters in managing childhood fears and promoting empowerment

Children’s fascination with monsters is a normal part of childhood development. Children’s literature reflects this with a wealth of stories featuring monsters, ranging from fairy tales to picture books to books for independent readers. These stories can raise concerns from educators, parents and other sections of the community such as political and religious institutions on the basis that they could be disturbing or harmful to children. In contrast, there is evidence to indicate the potential for managing fears and enhancing feelings of empowerment in children through the reading of stories featuring monsters. A reappraisal of these stories from a predominantly therapeutic perspective reveals that they may act as agents of positive change in six ways – catharsis, naming, taming, integration, transformation and moral empowerment. Two of these functions, transformation and moral empowerment, are examined further in three case studies of stories for the older reader that feature monsters, Wolf Brother by Michelle Paver, Monster Blood Tattoo, Book One: Foundling by D.M. Cornish and my manuscript, ‘The Monster Chronicles’. The insights from this research have been used to inform the writing and editing of ‘The Monster Chronicles’ and inherent to that, my goal of creating a children’s story featuring monsters that is sensitive to children’s fears and their desire for empowerment.

O design de interfaces epiteliais dinâmicas: como as novas tecnologias afetam o projeto de tatuagens

A tatuagem é uma antiga forma de inscrição corporal que apesar de sua idade não sofreu alterações em termos de materiais e técnicas. O desenvolvimento de tecnologias para a concepção de novas modalidades de intervenção orgânica terá ramificações em diversas áreas, permitindo o uso de novas interfaces epiteliais interativas (tatuagens dinâmicas responsivas), e criando novas vias de interação e comunicação incorporada. Em contraste à prática tradicional de imagens estáticas, as tatuagens dinâmicas (TDs) permitem a geração de imagens dinâmicas e interativas na pele. Nosso objetivo aqui é apresentar este novo campo de pesquisa e refletir sobre o papel do designer no projeto de tatuagens dinâmicas e as implicações destas tatuagens que transformam a pele em uma nova fonte de inscrições interativas e reversíveis.

Temporary tattoos:a novel OSCE assessment tool

Background: There are many issues regarding the use of real patients in objective structured clinical examinations (OSCEs). In dermatology OSCE stations, standardised patients (SPs) with clinical photographs are often used. Temporary transfer tattoos can potentially simulate skin lesions when applied to an SP. This study aims to appraise the use of temporary malignant melanoma tattoos within an OSCE framework. Method: Within an 11-station OSCE, a temporary malignant melanoma tattoo was developed and applied to SPs in a 'skin lesion' OSCE station. A questionnaire captured the opinions of the candidate, SP and examiners, and the degree of perceived realism of each station was determined. Standard post hoc OSCE analysis determined the psychometric reliability of the stations. Results: The response rates were 95.9 per cent of candidates and 100 per cent of the examiners and SPs. The 'skin lesion' station achieved the highest realism score compared with other stations: 89.0 per cent of candidates felt that the skin lesion appeared realistic; only 28 per cent of candidates had ever seen a melanoma before in training. The psychometric performance of the melanoma station was comparable with, and in many instances better than, other OSCE stations. Discussion: Transfer tattoo technology facilitates a realistic dermatology OSCE station encounter. Temporary tattoos, alongside trained SPs, provide an authentic, standardised and reliable experience, allowing the assessment of integrated dermatology clinical skills.

Grado de aclaramiento de tatuajes y eventos adversos, posterior a una sesión con láser q-switch

Introducción: Los resultados de la remoción de tatuajes con láser de sesión a sesión según los parámetros utilizados son limitados en la literatura. Objetivo: Evaluar los cambios en el aclaramiento de tatuajes y factores asociados posterior a una sesión con láser y los efectos adversos. Materiales y Métodos: Estudio longitudinal retrospectivo de antes y después de 1 sesión de con láser para remoción de tatuajes, donde se determinaron parámetros del tratamiento, aclaramiento y efectos adversos. Resultados: Se evaluaron 35 pacientes para un total de 98 sesiones, fototipo de piel II y IV. Equipos utilizados laser Q-Switch Nd Yag 1064 (83.3%), láser Q-Switch Nd YAG 532(11.3%) y laser Q-Switch Rubí (4.1%). El aclaramiento posterior a la sesión de láser fue evaluado por dos evaluadores independientes, mostrando concordancia significativa (Kappa de 0.615, p<0.001), con aclaración en un 96% de los tatuajes después de la sesión de láser. (p< 0.001). Se encontraron cambios significativos entre la densidad de energía aplicada y las categorías de aclaramiento de la escala de 0 a 3, siendo a mayor densidad mayor el nivel de aclaramiento (p= 0.05). No se encontró asociación significativa entre el número de pases y el aclaramiento del tatuaje. Los efectos adversos fueron del 5.4%. Cicatriz 2%, hiperpigmentación 2% y hipopigmentación 1%. Conclusión: Posterior a una sesión de remoción de tatuajes con láser Q-Switch hay un aclaramiento significativo en un 96% asociado con la densidad de energía, a mayor densidad de energía mayor el nivel de aclaramiento y no al número de pases realizados.

The myths of modern primitivism

RE/Search Publications’ Modern Primitives (Vale and Juno 1989) changed countless lives, bringing what had been a localized and niche set of body modification practices, aesthetics and philosophies out of San Francisco to a global audience, dominating scholarly and popular discourse around body modification subculture for more than a decade afterwards. The voice of Fakir Musafar dominates the book. This article argues that modern primitives as Musafar defines them never really existed (and never could have existed) in the terms he suggests, and goes on to address an important sub-strand within Modern Primitives almost entirely ignored by critics and commentators, who have read the book as generally representative of the body modification culture as a whole. With specific reference to contributors such as infamous tattoo artist Don Ed Hardy who do not frame their practice in ‘primitive’ terms, the article concludes with a study of an alternative account presented by Vale and Juno’s book: body modification as artistic practice.

Inkzine : Redesignandet av en tatuerings- och piercingcommunity

Our employer, Gaddad, is a tattoo and piercing community that was created in 2006 with the basic idea to make it easier for people to get in touch with the tattoo artists and piercers from all over Sweden. With the homepage’s popularity at 2009 they decided to expand with the news page Inkzine. 2011 they contacted us with a plan to expand the homepage to Europe and then merge their two sites under the name Inkzine.The goal of this project was to create design suggestions for Gaddad / Inkzine that both the administration and the current users liked and would consider implementing on the website. In order to evaluate the current design and our suggestions we decided to use two questionnaires . The first questionnaire evaluated the currentdesign to provide us with information for the redesign. The second questionnaire evaluated our new suggestions.With these questionnaire we also carried out an analysis to see the differences in opinions among the users and also between the administration and the users.We also investigated other community homepages, company homepages that had been internationalized, and other tattoo homepages. To see what others had done to adapt to the international market and to investigate the design of tattoo homepages.We also did literary studies in redesign and internationalization, in order to obtain a theoretical foundation for our work.The results of the investigation of other homepages showed that in order to perform an internationalization of a web site no major changes to the looks were necessary, only linguistic changes. The results of our questionnairesshowed that users had in most cases put the majority of their votes on

The online identity : towards a hermeneutic phenomenological approach

In order to better understand how artists working in countercultural or ‘fringe’ creative practice use social media to create online persona I am using a hermeneutic phenomenological approach to investigate the lived experience of both online and offline persona creation by tattoo artists, street artists, craftivists, and slam poets. The use of phenomenology to investigate artists’ lived experience is particularly appropriate, as ‘artists are involved in giving shape to their lived experience, the products of art are, in a sense, lived experienced transformed into transcended configurations’ (Van Manen 2006: 74). This paper will outline the methodological underpinnings of this project, using these underpinnings to explore the benefits offered by phenomenology to internet studies.

Understanding how people use online social media sites to construct personas can benefit greatly from understanding the lived experience of those who use these technologies, the decisions they make in persona construction, and the online/offline, public/private continuums. A phenomenological approach ‘seeks to revel and richly portray the nature of human phenomena and the experiences of those who live through them’ (Grace & Ajjawi 2010: 197) and offers both the researchers and the participants a way to interrogate and interpret the experience of constructing online personas. A phenomenological approach allows for ‘an intimate awareness and deep understanding’ (Saldana, Leavy & Bertvas 2011: 8) of the experience of persona construction in online and offline spaces, and could equally be used to interrogate other aspects of internet use. 

Phenomenology and the online : the importance of studying experience

 Phenomenological research into the online experience offers real value to Internet Studies and Digital Humanities scholars for three key reasons. Firstly, as an explicitly qualitative approach, it offers a way to gain insights into the experience of going online that are not identified by those who study behaviour alone. Secondly, as phenomenological studies focus on the individual rather than the collective, the resulting small sample size means that the investment required in terms of time spent with participants is minimised. Finally, the interpretation that emerges through the phenomenological research process produces categorisations that could form the basis on which larger scale, Big Data, quantitative research projects could be built.
This paper will explore the above ideas through the lens of my doctoral research, which uses hermeneutic phenomenology to investigate the experience of persona construction by artists on the fringes of the traditional art world, specifically craftivists, tattoo artists, street artists, and performance poets. By incorporating the interpretive categorisations that have come from my early discussions, I will demonstrate the strength of a phenomenological approach to investigating the experience of using the world and social media to present the self to the world.

Alison Bennett : shifting skin

Ten large exhibition prints with digital 3D augmented reality overlay