3128 research outputs found
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Everywhere animals appear: non-human fables in the land of lenses
No full text“Everywhere animals disappear”, John Berger writes in Why Look at Animals? (Berger 1980/2009 36), referencing Grandville’s Public and Private Lives of Animals (Thompson 1877), where we find animals in various guises, dressed as humans. Berger referred to this as “putting on a mask, but its function was to unmask” (Berger 1980/2009 28). This paper considers the proximity to the animal Other in representations of the self on social media. Dog tongues, cat ears, deer antlers and rabbit noses merge and intersect with the features of humans; strange “interstices between different sets of the visible” (Berger 1980/2009, 10) created for new forms of self-representation. This paper explores the use, meanings and implications of these images, and what acts of masking and unmasking can be discerned in these practices. In parallel, the research considers how artists reflect on and embody the non-human experience, and how philosophical strategies of ‘fictioning’ and ‘fabulation’ (O'Sullivan & Burrows 2019) can be used to explore Other, non-human subjectivities
Negotiations
Get PDFOnline digital work combining interactive phonics and moving image, commissioned by Arts Council England for Tempo Arts.
Each of the four parts of the work will be launched every Friday throughout July 2020.
During Covid-19, our windows have given us both distance from and proximity to our surroundings, an uneasy combination of separation and exposure, allowing us to stay in touch with neighbours and welcome changes in season. Normally thresholds for us to open up to the world, they now limit our choices, providing controllable, if fragile, barriers from risk and danger. Whilst recent times have brought isolation, separation and loss, we’ve also discovered fresh opportunities to explore what home means and new digital ways of inviting people into our spaces for celebration and enjoyment. Tempo Arts is delighted to be working with five international artists to present ‘Your Place’, a new digital online project which offers alternative perspectives during the lockdown and beyond. ‘Your Place’ will remain live on the site through April 2021.
Negotiations is a film you can interact with in times of restricted movement. Restrictions on our movements have given us the opportunity to look on spaces in new ways, letting us investigate places we would normally not look at, at all. Locations chosen by the artist are either normally too busy to be able to measure and scrutinise or areas in the midst of the public realm which we normally regard as having little or no significance whatsoever.
As an interactive work combining measurements of peripheries filmed, and phonics where each linguistic element was generated through a rule based system devised by Burgoyne. The viewer simply clicks randomly on the moving image. Depending on where you click, a different phonic related to space and language will be activated. As a result the viewer makes the space. Each part of the project that is released each week, will offer up a different means to interact and subsequently produce the moving image/sound dialogues
Dorothy Morland: making ICA history
Get PDFThis is the first, full-length biography of Dorothy Morland (1906-1999) who remains the only female Director of the Institute of Contemporary Arts (ICA) in London. The book traces her busy private and public life throughout the 1930s up until the 1990s. It is based on unpublished letters and other archival sources, as well as interviews and personal recollections. It tells the story of one of the unacknowledged contributors to the success of the ICA and to the understanding of the international avant garde in post-war Britain. As an arts administrator and a woman, Dorothy Morland’s contribution has been largely overlooked and this book aims to highlight her significant contribution to the public understanding of modernism. She was part of a network which included the Surrealist Roland Penrose, art critic Herbert Read, architect Jane Drew and wealthy philanthropists, Peter Gregory and Peter Watson. She was also the protector and advocate for the Independent Group. Dorothy Morland always mixed business with pleasure and danced with Picasso in Antibes whilst there on ICA business and tirelessly organised the chaotic organisation that was the ICA in Dover Street from 1950 until 1968. After leaving the ICA she worked hard on assembling the organisation’s archives and securing their safekeeping at Tate
Wearing data: intentions and tensions of art and design in performance using wearables
Get PDFWearable technologies have evolved over the last few decades, with 2014 known as “Year of Wearables” in Forbes and other media outlets. Wareable online magazine stated in 2015 that 84 million wearable devices were sold that year, and by 2019 that figure would be 245 million wearable fitness bracelets and other devices. However, a recent report from Statisitca, an online business data analysis platform, suggests that the number is actually closer to three times that amount, roughly 742 million. Such reports show how the industry has grown especially in the last five to ten years. Many tech companies and start-ups have been vying to make the next great wearable device or “killer app” for body-data tracking. Physiological, body-based, sensor devices, and electronic technologies have become cable-free, WiFi-enabled, smaller, more powerful, and sewable, using smart or electronic textiles, conductive fibres and other smart materials. Hardware is increasingly smaller, less visible, and more widely connected; data is more seamlessly and ubiquitously harvested. There has been concurrently rapid and extensive explosion in the development of electronic materials, conductive inks and threads, and new smart materials, fabrics, and textiles for use in various fashion, sports, fitness, medical, military, and governmental projects, as well as for artistic and performance projects, such as those by artists like Kasia Molga’s Human Sensor project for the Invisible Dust organisation.
In this chapter I provide an overview of the complex concerns around wearables that draw on datafication and privacy such as using people’s physiological data to sell to health insurance companies to make money off our body data. I begin by discussing the politics of datafication and privacy. I then move on to focus on art, performance and design with wearables and e-textiles, giving examples of my own collaborative wearable performance work and research, to reflect upon some of the novel and productive ways we might think about wearables for future directions in the design of wearables and in the marketplace
Women of Walsall
No full textWhat happens when you are not part of the archive that represents your place of home? The aim of the project was to work creatively with local women in the community to iconise and the raise their visibility so they are seen as part of the community. I did this by setting up a photography studio in a number of local community groups and offering a family portrait in exchange for participation in the project. The photographs include women who live in Walsall, women who work in Walsall, women who study in Walsall, women who play in Walsall, women born and bred to Walsall and women who have migrated to Walsall, for any number of reasons. What these women have in common is a sense of belonging to Walsall. The project took place over the winter of 2019-20 and involved 120 participant women. The presentation includes my contemporary photographs, alongside historical archival photographs sourced from Walsall archive. The film is narrated by spoken word poet Shenaz Hafeez who works in Walsall.
The work was first presented as a moving image projection at St Pauls in Walsall to coincide with International Womens Day 2020 during a female focused community event and discussion panel and is currently shown as still photographs at the New Art Gallery Walsall as part of the ACE & HLF funded Living Memory Project
From counter-culture to the Capitalocene: Antonioni’s Zabriskie Point at 50
No full textMichelangelo Antonioni’s Zabriskie Point was a critical and commercial failure on its release in 1970. Antonioni was accused of not understanding America; the film was seen as a superficial aesthetic engagement with landscape and the emerging counter culture.
Fifty years on, the film’s attunement to capital’s impact on the Californian landscape – an early and trenchant visualisation of what may be called the Capitalocene – is coming into view. Furthermore, in Antonioni’s rendering of the US, any trace of dissent is violently policed; a highly prescient mainstream framing of militaristic management of dissent in the land of the free.
On its half century anniversary, this symposium revisits the film as a precursor of cultural and environmental critique in the cinema. Speakers will draw on contemporary reverberations of the filmmakers vision and his anticipation of material culture will make for a multi-faceted exciting symposium relevant to today's engaged students of film and media.
Symposium organised by Stephen Connolly (UCA) and Matilde Nardelli (University of West London) assisted by Emma Reyes (UCA)
Rethinking the photographic studio as a politicised space
Get PDFThis chapter draws from my Phd research. Based on empirical research undertaken in a range of photography studios in north London, which are frequented by the anglo-Turkish community. In the chapter I reframe understanding of the photography studio as a politicised space in which transcultural identities are experimented with and performed. Specifically I look at the merging of cultural practices to create what Eric Hobsbawn (1983) refers to as an invented tradition
Interview with Tina Campt by Caroline Molloy: Can Photographs tell the Story of Black History and the Black Present?
No full textTina Campt is a historian who has turned to photography and visual culture to tell stories of black lives that have been left out of the history books. She spoke to Caroline Molloy about her work
Knowledge is Power: The Production of the City
Get PDFThis project is a research residency in Tate Liverpool, exploring the relationship between individuals and the city. It focuses on specific areas in Liverpool and Hong Kong. Explore how people negotiate with the city to shape and create everyday urban spaces, that gives power to people and communities. The project includes a participatory collage and mapping workshop, an installation, a photography display and a short film screening. Currently, I am working with local community groups in Liverpool to transform and develop a follow-on project based on the output of this residency
Drawing water, drawing breath, drawing thread: a synthesis of clinical and creative practice through space-time
Get PDFThis practice led research demonstrates the synthesis of clinical and creative practice through the concept of space-time, by addressing the idea of transferable skills and language across science and art. Clinical practice is focussed on the work of a highly specialist respiratory therapist. Creative practice includes a hybrid of land and textile art situated in the littoral, using the body as a transformative medium, writing and drawing.
The work is underpinned primarily through the writings of Mikhail Bakhtin, Henri Bergson and Henri Lefebvre and interrogation of the Japanese aesthetic of ma
The study explores two dualisms, time and space and mind and body, appraising research that challenges the separation of each binary. Space-time, evaluated through the Japanese aesthetic of ma, is considered alongside Bakhtin’s concepts of unfinalisability and chronotope. Bergson’s key writings on space and time (durée) and Lefebvre’s The Production of Space and Rhythmanalysis are reviewed and linked to chronotope, unfinalisability and space-time.
‘Drawing Water’ references work on location where the interaction of the body with the sea and the littoral served as a metaphor for clinical practice. The chapter on mind and body addresses advances in the cognitive sciences, encompassing neuroscience, psychology and philosophy of the mind.
Connections are made between the concept of space-time and the human body through ‘Drawing Breath’, representing both clinical and creative activity. Links between the two areas are developed further by identifying and examining the significance of a common terminology.
A wide range of drawing methods and theories is examined and related to both clinical and creative practice. The portfolio comprises work on paper including text images, photography, videography and cloth; ‘Drawing Thread’.
The key lines of enquiry for the research are space, time, space-time, rhythm, the body, embodiment, emplacement, enaction and experience. Medical terminology is used throughout
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