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s_andra_v2.5
No full textNorthey & Lee’s performance consisted of a live improvised piece exploring the relationship between sonic inquiry and interaction with s_andra_v2.5 (a generative digital artwork that examines the interplay between autoschediasm and parametric design).
About the Conference:
Experimental and Expanded Animation discusses developments and continuities in experimental animation that have proliferated in the context of expanded cinema, performance and live ‘making’ and are today exhibited in galleries, public sites and online.
Through presentations, dialogue, screenings and performances, the conference builds upon the recent publication: Experimental and Expanded Animation: Current Perspectives & New Directions, edited by Nicky Hamlyn and Vicky Smith
Books as Bodies
Get PDFBooks as Bodies was a new iteration of a performance-lecture at the Wellcome Library, which explored skin and tissue by way of aprons, birthing girdles, reading as rumination, flap anatomy, folds as metaphors of digestion, and palimpsests.
When books were made of hide, it was not just the metaphorical anatomy of the book, evident in the terms spine, footnotes, appendix, and in manuscript, from the Latin manu, meaning hand, but the materiality of bodies through the “boundary-object” of skin (Ahmed and Stacey, 2001) which was the site of a performance between book and beholder. Fingers, palms, arms, breasts, legs, wherever a tome was placed, and the leather and parchment of books, enacted a corporeal connectivity through the haptic.
Karin Littau writes in her book, Theories of Reading: Books, Bodies and Bibliomania, that ‘apart from the human body, the book is the longest serving medium for the storage, retrieval and transmission of knowledge’. Mary Carruthers believes in the human body as a book: a ‘support for cognitive memory-work or recollective work’. In Carruthers’ research on memory in Medieval culture, she explores reading which was viewed very differently than it is today. It was believed that a person had not “read” a book until they had made it a part of themselves, through the practice of memorizing. ‘Memory was a sign of an ethical person, and one of humanity. It was a sign of what one did with information after receiving it’.
The performance-lecture was part of the Wellcome Library Insights, a series of events which offer the opportunity to explore a theme or topic, whilst showcasing the Wellcome Library’s collection
Models of attention
Get PDFPublished in the Journal of Contemporary Painting Volume (5): Issue (1) 2019, Models of Attention, was developed from a paper presented at the “Painting as Remodel: Revisiting ‘Painting as Model’" symposium, Camberwell College of Art, UAL, 21 June 2018, that responded to Yve-Alain Bois’ seminal text ‘Painting as Model’, and opened by a keynote by Bois.
The JCP volume publishes newly translated texts by Bois alongside articles generated by the symposium.
In 'Models of Attention' the question posed by Yve-Alain Bois via Hubert Damisch in Painting as Model, ‘what is the mode of thought of which painting is the stake?’ (1990) is shifted to what is the mode of attention? Informed by current cognitive and neuropsychological research, paintings combative art history is assessed through the lens of attention. The unravelling of modernist painting is proposed as a conflict between models of attention, and divergent attentional expectations. Modernist values of immediacy, presentness, wholeness are considered conditions of an ideal attentional experience, one that attempts to hold back a partial, fragmented and distracted counter experience of modernity. Painting as Model argued for painting’s specificity, pulling away from a formalism that reduces painting to the visual, and theoretical structures that bypass the made object. This article proposes an attentional-specificity for painting; the limits of attentional capacity, distinctions between focused, distributed and divided attention correlating with the cognitive complexity held by the structural, spatial and material conditions of painting.
Yve-Alain Bois’ text Painting as Model, first published in 1990, is still cited as a key collection of essays, positioning painting as being both a conceptual and a material enquiry. The symposium and Journal edition responds to Bois's position that one must concentrate on both the formal elements of a work of art and its physical qualities to fully understand its totality and makes a significant contribution to contemporary discourses on painting
Connecting with the viewer: affectivity and cathexis in textile artwork
Get PDFThis article explores how, following bereavement, textile artwork may be able to make a connection with the viewer and allow a progression of their work of mourning. It takes an interdisciplinary approach, drawing from the literature of psychoanalytical theory, affectivity, and textile thinking to understand the importance of cloth as artwork in the grieving process. The article draws on the practice-based textile research of the author which, together with responses to the artworks made, discusses the way viewers can make an emotional investment in textile artwork and considers the concept of exhibitionary affect to increase the emotional connection of the viewer to the work
Expect the Unexpected
Get PDFA major show of contemporary artists exploring the role of chance processes in art. The show based around the ideas of John Cage features Yoko Ono, Kieth Tyson, Greig Burgoyne and Sara Sze. From film, installation, photography, performance and painting, Burgoyne presented two works for this show, 'sticky walk' and 'post-it note dance'. For the opening night he made a live performance 'Sticky walk'.
'Sticky walk', is Burgoyne led by walking on an amount of duct tape equal to the length of each gallery space. Where it will end the process decides, like the post-it note dance the performance concludes when Burgoyne has jumped, shaken off all the post-it notes form his body, albeit the rule being, he can't use his hands to assist him in that process. For the duration of the show, its trace and residual elements remain like post it notes on the floor next to the 'Post-it note dance' on the floor where they fell. 'Sticky walk' was presented as a large scale projection, while in the case of 'Post-it note dance' as a small scale enclosed flat screen presentation
Books as Bodies
Get PDFBooks as Bodies was a new iteration of a performance-lecture at the Wellcome Library, which explored skin and tissue by way of aprons, birthing girdles, reading as rumination, flap anatomy, folds as metaphors of digestion, and palimpsests.
When books were made of hide, it was not just the metaphorical anatomy of the book, evident in the terms spine, footnotes, appendix, and in manuscript, from the Latin manu, meaning hand, but the materiality of bodies through the “boundary-object” of skin (Ahmed and Stacey, 2001) which was the site of a performance between book and beholder. Fingers, palms, arms, breasts, legs, wherever a tome was placed, and the leather and parchment of books, enacted a corporeal connectivity through the haptic.
Karin Littau writes in her book, Theories of Reading: Books, Bodies and Bibliomania, that ‘apart from the human body, the book is the longest serving medium for the storage, retrieval and transmission of knowledge’. Mary Carruthers believes in the human body as a book: a ‘support for cognitive memory-work or recollective work’. In Carruthers’ research on memory in Medieval culture, she explores reading which was viewed very differently than it is today. It was believed that a person had not “read” a book until they had made it a part of themselves, through the practice of memorizing. ‘Memory was a sign of an ethical person, and one of humanity. It was a sign of what one did with information after receiving it’.
The performance-lecture was part of the Wellcome Library Insights, a series of events which offer the opportunity to explore a theme or topic, whilst showcasing the Wellcome Library’s collection
Ground Truthing near downtown Detroit
No full textArtist-filmmaker Stephen Connolly takes us on a short walk through the northeast corner of downtown Detroit. He examines the spatial configuration of the city, how it has been shaped in the interests of capital, and how this has impacted on Detroit's predominantly African American population
Understanding intercultural interaction: an analysis of key concepts
Get PDFLiving, working and studying in intercultural and international contexts is ever more relevant to a broad range of individuals including educators, social scientists and professionals. As education and work become increasingly international, every student and professional at some point is likely to feel the need to explore and discuss concepts of culture and identity in order to be prepared for intercultural encounters in the globalised workplace.
Understanding Intercultural Interaction encourages readers to abandon the notion that culture is something static that we possess or have inherited and to see it as fluid and dynamic, created, interpreted and negotiated through social interaction. It recommends an examination of the contextual framework of intercultural behaviour and the power relations and inequalities that pervade it to enable readers to understand themselves and the role that they play on the international stage. In its exploration of key concepts in culture and interaction, the book equips students and professionals from varied backgrounds with the tools to understand, discuss and apply them to their own lives.
Designed principally as an accessible introduction for non-specialists to explore a wide range of theories and ideas that seek to explain intercultural encounters, the critical analysis provided in this book also offers ample scope for more in-depth exploration by those who wish to deepen their knowledge of the field, making it ideal for facilitating reflection and discussion in study or training contexts
Country Girls
Get PDFCollaboration with Alison Goldfrapp exploring story telling and constructed imagery.
A series of staged colour photographs based on both personal stories (experiences of growing up as young women in rural Southern England) and the story of Sweet Fanny Adams, violently murdered in Alton in the early 1900’s.
Also in the same series a number of short video pieces (currently unavailable to view – watch this space).
The Country Girls series is on display at the Chennai Photo Biennale 2019
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