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Cosmopolitical Futures and Quantum Entanglement
No full textThis presentation revisits a series of investigations manifested as on-going video and sound installation and artworks, Tremor (2007) Cocoon (2009) Tremoring’s (2017). The original laboratory based visual investigations were based on the production of video microscopy materials in the scientific context of developmental biology, transgenic bio technology and zebrafish genomics. I believe the work importantly continues to open up discrete physiological process to view in ways that raise questions on approaches to scientific visual information and how this interpreted and shared in social and cultural domains. The works raise debates within contemporary ethical and planetary contexts. The artistic investigations present extreme close up evaluations of mutant zebrafish at an early life embryonic stage and are filmed at various scales to visually express and capture the essence of the life force as movement, but also show, paradoxically, that the human agency making and unmaking the organism requires a pathological trespass into the mystery it seeks to reveal. In microscopic studies of embryonic life forms, visual distortions, physical vibrations, shadows, reflections, scratches, and microbial parasites randomly appear. Awkward co-ordination of eye and hand movements, control of the image and the limitations of a fixed viewpoint engage the researcher and audience in series of visceral and physiological readings. The physical contact of observation through the microscope viewer and lens creates tremors and palpitations that are tactile and reactive. The embryonic organism is fragile and will likely perish as a result of these human interventions.
My presentation will evaluate these original artistic documentations within intersecting interdisciplinary critical theories that include Barad’s radical philosophical ontology that encourages us to re-consider the methods, ethics, sentience and value of encounters such as these in the conceptual context of quantum physics. Barad re-interprets Bohr’s philosophical insights and formulation of “complementarity” in the quantum world to assert the essential wholeness and entanglement of quantum matter, and her “diffractive methodology” draws on the paradox that as observers making measurements of world, we can only ever have partial and diffracted knowledge of it as something out there and separate. Her proposition that agency and otherness resides in and is entangled in the quantum field of all matter intersects with my arts research and artworks, past and present that reflect a long-time interest in foundational studies in theories of quantum physics. Barad forms part of an emergent zeitgeist in cultural theory and philosophy making connections between vitalist materialism, science, politics and ethics. The term Cosmopolitics borrows from volume title collections authored by the chemist and philosopher Stenger’s looking at the role of science in society and her vision of world politics linked to ideologies of the contemporary scientific enterprise. Bennett builds a case and theoretical manifesto to explores the science and philosophy of the vitalistic entangled organism. Whilst Braidotti draws on post human theory to elucidate an enquiry that recognizes our being trans-species, embodied, embedded and in symbiotic relation with the ecology of planetary life
Alphorn Studies
Get PDFExploration of the manufacture of Alphorns component parts using contemporary and traditional techniques. The long term intention of the project is to produce a series of High, Middle and Low frequency Horns as an installation in the Swiss Alps using found sounds of the locality
Reality
Get PDFA two person show with Michele Tocca curated by Sue Kennington. Burgoyne presents two site specific works specially conceived for the site and space. Beachballs (Drawing) a live performance in which Burgoyne seeks to draw on a moving non- flat surface. In this case, the surface is Thirty nine 61cm diameter beachballs, 39 being the number that would be required to cover the floor area of the gallery space where he will exhibit the resulting film. Alongside this, a large soft spatial form, the result of measuring by walking on floor cloths ( he bought locally) across the surface area of his accommodation given him during his stay.'Beachballs' combines a Sisyphean endurance and dadesque absurdity as he wrestles with the beachballs, seeking as he is to connect them in sellotape. A line seeking to contain a mass of non flat space..covering, constricting the balls, they're energy, whose aim is to do everything but
Lost in Space
Get PDFThe Other-Space presents ‘74 Years- Responses to the Anthropocene’ an exhibition curated by Other-Art Network (OA.N) bringing together works from 11 contemporary artists working in a variety of media. Expect film, sculpture, installation, poetry and performance.
Positioned abruptly in what the OA.N describes as a moment of cognitive short-termism, 74 Years continues the OA.N’s interest in the passage of time. The title is a reference to the Trinity Test on the 16th of July 1945, a moment that the Geological Society later coined as; the start of the era in which mankind has had a significant impact on the geology of the earth, or, the Anthropocene.
The steady normalisation of states of disaster across the world is a powerful demonstration of the human capacity to avert the mind from impending catastrophe. 74 Years aims to confront this cognitive short-termism and engage with our present epoch by presenting carefully curated art works in a setting where you are invited to consider the events of the last 74 years and their impact on the systems of the Earth.
Burgoyne in an inflatable horse outfit.. A horse measures its stable area (the gallery where the resulting performance as film will be shown) by counting out-loud its footsteps while simultaneously recording this on an iPhone. Then outside, in the vast grounds opposite the stately home, the horse plays back the recording and follows the 74 steps (measurement of footsteps to walk area of stable) 74 times. In theory the horse will reiterate its stable area, instead it seems to wander aimlessness but with conviction. decisively indecisive , purposeful lack of purpose, futility, perhaps lost in space
Repair matters - editorial
Get PDFRepair has visibly come to the fore in recent academic and policy debates, to the point that ‘repair studies’ is now emerging as a novel focus of research. Through the lens of repair, scholars with diverse backgrounds are coming together to rethink our relationships with the human-made matters, tools and objects that are the material mesh in which organisational life takes place as a political question.
This special issue is interested to map the ways that repair can contribute to organisational models alternative to those centered around growth. In order to explore the politics of repair in the context of organization studies, the papers gathered here investigate issues such as: repair as a specific kind of care and socially reproductive labour; repair as a direct intervention into the cornerstones of capitalist economy, such as exchange versus use value, division of work and property relations; repair of infrastructures and their relation with the broader environment; and finally repair as the reflective practice of fixing the organizational systems and institutional habits in which we dwell.
What emerges from the diversity of experiences surveyed in this issue is that repair manifests itself as both a regime of practice and counter-conduct that demand an active and persistent engagement of practitioners with the systemic contradictions and power struggles shaping our material world
The future of reality TV
No full textThe Future of Reality TV – ITV’s Good Morning Britain / SKY News (May 2019
Misogyny or commentary?: gendered violence outside and inside captivity
Get PDFRoland Joffé, the film-maker behind the significant critical hits The Killing Fields (1984) and The Mission (1986), employed a hypnotic aesthetic, which unflinchingly depicted violence and brutality within different cultural contexts. In 2007, he used a no less impressive aesthetic in a similar way, although this film, Captivity, was met with public outcry, including from self-proclaimed feminist film-maker Joss Whedon. This was based upon the depiction, in advertisements, of gendered violence in the popularly termed ‘torture porn’ subgenre, which itself has negative gendered connotations.
We aim to revisit the critical reception of Captivity in light of this public controversy, looking at the gendered tensions within considerations of genre, narration and aesthetics. Critics assumed Captivity was an attempt to capitalize on the popularity of the torture horror subgenre, and there is evidence that the film-makers inserted scenes of gore throughout the narrative to encourage this affiliation. However, this chapter will consider how the film works as both an example of post-peak torture horror and an interesting precursor to more overtly feminist horror, such as A Girl Walks Home Alone at Night (2014) and Raw (2017). This is seen through the aesthetic and narrative centralizing of a knowing conflict between genders, which, while not entirely successful, does uniquely aim to provide commentary on the gender roles which genre criticism of horror has long considered implicit to the genre’s structures and pleasures
The TV studio production handbook
No full textThe TV Studio Production Handbook explains the production process from beginning to end and covers everything media students need to know to create a successful studio television programme. It is a fascinating and insightful read for those starting out in the industry and an invaluable resource for students of media, film and TV. The handbook is packed with interviews from top TV executives from the UK, USA, Australia and China and includes live case studies from hit international formats covering every genre from reality, to drama to news with running orders and scripts from Britain’s Got Talent, Big Brother, Coronation Street, The Chase, Teletubbies, Channel 4 News and more! The book breaks things down genre by genre and explores pre-production, casting, scripting, as well as all the required paperwork from call sheets to running orders.
This book is a contemporary one-stop handbook containing useful exercises, tips, scripts and exclusive interviews with renowned TV professionals as well as examining the future of studio and the multiplatform opportunities.
This is an essential bible to make your studio production shine
Wujoud: Resistance strategies in the Syrian genocide?
No full textSince the start of the Syrian civil uprising of February 2011, I have become a trusted individual among an exiled community of Syrian civil society activists in the UK. As an Arabic speaker of Lebanese origin, I have continued to work with them as a filmmaker and advocate in various capacities. Stemming from this long-standing engagement, this practice-based research draws from a combined lineage of Militant Film and Expanded Cinema, questioning how this hybrid practice is capable of resisting what I refer to as the “narrative component” of genocide in Syria. “Genocide” here refers to the term used by Syrian activists to describe what they see as a campaign of extermination targeting their friends, families and compatriots, and which they regard as being instigated and carried out by the regime of Syrian dictator Bashar al Assad and his international allies; and “narrative component” refers to what I and Syrian activists view to be a propaganda narrative that the Assad regime and its allies have disseminated internationally in order to justify their campaign of extermination targeting that segment of the Syrian population in opposition to its rule.
My experimentation in this cross-disciplinary arts practice—conducted in a co-authorship with Syrian civil society activists—is informed by my concept (and claim to new knowledge) of wujoud (Arabic: وجود | lit: presence/existence): an ethos and philosophy of resistance that I argue emerges in the context of the Syrian genocide.
Engaging eclectic audience demographics through multiple strategies of wujoud, my practice endeavours to stimulate audience activism in solidarity with the Syrian democratic-humanitarian cause. This project therefore makes use of a variety of audiovisual art forms that include film, video and found-footage, stills photography, sound recording and its manipulation, stroboscopic lighting, and experiments situated at the 3 intersection of protest and conceptual art. Some of these forms are also deployed as installations that make specific use of the space and surfaces in which they are exhibited, producing immersive spatial environments that play upon an experiencer’s (audience) physical and emotional senses.
This research is situated in the field of political audio-visual arts practice and theories of “affect” and “embodiment”, with an emphasis on revolutionary and anti-regime audiovisual material in the Syrian context
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