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Wild Spaces
Full text linkReview of Krautrock Eruption: An Introduction To German Electronic Music 1970-1980 (CD, Bureau B) and Electric Junk: Deutsche Rock, Psych and Kosmische 1970-1978 (4CD, Cherry Red
Unfazed, unprepared and excited: developing inclusive pedagogy and knowledge exchange between students, academics and the film industry at Falmouth University’s Sound/Image Cinema Lab
Full text linkFalmouth University’s Sound/Image Cinema Lab (hereafter the Lab) is a multi-faceted project covering pedagogy, creative practice, creative practice research and more traditional outputs in projects that are collaborations between the university and professional filmmakers, production companies and state bodies, such as the BFI. The collaborations foster knowledge exchange for how projects see students, staff and industry professionals working alongside each other, with knowledge flowing dynamically between all parties
Witching Sound in the Anthropocene (and Occultcene)
Full text linkThis chapter proposes that, in an era described as the Anthropocene, which names the dominance of human impact on the planet, witching sound makes audible an Occultcene and manifests other forms of life, touch, agency and potential impact. Drawing from feminist musicology and sound studies, the chapter offers deep listening and witching sound as the means by which one might engage with the tensions and agencies that oscillate between the Anthropocene narrative and the potentialities of the Occultcene. Divide and Dissolve’s album Gas Lit is presented as a witching sound that produces affective musical intensity in response to violence against people and the Earth: misogyny, racism, murder and/or the theft of indigenous lands. The chapter argues that Divide and Dissolve’s Gas Lit demonstrates the interconnectedness of violence and power whilst cultivating a countering witching sound that attempts to transform power relations and re-imagine futures
Scanitas
No full textTom Milnes is an artist, researcher, and curator. His practice explores the materiality of imagery and technology, engaging with the cultural impact of media through glitches, errors or hidden subcultures. His practice explores the aesthetics of imagery incorporating emergent technologies such as photogrammetry, augmented reality and NetArt methods, often through sculptural and photographic outputs, as ways to critically engage with our relationship to digital technology and the physical world.
For his solo show, SCANITAS, at Studio KIND, Tom Milnes displays a collection of 3D sculptural and 2D printed works exploring the thematics of glitched still-life images - a contemporary take on the ‘vanitas’ popular in 17th century Flemish painting.
Vanitas paintings focused on the symbolic impact of ‘vanity’ - in this context, referring to futility and pointlessness of material wealth. The objects depicted in vanitas often represent transient riches and ephemerality of life. Exotic fruits in decaying states, precious metal and glass craftware, beautiful dying flowers, and skulls. Objects depicted all represent the temporal existence of humanity. The Flemish vanitas works still hold high cultural significance, as they deal with the duality of human transience but also provide methods for revealing technological fragility and pointlessness too.
In SCANITAS, objects are also ephemeral or transitory in their relation to the image making technology as it struggles to understand them. They are objects that confuse the 3D scanning technology producing glitches, in doing so warping and stretching the sculptures and images. Many of these objects present in original vanitas’ still lives confuse the photogrammetric technology including anything transparent, reflective, complex, repetitive, patterned or bland. This provides an opportunity to create a contemporary vanitas that exposes the fragility and temporality of both humanity and technology.
The 3D works are presented as paper sculptures using techniques known as Pepakura, a hobbyist form of paper craft which takes 3D model and creates printable, flat nets of the object that can be cut, folded and stuck together to form 3D paper sculptures. The printed 2 works use glitched 3D model images and 3D scan textures to create layered collage works.
Milnes has exhibited internationally including at: W139 - Amsterdam , AND/OR - London, CEAC – Xiamen, The Centre for Contemporary Art Laznia - Gdansk, and Gyeonggi International Biennale - Korea. Milnes has recently curated the exhibition Rolodex Propaganda at KARST, Plymouth (April 2024) and completed Ashnihilation; a major public artwork commission for European Research Development Fund/Green Minds, which reimagines Plymouth’s relationship with nature through HoloLens augmented reality headsets. He is the curator of the online platform Polygon Palm.
This is the third collaboration between Studio KIND. and KARST whereby a studioholder at KARST is selected for a solo exhibition, encouraging artistic collaboration across North Devon and Plymouth. KARST was founded in 2012 by artists who wanted to develop an artist-led space in Plymouth to produce and show the best international contemporary art
Queer “monstrosity” and resilience in faith-based development narratives
No full textThis viewpoint explores the intersection of queerness, “monstrosity”, and resilience in faith-based development, focusing on three areas. It examines how queer activists are cast as “monstrous” by dominant religious and cultural discourses, marginalising them from developmental agendas. It also highlights how these activists reclaim the “monster” label, using it as a symbol of defiance and agency, and finally, it interrogates how these subversions challenge essentialist assumptions within faith-based development frameworks. Drawing on Cohen’s Monster Culture (Seven Theses) (1996), the viewpoint argues that queer activists transform development spaces, advocating for more inclusive paradigms while exposing systems of exclusion and control
Religious Tourism
Full text linkA book review of Don't Forget We're Here Forever, Lamorna Ash (Bloomsbury
Room for the Viewer
Full text linkBook review of John Walker: Touch, Catherine Lampert (Thames & Hudson
Listening Habits
Full text linkAn article about how my own listening habits have changed in response to aging, family, deafness and interests
