Hot on the heels of the Game Engine workshop series came our second extra-curricular opportunity for students from across the University. This time the subject under the spotlight is Branding Design and a call for […]
After the relative success of last year’s Human Centred Design programme run in the spirit of co_LAB’s pedagogical style (think mixture of blended, flipped and remote learning), it was decided to put on another […]
IT’S ALL ABOUT THE BUZZ
Hi co_LAB’bers! Friendly neighbourhood Jo Graham here to give you a little brief to work on over the weekend. Social media is one of the fastest growing industries of digital media, […]
Happy Thursday co_LAB’bers!
Before I detail today’s task can I just remind all of those who are yet to write something in their respective team’s Google Doc , to add something by the end of today please, ta, […]
James Field wrote a new post, OnCreate Update – Create Design Styleguide and Templates , on the site co_LAB 2 years, 7 months ago
co_LAB’s participation in the EU Erasmus+ Strategic Partnership project: OnCreate has started to produce output beyond the scope of the internal project framework.
One of the tasks we are contributing heavily […]
I’m delighted to announce that all 3 teams from co_LAB completed the HCD course and submitted work for peer review.
Team 3 (James Field, Martyn Thayne, Alisdair Houser, Toni Wiltshire & Phillipa Revitt) […]
During a SHARE conference into Artistic Research at the University of Vienna in 2013, Professor Ruta Mateus-Berr used the term “an impossible constellation” in her introductory presentation to try to describe the multitude of contradictory methods, understandings, agendas and histories which could be applied to the range of Artistic Research being undertaken in her Department. This seems an extraordinarily appropriate term for Art and Artistic Research more generally. By acknowledging the impossibility of any attempt to delineate or frame a singular classification of what might constitute Artistic Research, yet by continuing to explore the territory regardless, it echoes the very nature of much artistic practice, which is, it be might suggested, one of the most capable methods we may have of working with and within complexities, contradictions, impossibilities and multiple perspectives.
Our event The Impossible Constellation is a cross between a festival and a conference, celebrating practice-led research and launching a series of events linking practice with research in the University of Lincoln’s College of Arts. The Impossible Constellation is organised jointly by colleagues in Art and Design, Media, and Performing Arts. In the spirit of artistic research/practice-led research, the entire event celebrates a spirit of cross-college collaboration, exploring and articulating all manner of creative practices as areas of research and vice versa.
We are thrilled to have attracted an exciting line-up of contributors—artists, researchers and practitioners from all manner of different arts practices—who will present their performances installations, and interactive games throughout the day. The emphasis of The Impossible Constellation is on letting the practice speak for itself, though any provocation or interrogation of the dynamics and tensions which exist at the practice/research intersections—from performers, attenders and participants—will be welcome and inevitable.
More than anything, today is about celebrating practice as research and research as practice, a celebration for everyone to end the year with something to stimulate, excite and provoke.
We would like to welcome all of you to the Lincoln Performing Arts Centre and to The Impossible Constellation.
Sarah Barrow, Dominic Symonds, Grethe Mitchell and Steve Dutton
with guest speaker Richard Shenton of the Media Archive for Central England
Artists from the University of Lincoln, UK, have been delving deep into two historic archive collections to source inspiration for a pair of new exhibitions, which will open to the public this summer. The Tennyson Research Centre and Media Archive for Central England (MACE) have each been a catalyst for a diverse range of artworks.* The artists have been granted unique access to these valuable resources as part of a project to discover imaginative new ways of presenting historic materials.
Located on the University of Lincoln’s Brayford Pool Campus, MACE holds a 70,000 strong collection of film, tape and digital material showcasing the history of the Midlands. In 2013 it became the first UK facility of its kind to achieve the National Archive Service Accreditation. Accidents Need Not Happen is an exhibition inspired by MACE which will take place in the University of Lincoln’s newest gallery space, Project Space Plus, from Wednesday 25th June – Friday 11th July.
It will include artwork created by postgraduate students from the University of Lincoln’s MA Fine Art programme, with MA Contemporary Curatorial Practice students curating the exhibition. Artists and academics from across the University’s School of Art and Design will also present their work.
You are invited to the private view of Accidents Need Not Happen, from 6pm-7:30pm at Project Space Plus, with guest speaker Richard Shenton of the Media Archive for Central England.
*Some One Had Blunder’d, an exhibition inspired by Lincolnshire poet Alfred Lord Tennyson, runs at The Collection’s Courtyard gallery from Thursday 3rd – Saturday 26th July.
Crystal is designed both for concentrated listening and also for installation. One can walk in at any time and capture phrases, or simply sit and listen to the whole work. It captures an experience of listening in on the inner workings of the synchrotron. The space itself captures a sense of timelessness and the aim was to reflect this in the form of the music.
The work was commissioned and published by Diamond Light Source, composed in the electro- acoustic studios of University of Wales Bangor, with support from a research grant from the University of East London. It is a sound work composed directly from frequencies generated by the electron storage ring, a particle accelerator. It also uses binaural recording from locations inside Diamond’s experimental hall, storage ring and beamlines. The aim was to write a work reflecting both the actual content of the spectrum of the space and also the metaphorical content of the sounds.
The Diamond Synchrotron is a rich, multi-spectral sonic environment, with a cacophony of sounds generated by machines which hiss pure nitrogen, pump air from vacuum chambers and cool high-powered magnets. Most of the sounds heard in this work are those of electron injections pumped into the particle accelerator throughout the day. As an artist I listen to the micro tonalities in the streams of injections, and develop detailed micro melodies which appear and disappear not unlike the atom injections.
Jo Thomas is a London based composer who produces live and studio-based work all over Europe. Current work includes San Rocco Sound Installation, Bergamo (2014, commissioned by Contemporary Locus), and the album Sunshine over Nimbus (2014, commissioned by Scumbag Relations). She received a Qwartz nomination for her album Alpha (2011), and won the Golden Nica for Digital Music and Sound Art at Ars Electronica (2012) for Crystal: Diamond Light Source. Her work has been commissioned by Diamond Light Source, Be Open, ACE, Sound and Music, the Huddersfield Contemporary Music Festival, GRM Paris, Milton Keynes Gallery, and Sonic Arts Network, and she has presented music in venues such as Café Oto, the ICA, and Sound fjord. Jo teaches sound design, composition and music technology at the University of East London.
If the contemporary age is one where the fluid nature of singular remembrances easily overlaps with cultural memories, Barnet asks how we come to know each other, and ourselves, in this landscape. Her ambition in considering such questions lies in an exploration of new ideas concerning self-knowledge, learned knowledge and knowledge that is sponsored through seemingly unconnected narratives of place and time.
Barnet’s attention is aimed at the overlooked and obsolete aspects of daily life, often from her own and other collected reflections on personal experience. In her current project she engages with the archive of Mass Observation, the British movement begun in the early 20th century. Relying on randomness and association towards uncovering an experiential picture of the world, her work with Mass Observation employs the archive materials towards re-appropriation and détournement. The project also offers a look at an early complicit engagement with surveillance and the relationship between diaristic self-exposure and its resultant surfeit material. This is in light of our current experience of extensive private and state-run mass surveillance.
SE Barnet is an internationally exhibiting artist previously based in Los Angeles, now a Research Fellow at Birmingham City University and an Associate Lecturer at Central St. Martin’s in London. She completed her PhD at Kingston University in 2012 with the exhibition The Story of Elsewhere at the Stanley Picker Gallery. Barnet works across film, performance, and installations to create intimate visual essays on everyday pursuits. She is currently at work on a project with archival material from the British movement Mass Observation, the subject of two recent solo exhibitions at Five Years in London and of a forthcoming artist’s book published by the Everyday Press.
James Field wrote a new post, Bumper Crop: Sustaining Lived Practices through Fields of Play, on the site Practice-led Research @ Lincoln 3 years, 3 months ago
‘Bumper Crop‘ is a physical and digital board game developed by a research team of UK/India academics and practitioners (Dr. Misha Myers, Saswat Mahapatra, Dr. Nina Sabnani and Dr. Anirudha Joshi) working in partnership with Digital Green, a Delhi-based non-profit that combines technology and community engagement to improve the social, economic, and environmental sustainability of small farmer livelihoods. The game was developed as part of the Arts and Humanities Research Council research project, Play to Grow: Augmenting Agriculture with Social Impact Games, whose original aim was to design and test a digital game based on the experiences and challenges of being an Indian farmer as a method of storytelling and learning to promote young urban adults’ awareness of issues facing small farmers in India. However, initial results of playtests with both focus groups of young urban adults in Mumbai and farmers in Madhya Pradesh revealed that the game may be most effective for a different purpose and audience than originally intended. The farmers’ gameplay drew upon the participatory, immersive and dialogic advantages of digital gaming and revealed how game and games thinking can be employed to leverage the power of positive peer-to-peer identification and feedback to create engaging opportunities for learning and sharing locally relevant skills amongst farmers themselves.
Misha Myers is a researcher and practitioner who creates digital, located and interactive performance. She is leader of the Articulating Space Research Centre at Falmouth University. Bridging ethnographic and creative practices, her research is inter-disciplinary and often involves collaborations with organisations and communities within specific socio-cultural contexts. She is interested in creating new methods for sharing knowledge and learning about complex issues of place through various interactive media, including games, digital artworks and live performance. She has published a number of articles and chapters in books and journals and project blogs on located, participatory, mobile and digital performance practices, and the potential offered by the convergence of these practices for a socially engaged practice.
I like voices that do what voices don’t usually do and bodies that don’t do what bodies usually do. I make art starting from these sounds and movements.The tactile qualities of the human voice are central to the way I imagine my work. The voice that touches is a central and key metaphor.
My work has strong political qualities, insofar as it works to question the structuring, indeed, the disciplining and punishing of non-normative vocal gesture within our cultures. It often confuses audiences in the way that it marries very different registers of address and combines aesthetic codes that usually aren’t experienced in proximity to one another. There is a strong element of virtuosic technique embedded in my pieces and this is often used to do non-virtuosic things with great skill and finesse. Musicians rarely think it’s music. Theatre makers rarely think it’s theatre.
The live art circuit doesn’t think it’s live art. I love this. And in this sense, my work is very queer. I am currently making work for children and families that involve their voices as raw aesthetic material. I want to create environments in which audience voices expand, and move beyond the ‘charm factor’ and/or ‘shock factor’ that a lot of interactive work relies on. I also have become militant about countering the writing off of sophisticated art for children by mainstream production values. The presentation explores the three resulting art products of this process and the ways they and culture interrogate each other.
Yvon Bonenfant is Reader in Performing Arts at the University of Winchester. His unusual, intermedia works have been produced in 10 countries in the last 10 years, and his writing published in journals like Performance Research, Choreographic Practices, and Studies in Theatre and Performance. He currently holds a Large Arts Award from the Wellcome Trust and funding from Arts Council England to collaborate with speech scientists on the development of a series of participatory, extra-normal voice artworks for children and families; see http://www.yourvivaciousvoice.com. Despite his air of Lenin, he does frighteningly accurate vocal imitations of both Axl Rose and Jon Bon Jovi.
The recent Punctum Records release, Exploit.zzxjoanw.Gen, maps an emergent community of practice mobilized around the task of implementing a Distributed Denial of Service (DDoS) attack from within the distributed centre of vectoral power. Exploit.zzxjoanw.Gen is a USB device (and free download) containing music or ‘sonic- fictions’ by artists including Plastique Fantastique, POLLYFIBRE, Head Gallery, English Heretic, Jillian Mayer, The Confraternity of Neoflagellants and others. As curator of this project, I embrace and exploit managerial subjectivity as a ‘malware interface.’ My role is to ensure the viral propagation of the ideas, concepts and methods generated by the speculative fictions of these artists. Here, the mannerisms, codes and formal properties of music act as an organon of noise.
The methodological model of ‘hyperstition’ (outlined and swarm-authored by the Cybernetic Culture Research Unit and the Hyperstition blog), is an epistemic device that introduces noise into a given system (of thought, of action) by opening a new field of relations within, by infection. It involves the maladaptation and weaponisation of dominant cosmologies by employing speculative fictions. The USB itself contains several audio- objectiles each proposing separate, antagonistic, different futures and worlds. This swarm of fictions represents a singularity of antagonism, an inhuman bastardisation of ‘agonism,’ which as an entity is reminiscent of the R-U-Dead-Yet? attacks which utilize a distributed botnet in order to disrupt the operation of a server. It is implicitly proposed within this project that the ‘curator’ can be identified as a contemporary accelerationist subject (such a subject is also proposed by the alienating properties of musical projects like ‘vapourwave’). The central aim here is to highlight extant accelerationst methods which may be further used.
Dane Sutherland is a curator, writer and pessimist from Scotland. A skeuomorphic malware interface and co-director of Embassy Gallery.
Max’s smartphone and mobile films are reviewed in Cinemascope and Vague Terrain. He is referred to as a pioneer and leading practitioner of mobile phone filmmaking. He also conceptualises and conducts mobile filmmaking workshops. Past mobile filmmaking projects include 21cc, the educational link of the BBC, Nokia, local councils, community groups and film festivals in London, Ekaterinburg, New York, Wellington and Auckland. He curates the International Mobile Innovation Screening and in collaboration with the New Zealand Film Archive he produces the International Mobile Innovation DVD and eBook (http://bit.ly/eBook2013).
In the video presentation Max will talk about the developments in mobile filmmaking in the last decade. He will also refer to his short and feature mobile-mentaries (mobile documentaries) and his current collaborative project 24Frames 24Hours (http://www.24frames24hours.org.nz)
Max Schleser is a filmmaker who explores mobile devices as creative and educational tools. His portfolio includes various experimental and collaborative documentary projects, which are screened at film and new media festivals internationally. Schleser co-founded the Mobile Innovation Network Aotearoa. He teaches video production and supervises MDes, MFA and PhD students in the College of Creative Arts at Massey University.
A recurring theme in discussions with students and colleagues, is the nature of a process, the process of making art. In an area with so few absolutes as art, the bittersweet topic offers a common ground. The frequently so time-consuming, painful and yet absolutely fascinating process is something to which all artists can relate. Procrastinating, researching and then ultimately doing can be such a challenging part of the artistic process, however, that one resolutely feels that a golden shortcut must exist.
Although there is no such easy route, there are some ways of dealing with this. A first essential step is to let go of the anxious desire to please. To forget about what you “should” and rediscover what you really want to do can be key when the lock has jammed. Perhaps you need an archive to dive into, a compilation which can remind you of what really sets you ablaze. As an artist you are constantly working, everything around you can potentially contribute to what you do. To keep your eyes open and release that knot of anxiety can help you enter the subtle state of conscious unconsciousness.
The course of wrestling with something that does not yet exist requires you to actively search for those things, however ridiculous, that gets you going. To analyze but also daring to let go, trusting both intellect and intuition are key elements. Sometimes you need to put up limitations, a frame within which you can work. By limiting yourself, you are also challenged to find new means of expression; the boundary can become a liberating force.
Annika Eriksson is a Swedish artist living in Berlin. Over the years, Eriksson has produced a large number of works in which the perception of time, structures of power, and once acclaimed social visions are called into question. Strategically Eriksson plays with the heated debates around the public realm and structures that regulate it, revealing the urban changes and how this is subject to unexpected political appropriations and inversions.
KeepHouse Performance –A Performance Art Collaborative
Joanna Bucknall / Karen Savage
KeepHouse Performance explores contemporary issues through interdisciplinary approaches and practice as research (PaR) methodologies. We interrogate autobiography and heritage, particularly in relation to female representation and domesticity. We are keen to record and document our processes in innovative and interactive ways.
In May 2011 we presented Revisiting Mother at the symposium ‘Articulating Practice’ at the Courtyard Theatre, London. In February 2013 KeepHouse began a two-year project in collaboration with the New Theatre Royal in Portsmouth, as part of the Make Your Mark rebuild project. We presented our work You, Hope, Her & Me, a series of one-on-one and micro encounters. This project sought to document and map the communities’ ‘hopes’ for the future of the theatre.
Her Hats, My Shoes: re-visiting is a performative presentation exploring and interrogating the role of documentation in the dissemination of PaR practices. Through a task-based dramaturgy we unpack the nature of the role of documentation within our own process as collaborative artists. There may be an option for delegates to collaborate with us, by participating in the documentation process during the event, through a series of task-based strategies.
Karen Savage has recently worked as Principal Lecturer at The University of Portsmouth and part-time at the University of Lincoln. She is interested in the juxtaposition of live performance with mediatised images. She explores this through the practical and theoretical processes of intermediality, practice as research and the political. Joanna Bucknall is Senior Lecturer in Drama and Performance at the University of Portsmouth. Her primary research interests are in the production and reception theory of experimental contemporary performance, specifically immersive, one-on-one, micro performance and participative dramaturgies. She is interested in explicating the nature of risk and investment in such dramaturgies and the implications of that upon the audience’s role.
Fan 1. An ardent devotee or enthusiast
Fan 2. A device for creating a current of air or breeze
While undertaking my PhD study on trashy tendencies in contemporary art and performance practices, I met a fellow student who was undertaking his research on the button in contemporary design. Envious of the specificity of his miniature study object, which seemed to me open to a multiplicity of genius conceptual relations and uses, I began to fantasize about having my very own specific objet d’étude: I came up with the performance fan.
This lecture-performance stages this fan-tasy. It draws on fan culture and the utilization of fan devices across a history of popular and avant-garde performances from Ballet Mécanique to strip tease, from fainting for Michael Jackson to a Yoko Ono tribute act, from fan riots to an intimate encounter with a Polish skinhead with a Manchester United tattoo. It looks at how fans perform, the potentials of impassioned collectivity, and how the fantasy of specificity opens up a constellation of possibilities – real and fictional, human and non-human.
Owen G Parry (b. 1983) is a London based artist and researcher working in contemporary performance and visual culture, across theatre, gallery, club contexts and the Internet. His PhD study Trashy Tendencies: Indeterminate Acts of Refusal in Contemporary Art and Performance Practice was completed at Goldsmiths in 2013 funded by AHRC. Owen was Researcher on Performance Matters, a 3-year performance-research project with the Live Art Development Agency, Goldsmiths and University of Roehampton (2009-2012). He co-edited a special issue of Dance Theatre Journal (2011), and currently teaches on the MA Body in Performance at Trinity Laban.
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