Diary and event archive
Monday 7th November 2011, 12:00 AM - Wednesday 5th December 2012, 12:00 AM
Forthcoming Events are listed here. Previous events are automatically archived by year.
Tuesday 31st January 2012, 1:00 PM - 9:00 PM
Vega / WORMSONGS
Lecture/demo: 1pm - 2pm, PS3 (free)
Performance: 8pm - 9pm, PS2 (£4 or £3 concs)
The Wormsongs is a one-hour music performance for voice, electronic sound created by Henry Vega performed alongside vocalist Anat Spiegel and real-time visual designer Emmanuel Flores.
Vega's digital language covers the spectrum between noise and pure sine. Using this sound world, Vega writes music in block gestures that can be described as micro-minimal with a passion towards machine-kind.
The songs strip down with the ideas of lyrical lines, replacing them with automatic instruments triggered to match an equally automatic vocal part. Inspired by Spiegel's voice, each score in the Wormsongs is motivated in part by social evolution.
Wormsongs CD release
The Wormsongs has been released for digital download or CD and is available from iTunes, CDBaby, Amazon.com or a physical CD from ARTEksounds.
Henry Vega : www.henryvega.net
Anat Spiegel : www.myspace.com/anatspiegel
Emmanuel Flores : www.emmanuelflores.net
‘RE-playable: Remixing, Referencing, Reaction, Reworking and Recreation as strategies in media
Wednesday 29th February 2012, 3:30 PM - 7:00 PM
Participants: Prof. Zilvinas Lilas, Tincuta Heinzel, Lasse Scherffig, Susanna Schoenberg, Björn Theis
Format : Interactive laboratory & talk - From 3.30 pm onwards -- PS1
Remixing, Referencing, Reaction, Reworking and Recreation are important strategies in media art: also and especially while working with the game medium. Paidia Institute uses these strategies in projects yielding art and artistic research, focusing on diverse forms of play – from deconstructions of the dispositive of computer gaming to performances and site specific interventions. In their talk, strategies and art projects from Paidia’s past will be shown and the concept for a future event will be presented and put up for discussion. This future event will consist of a workshop-like setting/interactive laboratory in developing formats for the site specific use of "embedded technologies".
Paidia Institute is a collective of media artists and scientists from Cologne (Germany) who examine, expose and transform aesthetic and cultural interrelations of art and technology. The institute works as an evolving structure, providing a flexible framework for artistic, academic and administrative activities in a field of playable systems, addressing them as both a distinctive technique and a significant social and cultural phenomenon. We focus on play as a core strategy enabling a transition from restrictive-static or chaotic-anarchic to paidiatic states, which is also a key element in fostering spontaneous creativity and collaboration. Recent activities include the returnable II intervention on Sardinia (http://paidia-institute.org/archives/426 ) and Paidia Laboratory: feedback (http://paidia-institute.org/laboratory/feedback ) which will be part of transmediale 2012.
NAME Readymade: Janez Janša
Wednesday 14th March 2012, 3:30 PM - 5:00 PM
Copied from http://isea2011.sabanciuniv.edu/other-event/name-readymade Name Readymade is a project presentation dealing with a wide range of issues related to the “name changing” gesture perpetrated by three Slovenian artists who, in 2007, officially, and with all the papers and stamps required, changed their names and assumed the name of the Slovenian Prime Minister at the time, Janez Janša. Ever since, all their works, their private and public affairs – in a word, their whole life – have been conducted under this new name.
Janez Janša is a conceptual artist, performer and producer from Slovenia. His work has a strong social connotation and is characterized by an inter-media approach. He is co-founder and director of Aksioma – Institute for Contemporary Art, Ljubljana and of Aksioma | Project Space.
His first public artistic project was the urban installation “I Need Money to Be an Artist”, which was presented first in Ljubljana, Slovenia (1996) and then in Venice, Italy. In 2001 he became President of the Management Board of “Problemarket.com – the Problem Stock Exchange”, a virtual platform on which shares of companies dealing with problems are floated. The following year Janša produced “machinaZOIS” an electromechanical patron that financially supports contemporary artists and artistic productions. Then he started the development of “DemoKino – Virtual Biopolitical Agora”, a virtual parliament that through topical film parables provides the voters with the opportunity to decide on issues that are becoming the essence of modern politics: the questions of life. In 2005 Janša established the platform “RE:akt!” that examines media's role in manipulating perceptions and creating (post)modern historical myths and contemporary mythology.
Parallelly to these socio-political projects Janša investigated the field of Virtual Reality and neurofeedback technologies.
Between 2000-2002 he developed and performed with Darij Kreuh “Brainscore – Incorporeal Communication”, a performance for two operators, which act in a virtual reality environment through their avatars and between 2004-2007 he led the project “Brainloop”, an interactive performance platform which allows a subject to navigate a virtual space merely by imagining specific motor commands.
Janez Janša is editor of the book “La Carta del Carnaro / The Charter of Carnaro” (Študentska Založba, 2009) and co-editor of the textual and pictorial reader “DemoKino – Virtual Biopolitical Agora” (with Ivana Ivković, Maska/Aksioma, 2005), of the book “NAME - Readymade” (with Janez Janša and Janez Janša, Museum of Modern Art Ljubljana/Revolver, 2008), “RE:akt! - Reconstruction, Re-enactment, Re-reporting” (with Antonio Caronia and Domenico Quaranta, FPeditions, 2009) and “Signature” (with Janez Janša and Janez Janša/ Aksioma and Koroška Gallery of Fine Arts).
Janez Janša is author, director and performer of interdisciplinary performances. He has studied sociology and theatre directing at the University of Ljubljana, Slovenia and performance theory at the University of Antwerp, Belgium.
His pieces have been shown throughout the world a.o. WE ARE ALL MARLENE DIETRICH FOR – Performance for soldiers in peace-keeping missions (with Erna Omarsdottir), the reconstruction of the piece from 1969 – PUPILIJA, PAPA PUPILO AND THE PUPILCEKS (2006), SLOVENIAN NATIONAL THEATRE (2007) and THE MORE OF US THERE ARE, FASTER WE WILL REACH OUR GOAL (with Janša and Janša, 2010). He performed in the improvisation project At the Table curated by Meg Stuart and collaborated in projects by Tim Etchells and Boris Charmatz. The works by Janša contain strong critical dimension, reflect responsibility of performers and spectators and deal with the status of performance in neoliberal societies. His performances have been awarded at national and international festivals.
Janez Janša’s work includes also visual, media and performance art works. Among others are THE WAILING WALL, a tear donnor session, performative installation LIFE [IN PROGRESS], interdisciplinary artistic and research project THE FIRST WORLD CAMP (with Peter Šenk), interactive performance MISS MOBILE, and NAME READYMADE (with Janez Janša and Janez Janša). He regularly curates interdisciplinary workshops and he is the initiator of the organization P.E.A.C.E. - Peacekeepers' entertainment, art and cultural exchange (with Mare Bulc).
He has published numerous essays on contemporary theatre and art including the book on Flemish artist and theatre maker Jan Fabre (JAN FABRE - La Discipline du chaos, le chaos de la discipline, Armand Colin, Paris 1994; published in Dutch, Italian and Slovene as well). He has been editor in chief of the performing arts journal MASKA (1999-2006). He has edited a reader of contemporary theatre theories (PRESENCE, REPRESENTATION, THEATRICALITY, Maska, Ljubljana 1996), a reader of contemporary dance theories (THEORIES OF CONTEMPORARY DANCE, Maska, Ljubljana, 2001) and several other titles.
Since 1999 he is the director of Maska, non-profit organization in publishing, production and education, based in Ljubljana, Slovenia.
TaPRA - Interdisciplinary Approaches to Documenting Performance
Saturday 24th March 2012, 9:30 AM - 9:00 PM
Interdisciplinary Approaches to Documenting Performance
09:30: Registration (Tea & Coffee) - PS3
10:30: Introduction - PS2
10:40: KEYNOTE - Prof Barry Smith, Honorary Research Fellow HATII, University of Glasgow
Creating Digital Archives: A View from Retirement - PS2
11:30: M3P Session: Documenting Performance - PS2
Preserving the Present: Initial Work on the Malta Music Memory Project
Toni Sant with Tony Grimaud and Darren Stephens
The Underlying Principles of Documenting Performance
Laura Molloy, HATII - University of Glasgow
12:30: Lunch - PS3
14:00: KEYNOTE - Simon Wilson, Senior Archivist, Hull History Centre
AIMS Born-Digital Collections: An Inter-Institutional Model for Stewardship
14:45: TaPRA Panel 1 - PS2
Glancing Back at Performance Remains
Tracing the Pathway
Joseph Dunne, University of Lincoln
Cara Davies, University of Bristol
An Exhibition of Hidden Stories: Research into methods of staging an oral history archive
Panayiota Demetriou, University of Bristol
The Lives of NT Live
Claire Read, Roehampton University
15:45: Cara Davis: iOWE You A Body. (performance/demonstration) - PS2
16:15: Tea & Coffee Break - PS3
16:30: TaPRA Panel 2 - PS2
Documenting Practice With The Body
Nik Wakefield, Royal Holloway, University of London
Performance Reproduction Parody Pastiche: Is there something inherrently comic in mechanical reproduction?
Lee Campbell, Loughborough University
The Ontologies of Observation: Performance Documentation
Steve Fossey, University of Northampton
Performance Poetry as Experiential Documentary Practice
Ursula Troche, Indepdendent Artist & Community Worker
18:00 Wine reception announcing the formation of the University of Hull's Media & Memory Research Institute - PS3
Elements of Performance in Art/Science Practice – Anna Dumitriu
Thursday 19th April 2012, 3:30 PM - 5:00 PM
Anna Dumitriu will speak about several of her projects that combine the use of digital or bioart with subtle elements of performance. In “The Emergence of Consciousness” she took on the role of a robot, in an enactive sense, reducing her sensory input down to that of her robotic partner to experience, as best she could, “what it feels like” to be a robot. In “My Heart Laid Bare” she was firmly strapped to a table and connected to a Galvanic Skin Response sensor (GSR). The sensor was driving short video clips of her experiencing various emotions triggered depending on fluctuations in the GSR (these were projected large behind her head so she was not able to see them). Participants could sit with her and discuss the scientific possibilities of emotion sensing whilst observing how their own interactions with her affected the system. She is currently developing a Category 2 Biocontainment Lab for use in gallery settings that will allow members of the public safe supervised access to artworks created using genetically modified or mildly pathogenic bacteria and even enable them to participate in the creation of such works.
Anna Dumitriu’s work blurs the boundaries between art and science. Her installations, interventions and performances use a range of digital, biological and traditional media including live bacteria, robotics, interactive media, and textiles. Her work has a strong international exhibition profile and is held in several major public collections, including the Science Museum in London. Dumitriu is known for her work as founder and director of “The Institute of Unnecessary Research”, a group of artists and scientists whose work crosses disciplinary boundaries and critiques contemporary research practice. She is currently working on a Wellcome Trust funded art project entitled “Communicating Bacteria”, collaborating as a Visiting Research Fellow: Artist in Residence with the Adaptive Systems Research Group at The University of Hertfordshire (focussing on social robotics) and Leverhulme Trust Artist in Residence on the on the UK Clinical Research Consortium Project “Modernising Medical Microbiology”. She is also a contributing editor to Leonardo Electronic Almanac, co-chair of the Alan Turing Year 2012 Arts and Culture Subcommittee and a member of the Alan Turing Year 2012 International Advisory Committee.
Saying it as it is: Civility and Benign Self-Censorship
Wednesday 2nd May 2012, 4:00 PM - 5:30 PM
Research Seminar by Professor James Connelly
Director of the Institute of Applied Ethics
Department of Politics and International Studies
The Boardroom Scarborough Campus
There is no simple distinction between the public and the private. In an important sense the public-private distinction is created by (rather than simply presupposed by) our words and deeds. If that is so, how can acts of appropriate self-censorship be located on the public-private spectrum? In this paper I sketch an account of acts of self-censorship along the axes of various public-private distinctions, but also on the performative axes of locutionary, illocutionary and perlocutionary force of utterances. The paper explores the difference between semantic meaning and performative meaning of utterances. After having rendered the problem multi-dimensional, I consider whether an over-arching principle, such as Collingwood’s principle of civility, can be employed to provide unity to the different senses and occasion on which we might engage in acts of self-censorship. Although I argue that this principle of civility has limitations, I suggest that it (in conjunction with practical wisdom) is necessary to developing a sense of when and how to engage in acts of self-censorship.