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.

The Wormsongs

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.

 Other Links

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

Paidia Institute

 Participants: Prof. Zilvinas Lilas, Tincuta Heinzel, Lasse Scherffig, Susanna Schoenberg, Björn Theis

 Format : Interactive laboratory & talk - From 3.30 pm onwards -- PS1

 Abstract:

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".

Biography:

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.

http://paidia-institute.org/

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

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).

Source: http://​en.​wikipedia.​org/​wiki/​Janez_​Jan%C5%A1a_​%28performance_​artist%29

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.

 Produced by Aksioma - Institute for Contemporary Art, Ljubljana / www.aksioma.org
 Supported by the Ministry of Culture of the Republica of Slovenia and the Municipality of Ljubljana

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

See http://www2.lib.virginia.edu/aims/whitepaper/

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.

 Biography

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.