tag:blogger.com,1999:blog-66505327815651166162024-03-13T15:37:18.540+00:00Sensingsitepolitical, material, and sensory natures of site, place, and spaceBritish Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comBlogger53125tag:blogger.com,1999:blog-6650532781565116616.post-35129863036472434152024-02-11T18:03:00.000+00:002024-02-11T18:03:19.921+00:00Performing Mersea Island: Out of Place online<p><span style="font-family: helvetica;">For its exhibition at APT Gallery, sensingsite presented a collective, material and sensory response to Mersea Island, situated off the south coast of Essex. Restricted by the Coronavirus lockdown of 2021-2, virtual online ‘visits’ led to a critical awareness of how they might experience place during their later physical visits.</span></p><p><span style="font-family: helvetica;">Mersea Island is a dynamic and changing place where the effects of climate change and sea level rise are already evident. Unruly collective dialogue with changing terrains and currents (audio and visual) was configured in the architectural site of the gallery as physical and ephemeral assemblages with varying powers of affect. Together, the virtual and physical onsite work has been re-created to make this new site work. </span></p><p style="text-align: center;"><span style="font-family: helvetica; font-size: medium;"><a href="http://tinyurl.com/performingmersea" target="_blank">Enter here.</a></span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="http://tinyurl.com/performingmersea" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1766" data-original-width="3026" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjinqgG0MtxQnTvBG5WnLPPSrWxLlNVJAVY6T0uWljjhiznBXDbg7lZeVU-g9cZNFQnvv50oCwL62NEw_zrVuQpQ2z3rSgxT36TuGConj_m4UQNgdKwXxhk2nfmVcTYtaHlgHLXkLMXs9HlGs57xoMQSjZ8hMRuK9anUICJB56czno_mPp7XDlqlMMR4nM/w640-h374/MiroBoard.png" width="640" /></a></div><br /><span style="font-family: helvetica;"><br /></span><p></p>British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-59259412758876299502023-05-17T13:39:00.009+01:002023-07-08T10:41:28.745+01:00Performing Mersea Island: Out of Place, APT Gallery, Deptford, 6 - 16 July 2023<p></p><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEibT6Ivp_a2PUdJhHnuqK4O9gnPBSQ8tt7_H8Dpv_ZLahtPiKS4RTCHqSSbPZ4-bDr80y7xVe9AY61fOAfD5f5efQ5tsXTfwQAAQGgF6rp7_CUCrUdA4u0q3WO1Mg7OgoAv4dR7dTSBZpKxNGorn7eOBf_LGGvAyf3uVeZ4Q0_zIQqqixUMweayrztS" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="960" data-original-width="1260" height="488" src="https://blogger.googleusercontent.com/img/a/AVvXsEibT6Ivp_a2PUdJhHnuqK4O9gnPBSQ8tt7_H8Dpv_ZLahtPiKS4RTCHqSSbPZ4-bDr80y7xVe9AY61fOAfD5f5efQ5tsXTfwQAAQGgF6rp7_CUCrUdA4u0q3WO1Mg7OgoAv4dR7dTSBZpKxNGorn7eOBf_LGGvAyf3uVeZ4Q0_zIQqqixUMweayrztS=w640-h488" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: helvetica; font-size: large;"><b>Sensingsite brings its collective sitework from the intertidal zones of Mersea Island in Essex to Deptford’s tidal Creekside as an improvisational material and sensory workscape. </b></span></div><p></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica; font-size: medium;"><br /></span></div><h4 style="clear: both; text-align: center;"><span style="font-family: helvetica; font-size: medium;">Exhibition</span></h4><div style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: helvetica;">Thursday to Sunday, 12.00 - 5.00pm<br /></span><span style="font-family: helvetica; font-weight: normal;">6 - 16 July 2023</span></span></div><div style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: helvetica; font-weight: normal;"><br /></span></span></div><div class="separator" style="clear: both; text-align: center;"><h4 style="clear: both;"><span style="font-family: helvetica; font-size: medium;">Discussion and Private View</span></h4><div class="separator" style="clear: both;"><span style="font-family: helvetica; font-size: medium;">Saturday 8 July, 4.00pm</span></div><div class="separator" style="clear: both;"><span style="font-family: helvetica; font-size: medium;"><span>Discussion with </span>Ed Wall, Professor of Landscape Architecture and Urbanism, </span></div><div class="separator" style="clear: both;"><span style="font-family: helvetica; font-size: medium;">University of Greenwich</span></div><div class="separator" style="clear: both;"><span style="font-family: helvetica; font-size: medium;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-family: helvetica; font-size: medium;">followed by Private View 6.00 - 8.00pm</span></div><div class="separator" style="clear: both;"><span style="font-family: helvetica; font-size: medium;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-family: helvetica; font-size: medium;"><br /></span></div><h4 style="clear: both;"><span style="font-family: helvetica; font-size: medium;"><a href="https://www.aptstudios.org" target="_blank">APT Gallery</a></span></h4><div class="separator" style="clear: both;"><span style="font-family: helvetica; font-size: medium;">6 Creekside, Deptford</span></div><div class="separator" style="clear: both;"><span style="font-family: helvetica; font-size: medium;">London SE8 4SA</span></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><span style="font-family: helvetica; font-size: medium;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><span style="font-family: helvetica;"><div class="separator" style="clear: both;">Artist group Sensingsite asks “how do we really know a place?”. The group brings their collective, material and sensory responses to Mersea Island, in the outer reaches of the Thames estuary, into the APT Gallery space, alongside Deptford Creek, connecting these radically different tidal locations.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Low-lying and vulnerable, the effects of climate change and sea level rise on Mersea Island are already evident in a spectacular breach of the sea defences leading to a ‘managed realignment’. With their distinctive, experimental approach to research and production, the group’s work reflects on the dynamic unpredictability of the island landscape and by extension engages with an entropic sense of place. The fluctuating, unstable intertidal zones have been a focus of the group’s recent investigations. Unruly dialogue with changing terrains and currents is configured in the architectural site of the gallery as physical and ephemeral assemblages with varying powers of affect.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Initially restricted by the pandemic, the processes developed during lockdown remain key to the group’s methods. The initial use of Google Street View led to new techniques of media representation and ways to ‘perform’ the island ‘out of place’; online Miro whiteboards act as fluid, creative platforms for a more collaborative way to research, produce and fold back into physical encounters with the island. Tools and technologies used are extensions of the individual: human, imitative vocalisations integrate with non-human sounds; multi-camera recordings from phones attached to limbs convert bodies into instruments of sound and sight. Objects and images collide. As an animate, affective site Mersea Island becomes a drawing machine or a performing agency which is tapped into.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">These enquiries, in part an interrogation of the term ‘landscape’, are re-employed in the APT Gallery space. Rather than an inert, stable and singular body of representation, landscape is presented as a process that is continually worked over. Diverse experiences, actions and materials produced by the group become continuously changing assemblages that rework what place might be.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;">Sensingsite’s sitework actively resists the framing of a single viewpoint or theoretical position, in favour of the potential for continuous intervention, engagement, and experimentation. In this exhibition, organisational aesthetics (the way we work together) unites psycho-mechanics and environmental dynamics - revealing the workings of internal and external worlds.</div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><span style="color: #333333;">We talk about the exhibition and our work on Mersea Island on </span><a href="https://www.mixcloud.com/Resonance/listen-lets-talk-6-july-2023/" target="_blank"><i>Listen, Let's Talk </i>with Donald Hyslop, Resonance FM.</a></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both;"><br /></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><a href="https://miro.com/app/board/o9J_lYUemhM=/" target="_blank">Mersea Island MIRO board</a></span></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;"><p style="border: 0px; box-sizing: border-box; color: #333333; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px 0px 10px; padding: 0px; vertical-align: baseline;"></p><p style="border: 0px; box-sizing: border-box; color: #333333; font-feature-settings: inherit; font-kerning: inherit; font-optical-sizing: inherit; font-stretch: inherit; font-variant-alternates: inherit; font-variant-east-asian: inherit; font-variant-numeric: inherit; font-variation-settings: inherit; line-height: inherit; margin: 0px 0px 10px; padding: 0px; vertical-align: baseline;"><br /></p></div></span></div></div>British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-44499208971182348262022-05-25T17:43:00.008+01:002022-05-26T10:31:21.498+01:00Performing Mersea Island<p><i style="font-family: helvetica;"><span style="font-size: x-small;"></span></i></p><br /><p></p><p></p><p><span style="font-family: helvetica;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: helvetica;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcQ-muq2EghzQiTKASufZDtZ0yb7DVEm1XF8B852DY1v5BrFrOcRFAItD06F9kohtQvMI-132zeZF69Q4HXJzM9HwcZ_Ae5vA4VJW4fjpbeagoYRHPu52H46MwoOLsCVKiVIsT7zpCpohWbnMUz_7fplKOW2K4uY2gFMJJubVRjh3ZD6hW-JfuNEK9/s1836/Screenshot%202022-05-26%20at%2010.14.30.png" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="962" data-original-width="1836" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcQ-muq2EghzQiTKASufZDtZ0yb7DVEm1XF8B852DY1v5BrFrOcRFAItD06F9kohtQvMI-132zeZF69Q4HXJzM9HwcZ_Ae5vA4VJW4fjpbeagoYRHPu52H46MwoOLsCVKiVIsT7zpCpohWbnMUz_7fplKOW2K4uY2gFMJJubVRjh3ZD6hW-JfuNEK9/w640-h336/Screenshot%202022-05-26%20at%2010.14.30.png" width="640" /></a></span></div><span style="font-family: helvetica;">Since early 2020 sensingsite has been engaging in a collective response to the material and sensory nature of Mersea Island, Essex. We were first introduced to the island, located in the Colne Estuary just south of Colchester, through the Museum of London Archaeology (MOLA), and began our work in early 2020. As initial access was restricted by the Coronavirus lockdown, we conducted visits using Google Street View, which immediately introduced a critical awareness of differing techniques of media representation. Our subsequent and ongoing use of online <a href="https://miro.com/app/board/o9J_lYUemhM=/?share_link_id=387515739500" target="_blank">Miro Boards</a> as a dynamic platform for sharing material and ideas has become key to our working process, together with physical visits to the site.</span><p></p><p><span style="font-family: helvetica;">For more details see the <a href="https://sensingsite.blogspot.com/p/mersea-island.html">Mersea Island page</a></span></p><div><br /></div><br />British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-48410935470819501932021-05-28T14:31:00.011+01:002021-07-09T11:21:49.853+01:00Landfill Audio Report<p><span style="font-family: helvetica;"></span></p><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: helvetica; text-align: left;">Landfill Audio Report is a collaborative artistic research project excavating the significance of a former landfill site on the Thames at East Tilbury, which is gradually leaking into the river as the tide erodes the riverbanks. </span><span style="font-family: helvetica;">Landfill Audio Report constructs a montage of narratives meditating on the site, the nature of landfill, and its impact and implications. Rhythms echo the movement of the tides, sifting and juggling voices and comments, drawing attention to the shifting scales uncovered in the intertidal zone: from micro to macro, from local to global.</span></div><div class="separator" style="clear: both; text-align: justify;"><span style="font-family: helvetica;"><br /></span></div><div class="separator" style="clear: both; text-align: justify;"><div class="separator" style="clear: both;"><span style="background-color: white; color: #050505; font-family: helvetica; text-align: left;">The 30 minute audio version of the piece, was broadcast on <a href="https://www.resonancefm.com/" target="_blank">Resonance 104.4 FM</a> on Thursday 10 June.</span></div><div class="separator" style="clear: both;"><span style="font-family: helvetica; text-align: left;"><b><br /></b></span></div><div class="separator" style="clear: both;"><span style="font-family: helvetica; text-align: left;">Spoken word on-site readings will take place on </span><span style="font-family: helvetica; text-align: left;">Saturday 12 June at noon , meet by Engine Room Café, Coalhouse Fort, East Tilbury, Tilbury RM18 8QD</span></div><div><span style="font-family: helvetica; text-align: left;"><br /></span></div></div><p><span style="font-family: helvetica;">The piece is available to listen to and download here:</span></p>
<iframe allow="autoplay" frameborder="no" height="300" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1066448548&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/sensingsite" style="color: #cccccc; text-decoration: none;" target="_blank" title="sensingsite">sensingsite</a> · <a href="https://soundcloud.com/sensingsite/landfill" style="color: #cccccc; text-decoration: none;" target="_blank" title="Landfill Audio Report">Landfill Audio Report</a></div>
<p><br /></p><p><span style="font-family: helvetica;">Landfill Audio Report is presented as part of <a href="https://www.estuaryfestival.com/" target="_blank">Estuary Festival</a></span></p><p><span style="font-family: arial;">For more information see the <a href="https://sensingsite.blogspot.com/p/landfill-audio-report.html">Landfill Audio Report page</a></span></p><div><br /></div>British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-36591280791990914312021-02-23T10:03:00.000+00:002021-02-23T10:03:21.603+00:00Tentative Mycologies by Difference Exchange
<p><span style="font-family: helvetica;"><i>Tentative Mycologies</i> by Difference Exchange (Ben Eastop, Tim Eastop, and John Hartley) is a response to the <i>Approaching Estate</i> and <i>Composting</i> <i>Estate</i> events. As a development of the worming and composting work that Difference Exchange performed as part of those events, <i>Tentative Mycologies</i> breaks down and reworks the conversations from those events to make new connections across and through them.</span></p><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="315" id="iframe_container" mozallowfullscreen="" src="https://prezi.com/p/cikzw_vvhjd0/embed/" webkitallowfullscreen="" width="560"></iframe>
<div><br /></div>British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-64588116349290435312020-07-07T13:27:00.001+01:002020-07-07T13:27:55.491+01:00Composting Estate seminar: Helena Hunter and Mark Peter Wright (Matterlurgy) Water, Air and Ice: Elemental Composting Across Art and Science<div><font color="#d52c1f" face="helvetica">COMPOSTING ESTATE</font></div><div><font face="helvetica">A series of seminars examining processes and materials of composition and decomposition of site and place organized by sensingsite.</font></div><div><font face="helvetica"><br /></font></div><div><span style="font-family: helvetica;">10.30-12.00 pm </span><font face="helvetica">Friday 17 July, 2020 </font></div><div><font face="helvetica"><b>online presentation</b></font></div><div><font face="helvetica"><b>enter <a href="https://eu.bbcollab.com/guest/93c4c87d7cf74620b86977cc7f2bfb5c" target="_blank">here</a></b></font></div><div><font face="helvetica">(use Firefox or Chrome for optimum quality)</font></div><div><font face="helvetica" size="5"><b><br /></b></font></div><div><font face="helvetica" size="5"><b>Helena Hunter and Mark Peter Wright (Matterlurgy) </b></font></div><div><font face="helvetica" size="5"><i>Water, Air and Ice: Elemental Composting Across Art and Science</i></font></div><div><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-7TpEMRJaHPw/XwRpD_jGxpI/AAAAAAAAAds/KscdqbcosvIg-_01bzVgcjZpcR3zGbNJgCK4BGAsYHg/s1920/Air_Morphologies_Film_Still_Matterlurgy_2019.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1080" data-original-width="1920" height="360" src="https://1.bp.blogspot.com/-7TpEMRJaHPw/XwRpD_jGxpI/AAAAAAAAAds/KscdqbcosvIg-_01bzVgcjZpcR3zGbNJgCK4BGAsYHg/w640-h360/Air_Morphologies_Film_Still_Matterlurgy_2019.jpg" width="640" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;"><span style="font-family: helvetica; text-align: left;"><font size="2"><i>Air_Morphologies</i>, Film Still, Matterlurgy, 2019</font></span><br /></td></tr></tbody></table><font face="helvetica"><br /></font></div><div><font face="helvetica"><br /></font></div><div><span style="font-family: helvetica;">This presentation will follow on from Hunter and Wright’s project </span><i style="font-family: helvetica;">Rehearsals for Uncertain Futures</i><span style="font-family: helvetica;">, shared during sensingsite's </span><b style="font-family: helvetica;">Approaching Estate</b><span style="font-family: helvetica;"> seminars in Spring 2019. For this session, they will pivot discussions around a new work on air pollution, created during a residency at Delfina Foundation, London. The artist duo will touch upon the relations of sites, bodies and anthropogenic materials, the role of simulation and technology within art and aesthetics and the ways in which experts and non-experts contribute to what an interdisciplinary inquiry is or can be.</span></div><div><font face="helvetica"><br /></font></div><div><font face="helvetica">Matterlurgy is a collaborative practice between London based artists Helena Hunter and Mark Peter Wright. Their work critically and creatively explores the intersections of art, ecology, science and technology: operating across multiple platforms including installation, performance and sound. </font></div><div><font face="helvetica"><a href="https://www.matterlurgy.net" target="_blank">https://www.matterlurgy.net</a></font></div><div><br /></div><div><font face="helvetica">This event is the last in the series, documentation and recordings of all the seminars are available at:</font></div><div><font face="helvetica"><a href="https://sensingsite.blogspot.com/p/composting-estate-series-of-seminars.html" target="_blank">https://sensingsite.blogspot.com/p/composting-estate-series-of-seminars.html</a></font></div><div><font face="helvetica"><br /></font></div><div><br /></div><div><br /></div>British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-45892470493913928462020-06-11T14:23:00.008+01:002020-07-07T13:12:32.887+01:00Composting Estate seminar: Jeremie Magar and Adriana Cobo-Corey 26 June 2020<div><font face="helvetica"><span style="color: red; font-size: large;"><b>COMPOSTING ESTATE</b></span><br style="caret-color: rgb(34, 34, 34); color: #222222; font-size: 13.2px;" /><span style="caret-color: rgb(34, 34, 34); color: #222222; font-size: 13.2px;">A series of seminars examining processes and materials of composition and decomposition of site and place.</span></font></div><div><font face="helvetica"><span style="caret-color: rgb(34, 34, 34); color: #222222; font-size: 13.2px;"><br /></span></font></div><div><font face="helvetica"><span style="caret-color: rgb(34, 34, 34); color: #222222; font-size: 13.2px;">this event took place on 26 June, 2020<br />watch here:</span></font></div>
<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/ljejcSwIys0" width="480"></iframe><div><br /></div><div><div><br /></div><div><font face="helvetica" size="4"><b>Jeremie Magar</b></font></div><div><font face="helvetica" size="4"><i>Towards Something: Walking on the N17 Line</i></font></div><div><font face="helvetica" size="4"><i><br /></i></font></div><div><font face="helvetica" size="4"><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-kgUN-LOcI70/XuIk33YfO0I/AAAAAAAAAbU/_o44LoroE1cu662b1_Tcgyp3I9BX4eLjwCK4BGAsYHg/s3000/N17%25283%2529.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3000" data-original-width="3000" height="200" src="https://1.bp.blogspot.com/-kgUN-LOcI70/XuIk33YfO0I/AAAAAAAAAbU/_o44LoroE1cu662b1_Tcgyp3I9BX4eLjwCK4BGAsYHg/w200-h200/N17%25283%2529.jpg" width="200" /></a></div></font></div><div><span style="font-family: helvetica; font-size: small;">What am I walking on? </span></div><div><font face="helvetica" size="2"> Is there something here, or nothing? </font></div><div><font face="helvetica" size="2">Who drew this line? </font></div><div><font face="helvetica" size="2">What can I say and what can I see on line? </font></div><div><font face="helvetica" size="2"><br /></font></div><div><font face="helvetica" size="2"> This project was born out of a personal sense of emergency/unease with meaning (of all sorts: politics, biography, family, history, facts, false, etc.). </font><span style="font-family: helvetica; font-size: small;">If Tim Ingold establishes the genealogy of writing within traces and drawing practices, I struggle to see lines when I read articles printed on disposable materials or shining on the screen in today's context. The origin of language (and its potentialities) is lost, and I am about to lose the meaning attached to them too. <i>Being With Words</i> outside of institutions of knowledge (not available to me at present) is an unsettling experience as they've been weaponized by many conflicting parties in society to demarcate battlegrounds. So when I can’t see lines in words (and with them the possibility of intimacy/meaning), I search for them outside, embedded in the landscape, walking on an invisible one: the N17 postcode border. </span></div><div><font face="helvetica" size="2"> </font></div><div><font face="helvetica" size="2">Jeremie Magar is an independent researcher and artist who previously studied for his MAFA at Central Saint Martins. </font></div><div><font face="helvetica" size="2"> </font></div><div><font face="helvetica" size="2"> </font></div><div><font face="helvetica" size="4"><b>Adriana Cobo-Corey</b></font></div><div><font face="helvetica" size="4"><i>Methodologies for situated research on Granary Square, King's Cross </i></font></div><div><font face="helvetica" size="4"><i><br /></i></font></div><div><font face="helvetica" size="4"><div class="separator" style="clear: both; line-height: 1; text-align: center;"><a href="https://1.bp.blogspot.com/-WfA9WPipiF8/XuIlRYkWzzI/AAAAAAAAAbo/PGBzjlOrcWoduznALtHeARbb2ib8_QX2wCK4BGAsYHg/s4032/ACobo_PhD_Doris%2Bon%2BBench%2Bwith%2BBird.jpeg" style="clear: left; float: left; line-height: 1; margin-bottom: 1em; margin-right: 1em; text-align: justify;"><img border="0" data-original-height="3024" data-original-width="4032" height="150" src="https://1.bp.blogspot.com/-WfA9WPipiF8/XuIlRYkWzzI/AAAAAAAAAbo/PGBzjlOrcWoduznALtHeARbb2ib8_QX2wCK4BGAsYHg/w200-h150/ACobo_PhD_Doris%2Bon%2BBench%2Bwith%2BBird.jpeg" width="200" /></a></div></font></div><div><span style="font-family: helvetica; font-size: small;">I will be expanding on some of the methodologies used for my PhD research Taste Untold: Critical Performance Practice and Contemporary Public Space. The presentation will outline the overall frame of the research, along its basic aims and objectives, to then move on to discuss some of the methods used for conceiving and delivering performance interventions in Granary Square, the chosen research-practice site. Aligned with some of the core interests driving the Composting Estate seminar series, the presentation will elaborate on practices of power specific to the King's Cross Estate, and potential strategies to question and temporarily realign them. </span></div><div><font face="helvetica" size="2"><br /></font></div><div><font face="helvetica" size="2">Adrian Cob-Corey is a PhD researcher at Central Saint Martins. </font></div></div>British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-9529438364220405652020-02-28T10:30:00.000+00:002020-06-05T12:24:33.902+01:00Composting Estate seminar: Kate Corder and Judy Price 28 February 2020<span style="color: red; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>COMPOSTING ESTATE</b></span><br />
<span style="color: #222222; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 13.199999809265137px;">A series of seminars examining processes and materials of composition and decomposition of site and place.</span><br />
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<span style="color: #222222; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 13.199999809265137px;">28 February 2020 </span><br />
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Meanwhile at the plot a continuation of the practice of toad ecology (hunting evidence of lizards, toads and frogs) exists. On unearthing the compost bins (do we) discover who or what lives in them? Is it just the non-human life forms or are we making new earth? The experience of working on site will be discussed with a re-digging.<br />
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In this presentation I discuss the use of allotment plots as art research study areas. Since completing my PhD titled “The Allotment Plot: Place Tilled - An investigation into plant material, rural labour and cultivation within art practice”, I have continued explorations of allotment plots as a theme in my practice. I investigate the Plot as site, which is subject to environmental occurrences, wildlife agents and human labour; through time all of these things merge, constructing and deconstructing the site.<br />
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In reference to Rancière’s ‘the key formula of the aesthetic regime of art is that art is an autonomous form of life’, (the aesthetic revolution and it's outcomes, 118), and Lippard’s and Kaprow’s essays affirming art can become life and life become art, the blurring of these concepts assists my methodology. The Plot activity is situated in everyday life interacting with human and non-human factors. The plot surface is worked and reworked similarly to painting a canvas or a continually adjusted installation. Plant matter is produced and productivity emerges. Actions and observations can be translated through drawings, images, film, installation and creative writing https://ellamontt.wordpress.com from the site to non-site gallery as exhibition.<br />
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Allotment Gardens are a social construct originating from the late 18th century, when significant increases in Land Enclosures, loss of work due to new machinery, the Industrial Revolution and European Wars, created food poverty and a need for dedicated land for the working class to cultivate plant-based food. In the 21st Century, land is often contested, so allotment work can still be seen as political activism. Allotment gardens and art in the UK are defined under a governmental taxonomy of leisure (and culture) rather than labour.<br />
My first municipal allotment site, Plot 326, was in a wild state when I received it. The over growing nature of the place became part of my research. My art practice on the plots is mostly invisible to the observer. My processes include photographic images made in to film and arrangements of trees products, cardboard; newspaper and wood layered and rearranged, becoming habitats for wildlife agents. I study making new earth through composting plant-based material, unearthing compost bins and using the earth on the allotment plot influenced by the Harrison’s ‘Spoils’ Pile Reclamation’ (1976-78: ongoing) Art Park process.<br />
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Conversations during the presentation dig in to approaches to practice, exhibition translation, accessibility to audience, experience, encounter, limited and practicality of access and whether or not it is a social practice. I find the public is not always human. Questions are asked about the garden being productive for whom; is obtaining a yield, an extraction, or lettings things happen the productivity? Is it more important I cultivate the plot site for the toads to inhabit and encounter? There is no conclusion. Meanwhile translating the site and on going explorations will be developed for further non-site / gallery exhibitions and encounters. (Postscript: During lockdown I took part in Sensingsite zoom meeting 15/05/2020 from Plot 21).<br />
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Kate Corder (PhD) is an artist and researcher. Her work explores garden plots, place, site and ecologies constructed through human and non-human activity. Her varied methodologies include rural labour using gardening allotments. Previous recent work includes HOW – Heathrow Orchard Walks (2014-2016) and taking part in the Document Alternative project.<br />
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<a href="https://www.katecorder.net/" target="_blank">https://www.katecorder.net</a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>Judy Price</b></span></div>
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<i><span style="font-size: large;">The End of the Sentence</span></i></div>
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<a href="https://1.bp.blogspot.com/-ksqZiKRppFI/Xtois53MUDI/AAAAAAAAAaE/4bkfIGQr1McEVEZmf8zYTHlsTT_AbkGRACEwYBhgLKs0DAL1OcqwsqKlN3QzpeFr5m7PqAhraWlO4RTB3vStgnMy53xoDtjlzUONU3CH2_zrQeuD-97MshKgqZya7nxxs-PmQvLOtNwiEG3o6-i50mnfpIaHXIun-WRt3kRRDC8BCbnvT-PQOfaj5p1IY5tSxCc964dbV0ihg7GJR5-2qeXxvd-MQ8-klH_FeXQFNGVHn1nwJOuTFW5_tuvb7FKUBOSeicnmUn92KJCqbJrMAOAp53et_NQQ1XAdTLTycTqjWdeCmT7rZnQ5XWm4T4tdFp16FeVniHkwTXhTeIS5K0sdmlQ96KpDomTKZ9kOu5seVRhMWkBJf-9AW04PqcJ0p1YVWYIxmvj13uvh2ALimhpAJIHWUQ9h0TshbsrG__ooJzCECrMl-GnkfLONBFCHEyawdvgsi6WJ6a0Q7Wko9y0SbMyRQRtfQjZeAlgnnGWb_URTOGG1B8PX0tUNGhiDsJ_TJbU4yGKKtp4unW5a_-rXIarm5yDj8JSmEpdKHvPzd7DPBXX1fLY6nAjiTabmZ9cYKaqV97fzYB7vRlnng6iLkjGJt5LHLTsXyeHsuz77DPRSEvNneIMlAwV8gDFGLkwU1cu0wyz9dbcZyHagwutHo9gU/s1600/Judy%2BPrice%2BThe%2BEnd%2Bof%2Bthe%2BSentence%2BStanleyPickerGallery%2BMailout2020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1126" data-original-width="1600" height="449" src="https://1.bp.blogspot.com/-ksqZiKRppFI/Xtois53MUDI/AAAAAAAAAaE/4bkfIGQr1McEVEZmf8zYTHlsTT_AbkGRACEwYBhgLKs0DAL1OcqwsqKlN3QzpeFr5m7PqAhraWlO4RTB3vStgnMy53xoDtjlzUONU3CH2_zrQeuD-97MshKgqZya7nxxs-PmQvLOtNwiEG3o6-i50mnfpIaHXIun-WRt3kRRDC8BCbnvT-PQOfaj5p1IY5tSxCc964dbV0ihg7GJR5-2qeXxvd-MQ8-klH_FeXQFNGVHn1nwJOuTFW5_tuvb7FKUBOSeicnmUn92KJCqbJrMAOAp53et_NQQ1XAdTLTycTqjWdeCmT7rZnQ5XWm4T4tdFp16FeVniHkwTXhTeIS5K0sdmlQ96KpDomTKZ9kOu5seVRhMWkBJf-9AW04PqcJ0p1YVWYIxmvj13uvh2ALimhpAJIHWUQ9h0TshbsrG__ooJzCECrMl-GnkfLONBFCHEyawdvgsi6WJ6a0Q7Wko9y0SbMyRQRtfQjZeAlgnnGWb_URTOGG1B8PX0tUNGhiDsJ_TJbU4yGKKtp4unW5a_-rXIarm5yDj8JSmEpdKHvPzd7DPBXX1fLY6nAjiTabmZ9cYKaqV97fzYB7vRlnng6iLkjGJt5LHLTsXyeHsuz77DPRSEvNneIMlAwV8gDFGLkwU1cu0wyz9dbcZyHagwutHo9gU/s640/Judy%2BPrice%2BThe%2BEnd%2Bof%2Bthe%2BSentence%2BStanleyPickerGallery%2BMailout2020.jpg" width="640" /></a></div>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-XdSp7uIa4zc/XtoittXsQpI/AAAAAAAAAaM/YYkcGOlZUIw0hs_utC65_BTOqVRHIXNWQCEwYBhgLKs0DAL1OcqwsqKlN3QzpeFr5m7PqAhraWlO4RTB3vStgnMy53xoDtjlzUONU3CH2_zrQeuD-97MshKgqZya7nxxs-PmQvLOtNwiEG3o6-i50mnfpIaHXIun-WRt3kRRDC8BCbnvT-PQOfaj5p1IY5tSxCc964dbV0ihg7GJR5-2qeXxvd-MQ8-klH_FeXQFNGVHn1nwJOuTFW5_tuvb7FKUBOSeicnmUn92KJCqbJrMAOAp53et_NQQ1XAdTLTycTqjWdeCmT7rZnQ5XWm4T4tdFp16FeVniHkwTXhTeIS5K0sdmlQ96KpDomTKZ9kOu5seVRhMWkBJf-9AW04PqcJ0p1YVWYIxmvj13uvh2ALimhpAJIHWUQ9h0TshbsrG__ooJzCECrMl-GnkfLONBFCHEyawdvgsi6WJ6a0Q7Wko9y0SbMyRQRtfQjZeAlgnnGWb_URTOGG1B8PX0tUNGhiDsJ_TJbU4yGKKtp4unW5a_-rXIarm5yDj8JSmEpdKHvPzd7DPBXX1fLY6nAjiTabmZ9cYKaqV97fzYB7vRlnng6iLkjGJt5LHLTsXyeHsuz77DPRSEvNneIMlAwV8gDFGLkwU1cu0wyz9dbcZyHagwutHo9gU/s1600/Phoenix%2BRising%2B%2528Griffin%2BMosaic%252C%2BHolloway%2BWomen%25E2%2580%2599s%2BPrison%2BSwimming%2BPool%2529%252C%2B2020%252C%2BJudy%2BPrice.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="789" data-original-width="1181" height="424" src="https://1.bp.blogspot.com/-XdSp7uIa4zc/XtoittXsQpI/AAAAAAAAAaM/YYkcGOlZUIw0hs_utC65_BTOqVRHIXNWQCEwYBhgLKs0DAL1OcqwsqKlN3QzpeFr5m7PqAhraWlO4RTB3vStgnMy53xoDtjlzUONU3CH2_zrQeuD-97MshKgqZya7nxxs-PmQvLOtNwiEG3o6-i50mnfpIaHXIun-WRt3kRRDC8BCbnvT-PQOfaj5p1IY5tSxCc964dbV0ihg7GJR5-2qeXxvd-MQ8-klH_FeXQFNGVHn1nwJOuTFW5_tuvb7FKUBOSeicnmUn92KJCqbJrMAOAp53et_NQQ1XAdTLTycTqjWdeCmT7rZnQ5XWm4T4tdFp16FeVniHkwTXhTeIS5K0sdmlQ96KpDomTKZ9kOu5seVRhMWkBJf-9AW04PqcJ0p1YVWYIxmvj13uvh2ALimhpAJIHWUQ9h0TshbsrG__ooJzCECrMl-GnkfLONBFCHEyawdvgsi6WJ6a0Q7Wko9y0SbMyRQRtfQjZeAlgnnGWb_URTOGG1B8PX0tUNGhiDsJ_TJbU4yGKKtp4unW5a_-rXIarm5yDj8JSmEpdKHvPzd7DPBXX1fLY6nAjiTabmZ9cYKaqV97fzYB7vRlnng6iLkjGJt5LHLTsXyeHsuz77DPRSEvNneIMlAwV8gDFGLkwU1cu0wyz9dbcZyHagwutHo9gU/s640/Phoenix%2BRising%2B%2528Griffin%2BMosaic%252C%2BHolloway%2BWomen%25E2%2580%2599s%2BPrison%2BSwimming%2BPool%2529%252C%2B2020%252C%2BJudy%2BPrice.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Phoenix Rising (Griffin Mosaic, Holloway Women’s Prison Swimming Pool), 2020, Judy Price. </span></td></tr>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-size: small;">The End of the Sentence presents artist Judy Price’s research on Holloway Women’s Prison. The work reflects on the impact of the criminal justice system on women and makes visible issues around gender, class, race and economy in the prison context and develops Price’s research-led practice, concerned with how artists can produce different ways of thinking about contested sites and engage with collective struggles.</span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Holloway Women’s Prison (1852-2016) was the largest women’s prison in Western Europe and the only women’s prison in London. Its prisoners “included some of the leading freedom fighters of our age, such as the suffragettes [and Greenham Common women], but the vast majority were always imprisoned because of poverty and injustice, addiction and abuse”. The End of the Sentence draws on individual and collective stories of the prison, through the networks, collaborations and relationships Price had developed through the coalition group Reclaim Holloway , which has been actively campaigning for a Women’s Building on the former prison site since it was decommissioned in 2016. The Women’s Building will be a service hub helping vulnerable women stay out of the criminal justice system, a transformational space for the local community, and a positive legacy for the thousands of women held in Holloway prison over its 164-year history.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">As part of The End of the Sentence, Price’s moving-image installation The Good Enough Mother explores the incarcerated pregnancy, drawing on transcriptions of 28 interviews by midwife Dr Laura Abbott, as well as the field work and writing of forensic psychotherapist Pamela Windham Stewart. Co-scripted with artist and writer Andrew Conio the script is re-voiced by actors from Clean Break, a women’s theatre company that uses theatre to keep the subject of women in prison on the cultural radar and whose members have lived experience of the criminal justice system.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Price’s photographic work draws on her time spent in the decommissioned Holloway prison building, which she lives directly behind, and the wealth of intimate objects from the prison held in the Islington Museum archives. Photographs of hair and a fire hose plug examine some of the less obvious traces of prison control – in the event of a fire in a cell at HMP Holloway, the small yellow plug was removed from the door and a hose inserted blasting water into the cell, before allowing the inmate to evacuate. Phoenix Rising is an image of the griffin mosaic on the base of the swimming pool installed in Holloway in the 1970s new redevelopment. Many of the incarcerated women referred to the griffin as a phoenix and it is in light of this and the recent campaign for a Women’s Building that Price embellishes the reading of the Griffin as a potential site of transformation.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Price’s research culminated in an exhibition at the Stanley Picker Gallery in 2020 which featured new work by Price, archival material, and artists and writers invited by Price including Erika Flowers, Carly Guest & Rachel Seoighe, Hannah Hull, Katrina McPherson and Nina Ward.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Price is currently developing a long form film with support from the Stanley Picker Gallery, Arts Council England and the Elephant Trust.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The Good Enough Mother</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">14 minute excerpt of the film</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://vimeo.com/415661508" target="_blank">https://vimeo.com/415661508</a></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> <a href="https://www.stanleypickergallery.org/exhibitions/judy-price/" target="_blank">https://www.stanleypickergallery.org/exhibitions/judy-price/</a></span></div>
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British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-61746282351740996282020-02-07T10:30:00.000+00:002020-06-05T12:26:21.357+01:00Composting Estate seminar: Fay Hoolahan and John Wild 7 February 2020<span style="color: red; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>COMPOSTING ESTATE</b></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">A series of seminars examining processes and materials of composition and decomposition of site and place.</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Room A002 Central Saint Martins </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">7 February 2020 </span><br />
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<iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/825041290&color=%23341507&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://soundcloud.com/centralsaintmartins" style="color: #cccccc; text-decoration: none;" target="_blank" title="Central Saint Martins">Central Saint Martins</a> · <a href="https://soundcloud.com/centralsaintmartins/7-feb-john-w-fay-h-l1" style="color: #cccccc; text-decoration: none;" target="_blank" title="sensingsite: Fay Hoolahan and John Wild">sensingsite: Fay Hoolahan and John Wild</a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i><span style="font-size: large;">After the Park: Reflections on ‘Estate’ as a Site of Recollection</span></i><o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">My work is concerned with the recording of the transient experience of place, investigating the temporal nature of landscape and exploring processes of disruption within ordered functional space. I am interested in how the site of the public park can be understood in terms of Robert Smithson's concept of "a thing for us" and how it is possible to represent the ways that we engage with place as a practice of "complex spatial wandering" (Yves-Alan Bois).</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">This presentation discusses the findings of ongoing research into the making and archiving of 'projected meanderings' in the form of moving image content and audio recordings. The project is part of my wider investigations into film as spatial practice which utilises a concept of 'creative geography' to describe the process by which place is mapped in moving image art through the dimension of time. The practice challenges notions of 'place' as a fixed point and explores the idea of equivocality in terms of how place is constructed, created, documented and ultimately defined. I am concerned about the varied and sometimes conflicting functions of places: the patterns of design and control, the processes of natural and human intervention.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Developing from my ongoing research into the filmic mapping of natural spaces within the urban environment, I describe a performance/workshop at Approaching Estate, which centred on the specific site of Furtherfield in Finsbury Park. Around the park is part of an ongoing series of film and sound pieces responding to particular sites, entitled Talking Line Walks. The work investigates the experience of a place as explored as projected travel, something by design yet also random, unexpected due to the temporal nature of landscape. Relating to notions of the picturesque, Smithson describes how we experience landscape via 'manifold relationships', not as isolated instances. This work seeks to explore how these different levels of experience are juxtaposed in relation to both immediate memory (the experience of the location as a site of engagement) and wider recollections (internal landscape of associations): how, as participants, we undergo the process of being transported into a more mythical or mytho-geographical space. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The work uses moving image of four compass viewpoints from the centre of Finsbury Park with four independent soundtracks: one being sounds recorded on location at the time of filming, while two others are specifically designed soundtrack 'Walks' relating to the site of Finsbury Park. The fourth soundtrack is a constructed 'Walk' representing the different but related site of an unnamed park in south London. Each of the three 'Walks' consists of atmosphere sounds, voiceover descriptions and stories relating to the sites. In presentation, they were played independently, that is, not synchronized, while one of the Walks was mobilized, via a blue tooth speaker, which I transported myself through the space of Furtherfield Commons. The aim was to create disruption and discontinuity, at odds with the designed auditory environment. Participants were to write down comment on their thoughts and recollections, which might be precipitated by the experience of the work. The presentation discusses the outcomes and related research developing from this performance.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Fay Hoolahan is an artist and filmmaker, whose practice engages with questions of place, land</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">scape, memory and identity. Recent projects include Great North Way and Talking Line Walks.</span></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: xx-small;"><o:p></o:p></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Around the Park (Trailer) </span><a href="https://youtu.be/5JRbD-ewD3I" target="_blank"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">https://youtu.be/5JRbD-ewD3I</span></a><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">A02 On the hill Talking Line Walk 2: </span><a href="https://youtu.be/WOwwQf4gIwE" target="_blank"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">https://youtu.be/WOwwQf4gIwE</span></a><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">A03 To the marsh Talking Line Walk 3: </span><a href="https://youtu.be/ksJmBtbgd8E" target="_blank"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">https://youtu.be/ksJmBtbgd8E</span></a><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://www.fayhoolahan.com/" target="_blank">https://www.fayhoolahan.com</a></span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>John Wild </b></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><i>Psychogeography in the Digital City</i></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><i>How does it feel to walk the streets of East London when the city has been expanded by technologies that blur the boundary between the physical world and the digital realm, between physical objects and their representations in the digital field as data?</i></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Psychogeography is the study of the geographical environment’s influence on the mind or behaviour using walking techniques from avant-garde art. Psychogeography in the Digital City develops an original psychogeographically-inspired art practice to research the convergence of digital technology and the physical space of the city. The investigation aims to discover whether the knowledge produced from psychogeography’s creative practices can critically inform and enhance the discourse around the role ubiquitous and mobile computing plays in the production of space in East London.</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Digital technology is rapidly converging with the physical space of the city, constructing a material infrastructure of cables that feed an invisible infrastructure of wireless signals, connecting a multitude of digital devices. This convergence between digital technologies and the city has enabled a reconfiguration of the spaces that exist within the city and the creation of new types of space. Digital technology can now be shown to play an active role in the production of the space of the city through digital representational practices. The infrastructure of mobile and ubiquitous computing also impacts on city space, from the siting of mobile phone masts within the city to the digging up of the roads to lay optical fibre networks that link large anonymous data centres. The relationship between digital technology and the city is a complex one in which the convergence of digital technology and the city can be shown to have expanded not just the space of the city but what the space of the city is. <o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="color: #0e101a;">Psychogeography in the Digital City</span>, investigates the spatial impact of these new circuits of digitality on the felt experience of East London. <span style="color: #0e101a;">Psychogeography in the Digital City</span> is conceived both as a method of research and a practice of resistance.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">John Wild holds a Ph.D. from the School of Electrical Engineering and Computer Sciences, Queen Mary University of London.</span><span style="font-family: "times new roman" , serif;"><o:p></o:p></span></div>
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<span style="caret-color: rgb(34, 34, 34); color: #222222; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Information about the full series:</span><br />
<span style="caret-color: rgb(34, 34, 34); color: #222222; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://sensingsite.blogspot.com/p/composting-estate-series-of-seminars.html" style="color: #2288bb; text-decoration: none;">https://sensingsite.blogspot.com/p/composting-estate-series-of-seminars.html</a></span></div>
British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-63123405147040980172020-01-24T10:30:00.002+00:002021-04-20T10:10:50.237+01:00Composting Estate seminar: Pat Naldi and Julie Marsh 24 January 2020<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif" style="color: red; font-size: large;"><b>COMPOSTING ESTATE</b></span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">A series of seminars examining processes and materials of composition and decomposition of site and place.</span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Room A002 Central Saint Martins </span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">10.30am – 1.00pm</span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">24 January 2020 </span><br />
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<iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/824973517&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><div style="color: #cccccc; font-family: Interstate, "Lucida Grande", "Lucida Sans Unicode", "Lucida Sans", Garuda, Verdana, Tahoma, sans-serif; font-size: 10px; font-weight: 100; line-break: anywhere; overflow: hidden; text-overflow: ellipsis; white-space: nowrap; word-break: normal;"><a href="https://soundcloud.com/centralsaintmartins" style="color: #cccccc; text-decoration: none;" target="_blank" title="Central Saint Martins"></a> · <a href="https://soundcloud.com/centralsaintmartins/sensingsite-pat-naldi" style="color: #cccccc; text-decoration: none;" target="_blank" title="sensingsite: Pat Naldi"></a></div><span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><br /></span>
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif" style="font-size: large;"><b>Pat Naldi</b></span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><i>Who Owns the Sea?</i> is the second in a trilogy of projects that investigate territorial ownership, and its political, societal and psychological impact by and for humans. The first in the trilogy, the video work <i>Who Owns the Land?</i> (2016) takes as its starting point the ad coelum doctrine - a principle of property law in the UK. Originating in the 13th century, this ancient law proclaims the extent of land ownership beyond that of the surface. Although now acceptable in a limited form, real property/estate encompasses airspace, wild animals, trees, plants, flowers, water, mines and minerals above, on, and below the surface of the land. The video work probes land ownership and its societal consequences on public rights, ecological systems, power, and value. Filmed on location across the high moorland and fell landscape of Northumberland and Cumbria (UK), on land surface, horizon, and below ground in disused lead mines, this work, with a view to make transparent the UK’s most valuable asset, asks: Who owns the land? Who owns the ground below? Who owns the sky above? </span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">The second in the trilogy of projects Who Owns the Sea? (the third will be Who Owns the Sky?), has in its early stages of research been informed and influenced by the territorial waters surrounding Gibraltar a politically contested British Overseas Territory located at the southernmost tip of the Iberian Peninsula. A highly contested stretch of sea since the Treaty of Utrecht in 1713, and a near daily site of military, and police incursions resulting in political bickering, these waters are continuously shrinking due to the land reclamation undertaken by both Gibraltar and Algeciras in Spain. Future research and production of a strand of Who Owns the Sea? will be sited on the Arctic Ocean. Acting as ground zero in climate change, the focus of the research will question, explore and address the critical environmental, political, and human impact of sea ownership as experienced through the decreasing Arctic sea ice cap, and its effect on ecosystems, weather patterns, and territorial waters. The Arctic sea ice cover which helps determine the Earth’s climate, fell to its second lowest level in 2019. Humanity is dependent on the ocean and cryosphere. It interconnects with the climate system through water, energy, and carbon. The impact of this melting ice cover is also political, military, and most of all economic as several nations vie for ownership and control over its greater navigable waters – a new Northwest Passage – and the opportunities this will present. Who Owns the Sea? will address these global implications through the local. The research and production expedition to the Arctic Ocean is scheduled for June 2021.</span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Pat Naldi is a lecturer in MA Contemporary Photography; Practices and Philosophies at Central Saint Martins.</span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><a href="http://www.patnaldi.co.uk/" target="_blank">http://www.patnaldi.co.uk/</a></span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif" style="font-size: large;"><b>Julie Marsh</b></span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif" style="font-size: large;"><i>Assembly at Old Kent Road Mosque</i></span><br />
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<tr><td class="tr-caption" style="text-align: center;">fig 1</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">fig 4</td></tr>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">For the approaching estates seminar series I presented <i>Assembly at Brick Lane Mosque</i>, a site-specific performance comprising of a 1:1 scaled moving floor projection with surround sound. Assembly used site-integrity as a working methodology - a particular but original mode of site-specific practice that potentiates a dynamic exchange between site, artist, device and audience. Site-integrity repositions the act of representation from its retrospective or projective dimensions towards that which is performed and is experiential. Assembly was made respecting the religious and cultural rules of the mosque; the camera was not permitted to film in front of the people praying, nor could it show their faces. Subsequently, a mechanical rig was constructed to film from above, at a constant speed from the entrance to the Mihrab in the main prayer hall and female prayer room (see fig.1) The pre-recorded footage of prayer was then projected back into both sites using the same automated device. The controlled motorisation of the projection re-traced the movement of the recorded image, giving the effect of only the frame moving through each physical space, constantly revealing and concealing the actual site below, temporarily dissolving the religious/social boundaries of the mosque (see fig.2). </span></div>
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">In September 2019 Assembly moved to a new site; Old Kent Road Mosque renovated from a former pub in Southwark (see fig.3). Old Kent Road Mosque is due for demolition/redevelopment to build a new Islamic centre for the community. Assembly will perform both the main prayer hall and the female prayer hall before the building is demolished in late 2020. The female congregation at Old Kent Road Mosque have built a large, active community, organising many support groups and events. Their prayer space is of equal size and capacity to the main prayer hall directly above. An LCD monitor connects the two spaces as the imam is broadcast live in the female space (see fig.4). Identical rigs will be made in both spaces to reflect the unison of the two congregations via dual moving projections performing both prayer sites in synchronized time and space. </span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Interviews and research findings from Assembly are being used within a collaborative project led by architect Shahed Saleem and the V&A for the Architecture Biennale in 2020. This project will explore themes of immigration, hybridity and multi-culturalism through three Mosques in London; Brick Lane, Old Kent Road and Harrow. The findings have also been disseminated via the following conferences and journal articles.</span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Conferences:</span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">•<span class="Apple-tab-span" style="white-space: pre;"> </span>‘Investigating the interface between Muslim prayer sites and artistic interventions’, Fourteenth International Conference on The Arts in Society, 2019 (Polytechnic Institute of Lisbon) </span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">•<span class="Apple-tab-span" style="white-space: pre;"> </span>‘Exploring the interface between art and sacred spaces’ Sacred Spiritual Secular Conference, 2019 (School of Architecture- University of Westminster) which led to being nominated for the A+C award (Art and Christianity). </span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">•<span class="Apple-tab-span" style="white-space: pre;"> </span>‘Investigating the Interface between Muslim Prayer Sites and Artistic Interventions' The Arts in Society Research Network Journal </span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">•<span class="Apple-tab-span" style="white-space: pre;"> </span> ‘Assembly: Performing the materiality of Muslim prayer spaces’ Scene, intellect journal </span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">•<span class="Apple-tab-span" style="white-space: pre;"> </span>‘SITE-INTEGRITY’ The Journal for Artistic Research (JAR) https://www.jar-online.net/exposition/abstract/site-integrity-dynamic-exchange-between-site-artist-device-and-audience</span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Julie Marsh is an artist filmmaker, researcher and senior lecturer at the Centre for Research and Education in Arts and Media (CREAM), University of Westminster. Julie studied at London College of Communication, University of the Arts, London, completing a PhD in 2017.</span><br />
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<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif">Information about the full series:</span><br />
<span face=""helvetica neue" , "arial" , "helvetica" , sans-serif"><a href="https://sensingsite.blogspot.com/p/composting-estate-series-of-seminars.html">https://sensingsite.blogspot.com/p/composting-estate-series-of-seminars.html</a></span><br />
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British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-65014807445119141732020-01-10T10:30:00.000+00:002020-06-05T12:23:54.174+01:00Composting Estate seminar: Ingrid Pumayalla and Greer MacKeogh 10 January 2020<span style="color: red; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; font-weight: bold;">COMPOSTING ESTATE</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-weight: 700;">A series of seminars examining processes and materials of composition and decomposition of site and place.</span><span style="font-weight: 700;"><br /></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Room A002 Central Saint Martins </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">10 January 2020</span><br />
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<a href="https://soundcloud.com/centralsaintmartins" style="color: #cccccc; text-decoration: none;" target="_blank" title="Central Saint Martins">Central Saint Martins</a> · <a href="https://soundcloud.com/centralsaintmartins/10-jan-ingrid-greer-l1" style="color: #cccccc; text-decoration: none;" target="_blank" title="sensingsite: Greer MacKeogh and Ingrid Pumayalla">sensingsite: Greer MacKeogh and Ingrid Pumayalla</a></div>
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<span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-weight: 700;">Ingrid Pumayalla</span></span><br />
<span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-style: italic;">Gathering Organic Matter to Fertilise the Land</span></span><br />
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<a href="https://1.bp.blogspot.com/-M5L3N6S9V-M/XtEsezYtybI/AAAAAAAAAXE/8Tp0XJQ8CAciNgc2sc4wDcduWruBXeaigCLcBGAsYHQ/s1600/Curiwarmi%2BIV-15x15.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1579" height="640" src="https://1.bp.blogspot.com/-M5L3N6S9V-M/XtEsezYtybI/AAAAAAAAAXE/8Tp0XJQ8CAciNgc2sc4wDcduWruBXeaigCLcBGAsYHQ/s640/Curiwarmi%2BIV-15x15.jpg" width="627" /></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="color: #201f1e; font-style: italic;">Gathering Matter to Fertilize the Land</span><span style="color: #201f1e; font-style: italic;"> </span><span style="color: #201f1e; font-style: italic;">is a presentation of three different site-specific works completed in 2019 in Trujillo (Peru), Stokkoya (Norway) and Leipzig (Germany). They form a trilogy and are linked through narratives of displacement and mythology, also drawing thematically on rural migration as a global phenomenon. These video works invite contemporary audiences to reflect on our human connections with and responsibility towards nature.</span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The approach I use in my practice is to study the myths and rituals of pre-Columbian cultures in the Andes and the Amazon in order to address the collective loss of nature. The hair (cf. above) is a visio-cultural custom, a repetitive concept and symbol, which I use to state the strength of the female identity in the Andes and its capacity to pass on knowledge. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">i) Cantos al Agua is a video-performance made at the sites of Santo Domingo-Huaca el Brujo (100-350 AD) and the city of Chan Chan (850 AD), the first settlements of human habitation being found here on the shore of the Chicama river and dated to 14000 BC. This is the area where the city of Trujillo stands at present. At the archaeological site of el Brujo, the mummified body of the Lady of Cao, the first female governor and priest from the Moche Civilization was found in 2006. Nearby is the Huaca el Brujo, a construction made with adobe, standing 17 metres tall and bearing an open cut that was made during the arrival of the Spanish to the area. The site of Santo Domingo was a ceremonial site at which were found several drawings and symbols of animals and water. In 2016 the largest triple spiral (650 AD) was destroyed because a tractor passed over it, driven by ‘land invaders’. There is a 60,000-inhabitant housing project outside the area at the moment, initiated by the local government and due to the increasing population coming from the Andes towards the coastal cities. The actions used in this work are based on the acts of weaving and chanting as a language to make offerings to the wounded landscape and mourning what has been lost in this land. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">ii) On the island of Stokkøya, Norway, there was a landslide that separated the island from the mainland for a period of a month in September of 2019. Three artists are invited every year to this community in order to produce a collaborative piece responding to the landscape and site of Stokkoya. The Bigda 2.0 Project along with the Afjord municipality aim to enhance the rural community, developing infrastructures, making the area more attractive to people who would like to move back to this area from metropolitan conurbations. The increase of heavy industrialization on the land and because of the wind farms used to create clean energy issues have emerged within the natural balance of this place. According to the locals these caused the recent landslide. The piece was made by responding to the event using found material from the landslide. We took the metal from the distorted crash barriers to create a public sculpture along the road opposite to Bygda 2.0. The sculptures were presented with a sound piece by the artists, reading social media output created by the locals when building strategies in order to access the island.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">ii) In August of 2019 more than 2 millions of hectares were burned down during fires in the Amazonian rainforest. The fires were started because of the agricultural industrialization of the area aimed at raising cattle for meat consumption. As a response to this I created the video 'Where did the creatures from the forest go?' (20’ 03”). The video presents the myth of Curiwarmi. “The myth tells that Curiwarmi (gold woman) saw the Amazon on fire and she ran to the river to save her life. After a while, because of sadness, she fell sleep. She woke up later on the shore of the Makkelberg Lake, in Saxony, Germany” The video performance includes the creation of knitted pieces in order to narrate the myth performatively using the method through which the old Peruvians used to relate stories in the Quechua language, expressing them through knitting, textiles and pottery.</span><br />
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<i><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN-US" style="font-size: 11.5pt;">Where did the creatures from the forest go?</span></span><span lang="EN-US" style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: 11.5pt;"> </span></i><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN-US" style="color: #323130; font-size: 11.5pt;"><i>Cantos al agua</i></span></span></div>
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<span style="color: #1d2129; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Ingrid uses performance, photography, moving image and installations to address migration and diasporas, and how the loss of home re-structures and transforms identity. Her work explores the role of art in transforming and repairing loss. Ingrid is a recent graduate of MA Fine Art at CSM and has recently completed residencies in Norway and Germany.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><span style="font-weight: 700;">Greer MacKeogh</span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><span style="font-style: italic;">Acts of Hospitality</span></span><br />
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<span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">In the time and space provided to me by Composting Estate, I gave an account of my PhD practice and research. At the time, I had just switched from part-time, to full-time research. I was grateful for the chance to review my work-to-date, my work-in-progress and to receive feedback and questions from the group, that since have helped to deepen my research. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">My research, <i>Acts of hospitality, the role of guest and host as art practice</i>, centres on my experiences as artist, guest and host in three sites in Co. Roscommon in Ireland. As an artist, when working in community-based contexts, I have often embodied the role of either the ‘guest’ - as outsider and innovator, or the ‘host’ – as initiator or facilitator. In this research I endeavour to move between the position of guest and host, interchanging and exploring these perspectives. I understand hospitality as a kind of movement that flows between these subject positions, and a means to account for the various subtle transitions.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I have identified the hotel as an ideal site to explore how these roles of guest and host are played out, contested and expressed. Under the title The Hotel, I set out to trace the complex dynamics of hospitality in rural communities in Ireland, while questioning what might be revealed about wider notions of hospitality on a national and international scale.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">My enquiry consists of a body of practical and site-specific research in which the roles of guest and host are explored, disrupted and expanded to produce emergent forms of hospitality. A praxis, of building relationships over time, while exploring the historical and cultural conditions that lie beneath or behind Irish identity, is central to my research into hospitality as art practice. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Greer MacKeogh is an artist-researcher studying for her PhD at UAL.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Information about the full <span style="caret-color: rgb(34, 34, 34);">series:</span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://sensingsite.blogspot.com/p/composting-estate-series-of-seminars.html">https://sensingsite.blogspot.com/p/composting-estate-series-of-seminars.html</a></span><br />
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British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-74009241774632538822019-12-13T10:30:00.001+00:002020-06-05T12:25:26.565+01:00Composting Estate seminar: Steven Ball and Louise Fowler 13 December 2019<span style="color: red; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; font-weight: bold;">COMPOSTING ESTATE</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-weight: 700;">A series of seminars examining processes and materials of composition and decomposition of site and place.</span><span style="font-weight: 700;"><br /></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Room A002 Central Saint Martins </span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">10.30am – 1.00pm</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">13 December 2019</span><br />
<iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/823745851&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><br />
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<a href="https://soundcloud.com/centralsaintmartins" style="color: #cccccc; text-decoration: none;" target="_blank" title="Central Saint Martins">Central Saint Martins</a> · <a href="https://soundcloud.com/centralsaintmartins/steven-ball-amateur-archaeology" style="color: #cccccc; text-decoration: none;" target="_blank" title="sensingsite: Steven Ball">sensingsite: Steven Ball</a></div>
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<span style="font-size: large;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-weight: 700;">Steven Ball</span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">‘Amateur Archaeology’ follows on from ‘Of the Estate’, my presentation at Approaching Estate, which discussed the painting practice of my late uncle Terry Ball, who painted landscape views of the St. Helier council housing estate in South London where he lived from early childhood to late in life. His paintings were made from around the mid 1950s to the late 1990s, after which he moved from the estate. ‘Amateur Archaeology’ explores other aspects of Terry Ball’s life and work, narrating as a work in progress a form of ‘amateur personal archaeology’. Through processes of excavation and reconstruction, making connections using available material (published, unpublished, archival, personal, and memorial), I reflect upon Terry Ball’s professional relationship with archaeological practices, and their personal resonance in my own life and creative practice.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Starting back on St. Helier Estate, as the site of some of my own earliest experiences of the specificity of place, I trace Terry Ball’s professional career as an artist making reconstruction drawings of ancient monuments for what was to become English Heritage, from the 1969 until the late 1990s. His processes, methodology, influences, and predecessors, are outlined with extracts from writings about his work, reproductions of his reconstruction drawings and paintings, how these are situated in relation to the work of archaeology, as well as how elements from his personal life occasionally find their way into his otherwise ‘scientific’ approach.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I then move briefly back to the St. Helier Estate to examine a hitherto unnoticed formal similarity between a digital ‘panoramic’ image of St. Helier Hospital that I made around 2000, and one of Terry’s paintings of the same subject.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I then look further back in historical time, to examine Terry’s life and work as a drawing assistant to renowned archaeologist Kathleen Kenyon in the Holy Land, starting in Jericho in 1957 and ending in Jerusalem at the Church of the Holy Sepulchre in 1967. This centres on a collection of his black and white photographs, now donated to the Palestine Exploration Fund archive in Greenwich, photographs taken during his time in the region. I examine his photographic representation of the landscape and archaeological dig sites, which often take the form of panoramic photographic montage, reminiscent of the later painting of St. Helier Hospital mentioned earlier above. I describe what I have unearthed about his time in the region, his relationship to the place and his work, how the 1967 Israeli incursion that precipitated the Six Day War, was to hasten his exit from Jerusalem, as well as speculate around how he might have arrived in the position of working with Kenyon.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I end by relating how I was given a poetry notebook of his after his death, how some of the contents of the notebook seems to, repeatedly and through many reiterative variations, refer to his experience working as a stonemason in Jerusalem, and how I transcribed these passages to form a lyric that I have recorded as a song as part of my song writing and recording practice.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><span style="font-weight: 700;">Louise Fowler</span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><span style="font-style: italic;">Once upon a time in the city...</span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The ‘once upon a time’ of fairytale exists outside conventional, historical time. It sits above, upon, any time, and at the same time it exists alongside all time. It is a time of possibility, where the usual rules do not apply, and imagination might take flight. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The chaos of once upon a time appears to be the opposite of the rational, ordered time of archaeology. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">But varied perceptions of time, including time in its more imaginative forms, run through the practice of archaeological excavation. Gavin Lucas outlines several, including those which are central to the methods of archaeological fieldwork, namely abstract and quantified time, and time that is constituted by events (Lucas 2005). Kitty Hauser discusses how the concept of a multi-temporal present, which she describes as an ‘archaeological’ imagination inspired work by British neo-Romantic writers and artists of the mid 20th-century (Hauser 2007). Shannon Lee Dawdy writes of how imagined pasts are entangled with the material present in New Orleans, drawing on Walter Benjamin’s concept of aura (Dawdy 2016). Inspired by these writers and others, here I revisit some of the photography and records created in the space-time of an archaeological excavation that took place on a construction site in the City of London several years ago. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The excavation employed the methods most commonly used by archaeologists in Britain, which prioritise time that is made of events through a concern with what archaeologists call stratigraphic context. A stratigraphic context is a physical trace, which can be seen and felt in the present, of an action carried out in the past. To properly excavate and record a context, the archaeologist must not only be able to define and record its physical limits in space, but also to imagine or deduce the action in the past that produced such a trace in the present. Contexts are excavated in chronological order, in order to understand and record their relationships as an interrelated sequence of events, and a drawn and written record is created. But this way of thinking about time is not the only way that it is experienced during the process of excavation, which also incorporates the rhythm and demands of structured working days with associated deadlines, and which also requires the archaeologist to make imaginative leaps to bridge gaps between past and present. These include moments when the archaeologist physically reproduces a past action in the present (the digging of a pit, or the cleaning of a hearth for example), actions which can seem to ‘collapse’ together past and present, creating the experience of a kind of timelessness that is accessible through a historical and linear understanding of time, but which sits outside it. This collapse is also visible in the archive, which contains records of the actions of both archaeologists and events that took place in the deeper past. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Dawdy, S. L. 2016. <i>Patina: A Profane Archaeology</i></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Hauser, K. 2007. <i>Shadow Sites: Photography, Archaeology, and the British Landscape 1927-1955</i></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Lucas, G. 2005. <i>The Archaeology of Time</i> </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Louise Fowler is an archaeologist with MOLA (Museum of London Archaeology).</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Information about the full <span style="caret-color: rgb(34, 34, 34);">series:</span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://sensingsite.blogspot.com/p/composting-estate-series-of-seminars.html">https://sensingsite.blogspot.com/p/composting-estate-series-of-seminars.html</a></span><br />
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British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-67968262363412924152019-12-06T11:15:00.002+00:002019-12-06T11:16:23.362+00:00Landscape Research Group: Landscape Symposium 2019 Staying with the Trouble<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-EIufnJZ0C_0/Xeo3O3J_shI/AAAAAAAAATM/eCzvkJ5GCVwvou0sSZvx3qNXRZNGayh0gCLcBGAsYHQ/s1600/london2019FINAL.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img border="0" data-original-height="772" data-original-width="1600" height="308" src="https://1.bp.blogspot.com/-EIufnJZ0C_0/Xeo3O3J_shI/AAAAAAAAATM/eCzvkJ5GCVwvou0sSZvx3qNXRZNGayh0gCLcBGAsYHQ/s640/london2019FINAL.png" width="640" /></span></a></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">sensingsite will be presenting <i>Landfill</i> an audio report, a collaborative research work in progress by the group, at the Landscape Research Group Symposium on Friday 6 December 2019. More information here </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://landscaperesearch.org/event/landscape-symposium-2019/" target="_blank">https://landscaperesearch.org/event/landscape-symposium-2019/</a></span>British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-16242206721678001482019-11-29T10:30:00.000+00:002020-06-05T13:01:25.258+01:00Composting Estate seminar: John Hartley and Susan Trangmar 29 November 2019<span style="color: red; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large; font-weight: bold;">COMPOSTING ESTATE</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-weight: 700;">A series of seminars examining processes and materials of composition and decomposition of site and place.</span><span style="font-weight: 700;"><br /></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Room A002 Central Saint Martins </span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">10.30am – 1.00pm</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">29 November 2019</span><br />
<iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/824980606&color=%23341507&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><br />
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<a href="https://soundcloud.com/centralsaintmartins" style="color: #cccccc; text-decoration: none;" target="_blank" title="Central Saint Martins">Central Saint Martins</a> · <a href="https://soundcloud.com/centralsaintmartins/sensingsite-john-hartle-and-susan-trangmar" style="color: #cccccc; text-decoration: none;" target="_blank" title="sensingsite: John Hartley and Susan Trangmar">sensingsite: John Hartley and Susan Trangmar</a></div>
<span style="font-size: large;"><span style="caret-color: rgb(34, 34, 34); color: #222222; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>John Hartley</b></span><br style="caret-color: rgb(34, 34, 34); color: #222222; font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;" /><span style="color: #222222; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="caret-color: rgba(0, 0, 0, 0.847);"><i>Wave as Tool</i></span></span></span><br />
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<span style="font-size: 12.800000190734863px;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">This performance lecture, incorporating film and read text, explores how a material, social and entangled ‘art apparatus’ demonstrates shapes of change, and starts to consider what constitutes that apparatus. It proceeds from a swimming/filming practice that looks at conditions within the sea. This practice expands to trace sea-like movement in the tools used to make work about the sea, and further, to reference the discourse around the work, which in its turn, also performs wave-like change (emergence and collapse). </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The talk accompanying the film consists of re-ordered text, which builds in the form a wave. It starts with single words and small phrases which slowly grow in length. Lines are followed by longer sentences explaining the practice and its context, then paragraphs of the most developed comments. This process then reverses and recedes with the text blocks collapsing into smaller length. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The film extract I show was made on an obsolete mobile phone attached to a swimmers arm. This is a method of filming that disrupts the normal spatial and temporal way of showing the sea, or dependency on expert mediation. The resultant films present a re-structured marine perception, neither a landscape of space extending before a viewer, nor a seascape where that viewer faces from land towards a horizon over the sea. Instead we see a churn of underwater views, turbulent surf and bubbles, rocking colours and light. The normal spatial immediacy is reconfigured as the tools engaging with this domain (discarded camera phones) are also in a state of breakdown. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Tuning in to these varied speeds, rhythms and disjunctions, you become aware of changes in the equipment used to make the film. Screens crack, memory gliches. And no longer cutting edge, the social and economic currency of the consumer device is ebbing too. Equally the accompanying text has its own periodicity, approaching and retreating from multiple stacked and nested ideas. Ripples of recognition sit on top of waves of material process, within the swell of discourse... on top of tides of wider cultural context. The work feels for the movement of the arts practice, consisting of material and social dynamics. The tug and ebb of creative and academic conditions… and the buoyancy afforded by changing markets and economies also make themselves evident through this entangled arts apparatus.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">As the artist/researcher is rolled and crashed by the sea (the estate-as-medium), the movements and changes of object of enquiry become inseparable from those of the enquirer. The investigator is part of the world under investigation, and changed by their investigation. </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The presentation aims to address questions of creative practice and the dynamic processes within which it is embedded. How does immersion within a location (for instance the sea) demand we (re)arrange our perceptions? How is practice and research changed as a result? </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><span style="caret-color: rgb(34, 34, 34); color: #222222;"><b>Susan Trangmar</b></span><br style="caret-color: rgb(34, 34, 34); color: #222222;" /><span style="caret-color: rgb(34, 34, 34); color: #222222;"><i><span class="TextRun SCXW182765244 BCX4" data-contrast="auto" lang="EN-GB" style="-webkit-nbsp-mode: normal !important; -webkit-user-drag: none; -webkit-user-select: text; caret-color: rgba(0, 0, 0, 0.847); font-variant-ligatures: none !important; line-height: 19.424999999999997px; margin: 0px; padding: 0px;" xml:lang="EN-GB">From Topography to Topology: </span><span class="TextRun SCXW182765244 BCX4" data-contrast="auto" lang="EN-GB" style="-webkit-nbsp-mode: normal !important; -webkit-user-drag: none; -webkit-user-select: text; caret-color: rgba(0, 0, 0, 0.847); font-variant-ligatures: none !important; line-height: 19.424999999999997px; margin: 0px; padding: 0px;" xml:lang="EN-GB"><span class="ContextualSpellingAndGrammarError SCXW182765244 BCX4" style="-webkit-nbsp-mode: normal !important; -webkit-user-drag: none; -webkit-user-select: text; background-image: url("data:image/gif; background-position: left bottom; background-repeat: repeat no-repeat; border-bottom-color: transparent; border-bottom-style: solid; border-bottom-width: 1px; margin: 0px; padding: 0px;">a</span></span><span class="TextRun SCXW182765244 BCX4" data-contrast="auto" lang="EN-GB" style="-webkit-nbsp-mode: normal !important; -webkit-user-drag: none; -webkit-user-select: text; caret-color: rgba(0, 0, 0, 0.847); font-variant-ligatures: none !important; line-height: 19.424999999999997px; margin: 0px; padding: 0px;" xml:lang="EN-GB"> Line of Enquiry</span></i></span></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><b>A Twist of Thought</b></span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">‘It is a question not of imposing preconceived forms on inert matter, but of intervening in the fields of force and currents of material wherein forms are generated.’ (Ingold 1993)<i><o:p></o:p></i></span></div>
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<span style="line-height: 16.866666793823242px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">How can a processual art practice based in lens imaging help us to question landscape as a pictorial category fixed in space and time? This presentation proposes that we practice landscape as an ongoing process of movement and change. Starting with reference to a specific geographic, geological and environmental site, that of Dungeness, Romney Marsh, Kent the essay tracks a process of situated making using the smartphone camera as the fulcrum of a performative activity. The automatic programmes of digital cameras borrow photographic conventions, a particular ‘way of seeing’ which constructs landscape as static, grounded and always maintained at a fixed distance, thus setting up subject/object distinctions. In the practice outlined here however, such conventions are disrupted through a series of technological/ kinaesthetic engagements which reconfigure relations of figure and ground, surface and depth. Through tactile engagement with the paper print to form a cone, the paper as support for image becomes both a three dimensional object and a topological (continuous) surface. Out of each cone when re-photographed, is drawn a new image which in turn becomes a new object open to being re-imaged. This continual process of re-turning and drawing out through which the work takes shape, performs a ‘a recursive futurity’ (Massumi 2002: xxvii). <o:p></o:p></span></span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><span style="line-height: 16.866666793823242px;">The practice has no one definitive state of completion; it consists of an assemblage of parts at different stages of existence, paper prints, printed objects, mobile screen based moving image, </span><span style="line-height: 16.866666793823242px;">which in clustering together act as ‘relational objects for thinking- in -action’ (Manning 2009).</span><span class="MsoEndnoteReference" style="vertical-align: super;"><span style="line-height: 16.866666793823242px;"> </span></span></span><span style="line-height: 16.866666793823242px;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">It is through this process that I explore the work’s ‘expression’ (Massumi 2011: 57), how something comes to be what it is. The presentation concludes by engaging the audience with the work by re-turning to the smartphone as fulcrum of a performative activity through shared replay<i> </i>of a moving image, an activity which is temporally situated<i> </i>and a simultaneously a dispersal.</span><span style="font-family: helvetica neue, arial, helvetica, sans-serif;"><o:p></o:p></span></span></span></div>
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<span style="line-height: 16.866666793823242px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Keywords: Digital Photography; Landscape: Processual practice; Topography; Topology; relational philosophy<o:p></o:p></span></span></div>
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<b><span style="line-height: 16.866666793823242px;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">References<o:p></o:p></span></span></b></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Massumi, Brian (2002), <i>A Shock to Thought: Expression After Deleuze and Guattari</i> . New York and London: Routledge.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Massumi, Brian (2011), Semblance and Event: Activist Philosophy and the Occurent Arts. Cambridge, Mass: The MIT Press.<o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Manning, Erin (2009), “Propositions for Thought in Motion” in <i>Relationscapes:Movement, Art, Philosophy</i> . Cambridge, Mass: The MIT Press. <o:p></o:p></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span lang="EN-US" style="line-height: 16.866666793823242px;">Previous iterations of this project can be sourced here: </span><span style="line-height: 16.866666793823242px;">Trangmar, Susan <i>From Topography to Topology</i> in “Fragmentation of the Photographic Image in the Digital Age”. New York and London 2019: Routledge; Trangmar, Susan <i>Landscape as a Twist of Thought</i>, Journal of Philosophy of Photography, Intellect. Vol. 10, 2. forthcoming Autumn 2020.</span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://sensingsite.blogspot.com/p/composting-estate-series-of-seminars.html">https://sensingsite.blogspot.com/p/composting-estate-series-of-seminars.html</a></span><br />
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British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-70009128015483302042019-10-18T09:54:00.001+01:002019-10-18T09:54:24.763+01:00Rehearsals for Uncertain Futures<br />
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<a href="https://1.bp.blogspot.com/-d9kVVC6Mt50/Xal89VV_khI/AAAAAAAAARg/jk-7k96dhUMK5P5wBTyCyOTirILb_OPYwCLcBGAsYHQ/s1600/Rehearsals%2Bfor%2BUncertain%2BFutures_Film%2BStill_Copyright_%2BMatterlurgy2019.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="806" data-original-width="1436" height="354" src="https://1.bp.blogspot.com/-d9kVVC6Mt50/Xal89VV_khI/AAAAAAAAARg/jk-7k96dhUMK5P5wBTyCyOTirILb_OPYwCLcBGAsYHQ/s640/Rehearsals%2Bfor%2BUncertain%2BFutures_Film%2BStill_Copyright_%2BMatterlurgy2019.jpg" width="640" /></a></div>
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<span style="border: 0px; color: black; font-family: Calibri, sans-serif; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: medium;"><b>Followed by the feature film Earth, Dir. Nikolaus Geryhalter</b></span></span></div>
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<span style="font-size: medium;"><b><span style="border: 0px; color: black; font-family: Calibri, sans-serif; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><a data-auth="NotApplicable" href="https://lyric.co.uk/shows/uk-green-film-festival-presents-earth-rehearsals-for-uncertain-futures/" rel="noopener noreferrer" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">Book here</a></span><span style="border: 0px; color: black; font-family: Calibri, sans-serif; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"></span></b></span></div>
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<span style="font-family: arial,sans-serif;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Join us for a special screening of <b style="box-sizing: border-box; outline: none;">Rehearsals for Uncertain Futures</b></span><b style="box-sizing: border-box; outline: none;"><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;"> </span></b><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;">followed by a panel discussion with artists</span><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;"> </span><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;">Matterlurgy (Helena Hunter & Mark Peter Wright) + special guests. The discussion will be followed by a screening from the latest edition of the</span><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;"> </span><b style="box-sizing: border-box; outline: none;"><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;">UK Green Film Festival</span></b><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;"> </span><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;">– Nikolaus Geyrhalter’s award winning documentary</span><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;"> </span><b style="box-sizing: border-box; outline: none;"><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;">Earth</span></b><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;">.</span></span><br />
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<span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;"><span style="font-family: arial,sans-serif;"><b style="box-sizing: border-box; outline: none;"><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">REHEARSALS FOR UNCERTAIN FUTURES</span></span></b><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> </span></span></span></span></div>
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: arial,sans-serif;">A short film by Matterlurgy (Helena Hunter & Mark Peter Wright) about a Sea Ice Simulator (SIS) used in climate science to predict and model the impact of black carbon on ice reflectivity. Shot on location within SIS, a series of shipping containers situated in woodland, the work shifts between local ecologies of wildlife and fauna, to the technological manufacture of ice and the energy required to sustain such relations. The film focuses on the interconnections between the lab and field amplifying physical and material production practices behind climate simulation and predictive data modelling. How does data become data, where exactly is the field, what practices of maintenance and care does simulation require?</span></span><br />
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<span style="font-family: arial,sans-serif;"><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Commissioned by the Centre for the GeoHumanities at Royal Holloway, University of London as part of Creating Earth Futures. The work premiered in May 2019 at Raven Row Gallery, London</span></span>.</span><span style="border: 0px; color: #323232; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"></span></span></div>
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<span style="font-family: arial,sans-serif;"><b><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">EARTH</span></b><span style="border: 0px; color: #323232; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"></span></span><br />
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<span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;"><span style="border: 0px; box-sizing: border-box; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; outline: none; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-family: arial,sans-serif;">Several billion tons of earth are moved annually by humans – with shovels, excavators or dynamite. Nikolaus Geyrhalter’s (Our Daily Bread + Homo Sapiens) latest documentary Earth observes people in mines, quarries and large construction sites in a constant struggle to transform the planet. Earth won the Prize of the Ecumenical Jury, Berlinale Forum (2019) and the International Award, Sheffield International Documentary Festival (2019).</span></span></span></span><span style="border: 0px; color: #323232; font-family: Calibri, sans-serif; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"></span></div>
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<a data-auth="NotApplicable" href="https://lyric.co.uk/shows/uk-green-film-festival-presents-earth-rehearsals-for-uncertain-futures/" rel="noopener noreferrer" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank"><b>Book Tickets</b></a><b><a data-auth="NotApplicable" href="https://lyric.co.uk/shows/uk-green-film-festival-presents-earth-rehearsals-for-uncertain-futures/" rel="noopener noreferrer" style="border: 0px; color: #0563c1; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank"></a></b></div>
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<a data-auth="NotApplicable" href="https://www.matterlurgy.net/" rel="noopener noreferrer" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank"><b>Matterlurgy</b></a></div>
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<b><a data-auth="NotApplicable" href="https://www.geyrhalterfilm.com/en" rel="noopener noreferrer" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">Nikolaus Geyrhalter</a></b></div>
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<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><a data-auth="NotApplicable" href="http://www.ukgreenfilmfestival.org/" rel="noopener noreferrer" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank"><b>UK Green Film Festival </b></a></span></div>
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<span style="font-family: arial,helvetica,sans-serif;">Matterlurgy Studio</span><div style="border: 0px; color: inherit; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">
<span style="font-family: arial,helvetica,sans-serif;">Helena Hunter & Mark Peter Wright</span></div>
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<span style="font-family: arial,helvetica,sans-serif;"><a data-auth="NotApplicable" href="https://www.matterlurgy.net/" rel="noopener noreferrer" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant-caps: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;" target="_blank">https://www.matterlurgy.net/</a> </span></div>
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British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-79615166925822530812019-10-17T13:09:00.002+01:002019-10-17T13:09:54.298+01:00Dark Fibre Network Drift<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-Qp20BVCSYV0/XahZzXMtI0I/AAAAAAAAARU/rh_eZVkpzCks6uYP3pNXGEulhDOKkLwFwCLcBGAsYHQ/s1600/rca-poster_johnwild.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="532" height="576" src="https://1.bp.blogspot.com/-Qp20BVCSYV0/XahZzXMtI0I/AAAAAAAAARU/rh_eZVkpzCks6uYP3pNXGEulhDOKkLwFwCLcBGAsYHQ/s640/rca-poster_johnwild.png" width="640" /></a></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Under the streets of East London runs a network of dark fibre.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">John Wild will lead a Dark Fibre Network Drift, walking the route of underground fibre-optic cables linking seven of the core data centres that form the London Internet Exchange.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The walk will include spoken word by Dr Robin Bale and experiments using software-defined radio to hack the sonic world of machine to machine communications carried out by CODED GEOMETRY.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The walk will conclude with drinks at The George pub, Isle of Dogs.</span></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">14:00, Sunday 27 October</span></div>
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British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-59466743343296758522019-10-11T15:02:00.001+01:002019-10-11T15:05:08.741+01:00Poetics of Cosmic Spaces<div class="page" title="Page 3">
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<span style="font-weight: 700;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Poetics of Cosmic Spaces</span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">a talk by Reza Tavakol</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In this upcoming talk, part of </span><b style="font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">Through the Looking Glass, Humanity’s Changing Vision of the Universe </b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Reza Tavakol gives some examples of how cosmic space can provide an extremely fertile arena for poetic imagination.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Considerations of the poetics of terrestrial spaces are often informed by our lived experiences and memories. Given that cosmic space is mostly un-lived, at least by us, and hence devoid of direct lived </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">experiences and memories,</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">he</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">ask</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">s</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"> </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">in which sense can we speak of Poetics of Cosmic Space?</span></div>
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<span style="font-style: italic;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Reza Tavakol is a Professor Emeritus of Mathematics and Astronomy, and a member of the Philosophy and Poetry groups, at Queen Mary University of London. His active research/practice include Cosmology, Philosophy and Art. In science, he has authored more than 150 articles in international journals, and has been an invited speaker to numerous international conferences. His art related publications include a book of poems 'Memories of Light' (2001 with M Shultz), as well as number of essays and articles on photography and 'Aesthetics of the Cosmic Space'.</span></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">FREE</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Sunday 20 October 1.00pm - 2.00pm </span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">47-49 Tanner Street </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">London </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">SE1 3PL</span></div>
<span style="caret-color: rgb(17, 85, 204); color: #1155cc; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://www.eventbrite.co.uk/e/74801670811" target="_blank">https://www.eventbrite.co.uk/e/74801670811</a></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">more information about <b>Through the Looking Glass, Humanity’s Changing Vision of the Universe</b> <a href="https://www.lumenstudios.co.uk/future-events/xwag7rje4nb3ehj3rg447mw5cch8cg" target="_blank">here</a></span><br />
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British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-83773651290231985462019-05-01T19:15:00.001+01:002019-05-01T19:15:44.048+01:00What on Earth is the Ground - Tim Ingold<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/r5ztVBhbO8E" width="480"></iframe>British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-42428002661478191202019-03-15T12:05:00.000+00:002019-03-15T12:06:03.635+00:00APPROACHING ESTATE<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-uBo9N_nW43U/XIJCKzNSiWI/AAAAAAAAAP4/i1gcqzkoIYsFghVQ8qr73rcsuZWtTxPbgCPcBGAYYCw/s1600/lighthouse_combined.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="948" data-original-width="1473" height="410" src="https://2.bp.blogspot.com/-uBo9N_nW43U/XIJCKzNSiWI/AAAAAAAAAP4/i1gcqzkoIYsFghVQ8qr73rcsuZWtTxPbgCPcBGAYYCw/s640/lighthouse_combined.jpg" width="640" /></a></div>
<span style="font-family: "helvetica";"><span style="font-size: large;"><i>methodologies for practices of site and place</i></span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Approaching Estate</b> is a four-day encounter with the specificities of site, place and landscape as contexts for artistic and other creative enquiry. </span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The event will consist of interlinking presentations, field performances, films and discussions gathering together a range of artistic, interdisciplinary and collaborative practices. These include experimental cartographies, situated practices, interfaith cultural exchange and creative critiques of land ownership and management.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">0930 - 1900</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Wednesday 10 - Friday 12 April 2019</span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://www.furtherfield.org/visit/" target="_blank">Furtherfield Commons</a></span><br />
<span style="font-family: "helvetica neue", arial, helvetica, sans-serif;">Finsbury Gate, Finsbury Park, London N4 2DE</span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"></span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><a href="https://sensingsite.blogspot.com/p/approaching-estate.html" target="_blank"><span style="font-size: large;">FULL DETAILS HERE</span></a></b></span></div>
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British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-19881149871767126562018-11-14T10:55:00.000+00:002018-11-16T08:08:38.616+00:00Approaching Estate - call for proposals<a href="https://3.bp.blogspot.com/-EyTVP2FwqdI/W787SBUBmWI/AAAAAAAAAPg/zSLDwammO6cbFtQBNEylGx9QExfs-iYEgCLcBGAs/s1600/approaching_estate_call-for-proposals.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><img alt="" border="0" data-original-height="414" data-original-width="1600" height="103" src="https://3.bp.blogspot.com/-EyTVP2FwqdI/W787SBUBmWI/AAAAAAAAAPg/zSLDwammO6cbFtQBNEylGx9QExfs-iYEgCLcBGAs/s400/approaching_estate_call-for-proposals.jpg" title="Approaching Estate" width="400" /></span></a><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: large;"><b>the politics and ethics of fieldwork in art today</b></span><br />
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<b><span lang="EN-US"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">CALL FOR PROPOSALS<o:p></o:p></span></span></b></div>
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<b><span lang="EN-US"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Approaching Estate is a series of presentations and workshops organised by sensingsite at<span class="apple-converted-space"> </span>Central Saint Martins in collaboration with Furtherfield, Finsbury Park, taking place from April 9 – 11, 2019. <o:p></o:p></span></span></b></div>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">We use the term 'estate' to encompass a diverse community of interests and rights pertaining to the conceptualization, configuration, and management of place.</span></div>
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<span lang="EN-US"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">We welcome proposals from artists, activists, researchers, specialists and non-specialists<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">who wish to share methodologies of contemporary art practices and the<span class="apple-converted-space"> </span>politics and ethics<span class="apple-converted-space"> </span>of material enquiries into site, which are socially, politically, ecologically, historically and geographically entwined. We are broadly concerned with work that is interventional (such as 'site-specific', situated performative practices, etc) and representational (such as landscape, mapping, etc).<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The event will be curated as a flexible and open-ended platform for hands-on workshops, presentations, performances, screenings, installations and discussion. It aims to cultivate a research community which can examine existing methodologies and generate new ideas, problems, and questions to set new agendas for experimental art practice.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">The main activities of <b>Approaching Estate </b>will take place in Furtherfield Commons, based in Finsbury Park, London, which will also provide an opportunity to engage with the park as an interface, and with its diverse communities.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">If you are interested please send an initial 300 word outline of a proposed activity, brief biography and support material (if appropriate) that can be developed to form part of the workshop sessions by Friday December 14, 2018 to <span class="MsoHyperlink" style="color: #0563c1; text-decoration: underline;"><span style="color: black;"><a href="mailto:sensingsite@gmail.com" style="color: #954f72;"><span style="color: black;">sensingsite@gmail.com</span></a></span></span>. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Do not hesitate to contact us if you would like to discuss your proposal further.<o:p></o:p></span></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>sensingsite</b> is a practice-based research group based at Central Saint Martins, engaging with questions around the political, material, and sensory natures of site, place, and space. </span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><a href="https://www.furtherfield.org/" target="_blank">Furtherfield</a></b> connects people to new ideas, critical thinking and imaginative possibilities for art, technology and the world around us. Through artworks, labs and debate people from all walks of life explore today’s important questions.</span></span><br />
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<b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">More information</span></b><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Approaching Estate</b> is a series of presentations and workshops which will examine the politics and ethics of fieldwork in contemporary art practices concerned with place, in order to develop critical, innovative and experimental engagements.</span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">‘Estate’ suggests the parcelling, ownership and governance of physical space, founded upon historical, agrilogistic and colonial practices whose legacy has determined the status and identity of both human and nonhuman entities. Approaching Estate will also consider ‘estate’ as a broad community of interests and rights, pertaining to the materiality of space, how it is configured, managed, and conceptualised as place. As such it will acknowledge the current conditions of communities, material processes, and sites in the context of the </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">continuing debasement of democracy, and the contemporary precarity of individual and community rights to </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">movement and occupation of space. These relate to, and can be traced through, historical and contemporary </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">forms of enclosure, land ownership, the commons, public space, colonialism, incarceration, expulsion, </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">transportation, clearances, dispossession, extractions, depositions, and so on. </span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">‘Fieldwork’ is used to broadly describe the artistic methodologies which engage in material enquiries into site and situatedness which are socially, politically, ecologically, historically and geographically entwined. As such they are often interdisciplinary practices and might be concerned with landscape construction, site-specificity, and social engagement; engaging with disciplines and activities such as archaeology, geography (human and physical), eco-studies, activism, mapping, and so on. Our aim is to set new agendas for fieldwork in art practice through development of a research network for experimental ways of working in art practice.</span></span><br />
<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">During the event we are interested in pursuing questions such as:</span></span><br />
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<li><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">What forms of methodological enquiry emerge from art practices concerned with specificity of site </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">and place?</span></span></li>
<li><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">What is the efficacy of such methodologies, and how do we evaluate them?</span></li>
<li><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">What are the protocols and terms of engagement in site specific fieldwork? </span></li>
<li><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Who are the beneficiaries </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">of the work produced?</span></span></li>
<li><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">What is artistic or social agency (the role of the art) and what other intra-active engagements (human </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">and non- human) are possible?</span></span></li>
<li><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">How can the differing interests of collaborators working in an interdisciplinary context be shared </span><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">meaningfully and productively?</span></span></li>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">We invite individual and group proposals for presentations, performances, artworks and any other experimental forms of practice-based research.</span><br />
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><br /></span>British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-54226027819671150582018-03-14T09:26:00.000+00:002018-03-14T09:48:11.827+00:00BEYOND PROPRIETORIAL new narrative practices in digital humanities<div style="-moz-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: black; font-style: normal; font-variant-caps: normal; letter-spacing: normal; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="font-size: small;"><b><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">BEYOND PROPRIETORIAL<br />new narrative practices in digital humanities</span></b></span></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Christy Hyman and Marc Garrett </span></span></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">6:00pm Tuesday 20 March </span></span><br />
<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span class="Apple-converted-space">bookings </span></span><span class="Apple-converted-space"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: white; color: red; display: inline; float: none; font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><a href="https://www.eventbrite.com/e/beyond-proprietorial-tickets-43971604252">https://www.eventbrite.com/e/beyond-proprietorial-tickets-43971604252</a> </span></span> </span></span><br />
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Christy Hyman</span></span><br />
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Mapping the Great Dismal Swamp:<br />The Co-Articulation of Sound, Moving Images and Archival Materials<span class="Apple-converted-space"> </span></b> </span></span></div>
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<span style="font-size: small;"></span><a href="https://1.bp.blogspot.com/-UAi6rpBBumY/WqjoKZ7ONNI/AAAAAAAAAPE/lyYsUjfn47Us6fDTUAKpTKH1kh7xZjXJgCLcBGAs/s1600/Dismal_Swamp_Canal_connecting_Chesapeake_Bay_with_Currituck_Albemarle_and_Pamlico_Sounds_and_their_tributary_streams.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1275" height="400" src="https://1.bp.blogspot.com/-UAi6rpBBumY/WqjoKZ7ONNI/AAAAAAAAAPE/lyYsUjfn47Us6fDTUAKpTKH1kh7xZjXJgCLcBGAs/s400/Dismal_Swamp_Canal_connecting_Chesapeake_Bay_with_Currituck_Albemarle_and_Pamlico_Sounds_and_their_tributary_streams.jpg" width="317" /></a></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Christy Hyman uses proprietorial mapping and analytics software to construct new spatial narratives around the neglected histories of enslaved fugitives, who in the nineteenth century sought refuge in The Great Dismal Swamp of eastern North Carolina.<span class="Apple-converted-space"> </span> </span></span><br />
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Christy is currently studying for her PhD at the University of Nebraska-Lincoln, USA.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://arcg.is/DWj5m" target="_blank">Digital Narrative</a><span class="Apple-converted-space"></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="http://www.arcgis.com/apps/CompareAnalysis/index.html?appid=53470afd362749b69f26a945ac9f4db7" target="_blank">Enslavement Gendered Comparison- The Navigational Literacy of Harriet Jacobs and Moses Grandy</a><span class="Apple-converted-space"></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Marc Garrett</span></span><br />
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b>Unlocking <span style="background-color: white; color: #212121; display: inline; float: none; font-style: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Proprietorial<span class="Apple-converted-space"> </span></span>Systems and Reclaiming Narrative Strategies for Artistic Practice<span class="Apple-converted-space"> </span></b></span></span></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"></span></span><a href="https://4.bp.blogspot.com/-M0QiUd0TY_s/WqjnbxGUmiI/AAAAAAAAAO8/VnZPWz4092EqhkBdMupHlTnWsykuSN0XwCLcBGAs/s1600/pumaaelaunch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="806" data-original-width="1200" height="267" src="https://4.bp.blogspot.com/-M0QiUd0TY_s/WqjnbxGUmiI/AAAAAAAAAO8/VnZPWz4092EqhkBdMupHlTnWsykuSN0XwCLcBGAs/s400/pumaaelaunch.jpg" width="400" /></a></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><b><span class="Apple-converted-space"></span></b>Marc Garrett asks if we can build fresh, independent places, spaces and identities, in relation to our own artistic and cultural practices individually and collectively, when the dominant narratives handed down to us via neoliberal elites, are typically in favour of their markets and technologies?</span></span></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Marc is co-director and co-founder with artist Ruth Catlow of the arts collective Furtherfield, and is currently studying for his PhD at Birkbeck University of London. </span></span><br />
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://researchvalues2018.wordpress.com/2017/12/18/unlocking-proprietorial-systems/" target="_blank">Unlocking Proprietorial Systems</a></span></span></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://www.furtherfield.org/" target="_blank">Furtherfield</a></span></span></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><a href="https://www.furtherfield.org/artists-rethinking-blockchain/" target="_blank">Artists Rethinking Blockchain</a></span></span></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">6.00pm Tuesday 20 March</span></span></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Room C303</span></span></div>
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<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Central Saint Martins Kings Cross<span class="Apple-converted-space"> </span></span></span></div>
<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span class="Apple-converted-space"><span style="background-color: white; color: black; display: inline; float: none; font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">University of the Arts London</span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span class="Apple-converted-space"><span style="background-color: white; color: black; display: inline; float: none; font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Granary Building</span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span class="Apple-converted-space"><span style="background-color: white; color: black; display: inline; float: none; font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">1 Granary Square</span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span class="Apple-converted-space"><span style="background-color: white; color: black; display: inline; float: none; font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">London N1C 4AA</span></span><span class="Apple-converted-space"> </span></span></span><br />
<span style="font-size: small;"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span class="Apple-converted-space">bookings </span></span><span class="Apple-converted-space"><span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;"><span style="background-color: white; color: red; display: inline; float: none; font-style: normal; font-weight: normal; letter-spacing: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><a href="https://www.eventbrite.com/e/beyond-proprietorial-tickets-43971604252">https://www.eventbrite.com/e/beyond-proprietorial-tickets-43971604252</a> </span></span> </span></span><br />
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British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-15088931941573413932017-12-06T12:32:00.001+00:002017-12-06T12:32:52.553+00:00Professor Paul Haywood - I don't like to talk about it<iframe allowfullscreen="" frameborder="0" height="270" src="https://www.youtube.com/embed/Cl_OFtwhqmc" width="480"></iframe>British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-40096524478082079312017-10-30T07:39:00.001+00:002017-10-30T07:40:49.256+00:00“I don’t like to talk about it…” a performance presentation by Professor Paul Haywood<h2>
<span style="color: red; font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif; font-size: x-large; font-weight: normal;"><i>I don’t like to talk about it…</i></span></h2>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">PROFESSOR PAUL HAYWOOD</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Dean of School of Art, Central Saint Martins</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Thursday 9 November Central Saint Martins Room C303 at 6.15pm (bridge)</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">A presentation that will cover a series of very short talks about aspects of being an artist, or fulfilling the role of the artist, in the context of social change processes that don’t actually require the presence of an artist.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">This is a contemplation about the undertakings of focused and specifically motivated communities and the relevance of their artist friend. The session will include an experimental demonstration of paint making and mixing, using materials that would normally service our social and political identity, subtitled: "How to make oil paints at home, or close to where you live".</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">In entirety, the presentation is a compilation of short semi-fictional and actual accounts of failure in the production of an individualised arts practice. </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">followed by drinks </span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Book here: <a href="https://www.eventbrite.co.uk/o/susan-trangmar-steven-ball-15597523700" target="_blank">https://www.eventbrite.co.uk/o/susan-trangmar-steven-ball-15597523700</a></span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Biography</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">Outside of education I remain committed to long term collaborative initiatives that are typically characterised by a role for artists and art producers in processes of social innovation and local change. I am a Director of Guns to Goods CIC, a collaboration with the artist Karen Lyons, dedicated to the reduction and recycling of gun metal through creative design and sculptural practices. I am the co-founder of Colourground, working with the designer Maxine Kennedy on a long-term mass observation project that is making use of technologies and social interactions to build a global map of colour in the environment. I collaborate with Ruth Potts in the School of Midwifery at University of Salford and we have established and joined the European Co-operative Learning Action Network concerned, committed to the development and design of open learning recognition in support of non-traditional informal learning. I continue to work in a company director role with Islington Mill Arts Club as part of their development with local regeneration in the new cultural quarter in Salford.</span></div>
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<span style="font-family: "helvetica neue" , "arial" , "helvetica" , sans-serif;">I paint at weekends. </span></div>
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British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comtag:blogger.com,1999:blog-6650532781565116616.post-60318252041898664542017-10-12T16:36:00.000+01:002017-10-12T17:38:36.449+01:00welcome to sensingsite<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "calibri" , serif , "emojifont"; font-size: 11pt;"><span style="background-color: lime;">sensingsite</span> is a practice based research group engaging with questions around the political, material, and sensory natures of site, place, and space. It takes a critical, experimental, and improvisational approach to research methodologies embedded within interdisciplinary art practices across a range of media. </span></div>
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<span style="color: #212121; font-family: "calibri" , serif , "emojifont";"><span style="font-size: 11pt;">Membership of the group includes academic researchers and artists, and current postgraduate students from Central Saint Martins, UAL and </span><span style="font-size: 15px;">beyond.</span><span style="font-size: 11pt;"> The group meets regularly and has organised symposia, lectures, exhibitions and workshops.</span><span style="font-size: 11pt;"></span></span></div>
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<span style="font-family: "calibri" , serif , "emojifont"; font-size: 11pt;"><span style="background-color: lime;">sensingsite</span> is organised by <a href="mailto:s.trangmar@csm.arts.ac.uk" target="_blank">Susan Trangmar</a> and <a href="mailto:s.ball@csm.arts.ac.uk" target="_blank"><span class="highlight" id="0.4890697835944593" name="searchHitInReadingPane">Steven</span> </a><span class="highlight" id="0.574317452032119" name="searchHitInReadingPane"><a href="mailto:s.ball@csm.arts.ac.uk" target="_blank">Ball</a> </span>for Fine Art Research, Central Saint Martins, University of the Arts London. Please contact us for further information</span></div>
British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.comGranary Building, 1 Granary Square, Kings Cross, London N1C 4AA, UK51.5366188 -0.1245900000000119751.5168628 -0.16493050000001197 51.5563748 -0.084249500000011968tag:blogger.com,1999:blog-6650532781565116616.post-11434567567956098352017-03-03T14:53:00.001+00:002017-03-03T14:53:48.085+00:00Ingrid Pumayalla performance<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif; font-size: x-small;"><i>En búsqueda del Ícaro interior</i>, Ingrid Pumayalla 2017</span></td></tr>
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">Ingrid Pumayalla will be <span style="background-color: white; color: #212121;">performing </span><i>En búsqueda del Ícaro interior</i><span style="background-color: white; color: #212121;"><i> </i>as p</span><span style="background-color: white; color: #212121;">art of the REcreative Film School Night class </span><span style="background-color: white; color: #212121;">at the Clore Studio, South London Gallery, 7:00pm Wednesday 15 March 2017. </span></span><span style="background-color: white; color: #212121; font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;">For more information and free booking visit the </span><a href="http://www.southlondongallery.org/page/3052/REcreative-Film-School/1243" style="background-color: white; font-family: "Helvetica Neue", Arial, Helvetica, sans-serif;" target="_blank">South London Gallery website</a></div>
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British Artists' Film and Video Study Collectionhttp://www.blogger.com/profile/15033556191420811440noreply@blogger.com