Knowledge Through Practice

1st December 2008 Knowledge Through Practice Seminar – Peter Seddon

knowledgethroughpractice — Mon, 30 Jun 2008 18:34:53 +0000

What Knowledge? What Practice?

Peter Seddon using examples from his recent work presents a polemical alternative that questions the very nature of much that informs this area regarding research within so called practice-based research. When does one become the other.

Biography

Peter Seddon’s research work has been informed by interest in historiography; both in the sense of histories of art, and wider political/social/cultural histories. It is also informed by an interest in image/text and theories of language.

Since 2001 his art practice has been reconfigured through a ‘mentoring’ programme of collaboration, consultation and critical conversation with Andrew Wheatley, curator and director of the Cabinet Gallery, London. The practice that developed from this experience grew out of a decision to work more rapidly on paper and through digitally produced prints. Part of the aim of this method is to bring into alignment what have been seen as differing and dispersed interests and ways of working. He seeks to evolve a working method that brings together visual images, writing, and researching into something he terms ‘historiographical practice’.

Although his practice crosses ‘genres’ and in its historical referencing can seem quite complex, its technical resources are very simple and easy to grasp, using as it does straightforward easily available means, such as a computer, digital cameras, large format inkjet printers, stencilled vinyl text and the materials of the stationary/office/graphics supply store. There is no mystery to its production and in that sense it is a practice amenable to conversation, discussion, participation and dialogue across different levels of audience interest and audience experience.

10th November 2008 Knowledge Through Practice Seminar – John Frans Holder

knowledgethroughpractice — Fri, 06 Jun 2008 11:12:31 +0000

Biography

John Frans Holder is an interactive media artist and tutor at the University
of East London. He is currently focusing on the intersection between
Interaction, Immersion and Installation Art, and is particularly interested
in audience transformation from viewer to participant. Using a plethora of
digital media techniques such as real-time video analysis, video tracking,
live video processing, and motion capture in his work, he attempt to immerse
the viewer in the installation. Sometimes an objective is to offer and
encourage creative ownership to the participant, or attempt to create a
playful interaction zone with the piece. Holder has a Master of Arts in
Interactive Media, a Master of Science in Virtual Reality, and is currently
studying a doctorate in Fine Art.

Abstract

He will begin the discussion by outlining some of his previous creative
pieces. The talk will then address his professional doctorate practice,
attempting to answer questions such as why he decided to do it, what he hopes
to achieve from this involved process, and how it is informing his work. Next
the discussion will focus on several completed works, revealing some of the
issues both conceptual and technical that arose throughout the creative
process. Finally he will outline two new pieces that are currently in
progress, touching upon several theories that are influencing both their
creative and conceptual direction, whilst opening the discussion of these
pieces up to the rest of the group.

27th October 2008 Knowledge Through Practice Seminar – Pia Tikka

knowledgethroughpractice — Fri, 06 Jun 2008 10:23:41 +0000

Pia Tikka – Authoring Enactive Cinema

Abstract

My research orientation emerges from two decades of filmmaking practice in a range of international film productions, including my feature films Daughters of Yemanjá (Brazil-Finland 1996) and Sand Bride (Finland 1998). In November I will defend my doctoral thesis Enactive Cinema: Simulatorium Eisensteinensis, which has been inspired by the visionary montage considerations of Sergei Eisenstein (1898-1948) on one hand, and Antonio Damasio’s treatment of consciousness as multisensory ‘cinema-in-the-brain’ on the other. An associated cinematic installation project Obsession (2005) introduced the concept of enactive cinema, which implies that the narrative flow is driven by unconscious psychophysiological enactment of the participant, or the enactor. The objective of my future research is to deepen the understanding on the role of what I describe as second-order authorship. The focus is on the process of authoring emergent behavior of enactive system, its inherent dynamics, e.g. context-dependency of the cinematic content, and in particular emotion dynamics.
In my presentation I will reflect research-based practice as a reciprocally complementary methodological approach to the established practice-based research widely promoted in European art universities today. Perhaps, the extended reach of the mind’s conceptual grasp (read ‘research’) may provide the practical domain of art with new insights.

Biography

Pia Tikka is a researcher at the University of Art and Design Helsinki. Her background is in film, cinematography and graphic design. She has directed long feature films ”Daughters of Yemanjá“ (Brazil-Finland 1996) and ”Sand Bride“ (Finland 1998), and worked in a range of feature film productions, including films by director Mika Kaurismäki 1989-2000. Pia Tikka introduced her enactive cinema project ”Obsession“ (2005) in the Museum of Contemporary Art Kiasma, Helsinki and was awarded with Möbius Prix Nordic prize for ‘interactive storytelling. It has also been shown in anumber of other venue including ISEA 2006 & Zero One, san Jose, CA; Ars Nova, Turku 2007.

Tikka’s doctoral thesis ”Enactive Cinema: Simulatorium Eisensteinensis” introduced the concept of enactive cinema, which implies that the narrative flow is driven by unconscious psychophysiological enactment of the participant. At present Tikka holds an associate researcher position in the Brain Research Unit at the Helsinki University of Technology. Tikka is currently working on the biological basis of cinema (‘Cinema and the Brain’) and the notion of enactive media.

13th October 2008 Knowledge Through Practice Seminar – Sandra Lim

knowledgethroughpractice — Thu, 05 Jun 2008 18:38:53 +0000

How do we experience and live in the Everyday spaces and events of urban space and how can these experiences be interpreted and transformed into moving image practice which is itself, grounded in the film and video art practices of the avant-gardes. Can creative cinema practice also join into the asking of questions which are more traditionally thought of as being asked by those such as urban theorists, philosophers, ethnographers, architects, anthropologists, economists and novelists? How would a practice based in moving images begin to ask this question? What can a creative version of reality begin to tell us about how we live in the everyday? What kinds of knowledge and meaning can be gained from asking such a question through a non-linguistic model of representation and practice?

In this seminar I would like to illustrate how some key film and video artist’s can be understood to have gone about asking these questions through their work and in turn illustrate how I have undertaken these questions through my own practice as part of an ongoing practice-led PhD in video art entitled: “Interpreting time, urban space and the everyday through video practice.”

12th May 2008 Knowledge Through Practice Seminar – Ian Grant

knowledgethroughpractice — Wed, 23 Apr 2008 17:31:06 +0000

Expressivity and the Physical and Virtual Object in Games, Digital Art and
Performance
Ian Grant May 2008
The seminar aims to discuss and give examples across the related contexts of digital
puppetry, real-time animation, mimetic and non-mimetic kinetic objects, automata,
‘cybernetic sculpture’, performance systems and the technological interfaces to such
phenomena.
We will seek systematic observations of the interplay between performer and object,
audience and object, player/user and virtual object where dynamics surrounding the
projection of human qualities (anthropomorphism), emoting and expressive relationships
are formed. ‘Object’ is used to avoid the figurative and historical overtones of the ‘puppet’.
I wish to theorise and form a taxonomy of ‘pre-expressivity’ and ‘performance expressivity’
in relationship to digital domains: ideas familiar in contexts that relate to physical
performance and, particularly musical performance. By ʻperformance expressivityʼ, I refer
to different domains of ‘expressivity’ including:
Somatic / whole body
Face / Mouth / Eyes
Breath / Voice – prosody, language and semantics
Gestural
Kinetics – qualities and direction of movement
Sonic / Musical – timbre, timing, rhythm and dynamics
Simplified / Complex Expressive Systems
Compound Expressive Behaviour
To date, my personal focus has been on voice and speaking objects. The present seminar outlines the aims and focus of a broader study.
Examples will be drawn from:
Cybernetic Sculpture
Edward Ihnatowicz, SAM and the Senster;
The Work of Ken Feingold;
The Smile Project: Neil and Iona by Jason Van Anden;
Ars Electronica;
Art and Performance Practice
ʻBlendieʼ and the ‘Machine Therapy’ of Kelly Dobson, MIT;
http://web.media.mit.edu/~monster/
Billie Whitelaw as “Mouth” in Samuel Becketts ‘Not I’;
Robot Art / Object / Puppet Theatre
Robot Performance and ‘robots in art’ -
Louis-Philippe Demers http://www.hfg-karlsruhe.de/~ldemers/ ;
Valère Novarina’s “Theatre of the Ears”;
Embodiment – the physical and virtual relationship between performer and performing
object;
SmartLab’s VIP project;

Biography

Ian Grant is an interactive media artist and performer working with Digital Puppetry, a hybrid art form that includes a broad range of creative practices. His work explores real-time video montages and avatar control using wireless game controllers while exploring what is meant by the term digital puppet and raises issues surrounding the virtual and tangible body in performance. Real-time media objects are viewed as extensions to the human performer { sympathetic with the traditions and conventional definitions of puppetry. He is currently developing a prototype performance system made using Apple’s innovative and free development tool Quartz Composer. It en-compasses screen-based digital puppetry and scenography, mixed-reality video composites and custom software programming and the gesturalcontrol of an on-screen avatar using the popular game controller, the Nintendo Wii-remote.

9th June 2008 Knowledge Through Practice Seminar – Frances Lord

knowledgethroughpractice — Mon, 31 Mar 2008 12:14:31 +0000

Public Art is a complex and diverse area of practice. Definitions of “what is public art?” are changing and there has been a recent growth of literature and research into the impact of public art on communities, as well as the economic, cultural, artistic and environmental role and value of public art. So, what are the current definitions of public art practice and the theories that surround it?

The seminar will address questions such as how do artists gain experience in the public art field?

What does practice-based research mean in the public art field and what are the opportunities for artists? Does practice-based research move on critical thinking and influence commissioning trends within the public realm? How is research time funded?

What are the benefits and gains for graduates and early career artists in mentoring and shadowing roles?

What might the role of the artist be within an interdisciplinary context and working in collaboration with other professionals such as architects, planners, engineers. What scope is there for creativity and flexibility within the confines of a commissioning brief?

Given the importance of ‘process’ in many Public Art projects, where the end product may only be a small part of the whole project, what is the potential for knowledge based research? What impact does the trend for artists to chose, or be invited to, work closely with communities to deliver social or political agendas have on the quality of work commissioned?

What might the role of temporary public art projects be in terms of undertaking practice-based research? What is the wider role and value of commissioning temporary, rather than permanently based, artworks?

How might the series The Big Art Project, scheduled for autumn 2008, tracing the development of six new public artworks in the UK through the commissioning and funding process and right up to their installation impact on public attitudes to the role of the artist?

Frances Lord is a freelance curator and consultant based in East Sussex specialising in public art and commissioning. Frances works with a range of individuals and organisations including local government agencies, environmental agencies, museums and galleries initiating, developing and managing projects. This includes writing public art policies and strategies as well as more ‘hands-on’ project management. Frances also run seminars on ‘Negotiating Public Art Commissions’ and mentors visual and applied artists wishing to gain experience and develop their practice in public art.

See www.franceslord.com

28th April 2008 Knowledge Through Practice Seminar – Paul Levy

knowledgethroughpractice — Sun, 23 Mar 2008 15:09:16 +0000

In their book “Technosophy”, Paul Levy and Mihael Junkar define Technosophy as a multi-perspective approach to the design of technological systems and products. Artistic, philosophical, economic and engineering perspectives, combined, can create more purposeful technological applications, often viewed by users as “wise” in design. Technosophy is the application of “wisdom” to technology design. Wisdom arises through reflection on experience and practice. Reflective prpactice, in a multi-discplinary environment is often a “messy” process and the evolution of structured practice becomes a challenge for industrial application of technosophic design. This seminar takes a selective look at technosophy focusing particularly on the application of artistic disciplines and genres to technology design. The theory and practice of “process gestures” is explore with examples given. The session will be fun and it is hoped that a debate will arise during the seminar. The application of ballet and contemporary dance to the design of toasters and CD players. The relationship between intimacy and technology interfaces is also explored! Paul will also speculate on how future space navigation will be based on “process transposition” making use of ball room dancing.

Paul Levy is a senior researcher at the University of Brighton’s CENTRIM (The Centre for Research in Innovation Management). He is co-author/editor of the book “Technosophy” (Kluhwer 1992) as well as co-author of a just-published collaborate book “Organsiational Theatre” (Learning Lan Denmark 2007). He is founder of the Rational Madness Theatre company which is based in Brighton.

Announcing : PHD OR NOT TO PHD ? Online Discussion on Yasmin

knowledgethroughpractice — Sun, 02 Mar 2008 10:34:59 +0000

The Yasmin mailing list is starting a new online discussion, that may be of interest to the Knowledge Through Practice Seminar group.

Announcing: PHD OR NOT TO PHD ?

Forthcoming: Dates : 3rd March 2008, 14th March 2008

To join the discussion register at : http://www.media.uoa.gr/yasmin

Moderator : Prof.Dr. Oguzhan Ozcan, Director of PhD in Art and Design at Istanbul Yildiz Technical University. http://oguzhan.ozcan.info . YASMIN corresponding editor.

Respondents will include:
Ken Friedman, Kristina Niedderer, Deirdre Barron, Chris Rust John Zimmerman, Basak Senova. All interested persons are invited to participate.

Dates : 3rd March 2008 14th March 2008

“To Phd or not to Phd ? : How to improve research based art practice”

Like scientists, artists are engaged in research activities. However research is carried out in different ways when comparing artists to scientists. During the last 20 years, a number of academic institutions have created PhDs in Art as well as a Practice Based Research Degrees. For a thorough report on this question, please refer to the one written by Professor Stuart Lain, University of Brighton ( http://www.it.bton.ac.uk/research/euindia/knowledgebase/brightonpg/laing.htm ). We would like to invite Yasminers to discuss the broader question of how research education in art should be designed today.

Respodents will include: Prof.Dr.Ken Friedman, Swinburne University of Technology
Dr. Kristina Niedderer.
Dr. Deirdre Barron, Swinburne University Faculty of Design.
Prof.Dr. Chris Rust at Sheffield-Hallam University
Dr.John Zimmerman, School of Design Carnegie Mellon University
Dr. Basak Senova, School of Communication, Kadir Has University

18th February 2008 Knowledge Through Practice Seminar – Barry Barker, Room M50 University of Brighton, Grand Parade site at 4pm

knowledgethroughpractice — Wed, 13 Feb 2008 17:34:39 +0000

Abstract

Barry Barker will talk about his work with focus on the new Marcel Broodthaers exhibition he has curated for Milton Keynes Gallery. This is most comprehensive exhibition in the UK by renowned Belgian artist Marcel Broodthaers (1924–1976) since his Tate Gallery retrospective nearly thirty years ago. Broodthaers was a poet, photographer, film-maker and artist and throughout his career challenged the role of the artwork, the artist and the art institution. Considered to be one of the most important artists of the last century, Broodthaers’ work and thinking is highly influential on many artists working today. For more details see http://www.mk-g.org/index.php?id=364

Biography

Barry Barker has thirty years experience of working within the contemporary visual arts as a curator, writer and director of both publicly and privately funded arts organisations. These include the Nigel Greenwood Gallery, London; I.C.A. London; Arnolfini, Bristol; John Hansard Gallery, University of Southampton; Hayward Gallery, London and the Lisson Gallery, London. During this period Barker’s main area of research has centred on curatorship and exhibition making, predominately working directly with artists leading to many significant exhibitions, both one person and group exhibitions. He has worked closely with three generations of artists on publications, exhibitions, film and video. They include Marcel Broodthaers, Lawrence Weiner, Daniel Buren, Art & Language, Rebecca Horn, Richard Long, George Baselitz, Tony Cragg, Anish Kapoor, Douglas Gordon and Christine Borland.As head of the Centre for Contemporary Visual Arts at the University of Brighton, Barker has invited artists to collaborate on a programme of exhibitions for the University gallery which will be particular to that gallery space. It is intended that the artist’s response to this invitation be documented and made available to others who are interested in this area of research, as both a means of furthering the knowledge of an individual artist’s work and to encourage a wider understanding of the role of the curator and gallery.

4th February 2008 Special One Day Event 11:00am-4:30pm – The Spring Group

knowledgethroughpractice — Mon, 14 Jan 2008 09:05:21 +0000

The Spring Group: Maarten Ambaum, Janet Barlow, Jon Bird, Shirley Chubb, Giles Harrison, Charlie Hooker, Chris Rose, Sol Sneltvedt, David Stephenson, Holger Zschenderlein, Wayne Adams and Carolyn Arnold

INVITE YOU TO A PRESENTATION OF THEIR RECENT ART/SCIENCE
COLLABORATION

Monday 4th February 2008
Centre for Research & Development
Research Centre, M50
Faculty of Arts & Architecture
University of Brighton

Programme

11.00 – 1.30 Exhibition open

2.00 – 3.00 Exhibition open

3.00 – 4.30 Panel Discussion ad Questions

4.30 – 6.00 Refreshments and Informal Discussion

The Spring Group produce collaborative research in the fields of Art, Design, Science and Music and is based at the Universities of Brighton, Reading, Exeter and Sussex. Their current two-year project is part of the AHRC/DTI ‘Nature of Creativity’ scheme.

Please note change of time, this week only.

springgroupposter1.pdf