I am currently in residence at Stadtwerkstatt (STWST) – which is next to the main Ars Electronica building (to the left in the above photo) performing my pulse reading project from Friday-Saturday (5/9/2015) at 11:00 pm to 5 am and Saturday-Sunday from 11:pm to 5 am and am also giving a workshop today (from 5pm) to explore making personalised soundscapes using Chinese pulse diagnosis and SuperCollider audio synthesis software. This performance and workshop series is part of Shu Lea Cheang’s exhibition ‘InfoCrash 48’ at SWST in association with Ars Electronica. See this link for the other exciting projects that are going on here: http://projects.stwst.at/stwst48/ (hint: there are projects that create unique soundscapes from bee hives (Bioni Samp) and another project by Martin Howse and Jonathan Kemp that creates ‘social software events’ i.e., using people’s piss interacting with objects and computer interfaces to create soundscapes – On Monday I fly off to Budapest to collaborate with 4DSOUND on a new interface for making pulse soundscapes – More later!!
I am one of the participating artists in ‘Drawing Towards Sound’ curated by David Ryan.
Historical works by Artists: Pierre Boulez/ George Brecht/ Earle Brown/ James Brooks/ John Cage/ Cornelius Cardew/ Morton Feldman/ Iannis Xenakis
Contemporary works by: Hallveig Agústsdóttir / Sam Belinfante / Vicki Bennett / Carl Bergstrom-Nielsen / Laura Buckley / Alvin Curran / Tom Dale / Vinko Globokar / Christophe Guiraud / Roman Haubenstock-Ramati / Neil Henderson / Richard Hoadley / Joan Key / Catherine Konz / John Lely / Michelle Lewis-King / Anestis Logothetis / Onyee Lo / Anton Lukoszevieze / Farah Mulla / Rie Nakajima / Luigi Nono / Marianthi Papalexandri-Alexandri / Michael Parsons / Simon Payne / Helen Petts / Lauren Redhead / Aura Satz / Thomas Smetryns / Jennifer Walshe / John Wollaston / Christian Wolff
This exhibitions examines the interface between the visual and the aural through notation, documentation, performance and video/moving image. Each of these aspects are currently being explored from many different perspectives by contemporary composers, musicians, visual artists, and film/videographers. Its basic starting point is the historical graphic score/‘new’ notational practices of the modernist avant-garde and how sound is captured and communicated.
University of Greenwich, Steven Lawrence Gallery, Private View March 3rd.
I am also proud to announce that I have been chosen (as one of five artists) to have my research project ‘Pulse Project’ hosted for 2015 by the global peer review curatorial platform PROJECT ANYWHERE.
To see all the projects (past and present): http://www.projectanywhere.net/
To see my project:
In January, I was on the Resonance FM London (January 31st 2015) talking with Jude Cowan Montague and Rebecca Feiner about my acupuncture and art practice:
(I speak at about 10 minutes into the show).
Listen to the show here: https://www.mixcloud.com/Resonance/143000-the-news-agents-320kbps-3/
Pictures from a recent talk I gave at ‘Le Sujet Digital: Temporalités III, Université Paris VIII, November 12-14
For information on the bilingual conference on art, science and the digital/temporal subject, see: http://www.sujetdigital.labex-arts-h2h.fr/content/colloque-le-sujet-digital-2014-temporalit%C3%A9s
and for the programme:
ELSE – a peer-reviewed International Journal of Art, Literature, Theory and Creative Media has just released its first issue (issue 0) titled, ‘Trans-“What”?’. The publication responds to the question of what ‘Trans’ means within creative practice (and is visually stunning too). My article ‘Touching as Listening: A Translational Encounter Between Art, Science, East, West, Self and Other’ is one of the many interesting artistic and theoretical explorations of transdisciplinary practice in this inaugural issue, so please take a look!
I have just arrived back from participating in an amazing 3 day hackathon @ CERN in Geneva. In this post are some pictures of my team, the project (which is about improving land clearance of mines through improving communication between demeaning dogs and their handlers) and the presentation from day 3 of the hackathon @ The Port 2014 –
An outside view of CERN and a pic of mu team – Pier 83: SMART Dog
Some images of working and discussing:
Images of the presentations (with a prototype for SMART Dog on ‘Viking’)
This was an amazing event not only because of its location and the community it took place in (CERN!!!), but also because the organisers of this event brought innovators in technology and creativity together from across the globe to address some very urgent humanitarian issues. To say it was a ‘very inspiring event’ would be a massive understatement. – photos appear courtesy of Andrey Longinov.
To see our video to raise awareness – please use this link for youtube: https://www.youtube.com/watch?v=SfN31OzoJ0c
One of my pulse soundscapes has been included in this just released curated digital album compilation entitled ‘WAVE’ – produced and released by the experimental music label Clang. I am honoured to be one of the artist’s chosen for this compilation!!
|Michelle Lewis-King – Ryoko, Leeds_5_07-09-2012 01:53|
Krishve – Chrysalis 04:25
Band Ane – Dustrain 05:43
Marcus Wrangö – Fanér 06:26
Buy it here:
This Arduino documentary is a great example of new creative possibilities for individuals and groups through using open source technologies
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This video demonstrates how a group of creative technologists (motivated by the threat of the closure of their department) came together to develop a tool that has gone global. Their communal ethical approach to the creation and production of their ‘product’ is based on assuring that technology (and the future of technological production) is free and open and able to be continuously developed upon in multiple ways and can reshape how we ‘work’ for ourselves and with others. Shame there is still the 9.5/10 ratio of men to women represented though…
Having been handed a book the other day titled: ‘a computer in the art room – the origins of british computer arts 1950 -1980’. I was pretty lukewarm about it and just about to put it back on the shelf (being slightly fed up with this subject!) when, the page I opened on contained a long description of the important contributions to this genre that my beloved tutor from Chelsea (the late Darrell Viner) has made… my eyes filled with tears.
Most of my work in the 90’s was only made possible by the persistent encouragement, assistance and donation of materials by the most generous artist I have ever known. Darrell was loved by all his students, despite his anarchistic quietly shocking comments and outrageous behavior. He would totally be fired if he were teaching today.
Darrell’s early work:
Note: this is a majorly sanitized representation of Darrell’s work, ‘the grind’ being closer to what I saw in his studio and certainly NOT in a glass case – they would have been out in the open- some of his works were even a threat to people in the space…
Here is a talk with his partner about his work which shows his studio as I remember it:
Semaphore at the Chisenhale (1990):
Art Institutions now are so over-controlled and tutors so bereft of time to ever offer the same pastoral care and freedoms we used to take for granted.
Here is my work at Chelsea and just after…
1st – Chelsea College of Art London Mid-Year Show March 1995
A Duchampian Monster
2nd – Installation – Champagne Shower – 1997
3rd – Chorus 1999
3rd – House Music- Mellow Birds London 2000
Fluxing the Manifesto! Re-working the Artist/Audience Divide. See: http://visualisecambridge.org/?p=490
In January I was very kindly asked to take part in an event called ‘Future Fluxus’, celebrating the 50th anniversary of Fluxus, by organiser, curator and director of Cambridge’s Visualise public art program Bronac Ferran.
Conducting my performance as research, I asked members of the audience to re-work and rethink George Manciuna’s fluxus manifesto. Below is my ‘instruction piece’ and the audience responses which together recreated and documented a contemporary interpretation of Fluxus:
Here is George Manciuna’s original: Here is my instruction piece for Fluxus participants:
Below (and the one displayed at the top of this post) is the body of work not only ‘completed’ as per instruction but recreated and reinterpreted by the Future Fluxus ‘audience’ –
Here is a link to the event:
Last month I visited California to speak with artists, writers, researchers and directors – working in both historic and vanguard forms of digital media – to get a bird’s eye view of the paths being forged into the past, present and future within the fields of art and technology.
The following posts will feature a series of interviews and reports on my travels from the hills of Berkeley, Stanford University in the Silicone Valley, to the Center for Research in Computing and the Arts (CRCA) in paradisal La Jolla, San Diego.