The exploits and musings of an artist-acupuncturist, lecturer and researcher at CoDE, Cambridge School of Art, Cambridge, UK.

Women and Technology

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Pulse Project at STWST 48 Hours in Linz (in association with Ars Electronica)

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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!!

 

 


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January – March News

March 2015

I am one of the participating artists in ‘Drawing Towards Sound’ curated by David Ryan.

DrawingSound1

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.

See: http://www.greenwichunigalleries.co.uk/drawing-towards-sound/

February 2015 

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.

Pulse-Project-A-Sonic-Investigation-Across-Bodies-Cultures-and-Technologies-Michelle-Lewis-King-image-770x570

To see all the projects (past and present): http://www.projectanywhere.net/

To see my project:

http://www.projectanywhere.net/pulse-project-a-sonic-investigation-across-bodies-cultures-and-technologies-michelle-lewis-king/

January 2015

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).

Resonance

Listen to the show here: https://www.mixcloud.com/Resonance/143000-the-news-agents-320kbps-3/

 


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Hot Off the Press!!!!

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!!

 

WAVE:CLANG

 

 

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 Michelle Lewis-King – Ryoko, Leeds_5_07-09-2012 01:53
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Buy it here:

http://clanglabel.bandcamp.com/album/clang-wave-compilation


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New Year – New Work

From this week (December 20th) onwards, I will be collaborating with sound artist Iris Garrelfs who is currently an AHRC PhD research fellow at LCC in London where she also lecturers on the BA Sonic Art course. This project will take my research into new directions – instead of talking pulses and composing, I will be treating Iris with acupuncture – as a form of [ethical] experimental performance study into infrasound, i.e., I will  prescribe/select points along the body to direct the oscillations of Iris’s qi into generating a resonant field that is health giving and Iris will create unique soundscapes and recordings in response. Can’t wait to see/hear the work as it unfolds!

See Iris’s extraordinary work and doctoral research here: http://irisgarrelfs.com/

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Recent Work (sonic studies, installations, collaborative performances, etc.)

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Click this link to view a portfolio of recent work.


research in progress

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Overall, I would define my practice as the creation of participatory, socially engaged event-based performances and site-specific projects that use sound as a medium that has considerable connective, transgressive and healing capacities. Loosely located within Digital Performance and Performance-as-Research categories, my research focus has expanded its emphasis from my initial research on ‘pulse-taking’ as an art-as-research method for connecting art, science, eastern and western cultures (which I have posted about earlier in this blog), into the broader and more culturally active theme of the ‘interface’ itself. This only happened after I realised I have been persistently writing about the interface through critically examining what is currently being termed ‘interactive’ art, and the contemporary interfaces between artist, audience, gender and technology.

My creative practice forms a comparative study that investigates notion of the posthuman through contrasting the use of human touch with ‘interactive’ technologies. Touch in my work is not used in generalised or emotive senses, but is instead informed by my clinical and performance art backgrounds and seeks to interrogate the social, political and material cultures engaged in the development of human-computer interfaces and its relationship with the body, with ‘users’ and audiences. Through placing touch that uses the ancient asian healing art of divining and mapping the phenomenal landscape of human cosmology alongside of our contemporary computational mapping and mediation of physical phenomena and the social body, my study  aims to assess digital and analogue interfaces and their capacities to positively and negatively mediate self and other, art and science, human and post-human.


the amazing Daphne Oram