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

Posts tagged “art and technology

My article ‘Touch as techne: rethinking digitality’ has been just published in Digital Creativity…

My article ‘Touch as techne: rethinking digitality’ – which is about my research on ‘inner technologies’ has been just published in Digital Creativity  (in a  special edition on Arts and Ecology) Volume 26 No.(Taylor and Francis publishers)…

Go to this link to access it: http://www.tandfonline.com/doi/full/10.1080/14626268.2015.998681#preview

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Gallery

The Hackathon @ The Port – CERN

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

The Port0The Port2

Some images of working and discussing:

ThePort1ThePort4

 

Images of the presentations (with a prototype for SMART Dog on ‘Viking’)

 

Port 5ThePort6
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


Work influenced and nurtured by Darrell Viner, a British pioneer in cybernetic and sound art.

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:

http://www.henry-moore.org/hmi/exhibitions/past-exhibitions/2011/darrell-viner-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


Women, art, science and technology – soundings below the radar

Maryanne Amacher

Sound installation artist, composer, pioneer, Maryanne Amacher

Yesterday I was a elated, I felt lucky. Not only because I had the privilege as a student to be able to attend a vibrant lecture on the cutting edge technology of ‘Immersive Cinema’  – but also because the lecturer, Naut Humon (founder of Recombinant Media Labs in Los Angeles, CA) transmitted directly to us his passion of how this innovative technology can connect artists, musicians, technicians and the audience together – bringing the whole nature of ‘shared experience’ between artists and audiences to a completely different dimension.

To get a glimpse for yourself of the implications of ‘Immersive’ media will have on cinema, art installations, scientific display, etc…  see Recombinant Media Labs: http://rml-cinechamber.org/

Whilst I was struck by the transformational  possibilities this offers for collaborative projects between artists, musicians, engineers, scientists, etc, (especially its ability to revolutionize how together we can create cultural works and experience these works), what also really took a hold of my imagination was Naut’s discussion about the late composer and installation artist, Maryanne Amacher, who died in 2009.

The poetics of her work exist in direct relation to its ambition, scale and tone. For example, in one of her early works, as an artist in residence at MIT, she created a sonic work of considerable scope and duration. From November 1973 to November 1978, Amacher broadcast live soundings of the ‘Boston Harbor Sound Environment’, via a microphone facing the ocean at Pier 6, directly into her studio and from 1976 to 1978 the sound was also transmitted into MIT’s Artificial Intelligence Laboratory. Amacher also developed her work towards psychological /physiological apsects of sound, working particularly with sound perception- effectively ‘wrapping it around’ the listener’s head. This area of her work formed pioneering research into sound and cognition, which has now become a popular research area within music, arts and digital media fields, especially research into pyscho-acoustic, binaural and 3-d sound.

Which leads me to beg the question of why female composers who have made major contributions to their fields such as Amacher are still being neglected in terms of the dissemination of their works. I only found out about Amacher by chance…

As with the works of Delia Derbyshire and Daphne Oram, Amacher’s work is formed by the relational intersection between a woman’s creative consciousness with her world environment and emerging technologies. These artist-composers’ works are crucial to women studying music and the arts  (at the very least), they are works that all artists, musicians, scientists, etc should have as a model to work from… yet persists in remaining ‘hidden’ and difficult to access.

Alongside of plunging headlong into what possible connections can be ‘profitably’ made between arts and technologies, as a culture I feel we should also value, taking the time to research and make more accessible women’s contributions to technology and the arts from the last 100 years – just for starters.

Amacher’s work deserves attention, much much more attention… To see the archive currently being put together of her work see:

http://www.maryanneamacher.org/Maryanne_Amacher/Amacher_Archive_Project/Amacher_Archive_Project.html