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Art & Design
I’m really delighted to have published this op ed for CLOT magazine and, especially, to have discovered their wonderful publication through this opportunity. it’s a fantastic site with some amazing articles about incredible art work. This intro into drone art covers one of the major chapters of my new book on DRONES. It’s the chapter that describes where I began with drones and I’m especially attached to it, as it was where I began working with some amazing and lovely people. Check it out HERE.
Last week, I gave a talk for the MA Material Futures at Central St Martins, London. I gave a talk for them a few years ago and it was a real pleasure to return. Here's my manuscript from the talk.
Opening at the National Football Museum this week is a new exhibition I was involved with producing, through my relationship with the museum's artistic director, John O'Shea.
I have worked with John for many years now and he has done amazing work in bioart and new media art. He has brought together an extraordinary exhibition of the last 40 years of football computer games to show how much gaming has evolved and how close art and life now come together.
The exhibition is on until June, so plenty of time to see it. It's worth spending a whole day at least, just to experience the different kinds of game interfaces and appreciate how they have changed over the years.
AND festival went to Grizedale forest this year, a return after 5 years. We delivered a number of drone activities over the weekend, including a networking event for drone enthusiasts and some flying experiences for beginners and experts. We were incredibly lucky with the weather and had some great people come along and learn.
A couple of weeks ago, I attended #SheffDocFest invited by The Wellcome Trust through their curator of the Ideas and Science stream Erinma Ochu. It was a fantastic experience, which came at just the right time for me, as I embark onto more documentary film making with colleagues in Salford. One of the main appeals for being at Salford was to work with environmental and life scientists, whose reseaerch is with non-human species. By working with them, I hope to enrich my theories around posthumanism and biotechnological change. However, the element of the #SheffDocFest that was most helpful to me was around the overlap between journalism and the art of documentary. Some argue that journalism has lost its capacity for in-depth investigative work and that the art of documentary making is providing a space for more creative, groundbreaking journalism to emerge. The few pieces I saw in Sheffield really hit home these possibilities.
The first film I saw was The Nine Muses, which was a lovely way of being exposed to artistic film making, which could be underpinned by a scientific narrative.
Next, I hopped over to a panel debate called Final Frontiers 101, which had the amazing Robin Ince with Alice Bell and David Kirby from Manchester. It was part of the Wellcome programme and focused on a discussion about how science and film makers work together to develop stories that are factually accurate, but also entertaining.
Next up was a mock commissioning session, whereby a panel sat through a process of imagining how a work gets commissioned, covering the stages of production from idea to screening. It was a great insight into the commissioning process, the range of people involved, the financial negotiations around release territories, and the sheer fragility of the whole process!
After this, I had a chance to pop into one of the commissioning panels, focused on factual entertainment. It was a lovely glimpse into a crucial overlap that academics need to figure out - how to make their science entertaining.
Before 6pm, I also managed to pop in to Site Gallery, which had a VR exhibition, exploring how film can be created for such devices. It was a quite eery space, with people wearing headsets standing in silence, moving around slowly. The content within the devices was the best I have seen and the potential of platforms like Oculus Rift are really creating possibilities to realise film in a way that could only be imagined back when VR first took off in the 1980s.
I was then able to briefly pop along to a Film Londond drinks reception, before heading over to see 'Spectres of the Shoah', which, stylistically, made me think about how much you can do with a simple interview style documentary, bringing in archival images and footage to re-create a story from years ago. It was simply beautiful and breathtaking and a wonderful experience to hear about. Below is a photo of the director with Nick Fraser, who has been helping to push the film to new audiences.
The final event of my night was the amazing story of Greenpeace, in the film 'How to Change the World'. As someone who believes we should all have the capacity to enjoy this aspiration, it was a wonderful way of reconnecting with the possibilities of environmental activism and how central image making is in the process of making change happen. The founding members of Greenpeace, particularly one of its founders Bob Hunter, for me, wonderfully encapsulated what we need to do to make change happen. Bob had the skills of a journalist, the insights of a scientist, and the energy of an activist. Despite Greenpeace's complicated early life, this film is a great starting point for changing the world.
Overall, the SheffDocFest was an amazing day - oh yes, I did all this in just one day 12pm-10pm. So grateful to have been there at this time, where film making is becoming a bigger part of my life. Congratulations to the Wellcome Trust for putting themselves into a new space, bringing science to film and film to science. Another big thumbs up for this amazing organization.
ps. can I have some money to make an epic documentary in Brazil next year with the amazing Professor Robert Young
Last week, we ran a second event with people from arts organizations, talking about Project Daedalus. As for London, we showed them a range of applications, discussed all kinds of issues surrounding drone use, even gave them an overview of Amazon's new delivery drone patent, awarded in just April 2015. Many of the things we played are located in this Project YouTube playlist, which covers some of the things that are informing what we are doing.
Over the last few weeks, I have been working with the Manchester Science Festival and Electricity North West to launch a brief for a new artistic commission titled 'Electric Art'. We have just pushed out the copy and here it is. Please share and submit! The MSF is a fantastic context for new and provocative art work and a really great week to be in Manchester!
CALL FOR ARTISTS: ‘Electric Art’
Manchester Science Festival 2015, in Partnership with Electricity North West, and the University of Salford, Manchester.
This new £5,000 commission seeks to help realise a visual art work, developed through the theme of ‘electricity’ for exhibition during the Manchester Science Festival (October 22 - November 1, 2015). The final work will create public debate around the role of electricity in our lives and may engage. We are keen to hear from artists working across genres from digital and mixed media to craft and performance. Thematic areas may include attention to the future of electricity, forms of sculptural lighting, smart grid design, laser and alternative fuel sources.
Your Proposal:
We want to hear your ideas at this stage but would anticipate that the final piece will be informed by dialogue with Manchester Science Festival (MSF), University of Salford, and Electricity North West.
· Please write a 250-500 word proposal for your idea and include drawings and images where appropriate (PDF format). Include any information you can at this stage about what you need to make it happen (including time, resources and budget).
· Include a PDF of images and information to evidence your previous work.
· Articulate in which ways the work will stimulate public engagement with the science and technologies of electricity.
· The art works will be installed or performed within the Manchester Science Festival programme (location to be confirmed).
· Please let us know your anticipated technical and installation requirements.
· Projects must have a designated lead who will be the key contact with the Festival team and who will be responsible for submitting a brief evaluation report about the event upon completion.
· Please indicate your availability for the panel selection on 15th June.
Resources
Electricity North West - The Future
http://www.enwl.co.uk/about-us/the-future
The Science and Art of Electricity, 1914
http://www.scientificamerican.com/article/electricity-the-science-and-art-of-1914/
Beyond/In Artists Who Engage in the Theme of Electricity and Alternating Currents
http://artvoice.com/issues/v9n43/art_scene/the_electric_company
Timetable:
Announcement of commission: Monday 11th May 2015
Deadline for Proposals: Monday 8th June 2015, 12.00pm
Selection Panel: Monday 15th June 2015 12.00pm - 2.00pm
Winner notified: Tuesday 16th June 2015
Development of project: 16th June – 3rd July 2015
Final details input into MSF online submission: Friday 3rd July 2015, 12.00pm
PR activity: September/October 2015
MSF Launch: Thursday 8th October 2015
Manchester Science Festival: Thursday 22nd October – Sunday 1st November 2015
Please send your submissions to msf*at*mosi.org.uk (removing anti-spam measures).
Tomorrow, I am compèring the Digital Utopias conference, an event curated by @ANDfestival and produced by @GoogleUK @ACE_NAtional @Hull2017 @theSpaceArts and @BritishCouncil It's an extraordinary programme. Here's the brief:
Digital Utopias is a one-day conference which will inspire and incite debate about how new technologies are enabling creativity across the arts. The conference aims to capture topical and diverse approaches to curation, archiving, collecting and creating from a range of art forms, from the visual arts to theatre.
The event will provide an opportunity to discuss new tools and emergent practice, whilst delegates will connect with international arts organisations and specialists in the field to unpick the creative and critical challenges facing organisations today.
and here's the programme:
Sessions in the main theatre will be compèred by Prof Andy Miah.
10:00-10:20
Welcome from Sir Peter Bazalgette, Chair, Arts Council England and James Davis, Programme Manager, Director, Google Cultural Institute
Main Theatre
10:30-12:00
Debate: After the future
Main theatre
After the future examines how art is changing in the digital age and how new behaviours and systems are emerging in the creation, exhibition, interpretation and dissemination of art. Through sharing recent and historical examples, the panel will examine the challenges of classifying a growing and chaotic field. Asking questions such as; What are the practical challenges and values, which should inform the future? And how can our media art history inform the sector?
Chair: Sarah Cook, Morgan Quaintance, Ruth Mackenzie (The Space) and Jon Thomson (Thomson and Craighead)
Or choose from the following sessions:
10:30-12:00
Clinic: What to do with your data?
Rehearsal space
Puzzled by Open data, big data and meta data? You are not alone! Led by CEO Gavin Starks and Art Associate Julie Freeman, this Open Data Institute session demonstrates what art organisations can do with their data and the small steps you can make right away.
Led by CEO of ODI Gavin Starks and Julie Freeman.
10:30-11:30
Showcase: Presentation and talk by James Davis, Programme Manager at the Google Cultural Institute
Studio theatre
Google Creative Lab UK will talk about their chrome web experiments, games and prototypes.
12:00-13:00
Lunch lower and upper foyer
13:00-14:30
Debate: Disruptive Innovation
Main theatre
This panel will unpick alternative models of “innovation” through examining production models and their cultural value. Interdisciplinary artistic practice can create new platforms, resources and art forms, but what are the benefits to artistic practice and how can cultural appropriation be avoided?
Led by Tatiana Bazzichelli (Curator and writer) Memo Akten (Artist), Lynn Scarff (Programme Director of The Science Gallery) and Jose Luis de Vicente (curator and researcher).
Or choose from the following sessions:
13:00-13:45
Showcase: Designing Performance (Performance & Interactivity)
Studio theatre
From sensory performances to projection mapping technologies, we invite The Royal Shakespeare Company’s Sarah Ellis, artists Marshmallow Laser Feast and theatre company Extant to discuss how performance is being enhanced by new technologies and the challenges of live performance in the flesh and online.
13:00-14:30
Clinic: Archiving & preserving in the Digital age
Rehearsal space
How do we ensure long-term access to digital information through collecting, archiving and preservation? This session gives hands on tips for museums, curators and collectors on both moving image and social media archiving.
Led by Dragan Espenchied, Rhizome and Luke Collins from Lux, Scotland.
14:00-14:45
Showcase: Copy and Paste (Literature & Publishing)
Studio theatre
Changes in technology have played pivotal roles in literature (from Gutenberg to GoogleDocs) and we invite showcases from writers, publishers and software developers who are looking at everything from generative writing, books as code and alternative distribution models.
Led by Jim Hinks, Comma Press and Joanna Ellis from the Writing Platform.
Afternoon break – 15 mins
Choose from:
14:45-16:15
Debate: Activate the Public Space
Main theatre
The public space is augmented with information, networks, forces, bodies, buildings and technology. How do we define the public space? How do we create work for a time where the distinction between being offline and online is harder distinguish. We hear from a range of organisations, who have opened up new social spaces, data and communities through gaming, networked objects and growing DIY communities.
Led by Ruth Catlow (Furtherfield) Prof Jennifer Gabrys (artist), MolMol (Yes Yes No) and Iain Simons (GameCity).
15:00-15:45
Showcase: Curating Networks
Studio theatre
Curating Networks showcases projects that rethink ideas of authenticity, ownership and authorship in relation to archives, collections and traditional formats and gallery spaces.
Led by Katrina Sluis (Photographers Gallery), and Irini Papadimitriou (V&A) and Hullcraft (Joel Mills and Hannah Rice) University of Hull.
16:15
Closing remarks
Main theatre
16:45-17:30
Showcase: Crafting Code (Art and Science)
Studio theatre
Crafting Code explores the role of new materials in art production and how data can be materialised, examining the interchangeable role of artists, engineers and makers. We invite presentations on the ‘algorithmic’ opportunities this expanding field is developing, from design, digital sculpture and science to 3D modelling & wearable technology.
Speakers include Karen Gaskill (Crafts Council), Gretchen Andrew and Matthew Plummer-Fernandez.
16:45-18:00 Clinic: R&D as serious play
Rehearsal space
This session will bring together representatives from a selection of recent R&D projects to discuss how to design and manage a process that is playful and serious at the same time. Facilitated by a representative from the Digital R&D Fund, each representative will share their experience, before moving into a panel discussion and workshopping ideas with the audience. Creative technology projects are not just about delivering an end product - managing a R&D process which is creative, useful and rewarding for all parties is where the magic happens.
17:00-18:00 Networking Drinks
Foyer
18:00-18:30
Performance: The Measures Taken
Main theatre
The day will finish with an immersive digital art work. ‘The Measures Taken’ is a collaboration between Marshmallow Laser Feast and Alexander Whitley Dance Company. Both a dialogue, and a duet between human movement and the digital world, this performance promises to be visually striking and kinetically charged.
- See more at: http://www.artscouncil.org.uk/jobs-and-conferences/conferences/digital-utopias/programme/#sthash.ymmObLsu.dpuf
How should we think about our relationship to other species - and their relationship to each other? This is the question we are invited to consider when seeing Marcus Coates' new work 'The Sounds of Others', which premiered at the Manchester Science Festival this week. I took part in a conversation with him and his collaborator Geoff Sample who, ironically, had to sample a bunch of animals in order to help Marcus explore his work. The project essentially involves speeding up and slowing down the sounds of different species which, when done, begin to sound remarkably like each other. This art work was funded by Cape Farewell's new Lovelock Art Commission, which explores James Lovelock's Gaia theory through art. It's a really compelling piece, which is very easily understood upon seeing it and does make one think about our place in the world. I am sure it will tour all over the place, so do try and get to it, if you find it in your neighbourhood!
As I start at Salford University, there is an opportunity for a talented producer and research assistant in a new Digital R&D For the Arts project for which I am the research lead. The fund is jointly awarded by Nesta, AHRC, and Arts Council England. Please find the details below:
"An exciting opportunity has arisen for an experienced academic researcher and creative producer to join Project Daedalus, a new, Nesta project led by Abandon Normal Devices (AND), Marshmallow Laser Feast (MLF), and the University of Salford (UoS). Project Daedalus aims to liberate geographic constraints on artistic experiences and live events, using quadrotor technology (flying drones), combined with custom-made applications, to test new ways of engaging audiences remotely with content in real-time. Project Daedalus will test the limits of non-linear storytelling by creating interactive environments, which allow audiences to engage remotely by creating and sharing content in real-time.The position will be based across Salford’s School of Environment & Life Sciences (ELS) and AND’s office in Manchester, with some presence in Media City Salford, an exciting, state of the art destination, which fosters new, creative connections between scientists, the media and various publics. In 2014, the School of ELS invested into 6 new appointments, including a Chair in Science Communication & Digital Media, with which this post will be associated.
AND is a catalyst for new approaches to art-making and digital invention, commissioning ground-breaking projects which challenge the definitions of art and moving image. Inviting artists to hijack the imagination, by developing projects which abandon traditional settings and partnerships, with a distinct emphasis on creative enquiry and provocations, AND brings together an eclectic mix of academics, filmmakers, scientists and anarchists to actively push the boundaries of audience experience and arts production.
Informal enquiries in the first instance to Professor Andy Miah email: email@andymiah.net"
Application deadline: 18th October, 2014.
Hours: 0.5 FTE, 12 months
My talk given in September 2013.
On Saturday 9th March, I'll give a talk as part of TEDx Warwick. This will be the second time I've spoken at Warwick, the first being at the Virtual Futures event in 2011. My laptop broke on the way there and I ended up giving a somewhat retro talk using one of the latest pieces of software out there. It looked like this.
I've not yet decided how I want to focus the talk this year, but I want to bring together bioethics, bioart, biopolitics, biotechnology, citizen science, and social media to consider how we need to advance a compassionate, yet aggressively innovative, assault on our knowledge economy. Alternatively, I might just use it to explore a term I've been developing recently along the lines of 'viral cities'. This might work well since the theme is 'building bridges'. I want to build them with DNA infused data. Now there's a nice title.
What makes art democratic is its capacity to allow someone to remake it as their own art work. Take this bench for example, part of the Liverpool Biennial 2012.
It is beautifully presented with awesome lighting. If you take a good photograph of it, you can come away with something that you feel pride in having experienced and captured.
The art of this artist becomes your art, the moment you line up the camera, choose your angle, perhaps even your settings, and ‘click’. It may even become more artful, if you use some creative software to edit the image, or some unique processing technique.
Art that allows people to recreate the work is the most compelling example of democratic art. Galleries that restrict photograph or other kinds of remaking limit their ability to democratize art. There may even be an important political reason for why all art should be democratic, but we will have to think carefully about how to support the artist in this system
A couple of weeks ago, the Scotland on Sunday published a 4-page profile piece about my work. It was written by the awesome Anna Burnside, with whom I've been in dialogue about my research for a few years. It's a really lovely article and a real privilege to have given so much space to explain what I do. It's certainly the most in depth and personal examination of my background, motives and interests. Here's the link to the full piece. The portait was taken by an amazing photographer called Ian MacNicol, who turns out to be (we think) the only Scotland based photographer accredited at the London 2012 Olympic Games. Small world!
This remarkable theatre production took place in Liverpool tonight and is not to be missed if it comes to your city. It is performed by The Wired Aerial Theatre Productions. Here's a photo selection from the evening.
dreamspace
Dreamspace is in the news again this week. It was the first art work i saw in Liverpool when I moved there. It subsequently blew away and killed a couple of people. My reportage is my most viewed selection of photographs on Flickr and it was a wonderful experience. I hope someone is brave enough to remake it one day. Sadly, the artist Maurice Agis died in 2009 soon after the case against him for gross negligence mansalughter was resolved. The court were unable to reach a verdict and he eventually received a reduced fine of £2500.
From Wikipedia, May 05, 2011:
South China Morning Post reports that Ai received at least two visits from the police, the last being on 31 March - three days before his detention - apparently with offers of membership to the Chinese People's Political Consultative Conference. A staff member recalled that Ai had mentioned receiving the offer earlier, "[but Ai] didn't say if it was a membership of the CPPCC at the municipal or national level, how he responded or whether he accepted it or not."[60]
On 24 February, amid an online campaign for Middle East-style protests in major Chinese cities by overseas dissidents, Ai posted on his Twitter account: "I didn’t care about jasmine at first, but people who are scared by jasmine sent out information about how harmful jasmine is often, which makes me realize that jasmine is what scares them the most. What a jasmine!"[61][62]
The caption（Chinese:草泥马挡中央) to AI's self-portrait has a double meaning. It can be interpreted as: "Fuck your mother, the
Communist party central committee
".
On 3 April, Ai was arrested just before catching a flight to Hong Kong and his studio facilities were searched.[64] A police contingent of approximately 50 officers came to his studio, threw a cordon around it and searched the premises. They took away laptops and the hard drive from the main computer; along with Ai, police also detained eight staff members and Ai's wife, Lu Qing. Police also visited the mother of Ai's two year-old son.[65] While state media originally reported on 6 April that Ai was arrested at the airport because "his departure procedures were incomplete,"[66] the Chinese Ministry of Foreign Affairs said on 7 April that Ai was arrested under investigation for alleged economic crimes.[67] Then, on 8 April, police returned to Ai's workshop to examine his financial affairs.[68]On 9 April, Ai's accountant, as well as studio partner Liu Zhenggang and driver Zhang Jingsong, disappeared,[69]while Ai's assistant Wen Tao has remained missing since Ai's arrest on 3 April.[70] Ai's wife said that she was summoned by the Beijing Chaoyang district tax bureau, where she was interrogated about his studio's tax on 12 April.[60] A Beijing-controlled newspaper in Hong Kong announced that Ai was under arrest for tax evasion, bigamy, and spreading indecent images on the internet. Supporters said "the article should be seen as a mainland media commentary attacking Ai, rather than as an accurate account of the investigation
South China Morning Post reports that Ai received at least two visits from the police, the last being on 31 March - three days before his detention - apparently with offers of membership to the Chinese People's Political Consultative Conference. A staff member recalled that Ai had mentioned receiving the offer earlier, "[but Ai] didn't say if it was a membership of the CPPCC at the municipal or national level, how he responded or whether he accepted it or not."[60]
On 24 February, amid an online campaign for Middle East-style protests in major Chinese cities by overseas dissidents, Ai posted on his Twitter account: "I didn’t care about jasmine at first, but people who are scared by jasmine sent out information about how harmful jasmine is often, which makes me realize that jasmine is what scares them the most. What a jasmine!"[61][62]
The caption（Chinese:草泥马挡中央) to AI's self-portrait has a double meaning. It can be interpreted as: "Fuck your mother, the Communist party central committee".[63]
On 3 April, Ai was arrested just before catching a flight to Hong Kong and his studio facilities were searched.[64] A police contingent of approximately 50 officers came to his studio, threw a cordon around it and searched the premises. They took away laptops and the hard drive from the main computer; along with Ai, police also detained eight staff members and Ai's wife, Lu Qing. Police also visited the mother of Ai's two year-old son.[65] While state media originally reported on 6 April that Ai was arrested at the airport because "his departure procedures were incomplete,"[66] the Chinese Ministry of Foreign Affairs said on 7 April that Ai was arrested under investigation for alleged economic crimes.[67] Then, on 8 April, police returned to Ai's workshop to examine his financial affairs.[68]On 9 April, Ai's accountant, as well as studio partner Liu Zhenggang and driver Zhang Jingsong, disappeared,[69]while Ai's assistant Wen Tao has remained missing since Ai's arrest on 3 April.[70] Ai's wife said that she was summoned by the Beijing Chaoyang district tax bureau, where she was interrogated about his studio's tax on 12 April.[60] A Beijing-controlled newspaper in Hong Kong announced that Ai was under arrest for tax evasion, bigamy, and spreading indecent images on the internet. Supporters said "the article should be seen as a mainland media commentary attacking Ai, rather than as an accurate account of the investigation
Ai Weiwei's Sunflower Seeds currently at TATE Modern. Here is some text from TATE:
Juliet Bingham, Curator, Tate Modern
"Ai Weiwei's Unilever Series commission, Sunflower Seeds, is a beautiful, poignant and thought-provoking sculpture. The thinking behind the work lies in far more than just the idea of walking on it. The precious nature of the material, the effort of production and the narrative and personal content create a powerful commentary on the human condition. Sunflower Seeds is a vast sculpture that visitors can contemplate at close range on Level 1 or look upon from the Turbine Hall bridge above. Each piece is a part of the whole, a commentary on the relationship between the individual and the masses. The work continues to pose challenging questions: What does it mean to be an individual in today's society? Are we insignificant or powerless unless we act together? What do our increasing desires, materialism and number mean for society, the environment and the future?"
It is well known that the installation originally permitted people to walk around these porcelin seeds, but that due to the health risk posed by the dust, this came to an end rapidly. I'm sure it would have been beautiful to walk amidst them, but the fact that seeds were taken from the installation seemed to add an additional layer of complexity to the work.
To the extent that the art work is a motif for the West's reliance on the East's low-cost industrial labour force, the pillaging of seeds by Westerners reinforces the notion that this is an exploitative relationship. Yet, given the pride taken by the village's people in the crafting of ceramics, this unavoidable inequality still has integrity, meaning and value for a community that otherwise would have no source of income, as was true of this particular village, whose ceramic work was reaching its end.
4377916875_37b5272058_b
The Vancouver 2010 Games has delivered a massive programme of digital art work. take a peek at some photos starting here.
!["I, Scientist" at TEDx Warwick [VIDEO]](https://images.squarespace-cdn.com/content/v1/563face7e4b06c325c739ba9/1447019575958-NVZOYLTVWZ2QEWH1TPEM/image-asset.png)
