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Events

Our everyday lives are becoming increasingly entangled with data technologies. The Irish Pavilion addresses the utopian fantasy of the Cloud, as a romantic metaphor: The cloud is material. By foregrounding the physicality of data infrastructure and its impact on the environment the pavilion hopes to both reframe how we understand data production and its impact on everyday life.

 

Preliminary Remarks on the Study of What Is Not There (ongoing since 2017) will be performed on the opening night, together with a new version of the installation All the Things Which Are Not There(ongoing since 2018), devised specifically for the occasion. The performance takes the form of a guided tour amongst all the things not present in the gallery of Project Arts Centre: from things which are to things which are not; from things which could be to things which could not be. 

 

Final year GradCAM PhD Researcher SIobhán Doyle appears on Northern Visions Television (NVTV), a local community television station based in Belfast. Siobhán was invited to partake in an interview with presenter Barry Sheppard and PhD Researcher at Queens University Belfast, Emma McAlister. Siobhán and Emma discuss their research on museum artefacts and how their significance changes in different settings. The 30-minute interview airs in September 2019 and is available on Vimeo (https://vimeo.com/361010277).

 

In connection with the exhibition Screentime the panel discussion at Green On Red Gallery featured Prof. Mick Wilson, Nóra Ó Murchú and Conor McGarrigle.

 

We are, according to Shoshana Zuboff, living in the Age of Surveillance Capitalism “a new economic order that claims human experience as free raw material for hidden commercial practices of extraction, prediction and sales.” It is the dominant form of the digital economy, permeating all aspects of everyday life with its opaque algorithmic processes. The main players – Google, Facebook, Amazon, Apple, and Microsoft – are accumulating individualised data profiles of unprecedented granularity used to target, predict and ultimately shape behaviour. We have reached a point of crisis where issues of data, their governance and exploitation, go far beyond matters of personal privacy and seem to strike at the heart of the economy, civil society, and even democracy itself.

As concern about surveillance capitalism grows there is an imperative to more fully understand its mechanisms and practices and to develop alternative narratives that moderate the power of silicon valley while preserving the benefits of digital technology.

This forum, convened by Parity Studios / Insight Centre for Data Analytics artist in residence Conor McGarrigle, brings together experts from industry, the arts, academia, and journalism in an open forum to address these issues and present a view of what comes after Surveillance Capitalism.

 

Grangegorman Campus / Room RD005

Eventbrite link

Taru Elfving is a curator and writer based in Helsinki, Finland. Her practice focuses on nurturing site-sensitive artistic investigations and encounters at the intersections of ecological, feminist and de-colonial thought. Previously Head of Programme at Frame Contemporary Art Finland (2013-2018) and HIAP Helsinki International Art Programme (2012-13), Elfving is currently developing a new multidisciplinary platform for artistic research in collaboration with the Archipelago Sea Research Institute of Turku University. Her curatorial projects include Earth Rights (Kunsthalle Turku 2019), Politics of Paradise (Tallinn Art Hall 2019), Beyond Telepathy (Somerset House Studios & Wysing Arts Centre 2017), Hours, Years, Aeons (Finnish Pavilion, Venice Biennale 2015), Frontiers in Retreat (HIAP 2013-2018), Contemporary Art Archipelago CAA (Turku 2011, European Capital of Culture), and Towards a Future Present (Lofoten International Art Festival 2008). Elfving has published an extensive body of writing internationally and has co-edited publications such as Contemporary Artist Residencies. Reclaiming Time and Space (Valiz, 2019), and Altern Ecologies. Emergent Perspectives on the Ecological Threshold at the 55th Venice Biennale (Frame, 2016). She holds a PhD from Visual Cultures, Goldsmiths University of London (2009), and continues to supervise practice-based doctoral students at the University of the Arts Helsinki.

Hermeneútica Digital: Procesamiento del Lenguaje Natural, Literatura y Nuevas Tecnologías

 

What do we mean when we say Beautiful?

Public lecture by Dr Connell Vaughan (DIT).

“Perhaps the most common term we have to describe the art we admire and value as worthwhile is the term beautiful. Furthermore, we are inclined to explain our ideas of beauty in terms of true imitation (of nature), though this is increasingly less the case. Such changes point to the fact that this term has a rich and ancient history in the philosophy of art. For example, the question of where to locate beauty have been central to philosophy for millennia. Is it a property of the artwork, in the eye of the beholder or somewhere else?”

In this talk, Connell Vaughan will outline some of the ways that Western Philosophy has understood beauty, from ancient Greek ideas of mimicry, through classical ideas of reasoned judgements of beauty, to what could be called the contemporary abandoning of the idea of beauty. For good or ill, beauty is no longer the undisputed highest value of art and this is an opportunity to reflect on our contemporary approaches to thinking about art.

 

The Wood Quay Venue, Dublin City Council, Civic Offices, Wood Quay D08 Dublin

Contributory economies are those exchange networks and peer 2 peer (P2P) communities that seek to challenge the dominant value system inherent to the nation-state. This two-day conference addresses these economies through artistic research.

Key-Note speakers include:

Dawn Weleski on Conflict Kitchen, Pittsburgh
Bernard Stiegler on Wealth and the Inter-Nation
Michel Bauwens on Fragmented Evolution in Post-Polanyan Times

Other participants include: Louise Adkins, Alistair Alexander / Tactical Tech, Lonnie Van Brummelen, David Capener, Katarzyna Depta-Garapich, Ram Krishna Ranjam, Rafal Morusiewicz, Stephanie Misa, Vukasin Nedeljkovic / Asylum Archive, Fiona Woods, Connell Vaughan & Mick O’Hara, Tommie Soro.

 

Thursday 22 November, Royal Irish Academy Friday 23 November, University College Dublin

‘Bodies of data: intersecting medical and digital humanities’ addresses the emerging discipline of the Medical Humanities at the intersection between arts and humanities and the biomedicine which explores the social, historical and cultural dimensions to Medicine. Medical and digital humanities have emerged as two of the most dynamic interdisciplinary forces in contemporary humanities scholarship. Both generate new perspectives and relationships at the intersection between interpretative, data driven, medical and technological methodologies and research practices.

 

TU Dublin Lecturer Dr. Glenn Loughran presented a paper on artistic research and the end of work at the prestigious International Conference On The Literature Of Region And Nation in Krakov, Poland.

 

Royal Geographical Society 1 Kensington Gore Kensington London SW7 2AR.

Organizer

Serpentine Galleries. 

10am-10pm: The Royal Geographical Society, 1 Kensington Gore, London SW7 2AR
11am-4pm: Interventions in and around the Serpentine Pavilion, designed by Frida Escobedo

The 2018 Work Marathon explores issues including technological developments enabling automation; its impact on labour and work; the political urgencies of coerced and invisible labour; the differentiation between labour, employment and work; and the role of non-human agents, including artificial intelligence, non-human animals and materials, in the context of planetary-scale ecologies. This year’s Marathon builds on the 2017’s GUEST, GHOST, HOST: MACHINE! Marathon, which focused on artificial intelligence and questions of consciousness.

The Work Marathon is conceived in collaboration with Professor Bernard Stiegler who will gather experts from around the world to consider economics for an age of environmental crisis, looking to reduce the human footprint on the planet and reverse the phenomenon of entropy that seems endemic to capital. With Stiegler’s advice, the Work Marathon has the goal of contributing to the writing of a manifesto, the first version of which will be issued on September 23rd, with the definitive version being sent to the United Nations, in Geneva, on January 10th, 2020 – the centenary anniversary of the League of Nations.

 

Schrödinger Theatre, Fitzgerald Building, School of Physics Dublin

Learn More

In 1943, Nobel Prize-winning physicist Erwin Schrödinger gave three public lectures entitled ‘What is Life?’ at Trinity College Dublin. These lectures expanded the field of biology, and we are marking their 75th anniversary with a special series of lunchtime seminars.

Returning to the theatre in which Schrödinger delivered those iconic lectures, we will discuss the exciting and dynamic interface between neuroscience and the humanities, as part of Trinity College Dublin’s Neurohumanities programme. Each seminar will be chaired by an academic whose research intersects with the themes of “What is Life?”, and will feature four speakers—two from the sciences, and two from the humanities.

Our third discussion will explore the the theme of CONSCIOUSNESS. Chaired by Dr Paul Dockree from the School of Psychology, speakers will include Dr Lorina Naci from the School of Psychology, Dr Lorraine Leeson, Director of the Centre for Deaf Studies, and Dr Noel Fitzpatrick, Dean of Graduate School of Creative Arts and Media at DIT.

About the Series

The What is Life? — Neurohumanities Lunchtime Seminar Seriesis organised as part of Schrödinger at 75—The Future of Biology, a major conference to mark the 75th anniversary of “What is Life?” taking place in the National Concert Gall on the 5th and 6th of September, 2018.

The Neurohumanities programme is supported by a 2016 Wellcome Trust ISSF Award to Trinity College Dublin. This collaborative programme is directed by the Trinity College Institute of Neuroscience (TCIN), Trinity Long Room Hub (TLRH) and Science Gallery Dublin (SGD), chaired by Mani Ramaswami, Director TCIN and supported by Aisling Hume in the TCIN.

 

Baltimore Pier, Cork

Organizer

Glenn Loughran

“The entire world is becoming an archipelago” – Édouard Glissant (1997:194)

At a time of increasing nationalism and cultural insularity, the need to refresh our understanding of ‘relation’ in the world is more urgent than ever. What is an Island? is a durational artistic research event that explores relational form through the concept of archipelagic thinking and collaborative arts practice. Facilitated by a unique pedagogical programme on a specially commissioned ferry, What is an Island? travels the West Cork archipelago on a single summer day, in search of a deeper connection between islanders, artists and the world.

In response to the question “What is an island?”, three artists have been commissioned to develop work on one of three islands in the archipelago, they are: Sherkin Island (Mona O’Driscoll), Heir Island (Tess Leak) and Long Island (art manoeuvres). Participants will engage with the different art projects on each of the islands alongside the pedagogical programme, titled: Tidalectics. The Tidalectic programme will feature two key presentations on Art and Archipelagic thinking by Dr. Jonathan Pugh and Prof. Mick Wilson. These events will be supported by an on board supper and dialogue with islanders, facilitated by Glenn Loughran.

What is an Island? has been developed by the BAVA on Sherkin Island @ Dublin School of Creative Arts and GradCAM (DIT), in partnership with CREATE: National Development Agency for Collaborative Arts and Uillinn: West Cork Arts Centre, to present a series of seminars, workshops and exhibitions exploring Art & Archipelagic Thinking in the 21st Century.

While each of the artist’s responses to this question will be on display on their respective islands for the entirety of the Skibbereen Arts Festival (27 July to 5 August), on Monday 30 July, they will be linked by this performative, pedagogical, ferry journey.

Please wear shoes/boots and clothes suitable for a field trip – expect long grass, rough ground and mud. The event will go ahead no matter the weather, so please dress accordingly. Heir and Long Islands are accessed via ladder to the pier. No wheelchair access. No dogs allowed.

 

ARTISTIC RESEARCH EVENTS

2.30 – 3.30 / Artistic Research 1. What is an Island? /Mona O Driscoll / Sherkin Island

3.45 – 5.45 /  Artistic Research 2. IMMRAM / Art Manouvers / Long Island

7.00 –  8.00  / Artistic Research 3. Our boats are open, and we sail them for everyone / Tess Leak & Justin Grounds / Heir Island

 

TIDALECTIC LECTURE SERIES

 12.45 -1.15 / What is a Boat? / Pat Tanner / Baltimore Pier > Sherkin Island

1.30 – 2.30  / Island Relation and the Anthropocene / Dr. Jonathan Pugh / Islanders Rest / Sherkin Island

3.30 – 3.45  / Art and the Archipelagic Imaginary / Prof. Mick Wilson / Sherkin Island > Long Island

5.45 – 6.45  / Continental Thinking: A Report On Brexit / Emer Deane (Diplomat) Director of Ireland’s Brexit Team in Ireland’s Embassy to the EU.

Long Island > Heir Island / Supper

8.30 – 9.00  / Final Summation / Prof. Richard Kearney / Heir Island > Baltimore Pier

 

Robert Emmet Community Development Project Usher Street, Merchants Quay, Dublin 8

Organizer

Glenn Loughran

Roundtable: Evental Research

21st June – 14:30 - 16:30

Following his project conducted as artist-researcher between the Robert Emmet Community Development project and Parity Studios in UCD, D.I.T. Lecturer Glenn Loughran presents his current research project After the future… of knowledge. The first event in this project was developed in collaboration with performance artist El Putnam, titled: Bio-pedagogy 1 in response to three Joseph Beuys Blackboards at the Hugh Lane Gallery. A short film of this performance will be screened. The second half of this session will open up a discussion on the concept of ‘future’ in educational thought, by CarlAnders Säfström, Titled: TIME TO TEACH: RADICAL CHANGE AND THE SUBVERSIVE ENERGY OF EDUCATIONAL THOUGHT

Presenters: Glenn Loughran, Artist, DIT Lecturer // CarlAnders Säfström, Professor of Educational Research, Maynooth University Professor of Educational Research, Maynooth University. CAPP: Practice and Power is a major transnational event exploring questions of negotiation, exchange and representation in contemporary collaborative arts practice. Practice and Power will consider this paradigm shift towards collaborative processes and methodologies within the arts.

 

Dr Patrick Bresnihan and Dr Arielle Hesse Dept. of Geography, Trinity College Dublin

2PM, FRIDAY 25 MAY

RD005 DIT Grangegorman

“History and politics were now a severe intestinal disorder” (McCormack, 2016)

In Solar Bones, a 2016 novel by Irish author Mike McCormack, the narrator describes caring for his wife – a ‘woman who never took to bed for anything’ – who has been struck by a sudden and severe vomiting bug. Only after several days do official reports connect her ailing body with hundreds of others contaminated by the public water supply, and his wife’s sick body becomes the latest manifestation of a sick political system that fails to maintain basic infrastructural services.

McCormack’s fictionalized account is based on real events that took place in March 2007 when Galway City was hit by an outbreak of cryptosporidiosis, an acute intestinal disease caused by the parasite cryptosporidium. The contamination of Galway’s water supply lasted for 158 days and resulted in 242 confirmed cases of cryptosporidiosis, although the actual number affected was far higher. A boil water notice was put in place for the duration of the outbreak, which affected approximately 120,000 people.

Drawing on the epidemiology of cryptosporidiosis and the recent history and uneven geographies of agricultural and urban developments in Ireland, this talk will describe the complex relationships forged by the parasite and the bodies (animal, human, water, land) it inhabits and connects, to think through the possibilities for infrastructural politics.

Organised by the Environmental Art and Design Seminar

Graduate School of Creative Arts and Media, DIT

 

GradCAM in cooperation with the Robert Emmett Community Development Project presents Second Cultures with Jeremiah Day and Taf Hassam

Robert Emmet Community Development Project, 3-8 Ushers Street, Merchants Quay, Dublin 8

Noam Chomsky has repeatedly observed that the Western media’s post 9/11 coverage functions similarly to Pravda’s role in the old Warsaw Pact. If so, what are the implications for culture and the role of the artist, especially the special way art makes it’s own factuality happen? Could the “educational” and “documentary turn” in the arts be unfolding at the exact same moment journalism and the academy no longer function as diviners of truth? And, in light of current events, does the history of culture and politics of the “former East” have new meaning for those of us living in light of “fake news”?

This evening will bring together for the first time in Ireland two figures whose work has been in dialogue for almost ten years, between cultural organizing, research, art and public life.

The American artist Jeremiah Day will take up Hannah Arendt’s reflection on the effects of organized lying and put it in combination with Chomsky’s provocative comparison as part of an attempt to grasp our contemporary situation.

Taf Hassam’s recent efforts have been undertaken in dialogue with the historic practices and strategies of the Czech Underground of the 1970s and 1980s through diverse cultural forms music, organizing events, spaces like “New Conditions” in Amsterdam, and publishing series like “Second Culture.” Hassam will present a unique audio-visual set of music, video and text from the Czech scene.

Please join us for this informal gathering in an evening of music, history, performance, politics, and dialogue.

@ 6pm, Wednesday 16th May
Robert Emmet Community Development Project
3-8 Ushers Street, Merchants Quay, Dublin 8
http://www.recdp.ie/
https://www.facebook.com/RobertEmmetCDP/
https://twitter.com/cdp_robertemmet

 

RD005, Rathdown House, Dublin Institute of Technology (DIT), Grangegorman, Dublin 7

Organizer

The Graduate School of Creative Arts and Media (GradCAM) and the Dublin School of Creative Arts at Dublin Institute of Technology (DIT), with the Royal Armouries (England)

The Curating Conflict workshop emerges from the practical challenges museums, galleries and cultural institutions face when specifically representing experiences of conflict. By bringing together leading experts and researchers from England, Northern Ireland and Republic of Ireland, the workshop is an opportunity to gain insights from individuals and institutions involved in producing and assessing commemorative practices through collecting, curating and researching the representation of conflict in such public spaces where historical significance is constructed, transmitted and contested.

The panels consist of museum experts from Royal Armouries (England), Ulster University, Teeside University, National Museums Northern Ireland, National Museum of Ireland and National Gallery of Ireland to discuss how museums can affectively deal with the pluralist history of conflict on public platforms. This workshop will be of particular interest to museum professionals, practitioners, researchers and students. It is an open forum and an opportunity for attendees to participate in intercultural exchange, active learning and sharing of best practices with experienced museum professionals and researchers.

This event is free of charge, but booking is essential:

https://www.eventbrite.ie/e/curating-conflict-a-workshop-on-the-commemoration-of-conflict-in-public-spaces-tickets-42415646340

 

The Hugh lane Gallery, Charlemont House, Parnell Square N, Rotunda, Dublin 1

Prof. Gert Biesta

Gert Biesta is one of the most important theorists working in educational discourse today. In his key works; Beyond Learning (2016), Good education in the Age of Measurement (2010), The Beautiful Risk of Education (2014), he has defended the unique value of education against its economic rationalization through the ‘language of learning’. Most recently Prof. Biesta has turned his attention to art education with the publication of Letting Art Teach: Art Education After Joseph Beuys (2017) which explores the various ways that art and education are instrumentalised in educational discourse and policy. For Biesta, the teaching of art should enable students to have a unique dialogue with the world. Replacing the over-emphasis on ‘student-centered’ learning with a call for ‘world-centered’ education, Biesta affirms the value of art and teaching as an ‘event’ that opens up spaces for the student to be addressed by the world, and in turn, to address the world back.

Letting Art Teach at the Hugh lane Gallery on the 6th Feb will expand on the ideas developed in Letting Art Teach. Education After Joseph Beuys (2017). To enable a broader discussion on these ideas three art educators from three different art institutions have been invited to respond to the presentation, they are: Dr. Brian Fay (DIT), Prof. Brian Hand (NCAD), Dr. Tina Kinsella (IADT).

The discussion will be chaired by Dr. Sharon Todd (Maynooth University).

Dr. EL Putnam has developed a site specific performance for the event:

Bio-pedagogy (1) Towards a Genealogy of Pedagogical Gestures

Gert Biesta is Professor of Education in the Department of Education of Brunel University London (0.8) and Visiting Professor (Professor II) at NLA University College, Bergen, Norway. Since April 2016 he has held the NIVOZ Professorship for Education at the University for Humanistic Studies, the Netherlands (0.2). Before this he worked at universities in Luxembourg, Scotland (University of Stirling), England (University of Exeter), and the Netherlands (Utrecht, Leiden and Groningen) and held Visiting Professorships at the University of Orebro, Sweden, Malardalen University, Sweden, and ArtEZ Institute of the Arts, the Netherlands. He is a former Spencer Post-Doctoral Fellow with the National Academy of Education, USA. In January 2015 he became an associate member of the ‘Onderwijsraad’ (the Education Council of the Netherlands) for the period 2015-2018. The ‘Onderwijsraad’ is the main government advisory body on education (see here for more information). Since April 2016 he was also scientific advisor to VERUS in the Netherlands. He is joint-coordinator of SIG 25 (Educational Theory) of EARLI, The European Association for Research and Learning and Instruction, together with Rupert Wegerif and Giuseppe Ritella (JURE Assistant Coordinator). For more information click here. Gert is currently co-editor of two book-series with Routledge: New Directions in the Philosophy of Education (with Michael A. Peters) and Theorizing Education (with Julie Allan and Richard Edwards).

 

Organizer

Naomi Sex

Gallery | House | Library | Church

A guided tour by Arran Henderson in collaboration with Naomi Sex and the Royal Hibernian Academy

(meeting at National Gallery of Ireland)

To celebrate visual artist Naomi Sex’s solo exhibition All This Surface and Silence at the Royal Hibernian Academy (RHA), a guided tour is taking place on Saturday 2 December at 11.30am. This is a collaborative, cross-disciplinary one off event between the artist and architectural, local historian and tour guide Arran Henderson of Dublin Decoded tours.

The event will consist of a walk around Dublin’s South Georgian Quarter in the guise of a traditional walking tour and will feature a number of sites, images and ideas, some of which may directly or tangentially relate to, put into context or otherwise resonate with the themes and ideas contained in the show at the RHA.

The walk will include period houses (particularly those which touch on aspects of performance or display) as well as the exterior of a Church and the interior of the National Gallery, including a brief visit to a small selection of artworks, and a short stop inside a library.

The tour will be led by Arran Henderson and will be interspersed or counterpointed with observations from the artist and audience, and will conclude at the RHA gallery with a visit to the exhibition and a special performance of Car Making – Making Art, featuring actress Darina Gallagher.

Tickets for the walking tour are free and can be reserved HERE. Places are limited, so early booking is recommended. All ages are welcome on this tour, although content will be aimed at an adult audience.

 

DIT, Grangegorman, Dublin 7

A workshop/event with John Richards of Dirty Electronics

Saturday, 6 May 2017 from 14:00 to 18:00

GradCAM presents De Machinis (Violations), a workshop/event with John Richards of Dirty Electronics investigating materialism of sound objects and the potential flux between mediums such as analogue sound and microprocessor code. Richards’ work pushes the boundaries between music, performance art, electronics, and graphic design and is transdisciplinary as well as having a socio-political dimension. He has collaborated and performed with, amongst others, Japanese noise artist Merzbow, Pauline Oliveros, Howard Skempton (founder member of the Scratch Orchestra), Gabriel Prokofiev, Nicholas Bullen (ex-Napalm Death and Scorn) and Yan Jun. Other notable collaborations include working with Rolf Gehlhaar (original Stockhausen group), Chris Carter from Throbbing Gristle, Keith Rowe, Anat Ben-David (Chicks on Speed), choreographer Saburo Teshigawara and STEIM (Amsterdam).

This event is imited to 15 places at a cost of €35 per person. Please reserve a place here

Dirty Electronics De machinis (VIOLATIONS)

Disruption, intervention, transference, halfway-ness, violation – the conversion of data/sound from one medium to another results in a new material phenomena, trans-media, found in the hidden corners of esoteric technological processes … A feedback system is designed where audio of a sequenced pattern is used to re-program itself.

De Machinis (Violations) is on-going investigation into materialism of sound objects and the potential flux between mediums such as analogue sound and microprocessor code. The workshop/event involves the construction of a Dirty Electronics printed circuit board artwork that takes inspiration from Arjun Appadurai’s book The Social Life of Things, and the exploded-view illustrations of fifteenth century artist-engineer Mariano Taccola found in his De Machinis (Concerning Machines). De Machinis (Violations) is extended research relating to the Dirty Electronics’ Violations event for Sounding D.i.Y. at Café Oto, London, May 2017.

John Richards

John Richards explores the idea of Dirty Electronics that focuses on shared experiences, ritual, gesture, touch and social interaction. In Dirty Electronics process and performance are inseparably bound. The ‘performance’ begins on the workbench devising instruments and is extended onto the stage through playing and exploring these instruments. Richards is primarily concerned with the performance of large-group electronic music and DIY electronics, and the idea of composing inside electronics. His work also pushes the boundaries between music, performance art, electronics, and graphic design and is transdisciplinary as well as having a socio-political dimension. Richards has been commissioned to create sound devices for various arts organisations and festivals and has released a series of hand-held synths on Mute Records and through Bleep. He has collaborated and performed with, amongst others, Japanese noise artists Merzbow, Pauline Oliveros, Howard Skempton (founder member of the Scratch Orchestra), Gabriel Prokofiev, Nicholas Bullen (ex-Napalm Death and Scorn) and Yan Jun. Other notable collaborations include working with Rolf Gehlhaar (original Stockhausen group), Chris Carter from Throbbing Gristle, Keith Rowe, Anat Ben-David (Chicks on Speed), choreographer Saburo Teshigawara and STEIM (Amsterdam).

www.dirtyelectronics.org

 

Artistic Research Pavilion at the Venice Biennale

Organizer

The Academy of Fine Arts Vienna

The organizers of this conference invite eight EARN members – PhD candidates in the field of arts-based research – to give a 15-minute input each. If your project is concerned with the question of Hauntopia/What if as laid out in the introduction below, we encourage you to respond to this call and propose a concept for a 15-minute presentation of your work within the conference. The presentation can be given in any media or format.

HAUNTOPIA / What if In this conference the concept of haunting – usually bending towards the past – will keep good company to the concept of utopia. Haunting has been employed to create a language for the ways in which an unfinished past (Gordon) or past potential futures (Eshun) make themselves known in the here and now. Violent histories or stories return and show their impacts in the course of normalcy. Haunting takes place especially when it seems that certain events of oppression and violence are over (after liberation from colonialism, after Stonewall, after the end of the war) or when their oppressiveness is strictly denied.

Signs appear – we might call them ghosts or specters –, and cause disruptions. The ghosts are alive, equipped with agency they will not subjugate under human control. They don’t “belong” to the person, who experiences them, they rather “appear” as agency in-between subjectivities, images and space. As such, hunting always also points towards a possible future or work as an exile for our longing, of how things could be otherwise. A path not taken in the past might indicate a different trail to the future, a voice ridiculed might open up the present. In our cruisings of utopia we mingle with the presence of colonialism, with tamed revolutionary moments, suppressed knowledges and other ghosts. This is why we understand Hauntopia / What If? as a means to produce knowledge: As we conjure ghostly matters to make the unresolved social violence of the past appear in the present and demand their due, our artistic practices invite ghosts to dance and trace the possible future in the here and now.

Conference with lectures, artists’ presentations and performance.

Including: the specters of Octavia Butler and José Munoz,

Keynote lectures by Avery Gordon (UC Santa Barbara) and Eve

 

Irish Museum of Modern Art

@ IMMA with TCD/ATRL and DIT/GradCAM 19th December 2016

The perception of a postdigital condition suggests that contemporary politics, economics and art are constructed within the framing mechanisms of the digital. A postdigital culture does not encounter the digital anew but rather conceives subjectivity organised within a system of indistinction that exists between the material and the digital. This one-day symposium will focus on the relationships between new forms of political economy and artistic practice as they appear within contemporary digital arts. The symposium will bring together contemporary Irish digital artist John Gerrard and researchers from the School of Creative Arts, TCD Prof. Matthew Causey, GradCAM/DIT, Dr. Noel Fitzpatrick and Dr. Conor McGarrigle, NUI Maynooth Dr. Aphra Kerr and ATRL, Dr. Néill O’Dwyer. The symposium will be organised against the provocative backdrop of  John Gerrard’s recent transdisciplinary work in digital live simulation exemplified by projects such as Flag (Thames) 2016  and Solar Reserve (Tonopah, Nevada) 2014. 

The event is free but places are linited Please book here Eventbrite: https://www.eventbrite.ie/e/the-postdigital-contributive-economy-in-contemporary-art-tickets-29707637343.

The symposium will address the relationships between digital technology and the arts, with a sharp focus on contemporary sociopolitical issues brought to bear by the event of the digital. The aim of the discussions is to elicit an open, transinstitutional conversation – across academia and the artworld – that attempts to elicit the positive and negative aspects of the postdigital condition, not simply interpreted as an aesthetic concern, but rather as a nuanced and complex ethical and political position.

 

The Digital Aesthetic in Utopia of Access: GradCAM @The Research Pavilion Venice (Sept 29th – Oct 1st) curated by Noel Fitzpatrick (GradCAM) and Brian Fay (Dublin School of Creative Arts) comprises of an ambitious exhibition Cf or ‘The Inaugural Autonomous Biennale’ www.cfjeanettedoyle.com and two days of unique interventions, performances and seminars, which promote forms of art and art works exploring the post-digital aesthetics within an era of open data and open access.

The Research Pavilion
Sala del Camino, Campo S. Cosmo
Giudecca, 621 (Vaporetto stop Palanca)
Venice
Italy

 

St Laurence’s church, Dublin School of Creative Arts, DIT, Grangegorman Lwr, Dublin 7

Organizer

Brought to you by DIT School of Creative Arts and Aftering

We’ve brought together a wide range of academics, makers & those working in the business of deathcare to give a fascinating series of short talks on death, dying and funerals over the course of a single afternoon.

The talks will explore visual design and mortality. Learn how Irish funerals are changing, what a green graveyard looks like, the heartbreaking story of 19th century Dublin post-mortem photography, meet the contemporary craftspeople creating special objects to memorialise the dead, and hear inside stories from those who work in the deathcare space.

Registration opens at 1.30pm. The first speaker will be on stage at 2pm and the event will finish up with a Death Cafe.

Speakers

1.30pm: Registration

2.00pm: Lisa Kennedy Byrne, Now I Lay Me Down To Sleep – Taking only photos parents will have of their child

2.15pm: Prof Salvadore Ryan, St Patrick’s College, Maynooth – Death & The Irish

2.35pm: Gus Nichols, funeral director, managing director of J&C Nichols – The strange future of Irish funeral

2.50pm: Colin McAteer, Green Graveyard Company, Wexford – Stories from Ireland’s only natural burial ground

3pm: Coffee/tea break

3.15pm: Orla Fitzpatrick, University of Ulster – Heartbreaking story of 19th century post-mortem photographs

3.30pm: SIobhan Doyle, DIT School of Creative Arts – Conflicting roles of modern mixed-use cemetery

3.45pm: John Sherlock, ceramicist, Irish Ceramic Urns – Sacred vessels; creating urns to carry ashes of the dead

4.30pm: Ciaran Wallace and Lisa Marie Griffith, ‘Grave Matters’ – Revealing over 60 years of funeral bills

4.45pm Death Café – Talking about death, dying and funerals

 

Uillinn: West Cork Arts Centre

In association with Centre Culturel Irlandais, Paris, WCAC presents is a group exhibition of artists engaged in issues of climate change: Emily Robyn Archer, George Bolster, Mark Clare, Alice Clark, Blaise Drummond, Seamus Dunbar, John Gerrard, Andrew Kearney, Susan Leen, Ruth Le Gear, Selma Makela, Anna Macleod, Christine Mackey, Seamus Nolan, Softday (Seán Taylor and Mikael Fernstrom) and Brigitta Varadi.

‘Let me get it right. What if we got it wrong?
What if we weakened ourselves getting strong?
What if our wanting more was making less?
And what if all of this wasn’t progress?’
Lemn Sissay, extract from What If 

The impacts on the environment of today’s society and globalised economy are explored by all seventeen artists whose work is exhibited in Et si on s’était trompé ? What if we got it wrong ?, as the performance-poet Lemn Sissay asks us in measuring progress by levels of industrialisation, expansion and accumulation. The ice and water of the Arctic, veritable barometers of the catastrophic effects of this “progress”, form one of the key elements of this exhibition. A further important strand is geopolitics and its direct links to questions of energy and biodiversity. Video and multi-media installations, photography, works on paper and canvases bring the complexities and implications of climate change to the fore.

 

LUCA School of Arts, Brussels

EARN announces the 2016 Conference in LUCA School of Arts, Brussels.

In the wake of the rising popularity of curatorial programmes, the shifting positions of both artist and curator have been the subject of intense debate in recent years. Crucial to these debates is the question of how to deal with the potential and agency of specific works of art and the relations established between them. In a recent interview Gavin Wade talked about his view on artist-curators by distinguishing between having work on show and the activity of showing as such. “(…) I propose that art is exhibition, that art is not exhibited but that art exhibits, that exhibition is a fundamental function of being human, and the fundamental process of art.” (On Curating, June 2013).

The two-day international conference THAT ART EXHIBITS will draw attention to what it means for art to exhibit. The conference wants to bring together research projects that integrate processes of artistic agency and mediation in the field of contemporary art and visual culture at large, beyond the ostensible dichotomy between artist and curator. Its aim is to explore the notions of curation and display/exhibition as artistic research practices. THAT ART EXHIBITS will question the opportunities of transformation made possible by positioning things, actions, and interventions in relation to each other in a specific temporal and spatial setup

Confirmed keynote lecture: Chus Martínez

PhD researchers who want to present artistic research projects and enter into a direct dialogue with fellow artist-researchers are invited to contribute to the conference. In order to integrate different approaches and viewpoints, the conference is open to a variety of formats of presentation and interaction, ranging from academic papers, workshops and roundtable discussions to performances, displays, and screenings. Proposals (maximum 2 pages in English) should contain a clear outline of how and what you would like to contribute, as well as a short bio, listing contact and affiliation details. You are also invited to mention 2 key influential books that have inspired your research. Based on that input a reading room/library will be set up during the conference.

For the detailed programme, please see:

https://thatartexhibits.wordpress.com/programme/

Further information:

Questions regarding the conference can be sent to thatartexhibits@luca-arts.be

THAT ART EXHIBITS is an EARN conference organised by LUCA School of Arts, rAAk (Research Center for Architecture & the Arts at KU Leuven Association) and the Lieven Gevaert Centre. EARN (European Artistic Research Network) was established to share and exchange knowledge and experience in artistic research; foster mobility, exchange and dialogue among art researchers; promote wider dissemination of artistic research; and enable global connectivity and exchange for artistic research.

 SEE THE ORIGINAL CALL FOR CONTRIBUTIONS HERE

 

Dublin School of Creative Arts, DIT Grangegorman Campus

Organizer

DIT Conservatory of Music and Drama, Dublin School of Creative Arts, GradCAM.

Keynote Speakers

Brandon LaBelle – artist, writer and theorist (Bergan Academy of Art and Design)
Bill Fontana – American artist and composer

Sound is an inherently spatial phenomenon. No matter what its point of origin, be it a musical instrument, a voice, an audio speaker, or another sound-producing entity, sound must navigate space before reaching our ears. On this journey it enters into a complex relational dynamic with the surrounding environment: it may be amplified, distorted, reverberated, dissipated and subject to a multitude of transformations which modify it in different ways. While this dynamic is an intrinsic part of any sonic event, certain artistic endeavours have sought to exploit this spatial aspect of sound as a distinct parameter in its own right. Though spatial experiments have a long history in western music stretching back centuries, the search for novel means of expression in the twentieth century led to an unprecedented investigation into the spatiality of sound as an integral component of the work. From Edgard Varèse’s Poème électronique to Karlheinz Stockhausen’s Helicopter String Quartet, such concerns have been at the centre of some of the canonic works of musical modernism. In the discipline of sound art, auditory dialogues with the surrounding space have been the defining feature of sound installations by Max Neuhaus, Bernhard Leitner, Maryanne Amacher and others, who have sought to locate sound in relation to architecture. While such work grew out of developments in the wider field of art installation, increasingly the practices of both sound and art installation have converged in the work of artists such as Janet Cardiff and Zimoun forming multi-sensory experiences. Expanding outwards, the multi-site sound installations of Bill Fontana have developed the notion of spatiality across geographical locations while recent innovations in communication and digital technologies have created virtual networks, redefining our conception of space and presenting new possibilities for music, sound art and visual art.

Although substantial research on the spatiality of sound has been carried out within the disciplines of musicology, sound art, and visual art studies, much of this work has remained separate, enclosed within these specialised fields of research. This conference aims to address this imbalance, acknowledging the fluid exchange of ideas between these spheres in actual practice and fostering an interdisciplinary spirit amongst researchers and practitioners. The conference committee thus invites presentations from sound artists, visual artists, composers, academics, and post-graduate researchers which consider the spatiality of sound in all its diverse forms. While the conference remit is broad, the committee especially encourages contributions which address (but need not be limited by) the following three strands:

 

GradCAM/DIT/TCD, 9-11 Trinity Long Room Hub

Event Information

The first Digital Studies Seminar of the 2016/17 academic year will take place in the Trinity Long Room Hub this Thursday 27 October, at 9am. It will finish at 10.50am, sharp.

The session will be broken into two parts

    1. Dr. Noel Fitzpatrick will present his paper entitled, ‘A possible Hermeneutics: Digital’, which will be followed by a discussion. Please review the abstract below.
    2. A discussion about, firstly, the book (or edited collection) that is currently being reviewed by Palgrave Macmillan Publishers and, secondly, the programme for this semester.

A possible Hermeneutics: Digital

Abstract: The impact of digital technologies on disciplinary epistemologies within the Humanities is posing substantial questions about how knowledge is constructed within fields of inquiry which are by their nature heuristic. The integration of forms of computational linguistics and cognitive computing (supervised machine learning) within the traditional humanities research needs to be addressed by the development of new disciplines which enable a critical understanding of these technologies (critical software studies, digital studies). This paper sets out to postulate that these digital technologies could lead to the development of new forms of interpretation and hence new forms of hermeneutics if they were harnessed in new ways.

By revisiting definitions of hermeneutics taken from the work of Paul Ricoeur and new forms of hermeneutics that are under development by the Bernard Stiegler and the research team at IRI, this paper will demonstrate how to develop new forms of hermeneutics made possible through an expanded understanding of the digital as a form of organology and an awareness of the pharmacological nature of digital technologies. It will also demonstrated that the revelation of the structure of the text through computational analysis should not be dismissed but incorporated into higher levels of interpretation which move from the semiological, numerical towards the semantic.

 

St Laurences church, Dublin Institute of Technology, Grangegorman

The International Workshop on Folk Music Analysis brings together researchers from the field of ethnomusicology and the field of computational and analytical musicology.

 

The workshop will deal with musicology, ethnology and engineering sciences including signal processing, pattern recognition, applied mathematics.

Scientific committee

The members of the scientific committee are researchers from different scientific areas and from different research teams. The roles of these members are:

These members are (alpabetic order):

Organizing committee:

 

The Aesthetics Research Group

Re-turn to Schiller: Dublin v Barcelona

Friday 10th June 2016

1.30-2.30pm (IST) Dublin

2.30-3.00pm (CET) Barcelona

The instinct of play […] In proportion that it will lessen the dynamic influence of feeling and passion, it will place them in harmony with rational ideas, and by taking from the laws of reason their moral constraint, it will reconcile them with the interest of the senses. (Schiller, Letter XIV) 

In recent years there has been a noticeable turn to education in aesthetic theory and practice. A number of theorists including Jacques Rancière, Grant Kester and Doris Sommer have returned to Friedrich Schiller’s Letters On the Aesthetic Education of Man. Why?

We warmly invite you to an international conversation on the topic of Schiller’s Letters on the Aesthetics Education of Maninvolving a live feed link between a seminar on the topic of “the Educational Turn in Aesthetics” as part of the Creative Agency in Local Communities conference in DIT Grangegorman, Dublin and the European Society for Aesthetics 8thAnnual Conference in University of Barcelona. The seminar in Dublin will host an audience of art practitioners and educators including Professor Doris Sommer (Director of the Cultural Agents Initiative at Harvard University). The conference in Barcelona will host an audience of philosophers of art.

The conversation will be hosted by GradCAM’s Aesthetics Research Group, Connell Vaughan and Mick O’Hara in Barcelona and Jeanette Doyle and Cathy O’Carroll in Dublin. The conversation seeks to marry aesthetic theory, practice and policy and their associated communities. Participation by attendees of both conferences to the conversation is welcomed and integral to this event.

This conversation will continue with a consideration of practice through an introduction to the first Department of Ultimology.

https://aestheticsgroup.wordpress.com/

http://www.departmentofultimology.com