eViz £1.8m EPSRC Award.

eViz £1.8m EPSRC Award.

eViz £1.8m EPSRC Award.
Arch-OS supports the eViz the £1.8m grant from the Engineering and Physical Sciences Research Council.
The eViz EPSRC award is lead by Sabine Pahl, from the School of Psychology and Pieter de Wilde from Sustainable Construction in the School of Architecture, Design and Environment. Arch-OS, through i-DAT’s Director of Research (Mike Phillips, a Co-Investigator on the project) will contribute to building data harvesting and visualisation/sonification work packages.

Plymouth University to lead million pound energy visualisation project to help people cut down their bills


Plymouth University has been awarded more than one million pounds to lead an innovative project which will help people to understand how they use energy in their homes and buildings.

It is hoped that eViz – Energy visualisation for carbon reduction – will help people with property, from homeowners and tenants, to businesses and other organisations, to cut down their bills as they see where wastage can occur.
The project will engage with members of the public and ultimately employ a range of social media to communicate the results. It will take an holistic approach to energy use and is being co-led by a Behavioural Scientist and Building Scientist.
One of those leads, Sabine Pahl, from the School of Psychology, said the key to eViz was changing people’s behaviour around energy use. She said: “Although many of us understand the importance of carbon reduction, we don’t make the link with our own behaviour. Research has shown that even in energy efficient buildings, carbon use can be 30-40% higher than expected because of the way we behave.
“We have found that it is really only when people see how it is wasted that they might change their own behaviours – and eViz is all about bridging that gap.”

The £1.8m grant from the Engineering and Physical Sciences Research Council will see Plymouth lead a consortium including the Universities of Bath, Birmingham and Newcastle and international academic advisors in Canada, the Netherlands and Austria. There will also be a number of external partners such as the Energy Saving Trust, the Eden Project and the Carbon Action Network.
For Plymouth alone, who will receive £1.1m of the grant, the work will bring together academics and staff from its Schools of Psychology, Architecture, Art & Media and Marine Science & Engineering, as well as its Environmental Building Group, and the recently launched Institute for Sustainability Solutions Research.

Fellow co-lead Pieter de Wilde, Associate Professor in Sustainable Construction in the School of Architecture, Design and Environment, said: “We’ll use novel digital data visualisation techniques to present intuitive, easily graspable representations of energy flows. Using our virtual reality and data visualisation expertise, we will produce sophisticated interactive 3D and 4D representations, using a range of approaches including webcams, simulation, smartphones, and social media to communicate them.
“We’ll be able to show how things like installing loft insulation or opening a window can affect your home, and we’ll also be working with our partners, such as the Energy Saving Trust, to engage as many people as possible.”
The project would build upon previous research conducted by Plymouth University which used thermal imagery to communicate how heat was lost from houses, and which resulted in a number of people installing more energy-efficiency measures in their homes.

Young Rewired State Workshop @i-DAT 6-10/08/12

Young Rewired State Workshop @i-DAT 6-10/08/12

i-DAT is hosting a Young Rewired State workshop for young people, YRS alumni, Rewired State mentors and other volunteers 6th to the 10th August. The young peoples challenge is to build digital products: mobile and web, using at least one piece of open data. The participants will work with us for the week and then head up to Birmingham for the “Festival of Code 2012 where 500 kids sign up for coding and camping at YOUNG REWIRED STATES’s “Digital Olympics”.

i-DAT in Plymouth will play host to a number of talented youngsters in the South West.

Young Rewired State (YRS) announces today that its unique kids national coding event will take place this year from 6th – 12th August 2012. Now in its fourth year, YRS is attracting more children than ever with the aim of a record 500 participants registered to attend at 50 regional centres.
Explaining the aims of Young Rewired State, Founder, Emma Mulqueeny said; “Our primary focus is to find, foster and challenge the young children and teenagers who are driven to teach themselves how to code. We offer them the support that is missing from schools and colleges by providing mentors, broadening their horizons and introducing them to a network of like-minded peers.”

“The Festival of Code week is especially important as it allows the kids to realise that, as a geek, they are not alone and that coding is an important, promising and often lucrative career”.

Over the course of the week 50 organisations, large and small, around the country will act as host centres to local young people, YRS alumni, Rewired State mentors and other volunteers. From Monday to the Friday the centres will welcome kids from their region and challenge them to build digital products: mobile and web, using at least one piece of open government data. In Plymouth, the YRS center will be hosted by i-DAT.org, Plymouth University.

At the end of the week everyone piles on coaches, trains and cars to a central venue (top secret until nearer the event) where they will have a night of camping and coding, pizza and camaraderie. On the Saturday afternoon they will show what they have made to an audience of their peers, press, government and industry. Prizes are awarded and lives are changed.

All children can enter for free as long as they are aged 18 or under and have a rudimentary understanding of programming_ — although YRS will send out free resources in advance of the week for those who are unsure of their skills. YRS would particularly welcome more girl-coders. Sign up at http://www.youngrewiredstate.org.

Feedback from YRS 2011:

“He was buzzing yesterday! I’m not sure I’ve ever seen him so happy and fired up! I think he may have found ‘his people’. I can’t quite express to you just how brilliant it is to see him like this… he said you’re all just really cool and I think for the first time he felt pretty cool himself! I could barely drag him off the laptop last night to get him to eat!” — A parent

“Thank you very much for organising the event — I had an amazing time and was really grateful for the opportunities I had. I have already signed up to be a mentor next year since I really want to be a part of YRS as it is something I really believe it.” — an 18 year old YRS member

“Can’t tell you how much it would have helped me as an awkward teenager to find other kids who didn’t think being a geek was odd.” — A mentor

KeJi at Cheltenham Science Festival

KeJi at Cheltenham Science Festival

KeJi at Cheltenham Science Festival
Meet and talk to KeJi at Cheltenham Science Festival, 15 – 17 June

KeJi’s background is a little unclear. Some believe KeJi fell from the Asteroid 2012 EG5 on April 1st as the hunk of space rock, the size of a passenger jet, hurtled past Earth – so close it flew UNDER the moon. Others claim KeJi is the result of experimentation with artificial intelligence in a secret Chinese laboratory during the ‘The China Brain Project’.

What we do know is that KeJi is an artificial intelligent creature who communicates through tweets and SMS txts. KeJi maintains a symbiotic relationship with humans by synchronizing its heart with the average heart beat of the people it interacts with. KeJi has a big heart and gets lonely and upset when it has nobody to talk to. Why don’t you talk to KeJI!

KeJi will be present during Cheltenham Science Festival: 15 – 17 June 2012. To talk to KeJi SMS ‘talkkeji‘ and ‘your question‘ to 07766404142 or send a tweet to ‘@talkkeji‘. You can also visit KeJi in the festival space, or play the game KeJi has made for you. If you like, you could have a chat to him now, here on KeJi’s website. Just go to the ‘Talk KeJi’ page and start chatting.

ABOUT

‘KeJi’ (meaning ‘science and technology’ in Mandarin) is a collaborative commission by Cheltenham Science Festival and i-DAT, Plymouth University, of the artist and designer Nathan Gale. Nathan is working with i-DAT’s development team to create a new interactive installation and game at Cheltenham Science Festival 2012. The playful installation will be based around an artificial intelligent (AI) creature that festival visitors can ‘speak’ to through tweets and sms txts. The installation will be linked to the ‘KeJi Bounce’ game, which will be recording players’ heart rate.

KeJi’s AI is based on A.L.I.C.E. (Artificial Linguistic Internet Computer Entity), also referred to as Alicebot, or simply Alice, which is a natural language processing chatterbot — ‘a program that engages in a conversation with a human by applying some heuristical pattern matching rules to the human’s input’. It was inspired by Joseph Weizenbaum’s classical ELIZA program and developed by Richard Wallace in 1995. (Wikipedia, 2012)

KeJI function as an experiential ‘audience evaluation tool’ that gathers opinions, feelings and thoughts from visitors. KeJi also creates a subtle awareness of visitors’ individual heart rates.

There are two strands to the project, ‘KeJi Bounce’ and ‘KeJi Installation’.

KeJi Bounce

KeJi Bounce is a game that births a unique KeJi spawn character whose behaviour is linked to the ECG of the player’s heart rate and personal data. Players have to bounce on a trampoline to keep their creature afloat. The game will get increasingly harder as the user’s heart rate increases.

Users who have played the KeJi Bounce game can drop off their personal KeJI spawn character at the KeJi installation screen. The KeJi spawns will cluster to others with similar heart rates and generally bounce around with the bigger KeJi ‘the original’. Each spawn will display a name and the heart rate of its ‘owner/creator’.

KeJI Installation

The KeJi Installation is a human size CSF festival ‘Tamagotchy’ with artificial intelligence. It communicates with visitors through sms txts and tweets, as well as online through the www.keji.co.uk website.

KeJi’s ‘form’ (the number of lines/polygons) will be affected by the average heart rate of the festival visitors (fed virtually from the KeJi Bounce game) and its gradient colour and facial expressions will indicate its mood (red = angry/stressed to yellow=happy, blue-chilled and green = lonely). KeJi’s mood will also affect its response in communicating with visitors through tweets and sms txts.

Keji Fact Sheet

To find out more about Cheltenham Science Festival, please go to:
http://www.cheltenhamfestivals.com/science

Plymouth University at the Cheltenham Science Festival: http://www.plymouth.ac.uk/pages/dynamic.asp?page=events&eventID=6929&showEvent=1

Image: Vince Cable meets Keji.

PROJECT PARTNERS

KeJi is a collaborative commission by Cheltenham Science Festival and i-DAT, Plymouth University, of the artist and designer Nathan Gale. The project is made possible through sponsorship from leading audio visual solutions providers, Pyramid.

Nathan Gale – www.intercitystudio.com

Nathan Gale was art director of leading communication arts journal, Creative Review, for almost ten years. In that time he worked with some of the best creative minds in the industry – from designer Peter Saville, to advertising agency Mother. He has been on the judging panels of numerous awards, including D&AD, and has lectured at various institutions around the country. He has also written for, or been interviewed about his work by, publications such as étapes and FairyTale magazine.

Over the years, Gale’s work has been recognised and awarded by his peers. His work can be found in select D&AD annuals, was nominated as one of the Design Museum’s Designs of the Year awards, and was awarded a Silver at the Art Directors’ Club awards in New York. Gale currently works under the name of Intercity. With a network of collaborators from the worlds of art, design, photography, illustration, digital media and beyond, Intercity applies a highly creative and considered approach across a range of areas including fashion, music, publishing, branding and advertising. In addition to producing high-end graphic design, Gale also specialises in live art projects and exhibition curation.

Cheltenham Science Festival – www.cheltenhamfestivals.com/science

This summer on 12–17 June, over 300 of the world’s greatest thinkers, comedians, writers and scientists will come together to celebrate and explore all things scientific for The Times Cheltenham Science Festival 2012. Cheltenham Festivals is one of the leading cultural organisations in the country with the four festivals boasting combined ticket sales of over 150,000 and enjoying enviable international reputations as leaders in their own fields.

i-DAT – www.i-dat.org

i-DAT (Institute of Digital Art and Technology), based at Plymouth University, has since 1998 been delivering dynamic research, digital production and collaboration with leading researchers, artists and industry professionals, bridging the gap between academic research and real world engagement to generate social, economic and cultural benefit. i-DAT’s services and activities, produced through playful interactions with new modes of creativity and research, span the cultural, commercial, educational and third sectors.

Plymouth University – www.plymouth.ac.uk

Plymouth University is one of the UK’s largest universities, with a world-renowned reputation in the research areas of marine and coastal, technology, computer science, environmental, economic and social sustainability, creative and cultural economies, health, nursing and biomedicine, and pedagogic research/innovation. The University has leapt 15 places to join the top 50 UK universities in research performance, results showing that overall, 80 per cent of our research was judged as being of international repute.

Pyramid – www.pyramidav.co.uk

Pyramid is one of the UK’s leading audio visual solutions providers. Pyramid prides itself on delivering the best solutions for awards ceremonies, conferences or roadshows. Their skilled team of production and event staff has a range of creative solutions and ideas to make your event run smoothly, with maximum impact and value for money. Their award winning AV team has extensive knowledge in all areas of the design and installation of audio visual solutions. They supply all levels of audio visual equipment into a wide range of sectors, and have over 15 years’ experience in providing support and installation solutions to demanding clients, including MOD and government agencies, commercial, worship, hospitality and luxury sectors. Their offices are in London, Devon and Cornwall, and work across Europe on a regular basis meaning you can rely on their extensive coverage.

Confluence Project

Confluence Project

Confluence is a new arts, technology and environment project being delivered by partners Beaford Arts, the North Devon Biosphere Foundation, Appledore Arts and University of Plymouth’s i-DAT (Institute of Digital Arts and Technology).

 

The project artists, selected following a national application process, are working with schools and communities along the River Torridge in North Devon which lies within North Devon’s UNESCO Biosphere Reserve.  Using environmental data collected live by devices developed by i-DAT the four artists – Simon Ryder, Simon Warner, Jon Pigott and Antony Lyons – will work with ten schools and on their own creating new artwork inspired by various sites along the river.

The ‘Confluence Project’ developed a core networked sensor system based on the Xbee, around which various sensors (flow, light, temperature, movement) were integrated. These ‘Ecoids’ were model ‘provocative prototypes’, networked instruments for harvesting data in order to enhance our understanding of the world. They do this not through an algorithmic definition of what certain values (temperature, luminosity, humidity, flow and turbidity) actually mean, but through a negotiation of what the environment really feels like.

Eco-OS  provided a substrate for the ‘Confluence Project’, through the use of open source hardware and software to build environmental monitoring and remote, networked sensing devices – ‘Ecoids’ (xbee, arduino, sensors), mobile phones, tablets and computers. It deploys software for data capture and broadcasting through the Internet (processing, HTML, RSS, databases) and the integration of data harvested from the environment into platforms such as Google maps and other API’s.

Ecoid Assembly Line.

Ecoids.

Ecoid 3 Data Feed.

Ecoid Dashboard.

Ecoid Geo-Location.

Game Engine Height Map.

Real-Time Ecoid Feeds to Confluence Game Engine.

Once captured, analysed and parsed this raw material can be visualized and sonified through traditional audio/video and image manipulation, screens, web pages but, more interestingly, through FullDome environments. These new forms reveal the ‘temporal’ ebb and flow of environmental factors and manifest the ‘invisible’ fabric that allows us to ‘feel’ things that normally lie outside of our normal frame of reference. Installing remote sensors in the landscape may be common practice within the Earth Sciences. However, these industrial instruments are normally significantly expensive industrial weather stations that collect data from a focused area. The data collected may well be calibrated to professional scientific standards, but at the same time it brings with it an ‘institutionalized’ model of the environment, a non-negotiable model that can be difficult for the inhabitants of an environment to understand and ‘own’. The ‘Confluence Project’ offered a different model, something that was totally negotiable, participatory and thoroughly owned by those that contributed. The creative outputs made the environment understandable, highly relevant and empowering.

Through the manifestation of material, immaterial and imaginary worlds Confluence brought the ‘Landscape’, which is by definition, unreachable and out there, just a little closer …

Aqua-Ecoid – flow and turbidity.

Fulldome and Confluence Exhibition.

Fulldome Productions.

Confluence and Data Ecology are published in Ubiquity: The Journal of Pervasive Media Volume 1 Number 2

© 2012 Intellect Ltd Miscellaneous. English language. doi: 10.1386/ubiq.1.2.244_7

https://www.intellectbooks.com/ubiquity

Exposure

Exposure

ART|SCI CENTER. 

 

Mike Phillips Lecture + Exhibition Opening: 07-16/03/12.

http://artsci.ucla.edu/?q=events/mike-phillips-lecture-exhibition-opening

Opening March 7
Lecture @ 2pm
Exhibition Openings: 5-7pm
Location: Lecture @ UCLA Broad Art Center, room 5240, Exhibition @ CNSI Gallery

 

Exposure is an exhibition of work by Mike Phillips, Professor of Interdisciplinary Arts, School of Art & Media at Plymouth University. Mike Phillips is director of i-DAT, a Principal Supervisor for the Planetary Collegium and a supervisor of the Transtechnology Research Groups. His R&D orbits digital architectures and transmedia publishing, and is manifest in a series of ‘Operating Systems’ to dynamically manifest ‘data’ as experience in order to enhance perspectives on a complex world. The year that Eastman Kodak filed for bankruptcy protection was the same year Fujifilm moved from film production to beauty products (1). This did not just mark a technological shift from film grain to nanoparticles but also a massive cultural shift – a shift from capturing the face on film to the embedding of ‘film’ in the face. The thing that once froze the face in an eternal youthful smile is now the anti-aging nanoparticle that preserves the face we wear. Barthes described the face on film as representing “a kind of absolute state of the flesh, which could be neither reached nor renounced”2. Now this absolute state is closer to hand and we will walk around wearing our old photo albums as our face, peeling away the frames like layers of dead skin. Our essence, like Garbo’s, will not degrade or deteriorate.

‘Viewed as a transition’ Exposure explores the deterioration of the flesh through the temporality of the Atomic Force Microscope (AFM). From the 60th of a second exposure of the Kodak Brownie camera to the 20-minute scan of the AFM – the closer the subject the longer the ‘exposure’. Incorporating data from an AFM scan of a basal cell carcinoma Exposure explores the convergence of ideologies constructed around imaging technologies. Through a subtle interaction the viewer conjures up a dynamic data/image of a skin cancer – over exposed to the sun – or the intense light of the camera flashgun.

 

 

EXPOSURE

The year that Eastman Kodak filed for bankruptcy protection was the same year Fujifilm moved from film production to beauty products(1). This did not just mark a technological shift from film grain to nanoparticles but also a massive cultural shift – a shift from capturing the face on film to the embedding of ‘film’ in the face. The thing that once froze the face in an eternal youthful smile is now the anti-aging nanoparticle that preserves the face we wear. Barthes described the face on film as representing “a kind of absolute state of the flesh, which could be neither reached nor renounced”(2). Now this absolute state is closer to hand and we will walk around wearing our old photo albums as our face, peeling away the frames like layers of dead skin. Our essence, like Garbo’s, will not degrade or deteriorate. ‘Viewed as a transition’ Exposure explores the deterioration of the flesh through the temporality of the Atomic Force Microscope (AFM). From the 60th of a second exposure of the Kodak Brownie camera to the 20-minute scan of the AFM – the closer the subject the longer the ‘exposure’. Incorporating data from an AFM scan of a basal cell carcinoma Exposure explores the convergence of ideologies constructed around imaging technologies. Through a subtle interaction the viewer conjures up a dynamic data/image of a skin cancer – over exposed to the sun – or the intense light of the camera flashgun.

Exposure builds on a portfolio of data driven work and ‘nano’ art developed by the artist and collaborators, such as Spectre [ˈspɛktə/] (Phillips, M. 2012) (3), A Mote it is… (Phillips, M. 2010) (4) and i-DAT’s Operating Systems (5). These projects explore the ubiquity of data streamed from an instrumentalised world and its potential as a material for manifesting things that lie outside of the normal frames of reference – things so far away, so close, so massive, so small and so ad infinitum. These digital practices use alchemical processes that enable a series of transformations: from data to code to experience to behaviour.

The instruments that now do our seeing for us translate their visions through data. The emergence of digital imaging technologies that provide access to photons from the edge of the universe and the atomic force that binds molecules offer us a whole new vocabulary for articulating the world. Atomic Force Microscope, Scanning Electron Microscope, X-ray computed tomography and the Radio telescope open up new dimensions, as more dimensions are unveiled, more realities are modelled and more truths envisioned. There are (to paraphrase Hamlet) more things in heaven and earth than currently dreamt of in our media philosophy.

“A mote it is to trouble the mind’s eye.” (6) A Mote it is… explored our relationship with technologies that trouble the mind’s eye. Our ability to shift scales, from the smallest thing to the largest thing has been described as the ‘transcalar imaginary’ (7). Hamlet’s Fathers Ghost is seen but not believed and one is left to wonder if it is just the seeing of it that makes it real – its existence totally dependent on the desire of the viewer to see it.  The ‘mote’ or speck of dust in the eye of the mind of the beholder both creates the illusion and convinces us that what we see is real. Something just out of the corner of our minds eye, those little flecks magnified by our desire to see more clearly. Yet the harder we look the more blurred our vision becomes. A ‘mote’ is both a noun and a verb. Middle English with Indo-European roots, its early Christian origins and Masonic overtones describe the smallest thing possible and empower it with the ability to conjure something into being (so mote it be…). This dual state of becoming and being (even if infinitesimally tiny) render it a powerful talisman in the context of nano technology.

i-DAT’s Operating Systems project was initially inspired by early work exploring the potential of spaces recording events that happened within them. Arch-OS was described as a ‘Psychometric’ Architecture, a viral infection of a building that replayed at night the activities that took place during the day. A kind of dreaming architecture. Psychometry… “The concept of objects (or places) seeming to record events and then play them back for sensitive people is generally referred to as psychometry. The objects can be called psychometric objects or token objects” (Morris, R. 1986) (8).

Spectre suggests that the Schauraum, the site of the exhibition, is such an architecture and that the memories of the building are bonded to its fabric by the atomic forces that have now been unlocked by the Atomic Force Microscope. Spectre builds on the collision of A Mote it is… and Psychometric Architecture by drawing on the experiences of Professor Gustav Adolf Schwaiger, the Technical Director of the Austrian Broadcast Corporation, and his collaboration with the famous medium Rudi Schneider in the late 1930’s to the early 1940’s. “G.A. Schwaiger… conducted some private (and rather obscure) experiments with the famous medium Rudi Schneider in the studio of a female painter… In fact the flat could have been right above our exhibition space (Schauraum)” (Fiel, W. 2011) (9). Spectre extends these experiments by replaying the physical remnants of these happenings as captured in the atomic forces binding the dust from their laboratory. The spectres of Schwaiger, Schneider, the painter and the ectoplasm they conjured up are manifest through the Spectre installation.

References:

1: Pico-Collagen (acetyl hydroxyproline), http://and-fujifilm.jp/en/html/skincare/index.html  

2: Roland Barthes The Face of Garbo, Mythologies London: Vintage, 1993; pp. 56-7

3: Phillips, M. ‘spectre [ˈspɛktə/]’, Schauraum. Quartier21 (Electric Avenue), MuseumsQuartier, Museumsplatz 1/5, 1070 Wien, Austria. 27.01-18.03.2012.

4: Phillips, M. ‘A Mote it is…’ Art in the Age of Nano Technology, John Curtin Gallery, Curtin University of Technology, Perth, WA. For exhibition in 02/2010. http://www.i-dat.org/a-mote-it-is-update/  

5 : http://www.i-dat.org/i-dat-launches-op-sycom/

6: Shakespeare, W. Hamlet. Act 1, Scene 1, Line 129.

7. Transcalar Imaginary. “mundus imaginalis traversing the micro, meso, and macro…”  Curated by David McConville. http://www.scoop.it/t/transcalar-imaginary/  

8. Robert L. Morris (Koestler Chair of Parapsychology at the University of Edinburgh 1985 to 2004) in a letter to the artist 21 October 1986.

9. Email correspondence with Wolfgang Fiel. 2011.

Exposure Max patch and source videos-.zip.

With thanks to:

i-DAT.org /
Luis Girao at Arshare /
Professor Genhua Pan at the Wolfson Nanotechnology Laboratory at Plymouth University.

Devonport Open Event

Devonport Open Event


Devonport Guildhall, Ker Street, Devonport
http://goo.gl/hl10k
ALL WELCOME
Friday 3rd February 2012
2pm – 4pm


An one-off event showcasing a series of exploratory projects which
reveal invisible histories, memories and traces in and around Devonport. These projects embed and reveal information about the past, present and future. They explore the use of interactive mobile media, smart objects and projection to suggest new ways of experiencing, interacting and engaging with our built environment.
Background.
Fourty students from the Schools of Architecture and the Digital Art and Technology have worked to create interactive projects that address the following topic:
How can we bridge the gap between the digital and the physical, the material and the immaterial transforming the way we interact with the space around us?
Organisers:
Unit Inbetween, School of Architecture and i-Dat, University of Plymouth
with the kind support of RiO (Real Ideas Organisation)
Further information:
Katharine.willis@plymouth.ac.uk / Gianni.corino@plymouth.ac.uk
PDF flyer

‘A HERMIT’S MOVIE IV: IN TREES’

‘A HERMIT’S MOVIE IV: IN TREES’


‘A HERMIT’S MOVIE IV: IN TREES’
A performance by Barry Sykes.
Friday, 25 November 2011 at 18:00
Immersive Vision Theatre [http://goo.gl/VVDUM],
Plymouth University,
Plymouth, Devon, PL48AA.
Barry Sykes stages an updated version of his ambitious performance lecture written for and about The Immersive Vision Theatre, Plymouth University’s 1967 concrete planetarium, now repurposed by i-DAT to present state-of-the-art immersive visualisations.
The event is free, to book please go to: http://barrysykesatidat.eventbrite.com
Constantly surprising and entertaining, this sprawling multimedia monologue invokes astronomy, astrology, error, understanding, karaoke, Van Gogh, Versailles, An elm tree, and the mechanics of comedy and cinema. Originally written and performed whilst Sykes was artist in residence at Plymouth Arts Centre in 2010/11 he has been invited to present it again as a Constellation event alongside the British Art Show 7.
This event also offers an opportunity to gain access to the Immersive Vision Theatre’s 40 seat auditorium.
Supported and developed by i-DAT, Commissioned by Plymouth Arts Centre.
“Barry Sykes’s life as an artist has taken him down some offbeat, and perhaps not strictly legal, avenues. His artworks-cum-social experiments include impersonating a part-time police community support officer and replicating/ripping off work by such strange bedfellows as romantic minimalist Cerith Wyn Evans and painter Karel Appel. He’s even got his dad to realise work for him, as with a series of photos carried out according to his instructions. Trust, originality and morality rank among this trickster’s quarry, in projects that unpick what goes on behind the scenes in art.”
(Skye Sherwin, The Guardian, January 2011)
Biography
Barry Sykes (1976 Lives and works in London) has a diverse practice involving sculpture, drawing, photography, video and performance. Recent solo exhibitions include ‘I Am Not him And I Do Not Have Your Pen’ Late at Tate, Tate St Ives, 2011; ‘Recreate A Nervy Pistol (An Early Retrospective), Plymouth Arts Centre, 2011; ‘The Desperate Designer’, Gallop, London, 2009; ‘I Was Born On The Day Heidegger Died (But I Don’t Know Much About His Work)’, i-cabin, London, 2008. He has been in recent group shows at Tate Modern, London; ArtSway, New Forest; Project Space 11, Plymouth; UCL, London and Goldsmith’s College, London. He has recently delivered talks and performances at Tate St Ives, Tate Modern and Spike Island, Bristol and The University of the Arts. London.
http://www.barrysykes.info/

Confluence…

Confluence…


Confluence is a new arts, technology and environment project being delivered by partners Beaford Arts, University of Plymouth’s i-DAT (Institute of Digital Arts and Technology), the North Devon Biosphere Foundation and Appledore Arts.
We’ll be working along the Torridge – in Dolton, Merton, Great Torrington, Bideford, East-the-Water, Appledore and Instow.
Schools and communities, alongside artists selected in a national application process, will develop new work about each place. They’ll be using environmental data collected live by i-DAT’s devices which will also appear in new ways online.
This autumn, there’ll be launch events with demonstrations and workshops. i-DAT and their 5-metre Inflatable Dome will be on show -drop in and see what we’ll be getting up to!
Confluence is supported by Arts Council England and Leader 4.
https://i-dat.org/confluence-project/

Arts Council National Portfolio Programme

Arts Council National Portfolio Programme

We are pleased to announce that i-DAT’s application for Arts Council England National Portfolio Funding has been successful. Following a history of Grants For the Arts funding acceptance into the National Portfolio Funding Programme marks a significant point in i-DAT’s evolution. This Arts Council England investment will allow us to defrag and reboot and establish a sustainable platform to deliver our programme and services. We look forward to working with artists, organisations and audiences on a regional, national and international level.
i-DAT is dedicated to being a catalyst for creative experimentation – through collaborative, networked, and open innovation – to co-create social, cultural and economic benefit.
In a world of widely distributed knowledge, resources and skills, individuals and organisation cannot operate in isolation. i-DAT passionately believes that it must embrace the opportunities created by digital technologies to be collaborative, networked and open in order to sustainably co-create social, economic and cultural benefit for society in general and, in particularly, for current and future generations of young people.
We want to facilitate innovation in order to tackle the complex challenges facing individual, social, cultural and economic development in the 21st century. We will achieve this by creating environments (offline and online) and digital tools that empower the cultural, commercial and community sectors. We will provide access to new ideas, knowledge, data, technologies and practices through rich interactions with teaching, research and enterprise. We will support the evolution of this vision through a mixed economy of funding streams generated through the synergies between world-class research, creative and commercial productions, industrial collaborations and sponsorship.

i-DAT @ Animated Exeter.

i-DAT @ Animated Exeter.


Projection Seminar – Mapping the Future

Venue: The Rougemont Hotel by Thistle

Date: 19th February, 2pm–5pm

Luminaries from the world of large-scale projection, urban and in the natural world, come together to discuss the nature of the artform and it’s future. GaiaNova, NVA, Tundra, BBC Big Screen, i-DAT.

Cathedral Projection:

EXETER Cathedral’s magnificent exterior will be lit up with spectacular animation to celebrate this year’s Animated Exeter film festival (14 – 26 February). Funded by Arts Council England, internationally acclaimed London artists Tundra* will create a breath-taking projection called Isca Obscura on the Cathedral’s iconic north-front between 18, 19 and 20 Feb. The cutting-edge piece will be aided by pioneering effects designed by i-DAT.

http://www.animatedexeter.co.uk/