Present in Absentia – Tate ETC

Present in Absentia – Tate ETC

Present in Absentia

For Mike Phillips, the interactive Psalms stores a tangible memory of his late friend and collaborator Donald Rodney…

Issue 62 — Summer 2024

https://www.tate.org.uk/tate-etc/issue-62-summer-2024/mike-phillips-donald-rodney

 

Apart from the faint clicking of ultrasonic sensors, the occasional clunk of motors engaging, and the random squeak of rubber tyres on polished gallery floors, Donald Rodney’s Psalms 1997 gracefully performs its predefined figure of eight. It will go on doing this forever, unless it’s interrupted by a visitor standing in its path. Then, politely, it stops and manoeuvres around the obstacle to renegotiate its trajectory. The autonomous wheelchair continues to define a space where the artist once was – an algorithm of absence.

Sickle-cell anaemia framed Donald’s life; it didn’t define it, but it punctuated his creative practice with frequent hospitalisations for hip replacements and blood transfusions. Medical technologies were part of his artistic language, which centred on the Black experience and the politics of his own body. Psalms anticipated his absence, with his death coming just a year after its completion.

While sharing a studio with Donald at the Slade between 1985–7, I was charmingly coerced into ‘the Donald Rodney plc’ – a group of friends and artists who collaborated with him on projects including Visceral Canker 1990 and, posthumously, donald.rodney:autoicon v1.0 2000. For Psalms, however, I was more of a translator and, latterly, a caretaker. At the time, I led (and still lead) a research group into digital art and technology at the University of Plymouth. After discussing Donald’s early imaginings for Psalms, I introduced him to Dr Guido Bugmann, who, with his student Kheng Lee Koay, developed a cutting-edge neural network, a precursor to the contemporary machine learning models, to drive the digitally enhanced wheelchair in accordance with Donald’s vision.

Donald’s boundary-fluid artworks expanded the field of BioArt and the creative use of AI at the end of the last century – and are consequently a conservator’s nightmare. The Estate of Donald G. Rodney, driven by Donald’s partner Diane Symons and the artist Keith Piper, have protected these artworks over the years. Psalms, however, ran the risk of becoming a Ship of Theseus of upgrades of electronics and antediluvian computers. But then Theseus didn’t have a neural net to navigate by, or indeed the support of Tate’s time-based media conservation unit to sensitively preserve the work. Even if Psalms will always be an immaterial algorithmic behaviour, Donald, through his absence, remains tangibly present.


Psalms was purchased with funds provided by Tate International Council in 2023. Visceral Canker was presented by Tate Members in 2009. Both artworks are included in a major survey exhibition of the late artist at Spike Island, Bristol until 8 September.

Mike Phillips is Professor of Interdisciplinary Arts at the University of Plymouth, and Director of Research at i-DAT.org.

20 Years a Cyborg…

20 Years a Cyborg…

 

A little bit of Cyborg history. The Neil Harbisson and Adam Montandon (the Plymouth University cybernetics expert) on the MSc Digital Futures programme.

https://www.bbc.co.uk/news/articles/cg58r70yj43o

‘Meeting a real-life cyborg was gobsmacking’

      • Published

For the past 20 years, self-declared “cyborg artist” Neil Harbisson has provoked debate with his “eyeborg” – a surgically attached antenna.

Harbisson, who grew up in Barcelona, is colour blind, having been born with the rare condition achromatopsia, which affects one in 33,000 people.

This means he sees in what he calls “greyscale” – only black, white and shades of grey.

But he decided to have surgery in 2004 which changed his life – and his senses – attaching an antenna to the back of his head, which transforms light waves into sounds.

When film director Carey Born came across Harbisson, classed by Guinness World Records as “the first officially recognised ‘cyborg’,”, external she was “gobsmacked and astonished”.

Her next move was to meet him, and then make a film about him – Cyborg: A Documentary.

It explores how he navigates his life, along with effects and implications of his unusual surgical procedure.”

Future History…

Adam Montandon & Neil Harbisson

High Performance Computing (HPC) Sysadmin

High Performance Computing (HPC) Sysadmin

The University of Plymouth is recruiting a High Performance Computing (HPC) system administrator to lead the infrastructure team. We expect the successful candidate to work closely with the researchers across the university.

HPC: https://hrservices.plymouth.ac.uk/tlive_webrecruitment/wrd/run/ETREC107GF.open?VACANCY_ID=323898RPMt&WVID=1602750fTZ&LANG=USA

 

Job details

Job reference: B0296
Date posted: 09/07/2024
Application closing date: 04/08/2024
Location: Plymouth
Salary: £38,205 – £44,263 per annum – Grade 7
Contract Type: Permanent, Full-time
Contractual hours: 37
Job category/type: Professional/Support Services

HPC Systems Administrator

Description

Join the University of Plymouth as a HPC Systems Administrator!

Are you ready to make a significant impact in the realm of High Performance Computing (HPC)?  The University of Plymouth’s Technology and Information Services (TIS) team is seeking a skilled and enthusiastic HPC Systems Administrator to join our progressive and innovative institution.  This is a unique opportunity to advance your career in a vibrant academic environment, situated in the heart of the city.

Why Plymouth University?

  • Dynamic Environment: Be part of a team committed to enhancing digital capabilities and providing seamless IT services. We embrace the latest cloud technologies and are dedicated to supporting both students and staff with cutting-edge solutions.
  • Career Growth: Engage in interdisciplinary projects, collaborate with leading researchers, and contribute to impactful scientific endeavours. Your role will evolve based on your skills and interests, providing ample opportunities for professional development.
  • Supportive Community: Join a university that values innovation, self-leadership, and collaboration. Benefit from a culture that encourages continuous learning and fosters strong relationships.

Role Summary:

As a HPC Systems Administrator, you will oversee the deployment, maintenance, and optimisation of our new HPC infrastructure.  Your expertise will ensure the reliability, performance, and security of our systems.  Engage with users to support their scientific projects and optimize their usage of HPC resources.

Key Responsibilities:

  • HPC Cluster Management: Administer multi-node Linux systems, develop automation tools, manage users, and install software. Monitor system performance and troubleshoot issues to ensure high availability.
  • User Support: Assist researchers in efficiently utilizing HPC systems, provide technical support, and offer best practice guidance.
  • Security and Compliance: Implement security measures and ensure compliance with industry standards.
  • Resource Optimisation: Optimise system performance through workload scheduling and resource allocation. Recommend hardware and software upgrades.
  • Documentation and Training: Maintain comprehensive system documentation and conduct training sessions to maximize user productivity.
  • Collaboration: Work closely with research teams to understand their computational needs and provide tailored solutions. Collaborate with IT and engineering teams to integrate HPC systems into the broader infrastructure.

Qualifications:

  • Education: Bachelor’s or Master’s degree, or equivalent qualification, in a high-performance computing (HPC) related discipline, such as computer science, data science, engineering, mathematics, physics, or other related field.
  • Experience: Proven experience with Linux-based systems, HPC administration, security measures, and scripting languages. Desirable skills include programming (Python, C/C++, Fortran), software optimization, and performance engineering.
  • Skills: Strong organizational skills, attention to detail, and the ability to self-manage complex workloads. Excellent communication and problem-solving abilities are essential.

How to Apply:

If you’re passionate about HPC and eager to contribute to a forward-thinking university, we encourage you to apply.  For inquiries about the role, please contact Vincent Drach at Vincent.drach@plymouth.ac.uk.

Join us at the University of Plymouth and be part of a team driving innovation and excellence in the digital age.  Apply today and take the next step in your HPC career!

The University of Plymouth is an inclusive community where everyone is welcomed regardless of their background. To find out more about our inclusive community initiatives, such as Athena Swan and the Race Equality Charter, please visit our Equality, Diversity and Inclusion webpages.

We particularly welcome applicants from under-represented communities at the University of Plymouth, such as carers/parents, people with disabilities, ethnically diverse, LGBT+, and people from all socio-economic backgrounds.

Job Description

Image by Thom Yorke

The Chimæric Mind – CR2024

The Chimæric Mind – CR2024

CONSCIOUSNESS REFRAMED 2024 – The Chimæric Mind

https://sites.google.com/view/consciousnessreframed2024/home

Ascott`s Anecdotes: a Celebration of Consciousness Reframed:

Celebration Keynote Session – Roy Ascott’s Notable alumni.

  • Prof Roy Ascott,
  • Dr. Jill Scott,
  • Dr. Victoria Vesna,
  • Pete Townshend,
  • Dr. Bill Seaman,
  • Dr. Joseph Nechvatal,
  • Prof. Mike Phillips.

Chair: Dr. Jill Scott
(Co-chairs: Dr. Clarissa Ribeiro and Dr. Rewa Write)

 

Welcome!

In contemporary Western culture, the transformation of our sense of being, of presence, and the nature of time, can be seen as a consequence of accelerated developments in the technologies of mind and of the body (technoetics). Much earlier cultures also developed technologies, often dismissed as “simply” somatic or vegetal, that had the capacity to transform consciousness, reaching it would appear a spiritual significance that has so far, in these early days of digital development, eluded us. There may be political, corporate or cultural reasons for this. But as we move out of the era of techno-primitivism and reductionist fundamentalism, we can hopefully look to the encoding of empathy and emotion in computational systems, and so to an understanding that only when the computer can feel will there be machines that think. This may lead, in turn, to a greater understanding of what constitutes reality, or, as some might see it, a greater capacity to (re)build it, and ourselves, bottom up.name

Roy Ascott, 2010

Reference:

Roy Ascott, Espen Gangvik, Margarete Jahrmann, “Making Reality Really Real Reflections on Art, Technology, and Consciousness,” Proceedings of The 11th Annual International Research Conference, Consciousness Reframed: Art and Consciousness in the Post-Biological Era, Trondheim, 2010. Wennberg, Trondheim, Norway: TEKS Publishing, 2010.

Dear Esteemed Colleagues and Visionaries,

It is with great excitement and anticipation that we extend this invitation to you for the international Consciousness Reframed conference, marking two decades since the inaugural event in China in 2004. As we convene to celebrate this milestone, we also honor synchronous anniversaries: the 30th anniversary of the Planetary Collegium (CAiiA-STAR), a decade of the Roy Ascott Advanced Program in Technoetic Arts in China, and the 90th birthday of the visionary Roy Ascott himself.

The theme for CR 2024 is “The Chimæric Mind,” exploring the ethical, philosophical, political, spiritual, cultural, and aesthetic facets of the profound intersection between machine and human cognition. In a world where artificial intelligence propels discussions across disciplines, challenging our understanding of reality, self, and the potential futures of humanity, our conference aims to dissect and envision the implications of this synthesis.

Inviting us to confront the evolving relationship between machines and the human mind that beckons us to ponder transcendent dimensions of merging man and machine, man and other animals, and the blending and editing of all sorts of complex molecules, we hope that together we can enlarge our collective understanding of a world where the entanglements of AI, neurosciences, molecular engineering, and quantum biology steer discussions, questioning fundamental truths, challenging our perceptions of reality and the realities we can create and envisage, exploring the very essence of selfhood, and unveiling possible futures for humanity.

Taking place in Shangai, at the SIVA Shanghai Institute of Visual Arts in Songjiang with art exhibitions and performances in galleries in downtown Shanghai, and telematically, revisiting the 1992 Telenoia with hosted satellite events all over the world, the conference’s subthemes invite to meditate on the impacts of initiatives such as the “China Brain Project,” dedicated to pioneering brain-inspired AI. China’s AI-brain initiative encompasses diverse domains, including brain-inspired AI (BI-AI), connectomics, and brain-computer interfaces (BCI). BI-AI delves into mathematical representations of brain processes, translating biological computation into AI models. Connectomics replicates brain structures, employing AI for image interpretation, while BCIs decode and potentially leverage brain signals for computing resources. Shanghai, a technological hub, takes center stage, hosting facilities like the Center for Excellence in Brain Science and Intelligence Technology and the “G60 Brain Intelligence Innovation Park” in Songjiang. This innovation hub, generously funded, explores BI-AI research, featuring intriguing ventures like cloned monkeys. Across the nation, institutes like Tsinghua University contribute to neural coding and machine learning algorithms. Under the umbrella of “The Chimæric Mind,” we invite our global community to delve into the ethical implications of using ‘animals-like-humans-as-if-not-humans’ in labs and the intricate interplay between humans and AI implied in public and private audacious efforts that can lead humanity to a future in which ‘Transcendent AI’ plays a central role in reframing consciousness. We hope to infuse perspectives that can spark discussions on experiences, challenges, and ethical considerations in the ever-evolving landscape of AI and scientific, technological, and artistic exploration by humans.

To guide academic submissions for the international Consciousness Reframed 2024 conference, the following sub-themes have been proposed to navigate aspects of “The Chimæric Mind” entangled with intellectual inquiry transcending arts, science, technology, culture, and spirituality:

Sub-themes:

1. Humans-AI-Entanglements

Places an invitation to explore the intricate and evolving relationships between humans and artificial intelligence, considering welcoming explorations that concern the entanglements that arise as AI becomes an integral part of our daily lives, hybridizing our perceptions, decisions, and even our identities — the era of a ‘convolutional cyberception’ —, additionally inviting to consider the multifaceted socio-political and cultural dimensions intricated with private and government-funded initiatives all over the planet.

2. The Syncretic Mind: Beyond Spirituality

The sub-theme invites us to delve into the syncretic nature of the mind as it navigates the intersections of spirituality, artificial intelligence, and neuroscience, welcoming submissions that critically consider the ‘transcendent dimension’ emerging from AI and experimental practices beyond traditional boundaries, taking cues from the advancements in brain-inspired artificial intelligence (BI-AI), connectomics, and brain-computer interfaces — the artificial divine or sacred beyond cultural and religious constraints.

3. Artificial Time, Scale, and Space

Places an invitation to examine how AI challenges previous conventional notions of space, time and temporality, scale, having implications in the understanding of presence and the very notion of existence and scale of existence, drawing insights from discussions around the AI and neurosciences research convergences, emphasizing breakthroughs in brain-like information coding, processing, and large-scale intelligent computing models.

4. Transcendent AI: on Artificial Consciousness

Transcendent AI refers to AI systems with intelligence and capabilities that become incomprehensible to humans and that might possess consciousness, creativity, and problem-solving abilities beyond the singularity. The sub-theme invites us to engage in discussions about the theoretical and practical aspects of imbuing machines with self-awareness, raising questions about the nature of consciousness and its potential replication in artificial entities.

5. Molmedia: the quantum biology of mind

The sub-theme places an invitation to explore “The Chimæric Mind” as an emergence from elementary entities’ behavior and qualities. The quantum mind or quantum consciousness comprises hypotheses proposing that interactions from classical mechanics or connections between neurons alone cannot explain consciousness, instead proposing that quantum-mechanical phenomena, such as entanglement and superposition play a central role since causing nonlocalized quantum effects.

6. Moist-Encounters: The Artificial Biochemical

This sub-theme invites participants to submit work venturing into the realm of biochemical interactions, discussing the implications of merging artificial intelligence with the biochemical processes of living organisms. Participants are encouraged to critically reflect upon the potential benefits, ethical concerns, and transformative possibilities of these moist encounters, including exploring research on genetic chimerism and molecular biology chimeras and the use of pluripotent stem cells in engineering new existences.

7. Artificial Ecology-as-Cosmology: Decolonial-Convolutional

Inviting to investigate the intertwining of AI and ecological and cosmological perspectives, potentially producing decolonial-convolutional unfoldings. This sub-theme invites participants to submit work examining how AI impacts ecological systems and cosmological narratives, challenging traditional perspectives and fostering a more inclusive understanding of interconnectedness.

8. On the (a)gender(s) of the Machine

Addressing the gender dynamics inherent in AI, this sub-theme invites participants to submit work exploring how gender is represented, constructed, or perceived in the realm of artificial intelligence, considering discussing the implications of gendered perspectives on AI development, usage, and societal impact. Beyond nature as gender-fluid, gender-related aspects mentioned in the context of AI-brain programs, such as hybrid enhanced intelligence theory and brain intelligence computing theory, can impact our very understanding of gender as a humanly created social construct.

The Consciousness Reframed 2024 conference calls upon our global community of visionary thinkers, scholars, artists, scientists, and technologists to join us in Shanghai or telematically to collectively explore, discuss, and envision the profound implications of “The Chimæric Mind” on our understanding of consciousness, reality, and the future of humanity.

Sincerely,

Dr. Clarissa Ribeiro

Conference Chair

Program Director, Roy Ascott Advanced Program in Technoetic Arts, DeTAO

and

Roy Ascott

Founding President of the Planetary Collegium

Founding President of Consciousness Reframed Conferences

DeTAO Master of Technoetic Arts

DeTAO Masters Academy

SIVA Shanghai Institute of Visual Arts

Shanghai, China

 

Donald Rodney: ‘Visceral Canker’.

Donald Rodney: ‘Visceral Canker’.

[Image: Donald Rodney and Mike Phillips installing Visceral Canker (1990) at Mount Edgecombe Gun Emplacement, for the TSWA Four Cities Project - thanks to Diane Symons for the contact strip.]

Donald Rodney: Visceral Canker, Whitechapel Gallery, 12 February – 4 May 2025.

Following acclaimed presentations at both Spike Island (Bristol) and Nottingham Contemporary (Nottingham), Whitechapel Gallery brings this major survey exhibition of the late British multi-media artist Donald Rodney (b.1961, West Bromwich; d.1998, London) to London.

Visceral Canker encompasses the majority of Rodney’s surviving works from 1982 to 1997 including large-scale oil pastels on X-rays, kinetic and animatronic sculptures as well as his sketchbooks and rare archival materials. The exhibition showcases the extraordinary breadth and influence of Rodney’s work, confirming him as a vital figure in British art, and introducing him to a new generation of audiences.

Rodney experimented with new materials and technologies throughout his all too brief career. Working across sculpture, installation, drawing, painting and digital media, Rodney’s wide-ranging practice resists simple categorisation both thematically and materially, due to his innovative approach to both mediums and technical processes.

Rodney lived with sickle cell anaemia and harnessed the condition to confront the prejudices and injustices surrounding racial identity, Black masculinity, chronic illness and Britain’s colonial past. At his untimely death in 1998 from complications arising from sickle cell, Rodney left a multifaceted and influential body of work which has influenced artists, writers and filmmakers on both sides of the Atlantic.

Read the full exhibition press release.

The exhibition is curated by Gasworks Director Robert Leckie and Spike Island Director Nicole Yip and organised at Whitechapel Gallery by Gilane Tawadros and Cameron Foote."

Donald Rodney: Visceral Canker, Nottingham Contemporary, 28 September – 5 January.

“Donald Rodney, In Retrospect, Installation view at iniva, London, 2008. Photo: Thierry Bal.

Nottingham Contemporary presents a major retrospective of the late British artist Donald Rodney (b.1961, UK; d.1998, UK). Bringing together nearly all that survives of his work across painting, drawing, installation, sculpture and digital media with rare archive materials, the exhibition highlights Rodney’s significance to the recent history of British art. Though Rodney has had a perennial influence on the wider UK artist community, there have been few opportunities to experience the full breadth and complexity of his work. This touring exhibition will highlight the significance of Rodney’s work and re-address themes of racial identity, chronic illness, Black masculinity and Britain’s colonial past.

The exhibition is presented in partnership with Spike Island and Whitechapel Gallery, where it will tour during 2024–25.

This exhibition is presented alongside an archival display of items related to Rodney’s time at Trent Polytechnic in Bonington Gallery’s Vitrines.”

 

Donald Rodney Visceral Canker, Spike Island, 25 May – 8 September.

“Visceral Canker aims to introduce a new generation of audiences to Rodney’s life and work, cementing his place as a vital figure in British art.” Possibly the first time Donald Rodney: Autoicon, Pslams and Visceral Canker have been exhibited together…

Spike Island presents a major survey exhibition of late British artist Donald Rodney (b. 1961, West Bromwich; d. 1998, London).

Rodney worked across sculpture, installation, drawing, painting, and digital media, experimenting with new materials and technologies throughout his life. His work is known for being incisive, acerbic, and evocative in its analysis of the prejudices and injustices surrounding racial identity, Black masculinity, chronic illness, and Britain’s colonial past. Rodney was also co-founding member of the BLK Art Group: an association of young Black artists formed in Wolverhampton in 1982. The exhibition at Spike Island brings together all of Rodney’s surviving works. This includes large-scale oil pastels on X-rays, kinetic and animatronic sculptures, and restaged installations, as well as sketchbooks and rare archive materials, spanning 1982 to 1997. Also on display is Autoicon (1997–2000), an interactive digital artwork initiated by Rodney and finalised by a group of his close friends after he died from sickle cell anaemia in 1998. Rodney suffered from sickle cell throughout his life. This meant persistent pain, regular invasive treatments and increasing immobility. Though these were extremely challenging experiences, Rodney often incorporated them directly into his work as metaphors for the illnesses and injustices of society at large. This is evident in works such as Flesh of My Flesh (1996), a photographic triptych that includes a close-up of a raised scar on Rodney’s thigh; and My Mother, My Father, My Sister, My Brother (1997), a tiny maquette of a house made from pins and his own skin. Visceral Canker aims to introduce a new generation of audiences to Rodney’s life and work, cementing his place as a vital figure in British art. The title comes from a 1990 work by the artist, which comprises two wooden plaques displaying heraldic images, linked together by a system of medical tubes that pump theatrical blood. It exemplifies both the viscerality of Rodney’s work and politics, and his persistent scrutiny of the canker, or disease, at the heart of society: in this case specifically, how the inhumanity of Britain’s colonial history continues to structure life today. The exhibition is curated by former Spike Island Director Robert Leckie and Nicole Yip, Chief Curator at Nottingham Contemporary. It is presented in partnership with Nottingham Contemporary and Whitechapel Gallery, where it will tour on Spike Island.Spike Island

Visceral Canker

Psalms

Donald Rodney: Autoicon

 

“We are the real time experiment” by Mike Stubbs

“We are the real time experiment” by Mike Stubbs

 

“We are the real time experiment”

Mike Stubbs

15.00, Wednesday 17th April,

Jill Craigie cinema, Roland Levinsky Building, University of Plymouth.

‘Streets are my gallery and local communities are my audience’, Yola.

From street art, site-specific interventions and performance in public space, when and how do we create different types of agency and effective responses within a context of people and place?

With new opportunities to develop the town centre, parks and play areas, what new partnerships and strategies might we explore and how do we enable license for artists to do their own thing?

This informal presentation focuses on making and presenting work inside/outside the gallery by artist/curator Mike Stubbs. Mike will talk about ArtBomb festival and hub, Doncaster, a case study of commissioning Krzysztof Wodiczko and on his most recent curatorial project at the National Taiwan Museum of Fine Art, Are Your Working Now?  Time permitting, a quick dash around one of his recent artworks Climate Emergency Services and other works.

Key words: Art, Experiment, International, Art & Science, Ontology, Play, Mental Health, Environment, Curatorial, Public, Partnerships

Mike Stubbs will present diverse examples of his own creative practice, curatorial projects and programs which have blended life as an artist, random conversations with people on the bus and strategic partnerships.  What new approaches to engaging the less engaged do we have?  How do we feed our own inner sense of poetic artistry and creativity, whilst enabling others to make art or work in collaboration?

Mike Stubbs is an artist and senior creative leader currently running ArtBomb. With over 30 years’ experience of producing innovative projects internationally and in the UK. From institutional management, strategic planning, program development to curating he has an international reputation. For 12 years he was the Director/CEO of FACT, Liverpool, jointly appointed as Professor of Art, Media, and Curating by LJMU, 4 years, Head of Program for ACMI, (Australian Centre of Moving Image), Melbourne & 3 years Senior Research Fellow, Visual Research Centre, Dundee University. He has initiated and overseen Festivals such as: ArtBomb, ROOT & Abandon Normal Devices, led public facing programs such as FACTlab, European Media Art Residency Exchange and Doncaster Creates. Encompassing a broad range of arts & media practice, internationally, Stubbs is an award-winning moving image artist in his own right, showing at the Tate, Baltic, BBC, Channel 4, and museums around the world. Mike’s current research subjects include art in the public realm, ecology, town centre regeneration, deep time, and work.

https://www.mikestubbsart.com/art

[Image from Climate Emergency Services (CES), 2021]

Oliver Frank Chanarin: A Perfect Sentence Workshop

Oliver Frank Chanarin: A Perfect Sentence Workshop

Oliver Frank Chanarin: A Perfect Sentence.

The workshop, involving i-DAT/CODEX PhD and Experience Design and Architecture Masters students, took place during the Oliver Frank Chanarin: A Perfect Sentence.

26 JAN – 23 MAR 2024 at KARST.

i-DAT would like to thank Oliver Chanarin, Antonia Shaw (Forma) and Ben Borthwick for letting us play with their beautifully delicate installation.
Workshop images by Francie...

“A Perfect Sentence explores the shifting terrain of documentary photography: our drive for attention, the complexity of being seen and our anxiety of being overlooked. Commissioned and produced by Forma with eight partners, A Perfect Sentence is Oliver Frank Chanarin’s first UK solo exhibition and will see multiple presentations across the country, public acquisitions, a digital platform and a publication.

This new iteration of A Perfect Sentence at KARST interrogates the photographic image in the age of the algorithm. At the centre of this installation are two machines made by the artist in collaboration with Tom Cecil and Ruairi Glynn. They continuously hang and rehang framed photographs that are stored in stacks on the gallery floor. Appropriating the language of automation, the machines handle the images according to an inscrutable logic; identifying, sorting, displaying, juxtaposing and storing photographs for the duration of the exhibition.”

In December, Oliver Frank Chanarin discussed his new automated artwork developed in collaboration with Tom Cecil and Ruiari Glynn that hangs and rehangs photographic displays.

“Operating according to an inscrutable algorithm, the machine selects and juxtaposes images that are stored in stacks on the gallery floor. Appropriating the language of automation the machine handles the individual art works like objects being processed, sorted, displayed and stored; thus transforming the space into something more like a factory than a gallery.

The Apparatus was originally R&D’d and displayed in San Francisco MoMA (SFMoMA) in 2021, where the machine monitored the time visitors spend looking at specific works and used the results to determine the exhibition hang. Chanarin describes the prototype exhibited at SFMoMA as “an icon-producing machine” that responds to viewers’ preferences and speaks to our everyday experience of images online.

Chanarin has spent the last year working with Cecil and Glynn redesigning and developing the machine to robotic functionality ahead of its premiere at KARST, Plymouth in an exhibition titled A Perfect Sentence. The exhibition opens on 25 January and runs until 23 March 2024, during which time members of i-DAT will collaborate with Chanarin to research and explore possibilities of deploying artificial intelligence.”

Images: Oliver Frank Chanarin, stills from studio documentation, 2023. Copyright and courtesy the artist.

Commissioned and produced by Forma, in collaboration with eight UK organisations. Supported by Arts Council England, Art Fund and Outset Partners.

FDUK2024

FDUK2024

 

The UK’s premiere celebration of all things fulldome will be hosted in CULTVR Lab (Cardiff, Wales) in October 2024.

FDUK 2024 will take place on Friday 11th and Saturday 12th of October and will feature the work of leading fulldome artists and producers from the UK and around the world. The event is a great opportunity to experience fulldome creativity in all its diversity, and to meet and learn from fellow immersive creatives.

FDUK 2024 will be a celebration of fulldome as an artistic medium, featuring film screenings, talks, demos, workshops, live immersive performances and interactive artworks. The festival has been running since 2010 so we are very pleased to welcome it to Wales for this edition.

FDUK 2024 will provide an opportunity for national and international immersive practitioners to share their work, skills and experience with the wider community, and for creative and media professionals, students and anyone interested in immersive technologies and frameless media to network and learn from peers.

In addition to the regular two-day event, we will be programming some of the selected fulldome films to allow local audiences to experience some of the best content presented during the festival.

 

AI & CREATIVITY – FRIEND OR FOE?

AI & CREATIVITY – FRIEND OR FOE?

https://belfastinternationalartsfestival.com/event/ai-creativity-friend-or-foe/

AI & CREATIVITY – FRIEND OR FOE?

Can you tell whether a piece of work was created by a computer or a human? Advances in machine learning have led to the generation of forms of art, written word, music and more, all by AI technology. But does this show true creativity?

Join an expert panel of Dr Eleanor Dare, a critical technologist who works with Game Engines and virtual spaces based at Cambridge University, and Dr Dylan Yamada-Rice, an artist and researcher specialising in storytelling and play, based at Plymouth University alongside Zoe Seaton, Artistic Director of Big Telly Theatre as they explore whether AI just gives an illusion of novel thinking, or whether it is possible for software systems to exhibit creative behaviour.

This event is supported by Future Screens NI

DATE: Saturday, 28 October 2023
TIME: 3:00pm
DURATION: 1 hour approx