A year-long travelling exhibition; the work consists of a designed meeting space and display system; which was the setting for a series of public workshops, commissioned as part of the British Art Show 06. This meeting/display system provided a structure to display past work and the means to reveal the growing archive as they developed through contribution and use. The project set out to address how collaborative, process based art and architecture practice is accurately represented within institutional art spaces; meanwhile creating opportunities and occasions for artists, architects, curators and planners to meet and discuss related ideas. Once the exhibition display was designed and constructed to reflect the planned programming, the collaborators used it as the setting to facilitate public workshops in each city, for example: “Art and the Corporate Space” at The Baltic, Gateshead - with Karolin Timm Wachter, Curator Internal Cultural Projects, Siemens Arts Programme; Adam Lopardo, Director, Sponsors Club for Arts & Business; and Piers Masterson, Public Art Officer, Sunderland. “Participation in Design”, Bristol Architecture Centre - with Claire Doherty, Director, Situations, University of the West of England; and Lucy Byatt Director, Spike Island.
A single screen 8 minute video projection with sound. In a humorous and moving way the voice of a hotel maid stages a historical and imaginative encounter with a familiar place: a hotel room. A distinctive aspect of the piece is the way that the text for the voice is constructed. Rooney interviewed three hotel maids, but in scripting their words deliberately blurred the line between truth and fiction, by turning the three voices into one monologue. This approach foregrounds the agency of himself as the maker of the work, the presence of any ‘authentic voice’ will always be mediated and manipulated.
“Moving Frame” is an experimental film and video project, allowing artists and theorists to produce work and participate in seminars, forums and screenings on an ongoing basis. Kossoff made three works for the project: “The Colour of Memory” (2006), “Essex Flâneur” (2006) and “3 Days (50 Years).” Kossoff’s work focuses on the differences and overlaps between film and digital video; how the perception of time and space can change through the manipulation of moving image material. Through the central issue of film as a sequence of photograms, the work interrogates how perceptions of the moving image are evolving and how the digital has now re-defined the idea of the photogram and the frame. “3 Days (50 Years)” uses the digital camera’s single frame button, capturing the disruption of history in a work about Poland. Through repetitious cutting, “Essex Flâneur” mechanically captures the rhythms of space. Re-colouring and reframing family footage, “The Colour of Memory” shows video as a memorial to time. Kossoff’s essay investigated the moving image as a desiring machine, which is fragmented under interrogation.
The fusion of Virtual Reality and Artificial Life technologies has opened up a valuable and effective technique for research in the field of dynamic archaeological reconstruction. This paper describes early evaluations of simulated vegetation and environmental models using decentralized Artificial Life entities. The results demonstrate a strong feasibility for the application of integrated VR and Artificial Life in solving a 10,000 year old mystery shrouding a submerged landscape in the Southern North Sea, off the east coast of the United Kingdom. Three experimental scenarios with dynamic, “artificial” vegetation are observed to grow, reproduce, and react to virtual environmental parameters in a way that mimics their physical counterparts. Through further experimentation and refinement of the Artificial Life rules, plus the integration of additional knowledge from subject matter experts in related scientific fields, a credible reconstruction of the ancient and, today, inaccessible landscape may be within our reach.
The creators collaborated to produce a short animated film documenting synaesthesiac sufferers' responses to specific orchestral sounds. It was the artists intent to contribute (through a mix of documentary animation and rigorous process) to the public understanding and knowledge about how synaesthesia operates and how it relates to the type of multi-sensory processing that we all engage in. The project set out to ascertain whether animations derived from synaesthetic combinations of sound and vision are rated as more aesthetically pleasing than animations in which sound and vision are combined arbitrarily, and therefore appeal to this ‘instinctive’ enjoyment of light, colour and music. The intention was to offer an arts-based perspective on the science of neuro-psychology, exploring the barriers between disciplines and media to be broken down. Moore recorded detailed descriptions of the subjects’ synaesthetic experiences to a range of sounds, which provided the basis for the animation. Once this visual vocabulary was generated the artist focused on the generation of a short film for a general audience; the scientist then used the film to test the public perception and understanding of synaesthesia.
The publication deals with the collaborators interest in, art, architecture and collective practice; which is the basis of their socially engaged work within communities. The book focuses upon their process of making, shaping and ‘letting go’ of public spaces. The publication features an interview between Kathrin Böhm, artist and Andreas Lang, architect of Public Works, and Prof John Butler and Janet Hodgson from the University of Central England, Birmingham. It also includes an essay “Working with Uncertainty Towards a Real Public Space” by Doina Petrescu, School of Architecture, University of Sheffield. “If you can’t find it…” is one of three books commissioned by IXIA (the others feature Lucy Orta and Richard Woods) which address new thinking in public art. The text articulates (and the drawings make visible) the different spatial aspects involved in “Public Works” collaborative and participatory art/architecture practice. The focus of the publication is upon the project “Park Products” at the Serpentine, as a case study. The question was how to best document a dynamic, process-based social process, without relying upon textual narrative alone. The text and images included in the publication present the maps and drawings, which the group deployed for Park Products. This offers the reader a unique and primarily visual insight into the way Public Works go about planning, engaging communities and then realising a project within a public space.
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