Tuesday, 27 May 2014

Photomediations Machine / Newfotoscapes

Katrina Sluis is interviewed in Newfotoscapes, a collection of curated texts arising from a series of in-depth conversations with key stakeholders in, and influential commentators on, photography.

See the Photomediations Machine site for further details, and read the full interview here.

Tuesday, 13 May 2014

Cultural value and the digital: practice, policy and theory

Tate Britain
Tuesday 20 May – Monday 7 July 2014
Click here to book free tickets.

Through a series of public workshops the Cultural Value and the Digital: Practice, Policy and Theory research project will explore how conceptions of cultural value are currently operating and could be examined in relationship to digital media and museums.

This research project focuses on Tate’s digital practices and policies as well as the practices of other UK and European Museums that shape contemporary production of culture; a context which is transformed or challenged by current digital technologies and network culture.

Join artists, curators, producers, museum professionals, academics and policy makers working in the field of digital technologies for a set of discussions about the digital culture within the museum setting at one of our workshop sessions.

This is a collaborative and interdisciplinary research project between Tate, the Royal College of Art and London South Bank University and is funded by AHRC’s Cultural Value strand.

Session 1 - Tuesday 20 May, 14.00 -16.30
DIGITAL CULTURE: Are the discourses of art, media and technology converging and if so what does it look like?
ContributorsSarah Kember (Goldsmiths), Kristoffer Gansing (Transmediale), Wolfgang Ernst (Humboldt University Berlin)
ChairsVictoria Walsh & Andrew Dewdney
Session Outline and Questions
This session aims to understand current revisions and reformulations in media and aesthetic history and theory and to discuss the ways in which this changing set of ideas relates to cultural practices. The session will focus upon changing disciplinary and practice boundaries and what facilitates or prevents their progress. How is knowledge production itself being affected by changing economies and ecologies of art and media? 

  • In what sense can we speak of digital technology as culture and how are such understandings thought through to cultural institutions?
  • What part has technology played in reshaping the production of social and scientific knowledge and are we faced with a paradigm shift in the production and circulation of knowledge?
  • Does the idea of a crisis of European representational systems still have agency and reach in thinking about contemporary cultural production and its modes of consumption?

Session 2 - Wednesday 21 May, 10.30-13.00 
DIGITAL PLATFORMS: Do digital platforms work for cultural institutions or do cultural institutions work for the platforms?
Contributors: Claire Eva (Tate), Jane Burton (Tate), Marc Garrett (Furtherfield), Rachel Falconer (The White Building)
ChairsAndrew Dewdney and Emily Pringle
Session Outline and Questions
This session will focus upon the strategies used by cultural institutions, artists and curators to communicate with their audiences through digital platforms and will ask how the technological, commercial and social dimensions of digital ‘channels’ shape practices

  • How is Tate’s aim to give audiences ‘a voice’ through digital platforms taking form and what examples are there of such practices?
  • Will the increasing use of digital channels to broadcast museum content fundamentally change what a museum is and how its sees itself?
  • How are the highly condensed transformations between analogue and digital systems of representation experienced by museum professionals, artists or the audience?
  • Do major galleries and museums sufficiently reflect the scale of new media and online practices by artists and audiences? 

Session 3 – Wednesday 21 May, 14.00-16.30
DIGITAL AUDIENCES: Does the use of ‘digital tools’ in and across the museum and visual arts practices challenge established practices of cultural value?
ContributorsJohn Stack (Tate), Oliver Grau (Danube University Austria), Lucy Sollitt (ACE)
ChairsAndrew Dewdney and Emily Pringle
Session Outline and Questions
This session focuses upon questions of how the general uses of computing across a range of artistic practices and cultural media is being taken up across the museum and how it is being understood. Historically, gallery education programmes have been at the forefront of encouraging the use of digital tools for the exploration of the arts, but are there wider and more far-reaching uses of digital tools which would involve curation, audience development or even collecting?

  • In what ways is digital transformation leading to different ways of thinking about cultural production and reproduction for museums and galleries?
  • How does programming the digital shape the social profile of the institution as well as the politics of audience construction?  
  • How can we identify the specificity of emergent structures, languages and practices of the digital, through notions of participation and interaction?

Session 4 – Monday 2 June, 10.30 -13.00
ONLINE COLLECTIVITIES: Do online collectives constitute a new public space for museums?
ContributorsMark Miller (Tate) & Tate Collective representative, Emily Pringle (Tate) & Catherine Wood (Tate), Rebecca Sinker (Tate) & Derek McAuley (University of Nottingham), Elena Villaespesa (Tate)
ChairsVictoria Walsh and Andrew Dewdney
Session Outline and Questions
The session aims to review how Tate is engaging with online collectives, how it understands them, and what they offer in terms of the museum’s role in mediating the relationship between artists and audiences?  It will also look at whether network cultures circumvent the museum in creating a space or channel of art practice. The common element in the session is to get a closer understanding of the practices of network culture and how the museum understands and relates to them.

  • What are the network conditions that are shaping the notions of collectivity and engagement and how much are they related or different to preceding professional practices and their conventions?
  • Do new understandings of network culture require new modes of curatorial / knowledge production closer to and connected with users’ cultural practices?
  • Can we trace the agency of humans and their objects as a means of identifying collectivities, understood here as new social formations? If so, how is this knowledge being captured by the museum and understood?

Session 5 – Monday 2 June, 14.00-16.30
ONLINE COLLECTIONS: What has the museum learnt from the project of digitization of collections?
ContributorsMargriet Schavemaker (Stedelijk Museum Amsterdam), Sonia Lopez (MACBA), Pip Laurenson (Tate, tbc)
ChairsAndrew Dewdney and Victoria Walsh
Session Outline and Questions
Digitisation of archives and museum collections has been underway for over two decades but in archival terms only a small fraction of analogue collections are available online. What problems have emerged for the museum in the digitization of analogue objects and how are online collections being used in network culture? What new problems are posed in the collection and curation of digital object? What will analogue museums collect in future and what will be the experience and value of virtual museums?

  • How is the concept of the museum collection being challenged or transformed by digitization?
  • How does the digitization of collections and the online life of material objects challenge and transform conceptions of cultural value? 
  • Despite the substantial amount of research analyzing the social impact of digital technology and the rise of network culture why are museums so slow to translate their collections into the professional practices of new media?

Session 6  Tuesday 3 June, 10.30 – 13.00
CODING CULTURES: How is cultural value coded in the computational network?
Contributors: Matthew Fuller (Goldsmiths), Paula le Dieu (Mozilla, tbc), Jon Kingsbury (Nesta, tbc )
ChairsAndrew Dewdney and Ioanna Zouli
Session Outline and Questions
Technology and network culture have brought the discourses and practices of art and media significantly closer. Both media and contemporary art theory are engaged in generating new knowledge of how computational culture codes and frames media and art in new ways. From culture as software, to the internet as capitalist labour, the traditions of thinking about cultural value in analogue terms is being questioned. This session examines those debates.

  • What are the new expressions of cultural value emerging from the capitalization and administration of data?
  • In what ways are the computational, non-representational forms of distributed communication and exchange (re)constituting cultural practices?
  • What are the dynamics and politics of coding culture as a digital practice on the one hand and the identification of the network’s cultural codes on the other?

Session 7  Tuesday 3 June, 14.00-16.30 
NETWORKS AND INTERFACES: What is the current understanding of the operations of data in interface culture?
ContributorsAlessandro Ludovico (Neural Magazine), Katrina Sluis (The Photographers Gallery), James Davis (Google), David Beer (University of York, tbc)
Chairs:  Andrew Dewdney and Ioanna Zouli
Session Outline and Questions
This session aims to identify current preoccupations and problematics of computer operations for cultural institutions who recognize the need to engage with data and networks. Since Manovich and others began to map the features of what was termed ‘new media’ in 2000 interest and research in the cultural sphere has moved to the functions of software and data. How does software define value, how is the storage, access and circulation of data and metadata reconfiguring social, political and cultural values? 

  • Why has ‘Big Data’ become so important as a way of grasping the human-computer interface?
  • How is working with data interfaces transforming the visualization and experience of culture? 
  • What new methods and practical approaches need to be developed in order to correspond to the new patterns of cultural value operating in the network?
  • What are the politics of the network that (re)define the ontology and life of cultural objects? 

Session 8 – Monday 16 June, 10.30- 13.00 
CONVERGING PRACTICES: What are the new productive spaces for cultural institutions and creative practices in relation to co-production?
ContributorsAnna Cutler (Tate), Kerstin Mogull (Tate), Cally Spooner (artist, tbc), Maya Gabrielle (National Theatre, tbc), Jon Dovey (University of West England, tbc)
ChairsAndrew Dewdney and Emily Pringle
Session Outline and Questions
This session focuses upon the idea and practices of convergence in digital media and network culture and asks how they have been taken up and with what outcomes for creative practitioners and cultural institutions. Does co-production offer new models of communication and exchange and is it making us rethink knowledge production and cultural authority?

  • Is co-production the new model of communication and exchange?
  • How have knowledge practices changed to accommodate as well as frame digital convergence? 
  • How has the convergence or the contrast of the analogue with the digital, or the real and virtual spaces, challenged our understanding of culture?  
  • How do contemporary practices unfold or structure communication models between artists, practitioners and the audience?

Session 9 – Monday 16 June, 14.00-16.30
DIGITAL ECONOMIES: What are the economies of the network and how do they relate to the analogue public realm?
ContributorsDavid Madden (LSE), Luciana Parisi (Goldsmiths), Jussi Parikka (Winchester School of Art, tbc), Irit Rogoff, (Goldsmiths, tbc)
ChairsAndrew Dewdney and Victoria Walsh
Session Outline and Questions
This session focuses upon the ‘economies of the network’. This includes not only the marketization of the Internet, questions of its governance, but also the experience economy, image economy, and questions of the scale and social character of network ecologies. As with all the sessions there is a specific focus upon the ways in which such questions intersect with the cultural sector and its role in maintaining the public realm.

  • How has digital culture transformed the global as well as the local economies of producing and consuming culture?
  • How do the network ecologies of experience, capital and labour shape as well as afford contemporary and future cultural politics? 
  • How could the future cultural policies include the new subjectivities and cultural authorships that emerge from network cultures?

Friday, 9 May 2014

Researching the Archive: Five Artists from the Borough

The paintings, drawings and prints that make up A David Bomberg Legacy – The Sarah Rose Collection offer a significant resource for research. A small selection will be at the core of the interim summer show, for which the gallery will become a space for study and investigation.

Visitors will be invited to learn about some of the experiences and influences that shaped the careers of artists Dennis Creffield, Cliff Holden, Edna Mann, Dorothy Mead, and Miles Richmond. Two works by each artist will be complemented by a timeline, an interactive website and sound recordings of oral histories from the British Library Sound Archive and direct from family and peers.

A number of educational talks and special events will accompany the exhibition – details to be announced shortly. Please visit the website for further details: http://www1.lsbu.ac.uk/w2/boroughroadgallery/

Exhibition dates: 16 May – 26 July 2014
Private View: Thursday 15 May 2014, 6.30-8.30pm (please RSVP here)
Free entry

Tuesday, 6 May 2014

We hasten to announce to you...

..the opening of an art exhibition at East Street arts pop-up gallery.

Zammit, Sleap & P.R. intend dealing in ready-made, borrowed texts and objects, adopted protagonists and fictional biographies.


Opening times : 
Saturday May 10th 3-6:30pm (private view)

And 11-6.30
Sunday 11th
Thursday 15th
Friday 16th
Saturday 17th
Sunday 18th