[Image by Dryden Goodwin]
MOVING POPULATIONS, SCANT RESOURCES, CHANGING COMMUNITIES: with this one-day symposium we want to have some dialogue about artistic practice that engages with radical and mobile approaches to geography that could include gentrification, colonialism or environmentalism.
Here is the call for papers.
SPATIAL MUTUALITY SYMPOSIUM:
ARTISTS and MIGRATION, MATERIALS and URBAN CHANGE
Date: Thursday 23rd May 2019
Location: University for the Creative Arts, Falkner Road, Farnham, Surrey, GU9 7DS
Times: 10:00 – 19:00
Spatial mobilities of people and materials are emerging as important political and cultural issues (of our time). These mobilities may be related to conflicts, urbanisation, material resource extraction and the pressure of economic inequalities of North and South (all of or in any combination of the above). The work of artists in researching and collecting narratives and accounts of migration, uncovering material processes, and charting urban change is crucial in making our world of spatial mutuality visible.
The late Doreen Massey contended that space is constructed by narrative and the unfolding of personal and community identity. She suggested work foregrounding spatiality and mobility offers new frameworks for understanding the social world and the financial and political forces that shape it. The narrative and analytical potentiality of mobility and our material environment have been particularly of interest to lens based practitioners and those working with socially engaged practice. More recent analyses have explored data and material constitution of spatiality. (cf Faizal & Weizmann 2017, Harvey 2012, Kurgan 2013, Paglen 2018) Artists have used all these approaches and more in their work.
Come and take part
6-8pm Thursday 17th January 2019
Cello Factory, 33-34 Cornwall Road, Waterloo, London SE1 8TJ
New performance as part of the opening of In the Dark, an experimental show by the London Group, the Computer Arts Society and the Lumen prize
dotdot dash is a participatory light action with laser pointers and voice directed by Birgitta Hosea. The performance is orchestrated around a chance-based score made through walking with paint-covered feet over musical paper. Coming together in a choral collaboration, participants are directed to explore the colours and mark making possibilities made by drawing with laser pointers and to accompany this with the sounds of their own voices. The effect is a live audio visual performance of animated lines in red, green and purple reminiscent of a scratched-on film, abstract animation such as those made by Len Lye.
Although many other artists such as Pika Pika and even Picasso have done light painting before, this is not the same. It is not a set up to be recorded on a slow exposure for a photograph, but a live animation of lights and sound that is created communally and experienced in the present moment.
dotdot dash was originally commissioned in 2018 for the Night Walking North Kent festival by InspiralLondon, a collaborative artists’ project led by Charlie Fox of Counterproductions. The project is based on a 300-mile walking trail around London in the shape of a spiral created by Charlie Fox and divided into 36 sections.
Determining a route by chance through this drawing of a line means that the walk cuts through many unpredictable parts of London. dotdot dash was created to be experienced by walkers as part of a series of site specific artworks at the end of the trail in Gravesend. My intention was to create a work of animation that could be made collectively by the participants on the walk; that was mobile and would not involve carrying any heavy equipment.
Additionally, following discussions with the InspiralLondon group about privilege and who is able to walk around freely in the dark at night, dotdot dash is a collective action to reclaim the night through light and noise for people who may not normally feel safe to walk at night in the city.
The route involved going through light industrial areas that are desolate and deserted at night, walking through a caged walk way over a sheer drop to a chalk pit, through bushes and undergrowth, past burnt out motor bikes, across another caged walkway over a railway line and then to a tunnel through a disused chalk pit near Ebbsfleet International station. Everyone on the walk was given two laser pens and with around 30 people present together we created a live performance of animation. With the help of brass megaphone, I gave instructions as to what colors and types of marks they should make. With the excellent acoustics provided by the tunnel, I encouraged people to sing along with the instructions too.
The work was repeated in a tunnel on the Regents Canal at Kings Cross, London for another InspiralLondon night walk for the London as Park City Festival, Friday 20th July 2018. A different group of walkers participated in the work. The addition of the water going through the tunnel added an extra element of bounced light and reflection to the mark making possibilities.
Chance-based score made by walking, Birgitta Hosea, 2018
The same score interpreted by participants with lasers!
Paper Submission Deadline: January 7 2019
The overall goal of this event is to identify the opportunities and challenges for animated content in AVR environments.
Topics of interest include (but are not limited to):
- Animated reality vs. mixed reality content
- Animation techniques in AVR environments
- Hardware/Software support for animation in AVR
- Interdisciplinary and intermedia approaches (e.g. games, film, theatre, fine arts etc.)
- Motion and/or performance capture
- Tools/methods/use cases for Interactive dissemination of animated AVR content
- Use Cases and Applications of animated content in AVR environments
- User Acceptance of animated AVR contents
For more information go to: https://anivae.fhstp.ac.at/call-for-papers/
Call for papers: Experimental & Expanded Animation: Current Perspectives & New Directions
Proposals are invited for an interdisciplinary one-day conference with an evening reception, screening and exhibition.
At the University for the Creative Arts, Farnham, Surrey, UK.
Conference date: February 13th, 2019.
With their recent volume: Experimental and Expanded Animation: Current Perspectives & New Directions, Hamlyn and Smith aimed to reach further into understandings of what experimental animation is, and has been, since Robert Russett and Cecile Starr defined it in 1976. This conference aims to further focus our project and to develop findings from the publication through more immediate methods of open dialogue and/or film practice. The prompts listed below have been condensed from themes emerging in the volume. However we welcome proposals that respond to these areas and also those that pursue other lines of enquiry. A range of disciplinary approaches is encouraged and the conference aims to include papers from practitioners, practitioner/scholars and scholars. As well as traditional 20 min papers we encourage alternative methods for sharing ideas and materials through, for example, performed presentations, artistic works, mini-workshops and lightning talks.
Transparency of process and use of materials has been central to experimental/ materialist film practice and theory. To what extent has the homogenization of media today prompted a rise in more recent craft theory? How do Marxist materialist theories relate to post-human and new materialist discourse and in which ways do these more recent methodologies impact upon our understandings of experimental expanded animation?
Feminism/women in experimental animation
It’s understood that the privacy of animation production conditions facilitates exploration into issues relating to feminism. Female animators today are translating concerns, such as the domestic, sexuality and the body, into large scale, expanded and performed animation. Does such work, installed in spaces beyond the gallery/cinema, and in which the female animator is visible on stage, impact upon expression of the female experience, or has this become less crucial to articulate, and how does feminist theory offer insights into this area?
Critically reworked commercial animation is occurring today within the purview of experimental film. Outwardly appearing as traditional cartoons, how does this material sit within a field that has tended to emphasise the auteur and has avoided the graphic, the narrative and the popular?
Increasingly we see interdisciplinary approaches employed to analyse animation, including for example post-humanist scholarship; aesthetics; phenomenology; feminism and critical theory. To what extent do these methods cast light on animated texts, or do they detract from fundamental questions concerning form and the medium?
Media including photography, dance, and performance for example have been central to animation since vaudeville, and then through the expanded cinema of the 60s. How is experimental animation advanced through media ‘impurity’, and to what extent are theories such as inter-mediality, which suggests that individual qualities of distinct media are enhanced through their interlocking, of value?
Animation that is articulated beyond the single screen could be said to emphasise a perceptual and phenomenological engagement. Flicker for example, is located in the physiology of the viewer, while animated installation demands a mobile spectator. Both modes of spectatorship are contingent and situated in the present of their apprehension. How is animation in the expanded field continuing to elicit new modes of spectatorship?
3D-CG and internet animation has the capacity to invent and manipulate the extant world in myriad ways. How is CG being used in the context of experimental expanded animated film?
Gene Youngblood hailed expanded cinema as reflecting a utopian expansion of both consciousness and technology. Today much experimental expanded animation, made through contracted means of found or old materials, can be regarded as a response to resources made scarce through either forced obsolescence, unsustainable practice and/or as a creative resistance to media acceleration. How does the trend toward a careful ecology of materials impact on experimental animation languages?
Please submit an abstract (up to 500 words), 3–5 bibliographical sources, 3-5 keywords as well as a short bio by 15th of November 2018 to:
with the subject heading: ‘Experimental Animation Conference’. The selected abstracts for the conference will be announced by late November 2018.
Exhibition by Birgitta Hosea at Hanmi Gallery Seoul
608-12 Sinsadong Gangnamgu, Seoul, South Korea
Private View: Thursday 30th August 2018
Artist’s Talk: 6 – 6.30 pm
Performance: 6.30 – 7 pm
Reception: 7 – 8 pm
Erasure brings together a body of work from the last three years that addresses the erasure of women’s voices in society and visualises the invisibility of labour. The exhibition is named after my short film in which dirt, ink, bleach and other cleaning products are animated. It includes sequential drawings, performance and animated installation. Here are some of the plans that I have done in Sketchup.
Information in Korean on Art & Tok
I have many people to thank – Heashin Kwak and Soo Yeon Kim from Hanmi Gallery have done so much to make this happen; Sandra Nutmeg, Anne Pietsch and Maryclare Foa have given me so much support; very grateful to Calum F. Kerr for allowing me to share his studio; thanks to Lilly Husbands for writing the catalogue essay; a number of curators included pieces from this series in group shows or screenings which allowed me to develop the ideas further – Vanya Balogh, Tianran Duan, Rebecca Feiner, Lu Tingting, Gerben Schermer, Zhang Xiaotao; I was also supported by going on a number of residencies that enabled me space to progress at a time when I had no studio thanks to Susan Allen, Regine Bartsch, Rose Bond and Rekha Sameer; and finally I am so thankful to my employer, the University for the Creative Arts, for supporting the exhibition catalogue and my trip to Korea.
Some images from the show:
A video overview of the final exhibition filmed by Soo Yeon Kim: