A discussion event with presentation and film screening. (free lunch)
Interruptions is a new research project by The Bad Vibes Club commissioned by Field Broadcast. Interruptions will present a new history of interruption as an artistic practice, focusing on British artists’ film, video, moving image and digital art.
Join The Bad Vibes Club (Sam Mercer and Matthew de Kersaint Giraudeau) for an afternoon of presentations, discussions and films about interruption and its relationship to art practice and contemporary culture.
Sam and Matt will begin by presenting the I nterruptions project. This will be followed by an open discussion of interruptions in response to the project, with a vegetarian lunch provided by The Bad Vibes Club. The afternoon will end with a film screening of some interruptive works.
12 midday Introduction to Interruptions by The Bad Vibes Club
1pm Discussion (with free lunch)
3pm Film screening
The Bad Vibes Club will produce public moments of research throughout the Interruptions project in the form of a continually updated tumblr , videos and multimedia research published at fieldbroadcast.org , and discussions and screening events at Peter Scott Gallery, Lancaster Arts, MK Gallery, Furtherfield and Open School East.
Interruptions will culminate in a new series of broadcasts by The Bad Vibes Club in May 2016 using the Field Broadcast app.
The Bad Vibes Club is a research project into morbid ethics and the productive possibilities of negative states. For Interruptions, the artists Matthew de Kersaint Giraudeau and Sam Mercer, will be working as The Bad Vibes Club.
Field Broadcast is a live broadcast project connecting artists, audiences and obscure locations through the portal of the computer desktop. Field Broadcast has developed through the practice of, and is run by, artists Rebecca Birch and Rob Smith.
Interruptions is supported by Arts Council England, with thanks to Peter Scott Gallery, Lancaster Arts, MK Gallery, Furtherfield, Open School East, Nottingham Trent University, LUX and the British Artists’ Film and Video Study Collection.
LAB #4 in the Art Data Money series
Venue:Furtherfield Commons
BOOKING INFO: This event is for an invited group of participants. If you are interested in attending, please contact Furtherfield telling us about your interest in this area: ruth.catlow [at] furtherfield.org
A day-long workshop, led by independent curators and researchers Dani Admiss and Cecilia Wee, looking at how we are locked-into contemporary conditions that bring migration into being.
This workshop challenges participants to expand and rethink what potential responses to migration could be, creatively and beyond. How can we work with the technologies associated with migration (and their social effects) to inform and enact virtual mobility and cultural activism?
Thinking through ideas of art and social change, the day aims to unpick the abstract forces, the limited means we have to communicate them, and the dependency on automation, simulation, and capture to tell us the ‘truth’, but which escapes the importance of lived experience.
Over the course of a day we will produce a collaborative map that creatively challenges and proposes new ways of thinking about experiences of migration. We will physically engage with technologies associated with migration, this will be followed by discussions about migration using the ‘social technology’ of the World Cafe method. The day will end with a collaborative mapping exercise harvesting ideas and narratives from the day, which will be turned into a mini-publication to be publicly distributed, a record of collectively working together over a day.
As we come closer to COP21 in Paris, and in light of the recent media attention depicting an exodus of asylum seekers, refugees and migrants into Europe, we see that complex flows of power interlink fields of life like security, finance, health, climate and governance in contemporary globalisation, producing barriers to all forms of mobility. We propose that ‘technologies of migration’ instantiate themselves a new type of border, often geographically displaced and abstracted from our physical experiences of mobility. These technologies are subjects of social engineering, residing in websites and interview rooms, as well as more immediately perceivable ‘arrival infrastructures’ of e-border and immigration detention centres. Governments continue to seek ways to measure the political into policy. Expert devices, such as civic integration examinations, speech recognition technology, or European databanks of asylum seekers’ biometric data, map the phenomena of migration and mobility into knowledge practices, incorporating them into risk profiles and evidence-based strategies. For better of worse, the current migration controversy highlights the fundamentally problematic challenges to a humanist relationship to data and information.
‘The Migrant Machine’ is part of a broader research project, Ground Truth: an investigation into changing relations of how we come to see, sense and survey our world. Based on groundtruthing, the calibration process used by scientists and cartographers to anchor the map or model to the data collected from the reality of lived-experience, the project aims to think beyond mapping as a responsive but singular tool of resistance and collaboration and towards being-in-the-world as a continual form of responsibility and entanglement.
+ See images from the event on flickr.
Part of the Movable Borders: Here Come the Drones! exhibition at Furtherfield Gallery.
In a post-national age, where “territorial and political boundaries are increasingly permeable”[1], what has become of the borderline? How is it defined, and what technologies are used to control it?
Movable Borders is an ongoing research project that begins to explore possible answers to these questions through facilitating discussions around the ‘reterritorialisation’ of the borderline in the information age. Participants are invited to investigate the use of cybernetic military systems such as remotely piloted aircraft (drones) and the Disposition Matrix, a dynamic database of intelligence that produces protocological kill-lists for the US Department of Defense.
The Reposition Matrix aims to reterritorialise the drone as a physical, industrially-produced technology of war through the creation of an open-access database: a ‘reposition matrix’ that geopolitically situates the organisations, locations, and trading networks that play a role in the production of military drone technologies.
During the workshop, participants will investigate the weapons industry and intelligence agencies that operate in the background of the drone campaigns ongoing in the Middle East. Information will be gathered through a diverse range of sources – from corporate publications to leaked document repositories. The information gathered during the research session will then be used as the basis for the collaborative development of a new world map: a diagram that exposes the complex networks of control and influence that exist at the core of the drone campaigns.
Cartographers, designers, artists, activists, political scientists, journalists, and anybody with a strong interest in understanding and discussing the materiality of the drone wars are invited to participate.
Participants will be able to gain an understanding of the geopolitical complexity of the war through collaborative research, discussion, and mapmaking sessions. Those who attend the workshop will also become contributors to an ongoing project – the formulation of an open-access database cataloging the information discovered during the series of workshops.
Furtherfield Gallery – Saturday 18 May 2013, 1-5pm
Visiting information
To book your place please contact Alessandra (Furtherfield).
Dave Young
Dave Young is an artist, musician and researcher currently studying the Networked Media course at the Piet Zwart Institute in Rotterdam, NL. His research deals with the Cold War history of networked culture, exploring the emergence of cybernetic theory as an ideology of the information age and the influence of military technologies on popular culture.
Furtherfield Gallery is supported by Haringey Council and Arts Council England.
Furtherfield content is published
