art

Angela Last

Angela Last

Name

Angela Last

Affiliation

The Open University

Workshop 4: John Pickstone, ‘Deconstructions and new Constructions in Science and in Art: Experiments in Historiography’

John Pickstone (Centre for the History of Science, Technology and Medicine Manchester) started his talk by stating that it is a pleasure to be at this interdisciplinary workshop and thanking for the invitation. He admitted that he is about to present an ambitious paper, extending the work on ways of knowing and ways of working in science and technology. He proceeded in stating his interest in multiplicity of works of science and elementary forms. Pickstone likened his presentation to an exercise in analysis, looking at the components and historicity of them.

Workshop 4: Lucy Suchman, 'Immeasurable Results'

Lucy Suchman (Centre for Science Studies/Sociology, Lancaster University) opened her presentation arguing that the experiment is one of those figures through which the natural sciences have stamped a large footprint upon our collective imaginary. Therefore, she proposed that she wants to approach the trope of ‘experimentality’ cautiously.  At the same time, having spent the first twenty years of  her working life in an organisation that identified itself as a technology research and development laboratory, its members (including Suchman) as scientists, and its objects as experimental, she is fascinated by the resonances through which such identifications are made.  Hence, Suchman argued that the challenge in thinking about the research and development laboratory through the trope of experimentality is one that attends any form of analogical thinking; that is, to be attentive to generative points of metaphorical and figurative connection, while avoiding too easy elision of differences that matter. 

Workshop 3: Neal White, ‘Experimentality. The Experimental Site’

Neal White (Office of Experiments and Media School, Bournemouth University)  works across media, and in no particular medium at all – creating projects with the Office of Experiments that develop collaborative, social and critical spaces using art methods and art materials. His work operates along the fine line between how art thinks and the effect that art has as a social practice. Neal White has been associated with 0+1, formerly APG, Artists' Placement Group, for several years. Maintaining that art has always pushed the boundaries of the possible in terms of models of social collaboration and networking, Neal White's work looks at how these models can engage with other kinds of knowledge producing structure. The Office of Experiments is a structure for experimental cultural practices. Their work is based on the need for new forms of cultural practice, forms of contemporary artistic production that draw on critical lessons of former experimental movements, artists, thinkers and structures - and that seeks to disentangle these modes and systems of approach from the value systems that underline mass media, financial systems and contemporary art markets.

Workshop 3: Rod Dickinson, ‘Experiments with an Audience’

Rod Dickinson (School of Creative Arts, University of the West of England) opened his presentation arguing that from the artistic perspective the idea of an experiment is interesting precisely because it requires participants rather than viewers. Dickinson explained how engagement was a key to the idea of Milgram experiment as well. He proceeded in explaining that he wants to introduce workshop participants to two examples (looking at some short video clips) of an attempt at reformulation of the idea of an audience.

Workshop 2: Nicholas Gebhardt, After the event: listening to Miles Davis’s “My Funny Valentine”

Nicholas Gebhardt (Lancaster University) opened his presentation by explaining that in it, he intends to provide a few thoughts on jazz improvisation and what it offers us in terms of thinking about the nature of artistic events. Gebhardt argued that perhaps more than any other aspect of music today, improvisation has particular significance for how we explain or account for changes in musical experience, across all the forms of contemporary music: not just jazz, but also within classical, electronic, experimental, modernist, pop, rock, and non-western music as well. He claimed that the reason for this is that as a way of thinking about musical forms, improvisation poses fundamental questions about the process of deciding what to play — that is, what counts for us as music in any given social situation — and how to organise or shape musical events.

What happens if ... ? exhibition opening this Friday at Storey Gallery

Join us at the opening by Tony McEnery, Dean of the Faculty of Arts and Social Sciences, of an exciting new exhibition at the Storey Gallery, Storey Creative Industries Centre, Meeting House Lane, this Friday (29 January) at 7.30pm.

What happens if ... ? has been curated by Storey Gallery and is presented in collaboration with the Experimentality programme. It shows experimental objects and actions by a number of UK and international artists and designers. They conduct witty low-tech experiments that uncover the enchantment hidden within everyday utilitarian objects, and subject familiar objects to unexpected treatments. The exhibition continues until 3 April (Tuesdays-Saturdays 11am-5pm, Thursdays 11am-8.30pm).

Experimentality: Photography Competition and Exhibition

Piotr Woycicki, Flash Flood, 2009Piotr Woycicki, Flash Flood, 2009Join the artists for a glass of bubbly tonight at 6pm as the Peter Scott Gallery and Experimentality launch an exhibition of photographic responses by local artists to the title ‘The Experiment’. The work ranges from photography as one might traditionally understand it, through work that experiments with the process of photography, to the depiction of the un-photographable.

Exhibition continues 13 January - 6 February 2010, Mon–Fri 11am-5pm, Sat 11am-4pm.

http://www.lancs.ac.uk/depts/peterscott/exhibitions.htm

Rod dickinson

Rod dickinson

Name

Rod dickinson
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