[-empyre-] Cambridge and Paris
Lorna Collins wrote: ...We want to analyse and discuss the aesthetic encounter and an art practice as a medium that can help us make sense of the world. We bring together artists and philosophers, scholars and students, thinkers and writers, from all around the world, to build an interface between artistic creation, theoretical debate and academic scholarship. At the colloquium we want to formulate new ways to frame and develop discourse, and found a new way of making sense, which can challenge and invigorate the protocol, regulation and system of academia. This is a different kind of conference – there is no hierarchical division between the plenary speakers and the audience, we have an economy of mutual exchange and intimate debate. This Colloquium... Good Morning Lorna, Thanks for giving us a general overview of your own philosophy and the history of the Making Sense Colloquium. I'm wondering if you could talk about the event being held at the Pompidou in Paris? Do you have a mission for this event that might be slightly different that the Cambridge event in 2009? Was there a publication that cam out of the Cambridge event or what kind of information was gathered that perhaps has informed the event in Paris? The statement above is so broad so I'm wondering if you have defined the Paris event differently based on what happened in Cambridge? Lorna will be introducing two of the Visiting Artist's who will be featured in Paris later today but I'm hoping that she will give us more of a sense of the event's history so that perhaps that would give our empyre subscribers a idea of the underpinnings of potential discussion points. Thanks Lorna. Renate On 10/10/10 12:34 AM, Lorna Collins lp...@cam.ac.uk wrote: Dear Renate, Thanks for the intro! I’d like to say a bit about Making Sense… This is the second interdisciplinary colloquium of Making Sense. The first was held at the University of Cambridge in 2009. At these events we want to analyse and discuss the aesthetic encounter and an art practice as a medium that can help us make sense of the world. We bring together artists and philosophers, scholars and students, thinkers and writers, from all around the world, to build an interface between artistic creation, theoretical debate and academic scholarship. At the colloquium we want to formulate new ways to frame and develop discourse, and found a new way of making sense, which can challenge and invigorate the protocol, regulation and system of academia. This is a different kind of conference – there is no hierarchical division between the plenary speakers and the audience, we have an economy of mutual exchange and intimate debate. This colloquium can be seen as an artistic creation or installation in itself. I think we can all be artists. Participants are encouraged to react and articulate their opinion. How does this fit into my own work? I am neither specifically a writer, nor artist, nor philosopher, but use these genres simultaneously to make sense of the world, to discover my place within it, and to think about what might threaten our most basic need to inhabit it. I use art to write philosophy, and I use philosophy to inspire the plastic forms of art I make; in between my visual, intellectual and phenomenological experiments I hope to invent a practical, accessible method for ‘making sense’. I take academic theory to the creative resources of practising art, in the efforts to challenge and invigorate the political scholarship of academic discourse through the basic, replenishing and regenerative facets of creativity. In this sense I am perhaps a diplomat and curator who seeks to arrange and mobilise the emancipatory interface that art can offer everyone, whilst trying to confirm and cement this chance in the more formal terms of academia. This is the kind of ethos that lies behind Making Sense the collective, which is the emerging group of artists and philosophers who came to the first and are coming to the second colloquium. Making Sense is bigger than singular events. We are trying to start a movement. The Making Sense project, beyond the colloquia, is ultimately about founding a communitarian practice, through art, that provides a restorative social act. It would be very interesting to discuss what that means and how it might be possible… I look forward to hearing your thoughts... Lorna 2010/10/10 Renate Ferro r...@cornell.edu: Welcome to our October discussion, ³Contextualizing Making Sense. The alignment of criticality and configurations of embodiment and space permit creative flows of networks, resources, research and discussions whose configurations prove limitless. Lorna Collins and her team of collaborators have invited Tim and I to represent empyre this month at the ³Making Sense Colloquium² at the IRI-Centre Pompidou, Institut Télécom the 19th and 20th of October. http://www.makingsensesociety.org/
Re: [-empyre-] Cambridge and Paris
The event in Paris is going to be held at 3 locations -- we are at the Centre Pompidou on the first day, where there will be a performance by artist Yves-Marie L'Hour in the evening. The second day we are at the Institut Télécom where we also have 3 exhibitions being shown (the French society Mémoire de l'Avenir, the American group of artists Prometheus and the engineer/artist Claudiane Ouellet-Plamondon. Then in the evening our grand finale is at New York University, Paris, where we have another perfomance, by Kelina Gotman. During the colloquium we have a variety of presentations from an eclectic range of participants who all bring a different way of making sense... I think we can all think of ourselves as artists, and the colloquium is like a collaborative installation or performance. We will all be performing and creating work together, particularly during the 2 workshops that take place on the second day. We are currently publishing the first Making Sense book, which contains papers inspired by the first colloquium at Cambridge. We hope to bring together a second book in response to the Paris colloquium. We also have a new website, http://www.makingsensesociety.org./ Through our artist-in-residence Fred McVittie we will be publishing footage from the colloquium onto youtube. He is a subscriber to Empyre -- it would be good to hear his view about what he's going to be doing in Paris, and how we might interact with a cyber-community. Our other artist-in-residence is Janice Perry. We hope that our artist-in-residences will create site-responsive work at each of the locations that offers a way of making sense of Making Sense. Lorna 2010/10/10 Renate Ferro r...@cornell.edu: Lorna Collins wrote: ...We want to analyse and discuss the aesthetic encounter and an art practice as a medium that can help us make sense of the world. We bring together artists and philosophers, scholars and students, thinkers and writers, from all around the world, to build an interface between artistic creation, theoretical debate and academic scholarship. At the colloquium we want to formulate new ways to frame and develop discourse, and found a new way of making sense, which can challenge and invigorate the protocol, regulation and system of academia. This is a different kind of conference – there is no hierarchical division between the plenary speakers and the audience, we have an economy of mutual exchange and intimate debate. This Colloquium... Good Morning Lorna, Thanks for giving us a general overview of your own philosophy and the history of the Making Sense Colloquium. I'm wondering if you could talk about the event being held at the Pompidou in Paris? Do you have a mission for this event that might be slightly different that the Cambridge event in 2009? Was there a publication that cam out of the Cambridge event or what kind of information was gathered that perhaps has informed the event in Paris? The statement above is so broad so I'm wondering if you have defined the Paris event differently based on what happened in Cambridge? Lorna will be introducing two of the Visiting Artist's who will be featured in Paris later today but I'm hoping that she will give us more of a sense of the event's history so that perhaps that would give our empyre subscribers a idea of the underpinnings of potential discussion points. Thanks Lorna. Renate On 10/10/10 12:34 AM, Lorna Collins lp...@cam.ac.uk wrote: Dear Renate, Thanks for the intro! I’d like to say a bit about Making Sense… This is the second interdisciplinary colloquium of Making Sense. The first was held at the University of Cambridge in 2009. At these events we want to analyse and discuss the aesthetic encounter and an art practice as a medium that can help us make sense of the world. We bring together artists and philosophers, scholars and students, thinkers and writers, from all around the world, to build an interface between artistic creation, theoretical debate and academic scholarship. At the colloquium we want to formulate new ways to frame and develop discourse, and found a new way of making sense, which can challenge and invigorate the protocol, regulation and system of academia. This is a different kind of conference – there is no hierarchical division between the plenary speakers and the audience, we have an economy of mutual exchange and intimate debate. This colloquium can be seen as an artistic creation or installation in itself. I think we can all be artists. Participants are encouraged to react and articulate their opinion. How does this fit into my own work? I am neither specifically a writer, nor artist, nor philosopher, but use these genres simultaneously to make sense of the world, to discover my place within it, and to think about what might threaten our most basic need to inhabit it. I use art to write philosophy, and I use philosophy to inspire the plastic forms of art I make;
Re: [-empyre-] Cambridge and Paris
Lorna: Could you explain in theoretical and practical terms your idea of how Making Sense facilitates aesthetic encounters.? What is the theory of an aesthetic encounter? How does your group define aesthetic? And, how does your group define encounter? How does the change implied from encounter differ in function from the change implied in intervention or mobilization? Thanks in advance for sharing any thoughts on the above based on your experience in Making Sense. Patty --- Patricia R. Zimmermann, Ph.D. Professor, Cinema, Photography and Media Arts Roy H. Park School of Communications Codirector, Finger Lakes Environmental Film Festival Division of Interdisciplinary and International Studies 953 Danby Road Ithaca College Ithaca, New York 14850 USA Office: +1 (607) 274 3431 FAX: +1 (607) 274 7078 http://faculty.ithaca.edu/patty/ http://www.ithaca.edu/fleff BLOG: http://www.ithaca.edu/fleff10/blogs/open_spaces/ pa...@ithaca.edu Original message Date: Sun, 10 Oct 2010 08:55:29 -0400 From: empyre-boun...@gamera.cofa.unsw.edu.au (on behalf of Renate Ferro r...@cornell.edu) Subject: [-empyre-] Cambridge and Paris To: soft_skinned_space emp...@gamera.cofa.unsw.edu.au Lorna Collins wrote: ...We want to analyse and discuss the aesthetic encounter and an art practice as a medium that can help us make sense of the world. We bring together artists and philosophers, scholars and students, thinkers and writers, from all around the world, to build an interface between artistic creation, theoretical debate and academic scholarship. At the colloquium we want to formulate new ways to frame and develop discourse, and found a new way of making sense, which can challenge and invigorate the protocol, regulation and system of academia. This is a different kind of conference – there is no hierarchical division between the plenary speakers and the audience, we have an economy of mutual exchange and intimate debate. This Colloquium... Good Morning Lorna, Thanks for giving us a general overview of your own philosophy and the history of the Making Sense Colloquium. I'm wondering if you could talk about the event being held at the Pompidou in Paris? Do you have a mission for this event that might be slightly different that the Cambridge event in 2009? Was there a publication that cam out of the Cambridge event or what kind of information was gathered that perhaps has informed the event in Paris? The statement above is so broad so I'm wondering if you have defined the Paris event differently based on what happened in Cambridge? Lorna will be introducing two of the Visiting Artist's who will be featured in Paris later today but I'm hoping that she will give us more of a sense of the event's history so that perhaps that would give our empyre subscribers a idea of the underpinnings of potential discussion points. Thanks Lorna. Renate On 10/10/10 12:34 AM, Lorna Collins lp...@cam.ac.uk wrote: Dear Renate, Thanks for the intro! I’d like to say a bit about Making Sense… This is the second interdisciplinary colloquium of Making Sense. The first was held at the University of Cambridge in 2009. At these events we want to analyse and discuss the aesthetic encounter and an art practice as a medium that can help us make sense of the world. We bring together artists and philosophers, scholars and students, thinkers and writers, from all around the world, to build an interface between artistic creation, theoretical debate and academic scholarship. At the colloquium we want to formulate new ways to frame and develop discourse, and found a new way of making sense, which can challenge and invigorate the protocol, regulation and system of academia. This is a different kind of conference – there is no hierarchical division between the plenary speakers and the audience, we have an economy of mutual exchange and intimate debate. This colloquium can be seen as an artistic creation or installation in itself. I think we can all be artists. Participants are encouraged to react and articulate their opinion. How does this fit into my own work? I am neither specifically a writer, nor artist, nor philosopher, but use these genres simultaneously to make sense of the world, to discover my place within it, and to think about what might threaten our most basic need to inhabit it. I use art to write philosophy, and I use philosophy to inspire the plastic forms of art I make; in between my visual, intellectual and phenomenological experiments I hope to invent a practical, accessible method for ‘making sense’. I take academic theory to the creative resources of practising art, in the efforts to challenge and invigorate the political scholarship of academic discourse through the basic, replenishing and regenerative facets of creativity. In this sense I am perhaps a diplomat and curator who seeks to arrange and mobilise the emancipatory interface that art can offer everyone, whilst
Re: [-empyre-] Variable Media Questionnaire
Thanks to all for sharing your questions and insights in the past month on ephemerality and sustainability. I'm looking forward to reading more about the next topic, Making Sense, and its attendant colloquium. In the meantime, in the hopes that the moderators will indulge me, I'll try to catch up on some loose ends from last month: On Oct 9, 2010, at 7:40 PM, FILE_Arquivo wrote: I’m very interesting in the Variable Media Questionnaire. I was wondering to apply in some artworks here. Gabriela, I'm glad to hear it! We just launched the third-generation Variable Media Questionnaire a few months ago and are keen to get folks to use it. This Questionnaire has been completely rebuilt from the bottom up to make it easier for more people to use. Most importantly, the Questionnaire is no longer a standalone database template but now a free Web service, making it easy for creators and their associates to register their opinions on a work's future, whether or not they are connected to an institution. We've already seen the Questionnaire in use by a broader audience, including a recent entry by architects Diller Scofidio. The new Questionnaire looks at artworks as ensembles of components, because we thought that would be more intuitive for registrars, conservators, and other arts specialists. In so doing, our purpose is less to track sundry gadgets like cables or disk drives than to understand the key elements of a work that are critical to its function, such as source code or media display. Acknowledging the relational character of much contemporary art, these parts extend beyond hardware to include environments, user interactions, motivating ideas, and external references. You can play around with a demo version of the Variable Media Questionnaire at the link below. http://variablemediaquestionnaire.net/ Anything you add in the demo version of the Questionnaire will be erased periodically, so you can experiment with the interface by creating fake works and interviews to this sandbox. The best way to start is probably to browse through artworks using the search box at left, then double-click on anything that interests you. Along the way you'll probably open a number of panels, which operate much like the windows you see on your normal computer desktop. You can open new panels, move them, minimize, or close them. If you get lost at any point, just click on the exclamation point to bring up an FAQ that should help. If any empyreans would like a real account or a personal tour via phone or chat, just let me know off-list. We'd love to help you document the works under your care! jon __ Forging the Future: Free tools for variable media preservation http://forging-the-future.net/ ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre
Re: [-empyre-] Cambridge and Paris
Dear all, We will be introducing Fred McVittie and Janice Perry the two visiting artists soon. I presume that Lorna is fast asleep right now as she is coming to us from the UK. In the meantime Patty Zimmermann presents us with some pretty broad questions that may be answered as the colloquium unfolds and our month on empyre actually progresses. I find definitions quite fascinating as an artist. Aesthetics is so often understood differently by whether you are operating in the philosophical/theoretical world or the practical world. That said I don't think at this point it is a good idea to set up theory and practice as a dichotomy. From Lorna's descriptions Making Sense is all about negotiating a dance between many venues. I'm hoping that all of our empyre subscribers will revisit our archives from May 2009 our discussion Critical Motion Practice merged intersections that entailed both self-reflective and interactive movement at the intersections of art,choreography, architecture, activism and theory. Again in September, 2007 our discussion on Critical Spatial Practice where social responsibility is at the cross roads of this interdisciplinary convergence. Tim and I are hoping that our discussion this month will build upon those investigations and bring in a wider audience for discussion. For archives go to https://lists.cofa.unsw.edu.au/pipermail/empyre/ Renate On Sun, Oct 10, 2010 at 9:29 AM, Lorna Collins lp...@cam.ac.uk wrote: The event in Paris is going to be held at 3 locations -- we are at the Centre Pompidou on the first day, where there will be a performance by artist Yves-Marie L'Hour in the evening. The second day we are at the Institut Télécom where we also have 3 exhibitions being shown (the French society Mémoire de l'Avenir, the American group of artists Prometheus and the engineer/artist Claudiane Ouellet-Plamondon. Then in the evening our grand finale is at New York University, Paris, where we have another perfomance, by Kelina Gotman. During the colloquium we have a variety of presentations from an eclectic range of participants who all bring a different way of making sense... I think we can all think of ourselves as artists, and the colloquium is like a collaborative installation or performance. We will all be performing and creating work together, particularly during the 2 workshops that take place on the second day. We are currently publishing the first Making Sense book, which contains papers inspired by the first colloquium at Cambridge. We hope to bring together a second book in response to the Paris colloquium. We also have a new website, http://www.makingsensesociety.org./ Through our artist-in-residence Fred McVittie we will be publishing footage from the colloquium onto youtube. He is a subscriber to Empyre -- it would be good to hear his view about what he's going to be doing in Paris, and how we might interact with a cyber-community. Our other artist-in-residence is Janice Perry. We hope that our artist-in-residences will create site-responsive work at each of the locations that offers a way of making sense of Making Sense. Lorna 2010/10/10 Renate Ferro r...@cornell.edu: Lorna Collins wrote: ...We want to analyse and discuss the aesthetic encounter and an art practice as a medium that can help us make sense of the world. We bring together artists and philosophers, scholars and students, thinkers and writers, from all around the world, to build an interface between artistic creation, theoretical debate and academic scholarship. At the colloquium we want to formulate new ways to frame and develop discourse, and found a new way of making sense, which can challenge and invigorate the protocol, regulation and system of academia. This is a different kind of conference – there is no hierarchical division between the plenary speakers and the audience, we have an economy of mutual exchange and intimate debate. This Colloquium... Good Morning Lorna, Thanks for giving us a general overview of your own philosophy and the history of the Making Sense Colloquium. I'm wondering if you could talk about the event being held at the Pompidou in Paris? Do you have a mission for this event that might be slightly different that the Cambridge event in 2009? Was there a publication that cam out of the Cambridge event or what kind of information was gathered that perhaps has informed the event in Paris? The statement above is so broad so I'm wondering if you have defined the Paris event differently based on what happened in Cambridge? Lorna will be introducing two of the Visiting Artist's who will be featured in Paris later today but I'm hoping that she will give us more of a sense of the event's history so that perhaps that would give our empyre subscribers a idea of the underpinnings of potential discussion points. Thanks Lorna. Renate On 10/10/10 12:34 AM, Lorna Collins
[-empyre-] Introducing Artists-in-residence Janice Perry and Fred McVittie
While Lorna is offline I'd like to take the opportunity to introduce the artists-in-residence, Fred McVittie and Janice Perry. Fred may also be offline for a few more hours as he is coming to us from the UK as well. I have invited both Fred and Janice to talk a little about their own practices and also to explain to us how they see their process fitting into the Making Sense Colloquium. Janice Perry (USA) Performance artist Janice Perry tours internationally with her solo stage work. She’s received multiple grants and fellowships for live performance, teaching, and visual art from the Fulbright Commission/US Department of State, the Vermont Arts Council and the NEA, and others. Perry has led groups of emerging and established artists in creating new multi-media work in the USA, Europe and South Africa. Her work has been adapted for radio, television and print, screened at film festivals, and exhibited in the USA and Europe. Perry teaches interdisciplinary theatre courses at the University of Vermont and holds an MFA-IA from Goddard College. Being Derrida was a semi-finalist in the (USA) National Portrait Gallery/Smithsonian Institution’s 2009 Outwin Boochever Portrait Competition. See also www.janiceperry.com Fred McVittie (UK) Fred McVittie is an artist and educator currently based in the Performance department of University College Falmouth. His background is in performance and experimental theatre, having worked with companies such as Forced Entertainment, Manact, and Pants Performance Association. More recently his work has been in social media, particularly blogging and video sharing, looking at these media as both sites for performative engagement and as tools which allow for the redefinition of concepts such as knowledge and art.** Lorna Collins wrote .snip. **..Through our artist-in-residence Fred McVittie we will be publishing footage from the colloquium onto youtube. He is a subscriber to Empyre -- it would be good to hear his view about what he's going to be doing in Paris, and how we might interact with a cyber-community. Our other artist-in-residence is Janice Perry. We hope that our artist-in-residences will create site-responsive work at each of the locations that offers a way of making sense of Making Sense. ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre
[-empyre-] FWD: From Artist-in-residence Janice Perry
-- Forwarded message -- From: Janice Perry j...@janiceperry.com Date: Sun, Oct 10, 2010 at 10:05 PM Subject: RE: [-empyre-] Making Sense? Well, as you know, it is not so simple to talk about one’s work. Especially work one hasn’t yet made. I’m just going to jump in and start with a bit of background. I have a very active international performance practice. I work live onstage, in multi-media live art, in video, and installation, and I teach. I also engage in collaboration with emerging and established artists around the world. I often use web technology to facilitate and document new work. I have a strong interest in physical, social, and natural sciences, linguistics, and philosophy, and a history of making work that reflects and translates human experience and concerns. I’m creating multi-media pieces in hopes of making abstract concepts more accessible. For example at present I’m using live performance, video, photography, audio, and installations to illustrate some of the extremely contradictory predictions about the effects of climate change on our lakes, streams, rivers and seas, and to speculate on the consequences for our cultural landscapes. A recent piece, Being Derrida began as an act of mourning, integrating practice and theory through live performance. Being Derrida reflects and embodies Jacques Derrida and aspects of his system of ideas through technology, physical engagement and re-creation. The piece is comprised of two simultaneously screened 6-minute videos. Objects resembling those used in the videos (a cordless phone, knife, jar of honey, etc) lie on a table at the side. A “deconstructed” version of the documentary film “Derrida” is projected on a large screen while an original video (in which I’ve imitated Derrida’s movements as closely as possible) is shown on a monitor. The videos are synchronized-- Derrida and I move together in a deconstructive dance that illustrates remarks on the myth of Echo and Narcissus, Self and Other, and Being, made by Derrida in the deconstructed documentary. In installation, the audience is invited to use the objects on the table to imitate the movements shown on the videos, to themselves, “Be Derrida.” Hard to describe, and surprisingly fun. In making the piece, I realized that “being Derrida” -- breaking down Derrida’s movements and actions, reinterpreting and re-ordering them—is itself a performative deconstruction of Deconstruction. I don’t have any specific plans about what I’ll make at/of Making Sense. I will be as present as possible, and try to respond quickly to what happens during the colloquium. Hard to know what those responses will look like, but I will know more once I see the physical space and see what is available to work with. And then of course, once the intellectual space comes into being, well… we’ll see! Looking forward to seeing you there. Best wishes, Janice PS: Take a look at my web site-- www.janiceperry.com ___ empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre
