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Subject:

Disrupting Narratives at Tate Modern

From:

Kate Southworth <[log in to unmask]>

Reply-To:

Art & design practices as research <[log in to unmask]>

Date:

Mon, 11 Jun 2007 20:44:02 +0100

Content-Type:

text/plain

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Dear List members
Hope to meet some of you at this event at Tate Modern, London on July 13th.

very best wishes,
kate

(apologies for cross-posting)


Disrupting Narratives

Friday 13 July 2007, 10.00–18.30
Tate Modern Starr Auditorium, Bankside, London SE1

http://www.tate.org.uk/modern/eventseducation/symposia/8896.htm
http://www.ires.org.uk

This international symposium brings together some of the world's leading
media artists, theorists and researchers to explore real-time interaction in
electronic media. Over the last few years network theories have started to
shape our thinking about social and cultural issues. This event seeks out
artistic strategies and art forms that engage with these ideas. Contributors
include: Mark Amerika, Alexander R Galloway, Andrea Zapp, Kelli Dipple, Kate
Rich and Paul Sermon.

Concept by Kate Southworth, developed in collaboration with Tate Modern

In collaboration with iRes (Research in Interactive Art & Design) at
University College Falmouth

Tickets £20 (£12 concessions) booking recommended
Book tickets online at www.tate.org.uk/tickets or call 020 7887 8888



Timetable
10:00 Arrival and Registration

10:15 Welcome and Introduction (Kate Southworth)

10:30 Session 1: Counter-Narratives
Mark Amerika: Remixology, Hybridized Processes, and Postproduction Art: A
Counternarrative

In this keynote address, artist and theorist Mark Amerika remixes personal
narrative, philosophical inquiry, spontaneous theories, and cyberpunk
fictions that investigate the emergence of digitally constructed identities,
fictional personas, experiential metadata, narrative mythologies, and
collaborative networks. Locating what he describes as the "postproduction
artist" who engages with D-I-Y networking and alternative distribution
schemes to build new models of audience development, Amerika will role-play
the contemporary remixologist who is part VJ, part novelist, and part net
artist, a made-up character in a book yet written, someone who uses the
forms of new media not so much to counter spectacle in the media culture,
but to create a counternarrative drift that moves away from the art object
per se while investigating the depth of possibilities waiting to be
discovered in the creative unconscious.

11:30 Andrea Zapp: For We are Where We are not: Mixed-Reality Narratives and
Installations
Andrea Zapp’s practice focuses on room installations in the gallery that are
linked to a digital network, mostly through components of surveillance
technology. At present she also concentrates on model and miniature
aesthetics as a format of expression and narrative architecture; small or
shifting scales become another motif to discuss virtual and personal spaces
of memory and identity. Life-sized installations like a hut or a hotel room
as well as participants are linked to their remote model replicas or online
versions – to create surreal stages of viewer involvement that discuss the
change of existence in a wired
world.

12:15 Kelli Dipple: ... duration, distribution and participation _ the
performative-emergent narrative

Focussing on examples of contemporary artists' work, this presentation will
observe a notion of performativity in context of cross-platform artistic and
curatorial practice. Providing examples of emergent counter-narrative;
demonstrated through interaction, participation, interventions and
interfaces - that effectively penetrate an exhibition's mode, duration,
functionality, and design. Technology is increasingly ubiquitus within all
practice, it permeates interpretation, education, exhibition, performance,
communication and distribution; it is sometimes therefore, difficult to tell
where an artwork begins and ends. The fluid spaces without protocol dominate
emergent narratives of New Media that engage both internal and external
configurations of the institution. In order to redraw our expectations of
what is possible, how are we able to imagine the virtual museum, the
distributed museum or the online gallery - are they feasible platforms? How
satisfied are we with broadcast and redistribution as primary modes? How do
we present New Media Art and make better use of platform-specific versioning
in conjunction with social networks, to facilitate more detailed dialogues
and provide more satisfyingly responsive cultural architectures?

13:00 Lunch Break

14:00 Session 2 Counter-Protocols
Alexander R Galloway: Counter-Protocol

In this keynote address, Alexander Galloway asks us to imagine an art
exhibit of computer viruses. How would one curate such a show? Would the
exhibition consist of documentation of known viruses, or of viruses roaming
live? Would it be more like an archive or more like a zoo? Perhaps the
exhibit would require the coordination of several museums, each with "honey
pot" computers, sacrificial lambs offered up as attractor hosts for the
contagion. A network would be required, the sole purpose of which would be
to reiterate sequences of infection and replication. Now imagine an exhibit
of a different sort: a museum exhibit dedicated to epidemics. Again, how
would one curate an exhibit of disease? Would it include the actual virulent
microbes themselves (in a sort of "microbial menagerie"), in addition to the
documentation of epidemics in history? Would the epidemics have to be
"historical" in order for them to qualify for exhibition? Or would two
entirely different types of institutions be required: a museum of the
present versus a museum of the past? In this talk Alexander Galloway
explores a "counter-protocol" aesthetic and how it relates to the
contemporary landscape of artmaking.

15:05 Paul Sermon
My work in the field of telematic arts explores the emergence of a
user-determined narrative by bringing remote participants together in a
shared telepresent environment. Through the use of live chroma-keying and
videoconferencing technology, two public rooms or installations and their
audiences are joined in a virtual duplicate that turns into a mutual, visual
space of activity. Linked via an H.323 Internet videoconference connection,
this form of immersive interactive exchange can be established between
almost any two locations in the world. As an artist I am both designer of
the environment and therefore ‘director’ of the narrative, which I determine
through the social and political milieu that I choose to play out in these
telepresent encounters.

15:50 Tea Break. Tea, coffee and biscuits are served in the Starr Auditorium
Foyer

16:15 Kate Rich
Feral Trade (Import-Export) is an artist-run grocery business established in
Bristol, 2003. The process is called Feral Trade to distinguish it from
other methods such as Fair or Free. Feral Trade forges new, wild trade
routes across hybrid territories of business, art and social interaction.
Goods are run along social routes, avoiding official channels of grocery
distribution in preference for a hand-carried cargo system, often using
other artists or curators as mules. This distribution infrastructure is
modelled on the 'store and forward' protocol of email, and proposes the
surplus freight potential of networked social and cultural movements as a
viable alternative to regular freight services (white van, supermarket
lorry, Parcelforce, DHL).

17:05 Panel Discussion

17:50 Closing Remarks (Kate Southworth)

18:00 Drinks Reception. Drinks are served in the East Room on Level 7



Mark Amerika has been named a "Time Magazine 100 Innovator" and has had four
retrospectives of his digital art work. In spring 2000, GRAMMATRON was
selected as one of the first works of Internet Art to be exhibited in the
prestigious Whitney Biennial of American Art. His most recent book,
META/DATA: A Digital Poetics, was just published by The MIT Press. A
Professor of Art and Art History at the University of Colorado, Amerika's
practice-based research methods have been translated into novels,
feature-length films, museum installations, and live multimedia performances
that integrate experimental music, live writing, and video sampling into the
narrative mix.

Kelli Dipple is the Webcasting Curator for Tate, working across Tate Media,
Performance and Adult Education programmes. Her role is to oversee live
event broadcasts, curate a context for the development of Tate's Net Art
commissions and to curate performances For Tate Modern's Long Weekend. Kelli
trained in theatre directing and choreography at the Queensland University
of Technology in Australia and has worked for over a decade at the
intersection of new media and performance practice, specializing in the
integration of visual, interactive, communication and network technologies.
Previous to working for Tate, Kelli curated and produced digital media and
performance programmes for Site Gallery in Sheffield. She also continues her
own performative research, which has taken the form of site-specific and
interactive performance, software development, personal data exchange and
multi-screen or single-channel broadcast. For the past twelve years she has
worked in the area of live cinematic and networked events. Undertaking
artist residencies and projects in conjunction with Virtual Platform (NL),
PVA (UK), Montevideo (NL), Steim (NL), Interaktions Labor (Germany), The
University of Manchester (UK) and The University of Florida (USA). She has
also worked and collaborated extensively with artist-lead groups in the UK
including NODE.London, Active Ingredient, Future Physical, Resonance FM and
Furtherfield; as well as with Australian artists, Company in Space, Keith
Armstrong and The Transmute Collective. www.macster.plus.com/gravelrash

Alexander R. Galloway is an author and programmer. He is a founding member
of the software collective RSG and creator of the data surveillance engine
Carnivore. The New York Times recently described his work as "conceptually
sharp, visually compelling and completely attuned to the political moment."
Galloway is the author of Protocol: How Control Exists After
Decentralization (MIT, 2004), Gaming: Essays on Algorithmic Culture
(Minnesota, 2006), and a new book coauthored with Eugene Thacker called The
Exploit: A Theory of Networks (forthcoming). He teaches at New York University.

Kate Rich is an Australian-born artist & trader. In the 1990s she moved to
California to work as radio engineer with the Bureau of Inverse Technology
(BIT), an international agency producing an array of critical information
products including economic and ecologic indices, event-triggered webcam
networks, and animal operated emergency broadcast devices. The Bureau's work
has been exhibited broadly in academic, scientific and museum contexts.
Restless at the turn of the century, she headed further east to take up the
post of Bar Manager at the Cube Microplex, Bristol UK; where she launched
Feral Trade, a public experiment trading goods over social networks. She is
currently moving deeper into the infrastructure of cultural economy,
developing protocols to define and manage amenities of hospitality,
mobility, catering, sports and survival in the cultural realm.

Paul Sermon is Professor of Creative Technology and leader of the Creative
Technology Research Group in the Adelphi Research Institute for Creative
Arts and Sciences, University of Salford. Born in 1966, he received a BA
Hons. Fine Art at the Gwent College of Higher Education in 1988 and an MFA
at the University of Reading in 1991. He was awarded the Golden Nica for
Interactive Arts at the Prix Ars Electronica 1991 in Linz, and the
Interactive Media Festival Sparkey Award in Los Angeles in 1994. Paul Sermon
was artist-in-residence at the ZKM Center for Art and Media Karlsruhe in
1993; dozent for telematic arts at the HGB Academy of Visual Arts in
Leipzig, Germany from 1993 to 1999; and
guest professor for performance and environment at the University of Art and
Industrial Design in Linz from 1998 to 2000. Since June 2000 he has been
based at the University of Salford, where he is researching immersive and
expanded telematic environments.

Kate Southworth is an artist and researcher. With Patrick Simons she is a
founding member of the art group glorious ninth - producers of distributed
artworks, DIY installations and invisible networks. Current experiments into
co-poietic relationships between code and ritual find form as aural-visual
works, installations, performative presentations and texts, and expose their
ongoing
aesthetic and political attempts to evade systems of control. Recent works,
such as November and love_potion, use magic, tactical gardening and social
networks to recover knowledge of herbs and healing from commercial control
and to share it as common knowledge. glorious ninth’s work has been
exhibited in academic, gallery and online contexts. Kate received BA (Hons)
in Fine Art and an MSc in Multimedia Systems. She has taught Media Art
subjects at Universities in London, Dublin and Cornwall. Currently she is
leader of the iRes Research Group in Interactive Art & Design at University
College Falmouth where, for the last five years, she has been Course Leader
of MA Interactive Art & Design.
www.gloriousninth.net

Andrea Zapp was born in Germany and has a background in film and TV studies
and creates disorientating digital platforms mixing real, virtual and online
spaces, combined with surveillance interfaces and technology. She has edited
two books, Networked Narrative Environments as imaginary spaces of being,
MMU/FACT Liverpool, 2004; and New Screen Media, Cinema/Art/Narrative,
BFI, London/ ZKM, Karlsruhe, 2002, (with Martin Rieser). She curated
StoryRooms, an international Exhibition on Networking and Media Art that
took place at The Museum of Science and Industry in Manchester, from October
05 to January 06. She has lectured widely internationally; her art works
have been shown at Siggraph 06 Boston, Ars Electronica Linz; ISEA Liverpool
and Paris; Pittsburgh Center for the Arts; Festival of Visions Hong Kong -
Berlin, Media Forum Moscow, Austrian Photo Triennial Graz, Museum of Image
and Sound Sao Paulo; Machida City Museum of Graphic Arts Tokyo; Kunstverein
Stuttgart, Intern. Art Fair Madrid, Film Festival Rotterdam; and at
conferences including the Biennale of Electronic Arts Perth, Australia;
Siggraph Los Angeles, ISEA 02 Nagoya; Muestra Euroamericana de Video y Arte
Digital, Buenos Aires. In 2005 she was appointed Senior Lecturer and Route
Leader for the MA Media Arts at Manchester Metropolitan University. 


------
Kate Southworth
Leader iRes Research Cluster
University College Falmouth
Cornwall, UK

t. +44 (0)1326 370733
e. [log in to unmask]
www.ires.org.uk
www.gloriousninth.net

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