CSM Doctoral Platform: News and Events 2014 – 15
Call for papers: performative practice and theory
21st Century Photography: Art, Philosophy, Technique
5-6 June 2015
Prof. Claire Colebrook, Edwin Erle Sparks Professor of English at Pennsylvania State University.
Prof. Johnny Golding, Professor of Philosophy and Fine Art, Director of Centre for Fine Art Research, BCU
Prof. John Roberts, Professor of Art and Aesthetics, University of Wolverhampton.
Tickets to the conference: Early bird until 14 May £90, From 15 May £100. Concessionary fees are available (students: £40 early bird, then £50).
This trans-disciplinary conference aims to explore a series of themes that emerge from the understanding of contemporary photography as the basic unit of visual communication of the age of technology: online, off-line and between the lines.
The aim is to bridge the gap between aesthetic, philosophical and technological approaches to the photographic image and to prompt participants from different backgrounds (fine art, critical theory, philosophy, software/hardware) to engage with each other and to open new avenues for the critical interrogation of the roles of images in contemporary culture.
In the past decade, photography has gained momentum in public and private environments becoming one of the determining factors of contemporary life. The hyper-growth in various forms of digital imagery for screens provides a quintessential example. The triumph of the photographic image as the internally eloquent and profoundly apt expression of computational culture also provides a new philosophical lens upon which to investigate how representation affects norms of meaning-creation, and the ethical and political consequences of the acceptance of images as purveyors of truth.
In light of such dynamics, 21st century photography: art, philosophy, technique seeks to address the re-birth of photography from a diversity of visual narratives and from the strange roles images get to perform in the digital moment.
Some of the conference themes are:
- Situating photography within the framework of contemporary philosophy
- The aesthetics of repetition, reproduction and copy
- The political implications of visual practices
- Duration and temporality of the ‘still’ image
- Sensorial and bodily experience of photography
- Photography and the post-human
- Theoretical dimensions of the idea of ‘representation’
- Data, information and algorithms in the visual field
- Archiving and curating the immaterial image
- Augmented reality and immersive visual environment
- Non-visual dimensions of photography
Organized by Dr Daniel Rubinstein
London Art Fair
5 DAYS, 10 ARTISTS
In conjunction with London Art Fair, Artlyst and Central Saint Martins.
Canvas Bar presents: LONDON ART FAIR x CANVAS BAR.
A five day event showcasing 10 selected artists.
21-25 Jan 2015 4-7pm
Bringing a slice of contemporary art to Shoreditch, Canvas Bar will be hosting its very first collaborative event in conjunction with London Art Fair. By presenting three designers daily, over the course of four days to members of the public and press to discuss their latest collection.
Hyped by Harper’s Bazaar as the best cocktail bar in London. The Canvas Bar team of highly skilled mixologists, will also be offering press the chance to sample their new cocktail and canapés menu on Thursday 22nd January 4-7pm, while listening to the sounds of The Boxx who will be performing live during the ‘No January Blues’ after party from 6pm on wards.
On Saturday 25th January, Canvas Bar will also be welcoming Parisian resident DJ Wilfred Bouron from 9pm-2am, his electro beats and favourite tunes will keep you dancing throughout the evening.
To conclude our LAF x Canvas Bar event at 4pm on Sunday 25th January Canvas Bar will be having a ticketed event – Burns Night. A Burns supper is a celebration of the life and poetry of the poet, Robert Burns. Early bird tickets can be bought at £15 from ww.designmynight.com.
Expect a night of smoked salmon Bellinis, kilt wearing staff and themed cocktails ‘Mac Daddy’ and ‘Queen of Scots’.
Steven Quinn who is the current exhibitor at Canvas Bar will also have his work available for public viewing until 31st January 2015.
LAF x CANVAS BAR DAILY ARTIST SCHEDULE
WED 21ST JANUARY 2015 – First day
- SIOBHAN BELINGLY – practice investigates collage in an extended form. Her use of found images and materials and strategies for display sets up relationships that reinvent the identity of the objects themselves investing in them new potentials and new meanings. Her works questions the idea of boundaries and the crossing of boundaries. Her fragmentation and disparate scattering of the work allows it to connect and disconnect with itself and its surroundings, bringing into play objects and spaces both intentionally and unintentionally.
- PAUL DOHERTY – is from Co.Antrim in Northern Ireland. He is currently based in London and is completing a Masters in Fine Art at Central St. Martin’s College of Art. As well as a visual artist, Paul is also a practising Architect. Paul’s concerns lie with constructing images that disrupt the easy progression of time. The source material for his paintings and drawings are gleaned from the history of painting and design. His images treat the historical not as unquestioned fact but as an open-ended form of retelling.
- CHANTI CLARK – Is a London based illustrator and designer and graduate from the University of the Arts London. Drawing is a passion of hers and so her work leans towards a handcrafted aesthetic, however she does have an excellent working knowledge of the Adobe Creative Suite. I also have experience with various printing techniques including screen printing. My main areas of interest are in narrative, fashion and editorial illustration
THUR 22ND JANUARY 2015 – No January Blues Press Day
- VALERIE DRISCOLL – Valerie Driscoll creates installations that use seduction and immersion to explore the very act of seeing. She works with film, video, sculpture and online environments to devise strategies for the interlacing of visual culture and political philosophy. Her work is regularly exhibited internationally and supported by the Arts Council of England.
- ZINA ARTIST – The Norwegian artist Zina (@illuzina), started spraying when moving to London after finishing her illustration degree. Current work document her interest for the urban art scene that has sparked a desire to work with spray paint. These outdoor paintings combine influences, looking at realistic portraiture and different ethnic cultures
- ELLA BULLEY – Is a material explorer and multidisciplinary designer. Her work provides an insight to her experimental design approach inspired by traditional textiles combined with technology, illustrating the evolution of creative opportunities and the essence of value.
- 6pm live performance by The Boxx
FRIDAY 23RD JANUARY 2015
- REBECCA O’RORKE – Art is Rebecca’s passion and has been so for years. She explores it as relaxation and form of escapism after a long day! “It’s via an app using mixed media! I can escape to wherever my imagination takes me without leaving home”!
- SIMON FITZMAURICE – is a professional illustrator, artworker and screen print editions printer based in London. He studied at Graphic Design at Bath Spa University, where he discovered a passion for reproducing hand rendered image making for print. Simon is currently working as a technician at Print Club London, and uses this opportunity to further his craft and to engage with the process on a daily basis. His own work is inspired by architecture, urban environments and often unremarkable objects, that can conjure stories of human interaction, affiliation and empathy. Simon can normally be seen cycling all around the city with pens and sketchbooks immediately to hand.
- DARIO SRBIC – (1974, Austrian) spent his childhood in Bosnia and Croatia, where he attended primary and secondary school. Subsequently, he moved to Vienna, Austria, where he started reading philosophy and theory of art, a step that awakened his interest to move from theory to practice, attending theatre, film and media studies and making various photography and experimental film projects, that were shown on numerous international festivals. In 2011, he moved to Berlin, Germany, working as independent artist and photographer, taking part in several group shows, amongst others in the renown Leopold Museum in Vienna, Austria. Since 2013, he is commuting between Berlin and London, as MA Photography student at Central Saint Martins and is recipient of the Photographic Angle Award Bursary in 2014.
SATURDAY 24TH JANUARY 2015
- Same artists from the previous day (Friday 23rd)
- DJ Wilfried Bouron 9pm – 2am
SUNDAY 25TH JANUARY 2015
- BURNS NIGHT from 4pm.
Marketing & PR Assistant
Magdalene Kusi-Lawrence, Second Floor, 4 Paul Street, Shoreditch, London, EC2A 4JH, Tel: 0207 5393539. Email: firstname.lastname@example.org
Marketing & PR Manager
Maria Jordan, Second Floor, 4 Paul Street, Shoreditch, London, EC2A 4JH, Tel: 0207 5393539, Mob: 07572 543599. Email: email@example.com
Publishing in Art and Design
Tuesday 24 March, 10am – 4:45pm, Room C202, CSM
This symposium brings together Editors from across Art and Design publishing. The event is pleased to be hosting a series of Commissioning Editors from book publishing, academic journals, art and design magazines, on-line publishing, and radio programming. The day will provide a practical understanding of the protocols, procedures and strategies involved in making first contact with an Editor through to seeing your work in published form. It will also give an insight into the often unspoken agendas that drive publishing, and what the future may have in store.
10:00 – Welcome, Joanne Morra
10:05 – 11:30 – On Books
- Hannah Crump, Bloomsbury Press
- Gary Hall, Open Humanities Press
- Sara De Bondt and Antony Hudek, Occasional Papers
- Caroline Woodley, One Work, Afterall
11:30 -1:00 – On Academic Journals
- Sarah Teasley, Design and Culture
- Daniel Rubinstein, Philosophy of Photography
- Caroline Evans, Fashion Theory
- Janet McDonnell, CoDesign
- Marquard Smith, Journal of Visual Culture
1:00 – 2:00 – Lunch
2:00 – 3:30 – On Magazines
- Patricia Bickers, Art Monthly
- Brian Dillon, Cabinet
- Juliette Kristensen, Paperweight
- Helena Vilalta, Afterall
3:30 – 3:45 – Tea Break
3:45 – 4:45 – Roundtable and Q and A
Chaired by Joanne Morra
Spaces are limited, so please book your place by contacting Aman Sagoo – firstname.lastname@example.org
Organizers: Professor Janet McDonnell, Editor-in-Chief of Co-Design, and Dr. Joanne Morra, Founding Principal Editor of Journal of Visual Culture. Hosts: The Doctoral Platform at CSM, and Practices of Writing and Publishing Research Group (POWAP).
Calling all designers, painters, illustrators, and photographers. Freshfield Group are looking for artists to exhibit work at their venues!
see PDF for more info Calling%20ALL%20Artists!
Headstone to Hard Drive
MONUMENT TO FOLLY 1
‘Headstone to Hard Drive, Monument to Folly 1’ is the first of three symposia addressing the issues of exteriorisation, technique and technology as they affect, inform and construct the ‘visual’ arts. Taking its cue from André Leroi-Gourhan’s theory of exteriorisation, the event will consider the agency of technology and media as a co-author of content, a fact that imbues media with an inherent semiotic and physiologic power and relevance.
The aim is to consider the consequences and effects for critical and artistic practices of the ”liberation of memory” performed by technical prosthesis, a “liberation” about which Leroi-Gourhan and others have written extensively.
For more information please visit the website: http://events.arts.ac.uk/event/2014/10/25/Headstone-to-Hard-Drive-Monument-to-Folly-1/
PRE EVENTS TO ‘MONUMENT TO FOLLY 2’
Friday 30th January D107 5.30 pm
I’ll be editing this film down to the interviews with Bernard Stiegler in which he discusses the relation between technology and time and the importance of the myth of Prometheus and Epimetheus. Edited down these sections amount to under 1.5 hours.
Screening of sections from David Barison and Daniel Ross’s 3 hour film which takes a journey up the Danube River. Conceived as an accompaniment to Heidegger’s lecture course on the poem, ‘The Ister’, by the poet Friedrich Hölderlin, the film presents several interviews with philosophers. These include Bernard Stiegler, Jean-Luc Nancy, and Philippe Lacoue-Labarthe, as well as with the German film director Hans-Jürgen Syberberg. Stiegler discusses the relations between technology and time, between modernity and inheritance.
The film also looks at war, politics, myth, National Socialism and the Holocaust.
Tuesday 3rd February D107 5.30 pm
Briefing for ‘Headstone to Hard Drive 2’
Wedsnesday 18th February D111 5.30 pm
Debriefing for ‘Headstone to Hard Drive 2’
‘HEADSTONE TO HARD DRIVE, MONUMENT TO FOLLY 2’
9.30 am – 5.00 pm, February 7th, 2015
Central Saint Martins College of Art and Design, London
“The evolution of the “prosthesis”, not itself living, by which the human is nonetheless defined as a living being, constitutes the reality of the human’s evolution, as if, with it, the history of life were to continue by means other than life: this is the paradox of a living being characterized in its forms of life by the non-living – or by the traces that its life leaves in the non-living”
‘Technics and Time: The Fault of Epimetheus No. 1’, Bernard Stiegler 
‘Headstone to Hard Drive, Monument to Folly 2’ is the second of three events addressing the issues of exteriorisation, technique and technology as they affect, inform and construct the ‘visual’ arts. Taking its cue from André Leroi-Gourhan’s theory of exteriorisation, the event will consider the agency of technology and media as a co-author of content, an approach that imbues media with an inherent semiotic and physiologic power and relevance. The aim is to consider the consequences and effects for critical and artistic practices of the ”liberation of memory” performed by technical prosthesis, a “liberation” about which Leroi-Gourhan and others have written extensively.
This second event, following the first symposium in October 2014, draws contributions from artists, philosophers of technology and media, curators, and financial derivatives software providers. It includes presentations by Elie Ayache, Ami Clarke and Richard Cochrane, Steven Claydon, Felicity Colman, Annabel Frearson, Sarah Jones and with a keynote address by Bernard Stiegler.
The growth of digital databases, acting simultaneously as storage, circulation and calculation technologies, magnifies the artistic dialogue between authorship and automation; a socio- cultural dialogue familiar within the visual arts from the histories of photography and the readymade. Both of these historic ‘techniques’ drove a wedge into the traditional supports of aesthetic experience; communication and production. This is the backdrop against which the three symposia question aesthetic theory’s robustness in the light of technological development. Whether we view technics either as extensions or as appropriations of human physiology, the question remains: how can aesthetics, mired in anthropocentric bias and organicist analogy, make space for the inorganic or the technical? Where now are we able to locate a spectator moving between the sentient human and the auxiliary non-human or the auxiliary human and the sentient non-human?
Whilst the discursive topic incorporates contemporary developments in technology, the approach of the symposia is not to consider such technologies’ import as existing in developmental isolation, rather they are seen to have retrospective agency, in historical reconstruction, in the obsolete and in the survival of the anachronistic. Also, technology gains calculative and prospective agency, not through an unfolding end-point but in a ‘purchase’ of, and a ‘loan’ to, the future. It is through a chiasmic image of the present, a revolving door, that the con-temporality of technology is proposed.
The series of events bridge historical and contemporary mnemo-techniques; the alphabet; financial trading software; micro-processing; extra-terrestrial architecture; plaster-cast replicas of antique statues; phonography; photography; 3D data capture; heritage industries; archives. These are examples of mnemo-techniques and technologies, derived from the architectural monument to the semi-conductor microchip – from the headstone to the hard drive – encompassing the actual and the virtual.
This question of the temporality of technology is developed across the three events by exploring archaeological and historical approaches and their ability to provide points of purchase for considering the impasse of aesthetic theory when faced with the technical. A tension is staged between the epistemological value of technical memory and a media-archaeological understanding of technology; concern with data, material fragments, “decisive mutations”. What noise, supplementarity or redundancy might accompany this tension?
The third event will take place at The British School Rome on June 26th 2015, specifically engaging distinctions of method between history and archaeology, examining their differing potential for critical/artistic practice.
 Stiegler, Bernard, Richard Beardsworth, and George Collins. Technics and Time: The Fault of Epimetheus No. 1. Stanford, Calif: Stanford University Press, 1998. p.50
 Ernst, Wolfgang and Parikka, Jussi. ‘Digital Memory and The Archive’, University of Minnesota Press, 2013. p.48
Tickets for this event are free and available from Eventbrite:
Bernard Stiegler is a philosopher. He is doctor of the Ecole des Hautes Etudes en Sciences Sociales, head of the Institut de Recherche et d’Innovation (IRI), which he founded in 2006 at the Centre Georges-Pompidou. He is President and co-founder in 2005 of the political and cultural group, Ars Industrialis, the founder in 2010 of the philosophy school, Ecole de Philosophie d’Épineuil-le-Fleuriel, Professor at the University of London (Goldsmiths College), Associate Professor at the University of Technology of Compiègne and teaches at the ETH Zurich. In 1987–88, with Catherine Counot, Stiegler commissioned an exhibition at the Centre Georges-Pompidou, entitled Mémoires du futur: bibliothèques et technologies.
Stiegler’s work has philosophically explored questions of technology and knowledge approaching this through the lens of the phenomenological tradition, evolutionary biology, political economy and the critique of consumer capitalism. He is a prolific writer whose best- known works are the three part volumes of Technics and Time (1994) and Disbelief and Discredit (2004). His book Stupidity and Knowledge in the 21st Century: Pharmacology of the University is published in February 2015.
Elie Ayache – Pierre Menard’s Don Quixote
Can contingency be independent of time? Pierre Menard doesn’t write the Quixote in time for the reason that Cervantes’ text would precede Menard’s in time and that Menard would then do nothing more chronologically than rewrite it — and not write it, as Borges insists that we understand what Menard does. In chronology, writing the Quixote is no longer a possibility because it is already past, thanks to Cervantes, and the text is now actualized. Menard writes the Quixote outside possibility and replication. He doesn’t repeat the text; he repeats the contingency of the text. The contingency of the Quixote survives time and the actualization of the text because it remains true that the text is contingent after it is finished and after its possibility is extinguished.
Elie Ayache is the author of The Blank Swan and founder of ITO33, a company offering technical products and services to the financial industry. The Blank Swan is Elie’s highly original treatise on the financial markets – presenting a totally revolutionary rethinking of derivative pricing and technology. The book criticises the whole background or framework of predictable and unpredictable events, the very category of prediction. In this revolutionary book, Elie redefines the components of the technology needed to price and trade derivatives. Most importantly, and drawing on a long tradition of philosophy of the event from Henri Bergson to Gilles Deleuze, to Alain Badiou, and on to recent philosophies of contingency, embodied by the speculative materialism of Quentin Meillassoux, Elie redefines the market itself against the common perceptions of orthodox financial theory, general equilibrium theory and the sociology of finance.
Ami Clarke and Richard Cochrane – Low Animal Spirits
Low Animal Spirits by Ami Clarke and Richard Cochrane is an algorithm driven by real time data, scripted as a live onscreen score and audio work with automated
‘readers’. Taking its cue from the oft-mentioned loss of the referent in both language and the economy, it is a live model of high frequency trading, dealing in words sourced from global news feeds for virtual ‘profit’, whilst speculating on their usage. The analysis produces new phenomena in the form of headlines generated with the help of
Natural Language processing algorithms, tweeted @lowanimalspirit.
The visualization you see projected is a glimpse into the HFT algorithms buying and selling activity with volatility at the centre of these concerns. It accesses 994 English Language global news feeds ‘live’ and acts upon the data as if it were trading in the global market place, analysing words in terms of the potential for a virtual ‘profit’ to be made. You are watching what is about to trend, and likewise, the speculative headline generator is trying quite hard to anticipate the next headline, based on recent history, and incoming headlines, with the help of a Natural Language Processing algorithm.
Ami Clarke is an artist and founder of Banner Repeater: a reading room with a public Archive of Artists Publishing, and project space; opening up an experimental space for others, with a shared focus in her practice on publishing, distribution, and dissemination. Her practice continues to develop alongside her facilitating Banner Repeater, which has become a unique research model informing this, in a working train station environment. Her work is concerned with structures of meaning, and the semiotics of everyday life, and what kind of representation could possibly articulate the complexities and contradictions of life working as an artist today. She has recently exhibited/curated works at Hayward Gallery project space, David Roberts Arts Foundation, Camden Arts Centre and a solo exhibition in Tokyo, Japan.
Richard Cochrane is a writer, educator and musician, and a founder of the new Centre for Art and Mathematics at Central Saint Martins and director of Big Ideas Initiatives. In his previous career he wrote software for derivatives trading floors in the City, mostly as a Vice President at Goldman Sachs. He has performed at the Museum of London, the Bridewell Theatre, and is the author of several books on poetry, computer programming, music and history.
Steven Claydon – Ad Apsis
The talk will take a peripatetic trajectory, orbiting aspects and notions thrown up in the formation and wake of the show ‘The Noing Uv It’, co-curated with Martin Clark for Kunsthall Bergen in January 2015. In particular I will dwell on the notion of emergence in relation to linguistics, bio-morphology, technology as an umbrella term and artificial intelligence. The talk will explore primitive consciousness inherent within matter as suggested by David Bohm, Karl H. Pribram’s understanding of holographic theory, extra-terrestrial architecture as a pre-ruin, IBM’s manipulation of atoms, anthropocentric ‘monkey logic’ in quantum mechanics and Heidegger’s difficulties in apprehending the essence of Being, the strobing between revealing and concealing, earth and world, establishing a relationship between this and David Bohm’s explicate and implicate orders. These connections establish a climate of pro-associative signifiers that eccentrically satellite one another within the exhibition, ‘The Noing Uv It’.
Steven Claydon is a sculptor, curator and musician based in London. He has performed and shown work internationally in exhibitions at Haus Der Kunst (Munich), Tate Modern (London), Kunstverein für die Rheinlande und Westfalen (Düsseldorf), Portikus (Frankfurt am Main), First Site (Colchester), White Columns (New York). In 2008 he curated ‘Strange Events Permit Themselves The Luxury of Occurring’ at Camden Arts Centre and in 2015 has co-curated ‘The Noing Uv It’ with Martin Clark at Kunsthall Bergen. He is represented by Sadie Coles HQ (London), David Kordansky (Los Angeles) and Galerie Massimo de Carlo (Milan).
Felicity Colman – Speculative data: creativity, and Robert Smithson
Speculating on the transformation processes of energy forms, Robert Smithson’s work emphasises how the visualization of time is structured by the differences in material cultural systems. In his practice (manifested in writing, films, performative work, plastic forms) and in his research (into geophysical and technologically produced systems), Smithson frames duration as allegorical, entropic, iconic, heteroclitic, and heterotopic. Made from his contemporaneous technological cultural field, noted for its contribution towards redefining the field of creativity. While using vernacular material to inform and develop material practice to intervene and change is a common creative methodology, Smithson’s work also contributes to a post-modernist understanding of a philosophy of temporality. In this paper, I investigate Smithson’s speculation on durational properties as systems of technologically directed perception.
Felicity Colman is Reader in Screen Media at the Manchester School of Art, Manchester Metropolitan University, United Kingdom. Dr. Colman is the author of Film Theory: Creating a Cinematic Grammar (2014), Deleuze and Cinema (2011) and editor of Film, Theory and Philosophy: The Key Thinkers (2009), co-editor of Sensorium: Aesthetics, Art, Life (2007). She works on philosophy and issues of gender, media arts, and creative practice, and has published several essays on the work of Robert Smithson, including Colman, F. (2006) “Affective entropy.” Angelaki (11, 1); and Annabel Frearson – Affectation Correspondence
Annabel Frearson will present her ongoing project Frankenstein2; or, The Monster of Main Stream, which aims to reconfigure the entirety of Shelley’s Frankenstein (1831) using all and only the words from the original. The work is facilitated by a piece of bespoke software, Frankenwriter, and to date the project has taken the form of performed readings; an album of original pop songs (including combined reconfigurations of songs by David Bowie and Lady Gaga); a 35mm b&w film of movie titles; a Slimvolume poster edition; a Victorian publicity pamphlet; a review of I, Frankenstein on Rotten Tomatoes website; a corporate PowerPoint presentation promoting a light industrial / biotech / life sciences park; an audio work; a description of Max MSP software; and most recently a work of science fiction.
Annabel Frearson rearranges existing cultural objects into new relationships in a dialogical method. Projects inhabit multiple forms including performative conceptual writing, film collages, sound, digital and printed works according to the context of their manifestation and mode of dispersal. Frearson has participated in exhibitions and events including at Camden Arts Centre, LUX/ICA Biennial of Moving Images, V&A Museum, Whitechapel Gallery, London; Arnolfini, Bristol; Ikon Gallery, Birmingham; Haifa Museum of Art, Israel, and Sheppard Fine Arts Gallery, Reno, USA. In 2012 Frearson had a solo show at xero, kline & coma in London. Frearson studied modern languages at Bristol University and fine art at Central St Martin’s (University of the Arts) and the Slade School, UCL. She recently completed a PhD in art practice at Goldsmiths College.
Smithson’s practice is change, made visible through Colman, F. (2013) “The Matter of the Image: Notes on Practice- philosophy.” in Charlotte DeMille and John Mullarkey (eds.) Bergson and the Art of Immanence Edinburgh: Edinburgh University Press.
Sarah Jones – The playing of a 7″ phonograph record
A theatrical vignette. A reading of the past present.
Sarah Jones lives and works in London. Her work draws on legacies of minimalism and literal theatricality, embracing and ramping this up as a part of picture making. She gained her PhD in Painting at the Royal College of Art, recent exhibitions and performances include: Spoken Weird, Whitechapel Gallery, London (2014); An Independent Voice, Modern Art Oxford (2014); FOAM, Andor, London and Wysing Arts Centre, Cambridge (2014); The Amateur Poacher, Winter Projects, London (2013); choon, The Great Central, Leicester (2013); New Contemporaries, Liverpool Biennial /ICA London (2012); and Where’s My Cheese Roll I Made That Cheese Roll, ICA Film Salon, London (2012). She is the current Resident in Critical Practice at the Royal Academy Schools (2014/2016).
Programme 9.30 Registration
9.45 Martin Westwood – Introduction
10.00 Steven Claydon – Ad Apsis
10.45 Annabel Frearson – Affectation Correspondence
11.45 Sarah Jones – The playing of a 7″ phonograph record 12.05 Elie Ayache – Pierre Menard’s Don Quixote
1.45 Sarah Jones and Martin Westwood – Conversation on ‘The playing of a 7″ phonograph record’
2.05 Ami Clarke and Richard Cochrane – Low Animal Spirits
2.50 Felicity Colman – Speculative data: creativity, and Robert Smithson
3.55 Bernard Stiegler – Keynote 4.45 – Finish
Spotlight 2015: PhD Research at CSM – Exhibition and Symposium
WINDOWS – EXHIBITION
23 February to 11 March, 2015
We are delighted to be exhibiting the work of:
- Elena Brebenel
- Joana Casaca Lemos
- Adriana Cobo
- Slawa Harasymowicz
- John Miers
- Andrea Muendelein
Thursday 5th March – 2pm – 7pm
(2.00pm – 7pm Learning Hub A / CSM Library)
Spaces are very limited, so please RSVP to email@example.com
2:00 – 3:00pm Sara Buoso
The Space of Light in Painting: A comparison between Mark Rothko and James Turrell`s paintings
3:15 – 4:45pm Lucy Russell
WHAT EYE SEE I OWN: (re) drawing body-images from fashion and beauty [ Workshop]
5:00 – 6:15 Joana Casaca Lemos
Tell Them Like It Is [ Workshop]
6:15 – 7: Drinks
Spaces are very limited, so please RSVP to firstname.lastname@example.org
All PhD students welcome!
Stephen Melville Lectures
Stephen Melville is a Visiting Professor at Central Saint Martins and Professor Emeritus at Ohio State University. He is the author of Philosophy beside Itself: On Deconstruction and Modernism and Seams: Art as a Philosophical Context. In 2001 he was one of the principle authors, editors and curators of the As Painting: Division and Displacement exhibition and book.
These lectures are a part of the Tableau Project: http://tableauproject.blogspot.co.uk/p/tableau-project.html
Location: CSM Lecture Theatre
OPEN TO THE PUBLIC – Booking through Platform Theatre
Free to students please contact Madeleine King l assistant academic administrator l art programme (email@example.com)
Thursday 13th November 2014
6.45 – 8pm E002
Wednesday 19th November 2014
Daniel Buren: Becoming Painting
6.45 – 8pm E003
Wednesday 26th November 2014
6.45 – 8pm E002
Wednesday 3rd December 2014
Experience in the ’60s
6.45 – 8pm E003
Tuesday 27th January 2015
Lecture 5: Hesse, Reading
6.30- 8pm E002
Friday 13th February 2015
Lecture 6: Smithson’s Time
6.30 – 8pm E002
Thursday 19th February 2015
Lecture 7: Taking Measure: Eliseman/Lawler
Thursday 30th April 2015
Lecture 8: Why Hegel?
Thinking As Practice – 2015
Thinking As Practice – Doctoral Symposium
10 February 2015 – 2-5pm, Room E002, KX, CSM
2pm – Welcome
2.10pm – Emmett Kierans: The Modernist Play-Ground: Play as a Methodology For Re-Proposing Modernist Modes of Representation and Interpretation
2.40pm – Idit Nathan, Footnotes Playing Dead
3.10pm – Fagner Bibiano, Representing the Invisible: A Photography-Based Investigation of Homoerotic Perversions and the Gaze in Publicly Accessible Spaces
3.40pm – Nathalie Kahn: Preserving Images
4.10pm – Penelope Mendonca: Drawing difficult truths, humour and bulging bodies: conception stories, pregnancy and the journey to first-time motherhood in the graphic novel
4.40 – Roundup Discussion
Information About Speakers:
The Modernist Play-Ground: Play as a Methodology For Re-Proposing Modernist Modes of Representation and Interpretation
My artistic practice is concerned with developing a methodology whereby mid-twentieth-century modernist tropes, such as the grid, the colour field, the painterly gesture, and the gestalt form, are re-proposed by utilising the fluid and subjective nature of play. These established tropes operate as a means of delineating the arena of play and providing the formal and conceptual elements with which to be playful. “Play” here constitutes a “liminoid” or “potential space” that exists between subjective and objective reality (Turner 1969, Winnicott, 2005). “Playful” refers to a sort of meta-play which plays with the boundaries and expectation of play itself (Sutton-Smith, 1997). Through accessing the “liminal space” of play the work has the potential to operate alternately between formal and subjective considerations, as a literal object and pictorial illusion. This ambiguity enables a fresh perspective on the discourse surrounding the use of modernist modes of representation, of postmodernist appropriation and pastiche, and the possibility for innovative modes of representation and interpretation from established modernist practice. It is through my practical work that my contribution to the field of fine art practice is primarily offered, and the presentation will focus largely on this aspect of the research.
Emmet Kierans was born in Limerick, Ireland in 1981. After studying for a degree in Fine Art Painting from the Limerick School of Art and Design he received his MFA from The Glasgow School of Art in 2007. He has since worked as a lecturer and tutor in The Limerick School of Art and Design, The Burren College of Art and the Wexford School of Art and Design. He has held numerous solo and group exhibitions in both Europe and the US.
Fagner Bibiano Alves
Representing the Invisible: A Photography-Based Investigation of Homoerotic Perversions and the Gaze in Publicly Accessible Spaces
My practice-based research addresses the possibility of a transgressive practice of photography in the context of covert practices of erotic perversions deployed in architectural sites, social and institutional spaces. It focuses on the kinship between the representational field of the photographic image and aspects of invisibility such as concealment and figurative absence and the desire to look. Through introducing acts of photographing in erotically charged spaces, the research draws on Phillipe Dubois’s L’Acte Photographique and Barthes’s Vocabulary. It endeavours to reveal affinities between the act of framing such spaces and operations of fantasy, erotic perversions and the desirous gaze in photographic practice.
My biography is influenced by my evangelical upbringing in Brazil and my later experiences of sexuality in London, where I have been living for the last 13 years. Whilst not autobiographical in its entirety, my art practice is stimulated by my concern with issues deriving from my experiences. Such experiences and concerns include the relationship between sexuality and death which my generation has always faced due to the emergence of the HIV virus, sexual encounters in public spaces, and the access to pornography in the contemporary milieu.
Footnotes Playing Dead
This presentation will focus on my current exhibition Footnotes Playing Dead, to position it as the culmination of my PhD research in turn titled Art of Play in Zones of Conflict- the Case of Israel Palestine. The exhibition considers personal and collective responsibilities in times of adversity and interminable conflict. The Israeli Palestinian conflict, along with its consequences, might fade in and out of public consciousness, but some of its core issues such as migration, boundaries and lack of basic human rights – reverberate through western societies as they relentlessly send their armies into war zones. Through a variety of ludic and interactive artworks Footnotes Playing Dead creates participatory experiences in which the viewers are invited to “play with” and explore for themselves some of these complexities, offering what artist Allan Kaprow has called ‘experienced insight’, specifically through everyday and often overlooked narratives and chance encounters.
Idit Elia Nathan is chair and studio artist at Cambridge Artworks and is a member of the Commonwealth Creativities Inter- cultural Arts Network at the University of Cambridge. She studied at Tel Aviv University (BA in Theatre Design), Wimbledon School of Art (UK, Master in Theatre Design) as well as Essex University (MA Gallery Studies), and she is a PhD candidate at Central Saint Martins College of Art and Design, London. She has received awards from Commissions East (2003) Arts Council England (2005) and Escalator Visual Art Arts Council of England (2011) as well more recently Arts Council England Grants for the Arts (2014 and 2015).
Idit was selected for many residencies across the UK such as Addenbrooke’s Hospital, University of Cambridge (2002), PVA media Lab, Newcastle (2003) and more recently at METAL Peterborough. She has exhibited widely in group shows in UK, Europe and Israel Palestine. Her works are often developed through projects, sometimes in collaboration with others. Her current project examines the interconnections between play and conflict in zones of conflict. Her research has been presented in many contexts, including: Cambridge University, Leeds University, Oxford University and Sunderland University and University of Belfast in the UK as well as Bezalel Academy of Art and Design, Jerusalem and Tel Aviv University.
Idit is currently working on the development of Play the City Now or Never in collaboration with Artist/Architect Helen Stratford, to be launched in three cities in the UK during 2015 and her first solo exhibition; Footnotes Playing Dead is now showing at Standpoint Gallery, London (till 14th February 2015).
Digital media and technology have had a siginificant impact on the way we perceive and understand images of fashion. (Martin, 2013: 188). This paper will present initial research, with a focus on the way museums such such as the V&A, have begun to to utilise technology, such as video and interactive software, to preserve museum quality dress. Visual culture plays an increasingly important part in the way we explore and interpret historical context. Modern visual media has changed the way we engage with material objects and their social function (Friedberg, 2009). Drawing upon fashion media and the digitalisation of the mass market such as promotional fashion film, live streams and fashion media platforms, (Khan, 2012a, 2012b, Uhlirova, 2013, Mijovic, 2012, Needham, 2013), the paper will reflect on the way fashion media has informed image production within museum fashion archives.
In this context museum quality surviving dress no longer offers a specific version of the past, but is seen as a fragment or trace, which is in itself ambigious (Breward: 2006, McNeil: 2006, Steele: 2006). The paper aims to reflect on the idea that it is possible to work ‘through objects’ (Hiller, 1994) in order to inscribe meaning. Such an approach acknowledges the role of the image-maker as well as the museum curator as producer of meaning. After looking at recent curatorial practice in the field of art and fashion curation, the presentation will develop a critical response to the impact of visual culture within the museum fashion archive.
Drawing difficult truths, humour and bulging bodies: conception stories, pregnancy and the journey to first-time motherhood in the graphic novel
To what extent are autobiographical comics creators exploring the transition to motherhood at a time when family structure is as diverse and varied as are the numerous possible routes to conception (given advances in reproductive technologies). What can we learn from the visual, textual and narrative accounts of pregnancy in recent graphic novels? What feminist dilemmas are posed?
Representing humour, painful experiences and changing bodies brings with it many challenges, yet autobiographical comics seem to offer fresh and at times witty and moving accounts, perhaps in response to predictable, romanticized or hetero-normative imagery and stories within pregnancy guides, magazines and websites.
Analytical approaches will be drawn from comics studies and motherhood studies, and comics explored will include Pregnant Butch: Nine Long Months in Drag (A. K. Summers, 2014) and Probably Nothing: a diary of not your average nine months (Tristram, 2014). Additionally I will draw on my research into single pregnancy/early motherhood.
Penelope Mendonça is undertaking a practice-based PhD Mothers Storying the Absent Father: A Graphic Novel, at Central Saint Martins, University of the Arts, London. The research involves interviewing participants about single pregnancy, analyzing and playing with visual representations/stories of motherhood, and producing a fictional graphic novel that is humorous in tone.
Pen has a Msc in Citizenship Studies from Birkbeck, University of London, and a BA (Hons) in Fine Art from Chelsea College of Arts, University of the Arts, London. She has spent the last fifteen years working as an independent graphic facilitator and illustrator, which includes designing, facilitating and capturing public engagement processes, mostly in the field of health and social policy. Pen has a background in advocacy, working in, managing and cleaning social care services.
Organised by Dr Joanne Morra and Dr Duncan White. Hosted by The Doctoral Platform at Central Saint Martins – http://doctoralplatformcsm.myblog.arts.ac.uk and POWAP (Practices of Writing and Publishing Research Group) http://www.arts.ac.uk/research/research-environment/research-infrastructure/research-groups-networks-and-collaborations/practices-of-writing-and-publishing/
TrAIN OPEN LECTURES
Wednesday 18 February 2015, 5.30 to 7.30pm Central Saint Martins, Kings Cross, Room C202
TrAIN Open Lecture by Bojana Piškur: ‘Museum of the Workers’
The focus for this talk will be socialist museums, looking at case studies in the former Yugoslavia and also, for instance, in Chile – specifically the Museum of Solidarity associated with Salvador Allende. Bojana Piškur will touch upon working-class or proletarian culture, such as the Proletkult of the early 1920s in Russia and the writings of its main protagonist Alexander Bogdanov. The main importance of the Proletkult was the idea that the struggle on the cultural front was of equal importance to the struggle on economic and political fronts. According to their ‘doctrine’ the proletariat should, in order to emancipate itself from the culture of the ruling class, create its own culture. All these ideas had a far-reaching influence in other socialist countries after the second world war.
Socialist Yugoslavia in the 1950s adopted an economic and political system based on self-management and it was one of the core members of the non- aligned movement. Subsequently these circumstances had a strong impact on Yugoslavia’s cultural politics as well. The emphasis was placed on the educative function of culture rather than on artistic functions, and museums were encouraged to address the entire working population – that is, the spheres of economy, education and culture were transferred to the people themselves. One of the main museological tasks was to make a bridge between museums and workers – which sometimes meant literally bringing art to the factories. Educational or didactic exhibitions were mounted with the intention of actively engaging workers in culture-making. In other words: art museums and their contents were opened to the workers with the purpose of rethinking the museum’s role in the new socialist society.
In 1972 an important event was organised under the auspices of UNESCO, a seminar in Santiago – capital of a socialist and non-aligned Chile – debating a new type of museum, one that would link cultural rehabilitation with political emancipation. This museum would follow social and cultural changes closely and be socially progressive without being ideologically restricted by any political representation. An example, observed from today’s perspective, might be the Museum of Solidarity, as already mentioned. While inaugurating this institution in May 1972, Salvador Allende, seemed to understand the new museological vocation of the era, announcing: ‘This is not just a museum anymore. This is a museum of the workers!’
After the 1990s the humanist ideas of socialism, socialist cultural policies and the topic of non-alignment seemed to become obsolete and were widely forgotten; however, in recent years there has been a renewed interest in these issues. The following questions arise: What progressive socialist cultural policies, museum models and directions – as well as their emancipatory utopias – could be applied to the new models of museum of today? What are the elements, traditions, references from those past experiences that can be extracted or recuperated in times of neoliberal capitalism in the sphere of culture? And most importantly: how do we actually translate these ideas into praxis?
Bojana Piškur is a curator at the Moderna galerija in Ljubljana. Her focus of professional interest is on political issues as they relate to or are manifested in the field of art, with special emphasis on the region of the former Yugoslavia and Latin America. She has researched topics such as ‘post avant-gardes in former Yugoslavia’, ‘absent archives’, ‘radical education’, ‘new kinds of institutionality’, ‘politics of curating’, ‘relationships between art forms and politics of resistance’ and ‘politics of affect’, always in relation to the wider social and political environment. She was a member of Radical Education Collective between 2006 and 2014.
work-in-progress 5 – POWAP Events
Thursday 19 March
2-5pm, in D107
Practices of Writing and Publishing Research Group (POWAP) is very pleased to present its next work-in-progress event. At this event, we will have the pleasure of listening to and discussing the following talks.
- Paul O’Kane, The Promise and Pitfalls of Plural Publishing
- Duncan White, After the Crash
- Eva Weinmayr Democracy Is Like Wow
- David Morris and Pedro Cid Procença, Stefan Themerson: Before Publication
Open to all staff and students. Places are limited so please RSVP to Alison Green – firstname.lastname@example.org
Writing Histories of the Moving Image
26 Mar 2015
10:00 to 18:00
E002, CSM, KX
More info here: http://events.arts.ac.uk/event/2015/3/26/Doctoral-Symposium-Writing-Histories-of-the-Moving-Image/
This symposium presents papers by researchers based in Britain and Europe, considering exhibition histories, archives, canons and texts relating to film and video practices since the 1960s. A platform for ongoing work undertaken by doctoral researchers engaged in examining legacies of the moving image, it offers academics, students, curators, artists and others a chance to encounter vital new investigations in the field.
Moving image studies have been readdressing histories of artists’ film and video, expanded cinema, independent, community and activist film/video since the early 2000s. Engaging with diverse theoretical concerns and methodologies, a number of these accounts have set out to re-read canons, create new narratives, and disrupt boundaries between media and forms of film and video making. This symposium aims to explore affinities between diverse research questions, exploring how current research diverges from or develops existing narratives.
The symposium consists of two presentation panels, discussions and screening sessions. During the lunch break, there will be an open event at the British Artists’ Film and Video Study Collection. Following the symposium (after 5pm) you are invited to join an event co-organised with students undertaking the MRES Moving Image at CSM (details forthcoming).
The symposium is organised by Claire Holdsworth and Colin Perry, who are currently undertaking PhDs at CSM. Claire M. Holdsworth is an archivist whose AHRC funded research considers British artists’ film and video of the 1980s. Colin Perry’s research focus is experimental documentary in Britain from 1974 to 1990; he is an art writer, and is the Reviews Editor of the Moving Image Review & Art Journal.
This event is free to attend. Limited capacity, booking required. To book your place, please follow this link: https://www.eventbrite.com/e/writing-histories-of-the-moving-image-symposium-central-saint-martins-tickets-15596909777
Full schedule and abstracts will be emailed to those that book, and will be published on the UAL website at the beginning of March. ‘Writing Histories of the Moving Image’ is part of the Research Fortnight coordinated by CSM Research.
Symposium speakers and paper titles:
- Liz Kim (Courtauld Institute of Art, London) Early Video Art and Medium Specificity: Between McLuhan and Greenberg.
- Nicolas Helm-Grovas (Royal Holloway, University of London) Some issues arising from researching Mulvey and Wollen.
- Kathryn Siegel (Central Saint Martins, UAL) Writing the Moving Image in Early October.
- Lisa Parolo (University of Udine, Italy) Reviewing Italian video-art history. The case of Cavallino Gallery’s Archive.
- Lucy Rose Bayley (Middlesex University / The Institute of Contemporary Arts, London) A Media Archaeological Study of the ICA’s Video Library.
- Chiara Marchini (Philipps-Universität Marburg, Germany) The Two Avant-Gardes at documenta 6, 1977.
- Enrico Camporesi (University Sorbonne Nouvelle – Paris 3 / University of Bologna) Researching Une Histoire du cinéma: Exhibiting Avant-Garde and Experimental Film at Centre Pompidou.
The Methodology Group
On Method and Methodology
Academic Support Reading Group for Research Students
Dr Dean Kenning
** Limited spaces – Anyone interested in attending will need to confirm a place with Dean Kenning email@example.com **
It is a requirement that all research students address the question of methodology: that they are able to articulate and reflect on the justification and necessity of the methods they employ in their research. But what do we mean when we speak of a research method? Is it a recipe? A set of procedures, generic guidelines or axioms? Ad hoc tools to help with a particular task? A paradigm or conceptual framework? Founding principles? An epistemology?
The aim of this reading group is to address and clarify the thorny question of method, through engagement with a number of texts by philosophers, theorists and artists. These texts, covering key methodologies in the arts, humanities and social sciences, will compliment, converge with and act as a counterpoint to the works being looked at in the main MRes seminars. The premise of this course is that methodology should not be seen as an add-on – a list of research skills to be ticked off or an obligatory paragraph in a dissertation – but that it is central to and indivisible from the content, meaning, form, expression and function of the work itself.
Through engagement with the texts and group discussion we will examine key philosophical methods such as deduction, induction, analysis, synthesis, radical doubt, dialectics, hermeneutics, structuralism and genealogy; we will compare methodologies in science, humanities and the social sciences and see how particular methods may be antagonistic or complimentary with regards to other methods; we will notice how imagery, storytelling and metaphor are used as means of theoretical explication and exploration; and we will consider artistic methodologies such as rule-oriented conceptual or performance art, cut-up as a literary method, and the estrangement technique in theatre. Throughout students will be encouraged to reflect upon their own research methods, to bring to light the assumptions that underlie their arguments, and to invent new methodological tools which will be of specific use to them, in both informing, and forming their current and future research.
- Introduction: What is Methodology?
Wed 5 November, 3-5pm Rm. A116
- Krauss, ‘Introduction’ fromThe Originality of the Avant-Garde and Other Modernist Myths
- First Principles
Wed 21 January, 2-4pm Rm. D105
- Descartes, ‘Discourse on the Method of Properly Conducting One’s Reason and of Seeking the Truth in the Sciences’, inDiscourse on Method and the Meditations, (Penguin Edition)
Esp. Discourse 2 & 4
Immanuel Kant, ‘Preamble on the Peculiarities of all Metaphysical Cognition’ from Prolegomena to Any Future Metaphysics
Wed 11 February, 2-4pm, Rm. D103
Fredric Jameson, ‘The Three Names of the Dialectic’ in Valences of the Dialectic
David Harvey, ‘Introduction: On Contradiction’ in Seventeen Contradictions and the End of Capitalism
- Sociology: For and Against
Tuesday 24 March, 2-4pm Rm. A117
Pierre Bourdieu, ‘Principles for a Sociology of Cultural Works’ in The Field of Cultural Production. Essays on Art & Literature
Kristin Ross, ‘Translator’s Introduction’ in Jacques Ranciere, The Ignorant Schoolmaster. Five Lessons in Intellectual Emancipation
- Language: Knowledge vs. Truth
Room and date tbc
Walter Benjamin, ‘Epistemo-Critical Prologue’ inThe Origin of German Tragic Drama
- Foucault: From Archaeology to Genealogy
Room and Date tbc
- Foucault, ‘Introduction’ fromThe Archaeology of Knowledge
- Foucault, ‘Nietzsche, Genealogy, History’, inThe Foucault Reader, ed. Paul
Quotes on method
“Can it be argued that the interest of critical writing lies almost entirely in its method? Can it be held that the content of any given evaluative statement – “this is good, important,” “this is bad, trivial” – is not what serious criticism is, seriously, read for? But rather, that such criticism is understood through the forms of its arguments, through the way that its method, in the process of constituting the object of criticism, exposes to view those choices that precede and predetermine any act of judgment?”
- Krauss, ‘Introduction’ fromThe Originality of the Avant-Garde and Other Modernist Myths, p.1
“For research is by definition a search for form quite as much and at the same time as it has any content to report; methods should be seen as being constructed (for particular purposes) rather than being selected (for any general usefulness).”
Peter Clough and Cathy Nutbrown, A Student’s Guide to Methodology, p.17
“Anyone familiar with research in the human sciences knows that, contrary to common opinion, a reflection on method usually follows practical application, rather than preceding it. It is a matter, then, of ultimate or penultimate thoughts, to be discussed among friends and colleagues, which can legitimately be articulated only after extensive research.
[…] Contrary to common opinion, method shares with logic its inability to separate itself completely from its context. There is no method that would be valid for every domain, just as there is no logic that can set aside its objects.
According to another methodological principle […] the genuine philosophical element in every work, whether it be a work of art, of science, or of thought, is its capacity to be developed […]”
Giorgio Agamben, ‘Preface’ from The Signature of All Things. On Method, p.7
“When you cut into the present, the future leaks out”
William Burroughs on the cut-up technique