Caroline Heron

Metal DEC Lab Interviews

The interviews from the Metal DEC lab are now online at the youtube page

 

 

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Goldbloggers talk with the artists

On Friday the 25th we spent our day at Metal and had the chance to talk with the artists about their work during the residency. Here’s the result:

 

- Hans

Hans feels like an antenna here at Chalkwell Hall, he’s getting lots of inputs and inspiration from working side to side with other artists. At first, he found it difficult to free himself from business dynamics he’s usually subject to by working in a company, clients demand results, finished products, and don’t seem to care about the importance of the process, which is what the residency here is focused on. Being in between the art and business world, Hans tries to mix the idea of “uniqueness” related to the former with the one of “reproduction” on which the latter is based on. Using code (Action Script and Processing), he generates slight variations of the same piece, resulting in a series of reproduced but still unique images. Also, he is concerned with the role of hardware in digital art as often this is only thought of as art if delivered together with a physical medium. Particularly, digital art is expressed through screens, i.e. artificial light. Hans is here researching the possibility to exhibit digital art through other media such as E-paper or more viable QR codes techniques.

 

 

Other surfaces for digital art

 

- John

John was looking into two different areas and projects, one of which he had already started working on some time before Metal, and the other one set by him as a consequence to a theft within the building. Such system consisted in a small camera filming the building entrance, and a system that would perform face recognition, which was partially working – for example, it would struggle to recognize Graham’s beard.
The first project on the other hand, was involving one out of four swan pedalos that were used for the Liverpool Biennale and then sold on Ebay and that John decided to buy. His purpose was to try and create an “open source” swan pedalo: understanding the unconventional combination of the two expressions, and especially how open source implies that the source has to be available, the idea was to actually expore new methods of collective and maybe modifying use of such pedalo, through people’s interventions and suggestions. In fact, the object could maybe be modified by its ‘users’ as ong as it is still usable.
John’s view of his work is that all of it is continuous, and is not made for a sole and specific purpose, which can in fact be seend in the swan pedalo and the ongoing research about it.

 

 

Computers do not recognize Graham

 

- Stephen

Stephen is investigating the predictive power hidden in data. Data sets can reveal recurring patterns if analyzed over time and such patterns can show tendencies on which a possible model of future things to happen can be drawn. Data mining, a practice increasingly adopted by business to profile users and target marketing accordingly, does that by using algorithms to find informational patterns in databases and produce knowledge out of them (KDD). Various forms of divination such as tasseomancy, a method for reading tea leaves, also use data patterns to forsee the future; Stephen is developing a system that juxtaposes KDD and divination methods: a webcam installed at the bottom of a cup scans the leaves pattern and send the images to the computer that analyzes them through algorithms and store them in a database in which the interpretation of the same pattern given by a human user (divinator) is also stored. In doing so, the parallel human-machine vision of data patterns is merged in the production of knowledge.

 

 

Tasseomancy

 

- Olga

Olga, who is also a PhD student at Goldsmiths and attended our same course, created a light responsive system made up of four light sensors and three vibrating devices whose connection one to the other and then to the body is meant to explore the interaction between the sun and the body. By the time she showed us her project, in which the sensors were attached to different parts of her clothes, they were all responsive although some of the values (especially the one of sensor n4 on the front) had really low values because of the darkness of the room.
Olga is generally interested in infraverbal communication, i.e. the exchange of informations that happens at a non linguistic and more subtle level such as the one of electromagnetic fields and feromons. She is directing her PHD research towards the connection between sun, humans and machines, while the work she is performing with another student is based on interaction dynamics happening out of consciousness between humans, which she is exploring through the use of sensors.

 

 

Wired to the sun

 

- Rob

Rob is working on a system that captures images at set intervals and are affected by light sensors. The images are automatically stored in a remote server and then played as a sequence creating a time lapse effect; the hardware components of the system are a Make Controller to which light sensors are plugged and a camera connected to a Mac Mini. He is using Max MSP/Jitter with a patch that regulates the system and that he had created before joining Metal and edited in order to adapt it to the surroundings at Chalkwell Hall. He showed us some extracts of what has been captured between 4 pm on Thursday the 24th and this morning, resulting in a video where the shades affected by light intensity implied a visual sensation of movement and evolution of the space.

 

 

Timelapse

 

- Markus

Markus is exploring new possibilities in video expression not necessarily based on speech and dialogues but rather focused on montage and post production techniques. He would like to add interactivity to his work as it is something he has not done yet. On Thursday, he went for a walk on the mud (a “non space” in his words) with Graham and filmed short clips which he then edited in order to create a visual pattern. He often adds his own sounds to the videos based on what he’s trying to express.

 

 

Walking on mud

 

- Caroline

Caroline explained that she has not been practicing for a couple of years, and was now trying to explore new areas of research and get back into arts practice: she mainly researched during her stay at Metal, deciding to take on more different kinds of information without narrowing it down too much, in order to identify a focus.
One of the points she got into, was analysing how different means of everyday life exercise control on the very basic tasks of her life itself, such as work, amongst others.

 

Control

 

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Paranodality in Southend-on-Sea

This morning we found ourselves talking about activating peer groups and their different modes of organisation.  Simon brought in ideas from network theory and if I understand correctly the point – the strength of the weakest links in a network will correlate directly to the effectiveness of the network.  Caroline maintained throughout a skeptical viewpoint of the forces involved which act to instrumentalize the role of artists into a capitalist media machine.  Disparagingly she quoted Chris Morris’s satirical Shoreditch anti-hero Nathan Barley: “I am a self-facilitating media node.”

 

From my own perspective I agree that it is important to challenge and reflect upon existing models of collective energy, and work and how this activity becomes constituted, ritualised and institutionalised.  What limitations can we place, in the form of an “ethic” or “attitude”, which might prevent or subvert the emergence of patterns of behaviour which we do not want to perpetuate?

 

In conversation with Metal chair, Jude Kelly yesterday a very intriguing (and perhaps paradoxical) question was posed:

“How can intimacy be scaled?”

 

These fascinating discussions are, of course, from the privileged perspective of viewing and building a “model” and this activity and speculation must be distinguished and recognised as only one small part of building relationships within the “cultivation” of a peer-group.

 

An interesting email I read several years ago seemed to posit a counter-view to “network-logic” by thinking in terms of something called “para-nodal” space (the ‘space’ which is not represented on the network map of nodes and their connection).  I am going to copy and paste the email below (I’ll send a quick email to the author too – I’ve never followed this idea up really but I think it has had a profound effect on how I think about the relationship between “models” and “life”).

 

//Updated 12:45 – here is a link to a website for Ulises Mejias //

 

From: “Ulises A. Mejias” <EMAIL ADDRESS>
Date: 22 April 2008 01:57:01 BDT
To: empyre@lists.cofa.unsw.edu.au
Subject: [-empyre-] unwired sustainability
Reply-To: soft_skinned_space <empyre@lists.cofa.unsw.edu.au>

My apologies for not having posted as actively to this list during my time as moderator this week (technology is partly to blame, but mostly it’s my fault). I want to end by providing my own take on wired sustainability.

I believe networked forms of production, collaboration, activism, and mobilization will be essential to figuring out how to engender more sustainable relationships with the world and with each other. However, in my own work I try to examine the very unsustainability of the network episteme, of this ‘wired’ logic.

Since the distance between two nodes within the same network is zero, and the distance between a node and something outside the network is practically infinite, it follows that a node can only see the world in terms of other nodes. Something that is not a node is, for all practical purposes, invisible. I call this tyranny of nodes “nodocentrism.” Nodocentrism is the assertion that only nodes need to be mapped, explained or accounted for. It is a reductionism that eliminates everything but the reality of the node. Nodocentrism informs a model of progress or development where things not on the network must and should be incorporated in order for them to exist (this is the ideology that informs the discourses of the digital divide, pervasive computing, etc.).

In opposition to nodocentrism I use the concept of paranodality. Contrary to what is represented in network diagrams, the space between nodes is not empty or dead, but very much alive. In fact, this space–the paranodal–acts as the only sustainable site from which we can articulate a subjectivity separate from the network, from which we can unthink the network episteme. The paranodal is, as Ranciere would
say, the part of those who have no part, the site where disagreement, not consensus, takes place (and hence, the locus of the political).

Of course, to unthink the logic of the network is not to pretend the network doesn’t exist, or to refuse to deal with it, but to re-imagine one’s relationship to it. The relationship of the paranode to the network is perhaps like the one of the parasite to the host (and here I’m borrowing from Serres): the parasite inserts itself into the
communication process, between the sender and the receiver, disrupting the communication by being ‘noise’, and forcing the system to adjust to its presence. In this context, the paranode can be described as a parasite of the network, an element that lodges itself between nodes, distorting or introducing noise into the information that passes between nodes, and forcing the network to adjust to its presence.

I guess what I am suggesting is that perhaps sustainability is not wired, but unwired. What is subversive and creative is not the network episteme (wired logic), but the parasitical disruption that can provide a way to think outside the logic of the network, to disidentify from it, and to resist its nodocentric view of the world.

_______________________________________________
empyre forum empyre@lists.cofa.unsw.edu.au http://www.subtle.net/empyre

 

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Day 0 – Presentations

Right after today’s social activities, the participating artists sat all together with Graham and Simon for one last group session before calling it a night. During that session Caroline Heron, Olga Panades, Markus Soukup and Hans Verhaegen presented to the rest of the artists their work and  elaborated on their present interests.

Caroline Heron is currently involved in the “Art of Digital London”, an urban network for cultural organisations and digital strategy, where she co-organizes events that cover such topics as digital arts, new media, gaming and many more. She is also holding a position at Mute Magazine as project coordinator.

Olga Panades is a media arts researcher with an interest in biotechnology and body communication. Her work has been featured at Mediashed and Furtherfield, where she operates as co-editor and workshops facilitator. She also carries an enthusiasm for physical computing and during the Metal – DEC Labs she will be cooperating with Stephen Fortune for a session on Arduino.

Markus Soukup is new media and sound artist currently living in Liverpool. He was recently shortlisted for the Liverpool Art Prize 2011 for his work at “The Bluecoat” in which he worked in a negotiation between the physical and virtual worlds through video installations and 2D and 3D animations. His time-based media works have been featured in exhibitions all around Europe and he has been involved in many web design projects.

Hans Verhaegen is an artist based in Brussels, where he accommodates his work under the roof of his studio, Hansup. A graduate of the Royal Academy of Ghent and the Free University of Brussels, Verhaegen navigates through different formats of artistic endeavors including oil and wall paintings, prints and digital animations. In 2009 he won with ’128 people‘ the award of the public at the Fotomuseum in Antwerpen.

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