the peristaltic gurglings of this gastēr-investigative procedural – a
soooo welcomed addition to the ballooning corpus of slot-versatile bad
eggs The Confraternity of Neoflagellants (CoN) – [users] and
#influencers everywhere will be belly-joyed to hold hands with
neomedieval mutter-matter that literally sticks and branches, available
from punctum in both frictionless and grip-gettable boke-shaped formats.
A game-changer in Brownian temp-controlled phoneme capture, Pan-Pan’s writhing paginations are completely oxygen-soaked, overwriting the flavour profiles of 2013’s thN Lng folk 2go
with no-holds-barred argumentations on all voice-like and lung-adjacent
functions. Rumoured by experts to be dead to the World™, CoN has
clearly turned its ear canal arrays towards the jabbering OMFG feedback
signals from their scores of naive listeners, scrapping all lenticular
exegesis and content profiles to construct taped-together vernacular
dwellings housing ‘shrooming atmospheric awarenesses and pan-dimensional
cross-talkers, making this anticipatory sequel a serious competitor
across ambient markets, and a crowded kitchen in its own right.
The Confraternity of Neoflagellants was founded
in 2009 by Serjeant-At-Law Norman Hogg and joined by Keeper of the
Wardrobe Neil Mulholland. It is a secular and equal opportunities
confraternity bound by choreograph.
La Confrérie de Neoflagellants a été fondée en 2009 par le Sergent-At-Law Hogg et rejoint par Gardien des Vêtements Mulholland. Il s’agit d’une confrérie laïque et l’égalité des chances lié par chorégraphe.
Increasingly, artistic learning and research is conducted in non-academic settings: in galleries, biennale, residencies, art fairs, and – of course – through artistic practice.
Para-academic art schools are perceived to be more personalised, flexible, engaged, accessible and cheaper than HEIs. Their alumni have already achieved many of the key performance indicators of our sector.
To remain relevant in this exploded network of artistic learning, HEI art schools must learn from para-schooling. Contemporary art is a parasite(Serres, 2007); a good host forever seeking an equally good host. Pooling and sharing resources with partners that compliment the art school’s curiosities cultivates a climate in which all communities flourish.
As an SFC-funded charity, ECA must be a democratic intellect for the public benefit, visibly upholding the value of research-led art education, not just for artists, but as a means to develop a learning society.
HEI art schools’ strengths here are the peer-esteem and artistic impact of their alumni and staff research. Emboldened by this, HEI art schools should systematically reframe research per se from the perspective of artistic research.
Tim Ingold argues that:
Research is not a particular thing you do for so many hours each day. It is rather a way of living curiously – that is, with care and attention.
In this sense, all researchers should take their lead from artists, approaching re-search as a careful, continuous quest driven by curiosity.
Ingold’s vision of research is fundamental to re-imagining the art school’s contribution to knowledge and, in turn, its curriculum design.
This leads me to two correlated observations:
Art students learn by doing, starting in the same place as their tutors, and participating in learning alongside them.
Peer-esteem emerges from peer-support. We need to be curious about each other’s work.
The residual culture in most European art schools remains motivated more by teaching than by research. To grow and diversify our research culture, research groups need to develop learning and teaching. This means we not only teach our research, we are actively involving students in the research process. Because this is fresh to colleagues and students, the curriculum provokes curiosity.
The strategic management of resources is here is driven and transformed by what actually makes us curious; emerges from elective affinities rather being superimposed by discipline or kinship.
What we are curious about is what we care for.
Artistic research isn’t just for artists. Everyone is curious and everyone cares. In 2021, open research became the new norm across the EHEA. A Plan S for artistic research presents a major opportunity in the form of a challenge:
How can the art school common more of its research and educational resources for the public benefit?
As it stands, a lot of art is freely accessible in public contexts.
Open Access additionally offers insight into the ‘workings’ of such research. Organisations such as the Society for Artistic Research lead the way here, creating open platforms that can be used as open educational resources.
The courseware for Contemporary Art & Open Learning (see: above) is open access. Students created open distribution frameworks (‘scenes’) to host their open research objects. What students produced for the course, then, formed part of the Art & Learning’s research activities.
This content is delivered by partner companies we work with.
The Pandemic Pivot and Plan S coincided in a perfect storm to ‘disrupt class’ here. Both have transformed student expectations of course provision forever. Porous forms of artistic learning are, thus, a key catalyst for post-Covid recovery.
Porosity means breathing IN and OUT
Art’s sub-disciplines are crucial to its future development. Sub-disciplines are the expanding lungs of artistic practice. Sub-disciplines are entangled and porous, venturing far beyond the boundaries of the art world. For example, think of UWE’s ongoing project on the artist’s book. To do justice to their research question, what is the artist’s book in the 21st century demands an extra-disciplinary approach.
The challenge here for art education is this:
How do you teach what you don’t know?How do you teach what you don’t know?
The art school doesn’t have to try to teach everything, rather, it needs to carefully curate access to existing methods and resources that support working in less familiar fields.
To facilitate such Fantastic Journeys, the art school’s internal research and educational resources need to be aligned in ways that foster intermediality, extra-disciplinarity and more co-investigation. Sub-disciplinary expansion also means focusing not only on what we teach, but on on how artists learn and on the many different environments they learn in.
Since difference is fundamental to educational diversity; it must mutually embodied. This requires a more carefully coordinated delegated authority and a care-based ethics. To bring educational diversity to life, all art staff need to be empowered to be visible leaders. To steward our colleagues to visibly lead our respective fields, leadership must nurture staff commitment, curiosity and initiative.
To transform a vision into a practice, good intentions must become good habits. Part of my artistic research – Shift/Work – involves creating workshops wherein peers compose new forms of artistic learning for each other to playtest. Participants shift from seeing parts to seeing wholes, from being passive to being active agents in their learning organisation.
Regularly composing and leading such workshops with colleagues and art students is a proven catalyst to collectively instilling good habits. In art schools, such a method of sharing insight and lending support can afford colleagues regular opportunities to align learning with their research by co-designing and updating the curriculum with students and stakeholders.
In turn, this can make the art school’s wide variety of practices more porous for students and our broader publics, dissolving barriers to learning to ensure that we can all feed our curiosity.
Including contributions by Polly Apfelbaum, Abel Auer, Fiona Banner, Kerstin Brätsch, Confraternity of Neoflagellants (Norman James Hogg and Neil Mulholland), David Raymond Conroy / Ghislaine Leung / Cally Spooner / Jesper List Thomsen, Matt Copson, Liu Ding, Gerasimos Floratos, Andy Holden, Anna K.E., Florian Meisenberg, Mike Nelson, Alicia Paz, Alexander James Pollard, Lindsay Seers, Andro Semeiko, Yuko Shiraishi, Amy Sillman, Mark Titchner, Tris Vonna-Michell, Yu-Chen Wang, and Vicky Wright.
Emotionarama presents a range of artists’ ideas that are described in an overtly emotional or demonstrative manner through short pieces of creative writing. Participants were invited to produce a text that defined their imaginative and mental processes whilst creating an artwork. For example, some have chosen to record a method of thinking behind the production of an existing piece, while others discuss a concept for an unmade artwork in a reflective manner, and/or its materiality, texture, colour, shape, size, and content.
Performances of the contributions within Emotionarama will take place within environments in which members of the audience will be free to lie down, relax and close their eyes to imagine through listening. Through this process, it is hoped that potential new collaborators will have an opportunity to engage with the book’s range of creative processes and subsequently realise their own ideas in multiple forms.
Friday 3 – Saturday 4 April, 12:00 – 18:00 Multi-media installation and book reading
Drop in to PEER on Friday and Saturday for the multi-media installation for Emotionarama including pre-recorded readings developed by Andro Semeiko in collaboration with actors Siân Phillips and Bill Bingham, writer and BBC Radio broadcaster Zinovy Zinik, and musician Capitol K. The audience will be able to listen to the entire content of the book during these six–hour sessions.
Neil Mulholland ‘Shift/Work: Speculations’, in L. Campbell (ed.), Leap into Action, New York: Peter Lang. 12th December 2019. pages 21-26; 39-40; 59-60 ISBN 9781433166440
Shift/Work is a performative paragogics (Corneli 2011) that supports the active peer production of Open Education Resources (OER) for artists. Shift/Work arose from participatory action research (PAR) into art education’s hidden (anti-)curriculum as a means of intervening in the monadic culture of self-sufficiency performed by its atomising technologies of the self. An iterative practice continually re-performed like a musical score, Shift/Workers compose and play-test intersubjective workshops for one another prompted by a ‘gesture that interrupts’ (Biesta 2017, 36); a MacGuffin that playfully amplifies our different educational expectations in order to draw our collective attention to how learners are subjectivised as artists. Drawing on a paper presented at ISoTL17 in Calgary, this chapter delineates Speculations (Shift/Work 2017), a Shift/Workshop composed and performed in Scotland, India and Norway during 2017 and in Ottawa in 2019, the parameters of which were scaffolded by Dan Brown, Jake Watts and Neil Mulholland.
At SAW, Ottawa on November 9th 2019, the Confraternity of Neoflagellants (Norman Hogg and Neil Mulholland) will conduct a performance of Shift/Work [STATIC] Speculations, a score-scroll originally composed at Edinburgh Sculpture Workshop to be performed at the Kochi-Muziris Biennale Biennale, India (March 2017). It has since been performed in Kristiansand (Norway), Malmö (Sweden), Edinburgh (Scotland) and Calgary (Canada).
Speculation is a ‘gesture that interrupts’ (Biesta 2017, 36); an ‘irritation’ (Ascott 2003, 145); ‘a corruption, a rupture of information’ […] ‘static, a parasite?’ (Serres and Schehr 2007: 3) The speculative parasite is one that stimulates paragogic play, materialising Shift/Workers’ learning expectations. In performing each other’s Speculations Shift/Workshops, Shift/Workers gain a metacognitive understanding of the speculative processes and challenges of artistic learning.
Scroll-score: To blackbox facilitation, Confraternity of Neoflagellants will scaffold play with a scroll-score, a minimal set of prompts that sets the parameters within which Shift/Workshop design is communally performed. Confraternity of Neoflagellants will be using a set of Speculations Playing Cards as parasites for interference, gestation, regurgitation and problem creation. Speculative materials, probes and props will be drawn directly from the pan-pan exhibition.
SAW Video and The Confraternity of Neoflagellants invite you, your colleagues, your friends, family, and neighbours for a really special proxy encounter with the loungey vibe of the gastēr-investigative anchorhold that lies, literally, behind the convulsing spyryte-casts that animate þan-þan.
Stalk and assay the CoN weorld across a fetid Fotodiox tele annulus 180mm f5.5 pontifex as The Confraternity of Neoflagellants forever forgo the National Capital Regional sunshine for SAW’s soft, warm cell. Clicking and whistling, gossamer malware spectres creep from this 2000+ MHz anchorhold to course betwixt the Fotodiox’s precision machined anodised aluminium ring, bringing you and your colleagues, or friends and their family and neighbours approximately 219* theses from the heretical þan-þan apocrypha.
Considered dead to the world, CoN will devote themselves to propagating a litany of errors – including ASMR CrockPottery, EVPclimatology, pineal gland LRAEXLing, peristaltic mystery unboxing, and deodandy [userexperience] management – so that you, your friends’ colleagues and family, or your neighbours don’t have to. gYEAhhhhhh!
Blow off all your fun socks. Just PUSH! Make fierce pH and totally gutshaft straight through gelatinous copper. MHzzzzzzzzzzzzzah! Lose your unknown cargo unto the swirling quotidian-circuits that peristaltically convulse the gastro-investigative wambuterus of þan-þan.
þan-þan. Unpasturised horse-class autogenerative REXLLA Plusigone [STATIC] fermented Can-Con dolloromoburþing a relentless low-end patina of vagrant WeRLtd-certified New Forrest Mall mondegreen. þan-þan. Pressure-farmed parasitical panarchic pool of future-dead mould-casts, auditory pareidolia divination, defibrillated [userexperience] and compurgation swarms topped with a steamin’ hot speziality SCOBYGrandeu®.
PUSHH! Beaver-gutslammin’ Oh [UX] Henry! vending phenomenon that faithfully reconstruct all traces of deuterocanonical clickbait ever left in mash by warpy prongs. PUSSSHHHHH! Bloody-edge WrinkleTech™ Can-Crock Pots that put a donk on all ylemmy stick-craft memes and smash the basal buttons of even the grubbiest gossamer silicate dermis. Gyeah!
REDUCE! Engorge the inevitable reversibility of this spore-bearing crescendo by playing the sous-chef vainly attempting to remove the cous from the cous-cous. REDUCE! Redemption by re-viewing review of redemption of Amazon CAD$50 Gift Voucher Redemption Review.
Culture lives; here! gYEAHHHHHHH!!
The Pan-Pan Myth-System (or Psychosis as Method)
What fresh heresy is
this? Is this a joke?? Will no one stop them? Where are the guards, cops, bailiffs,
etc, etc? Has the publisher no self-respect? No editors and censors or sense of