Category Archives: Talks

„DER FACHIDIOT?” The Paratechnic in the Monotechnic

„DER FACHIDIOT?” : The Paratechnic in the Monotechnic
13:30 Provocation Paper for CHEAD, ‘Agents of Change: Art School & Universities’ http://chead.ac.uk/wp-content/uploads/2016/03/CHEAD-Annual-Conference-2016-programme.pdf

Wandergesellen
Wandergesellen: Alexander Kiefer (center) with his journeymen in his last travel section of Niederwinden

 

Since the early ’60s, increasingly integrated paratechnical curricula have been (begrudgingly) hosted by monotechnical art and design schools. I outline the key characteristics and limitations of the (modernist) monotechnical art and design curriculum and give some examples of different integrated paratechnical tactics and strategies. From this, I suggest that the paratechnic attempts to pursue the following qualities:

Diversification of methods and communities of practice

Externally-networked dissensus (Bill Reading’s ‘University of Dissensus’)

1:1 scale immediation (non-representational)

Ludic, adaptive flow

Paragogical cooperation and collegiality

An opportunity lies in admitting that the monoculture of art and design education – its internal ethics – still nurtures modernist assimilation and bias, and that, in preventing art and design from realising its educational potential, fachidiots place their own field at risk of redundancy. From this we may begin a productive transformation of the art school’s communities of practice (its variety of staff and students) and their relations with international communities of purpose.

Mask Project, St. Martins Sculpture DipAD Course 'A', June 1972
Mask Project, St. Martins Sculpture DipAD Course ‘A’, June 1972

Shift/Work Unlearning: Participatory Workshops for Contemporary Art Practice

The 4th International Visual Methods Conference, organized by the University of Brighton will take place from 16th September to the 18th September 2015 at the University of Brighton in Brighton, United Kingdom. The conference will cover areas like International Visual Methods conference will be an outstanding conference which will primarily focus on interpretation of visual methods. As we see, a wide array of visual methods used in participatory visual research including ‘Photo voice’, photo-elicitation’, ‘graphic-elicitation’, ‘mind mapping’, ‘concept mapping’ and all forms of ‘Arts-based research methods’. International Visual Methods conference will be organized to focus on all these aspects. The participants will be highly benefitted by the track sessions of this conference. They will be able to know about all the aspects of the concerned industry. It will be attended by the participants with great enthusiasm. 

http://arts.brighton.ac.uk/whats-on/sallis-benney-events/theatre-2015/september/4th-international-visual-methods-conference-2015

9:00-10:30 Thursday 17th September 2015 Session 4: Critical Perspectives on Visual Methodologies – M2 Brighton University,  Eastbourne, England BN20

Shift/Work Unlearning: Participatory Workshops for Contemporary Art Practice

Key themes:

  • Arts based visual research methods
  • Participatory visual methods

Key words:

  • Paragogy
  • Unlearning
  • Workshopping
  • PAR (Participatory action-research)
  • OER (Open Educational Resources)

Paper Abstract:

Shift/Work examines and reconfigures comprehensive workshop-based approaches to artistic production that are theoretically informed, practical and participatory. Shift/Work aims to establish a collective ontology for practice, creating process-led paragogy, critically reflecting upon the learning processes involved, and disseminating research on a share-and-share-alike basis. Key to this is an open engagement with practice (work) as a means of both generating and transferring new knowledge (shift). This experiential knowledge facilitates new practices and open educational resources for artists and art educators to adapt and implement.

In 2014, Shift/Work commissioned an artist (Leeds United www.leeds-united.org.uk) and designer (Crille Lampa www.crillelampa.se) to facilitate a three-day workshop at Edinburgh Sculpture Workshop. Shift/Work Unlearning (28-30th May 2014) acted upon current discourses and practices that engage with the values of unlearning, deschooling, improvisation and amateurism.

Working in two groups, the participants, a mixture of artists, educators, curators and arts administrators, spent a day designing an unlearning process for their peers to experience on the final day. The workshop was subsequently evaluated by all involved and re-calibrated to run at the Malmö Art Academy, Sweden (12-14th September 2014).

We will analyse the two iterations of Shift/Work Unlearning as examples of how to design, evaluate and develop an iterative action-based approach to artistic learning that is at once theoretical and practical. We will draw upon relevant literature, discourses, practices and models of unlearning that enable and inspire artistic researchers to implement their own workshops.

Shift/Work: Performative Unlearning

Shift/Work: Performative Unlearning

Dan Brown/Neil Mulholland

Strand B: The Politics of Performance Alternative Zones: Uncovering the Official and the Unofficial in Fine Art Practice, Research and EducationParadox Biennial Conference, 9-11th September 2015, Poznan, Poland.

“It was immediately apparent to us that unlearning presented a paradox. Unlearning is an anti-foundational foundation from which to proceed. This makes it a provocative starting point for a workshop, given that workshops are so often predicated on ‘active learning’. Our question, therefore, was what would happen if participants (who we call Shift/Workers) were encouraged to reverse engineer the process of active learning?”paradox2015_poster_citylight-667x1000

Paradox Programme

Neomedieval Aesthetics in the 21st Century

@neoflagellants Panel 141 @IMC_Leeds 6th July 2015: 11.15-12.45 Neomedieval Aesthetics in the 21st Century https://t.co/kIQwdwTUIA

Medieval archetypes such as pilgrimage, liturgy, anchoritism, relic-ing, alchemy, banquetry, palimpsesting, mumming, compagnonnage, gifting and commoning are popular practices and themes in contemporary art. Why are so many artists mobilising metahistorical anachronisms to explore their contemporaneity – recalibrating and reactivating a variety of premodern ideas as vehicles of renewal – in ways that are best described as neomedieval? This panel of artist-theorists will speculate on neomedievalism’s aesthetic potentialities, from the elasticated loops and folds it presses on our ideas about history, to the untimely visions of differing non-modern futures it can help us to invoke.

Atelier: Making Research Material Across the Creative Arts & Social Sciences

2/6/15 I gave two short presentations at the ISRF Workshop: Social Science as Communication #Summerhall #Edinburgh http://t.co/yikqyqNS4i on:

Atelier: Making Research Material Across the Creative Arts & Social Sciences

In recent years, there has been a growing concern with materiality as a field of enquiry across the arts, humanities and social sciences. Not to be confused with the field of ‘material culture studies’, or with ‘historical materialism’, emerging research calls into question the binarism and anthropocentrism of critical theory and the cultural turn. The ‘new materialisms’, in their different ways, speculate on how things are material, singular and/or entangled. They have radically redefined post-human politics, agency, corporeality, criticality, representation, and time. In response to these concerns, a group of colleagues from the University of Edinburgh’s College of Humanities & Social Sciences established an Atelier, a network of arts and social sciences scholars and staff from museums and art galleries in Scotland.

Aims:

Our meetings have foregrounded a number of ways in which disciplines within CHSS and our non-HEI partners each have their own protocols and methods for making material available for study in the form of objects. Yet, as we make radically distinct objects from the same material, what remains to be formulated within this multidisciplinary field are the concepts, equipment, and techniques that would generate the truly collaborative ability to fabricate common research objects.

How will the work be carried out?

Atelier members in Social Anthropology (SPS, UoE) and the School of Art (ECA, UoE) recently formalised their research processes, academic and non-academic partnerships in the form of a network project entitled Atelier: Making Research Material Across the Arts and Social Sciences. The aim of the network is to develop models of making phentermine and enquiry that can bring together often separate visual and material research practices within the social sciences and humanities through the creation of an ‘Atelier’. Our Atelier is a commons that allows us to make shared research ‘objects’ through collaborative research practices.  

A series of charrettes – participatory workshops involving interested colleagues across UoE and partners in the museum and gallery sector – will, in turn, focus on a particular object that will facilitate and contrast different methods of material enquiry. By engaging with ’things’ in the custody/field of our non-academic partners the charrettes will enable us to map and improve conditions for cross-disciplinary collaboration, shifting the emphasis away from doing research towards the creation of research objects.