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
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.
As contemporary artistic practice has become ever more polymorphous and multispatial, large scale exhibitions have accommodated a wider array of emerging nonmodern epistemologies, materialities, and temporalities ‘in the middle’ (Latour, 1993, 47). As a critical means of considering contemporary art’s homologous non-modern, this paper refracts two influential global exhibitions of contemporary art – dOCUMENTA (13) and Il Palazzo Encyclopedia – through the lens of Medievalisms Studies. Medievalisms Studies’ challenge to the ‘simplified binarization of premodernacts and modern identities’ (Fradenburg, 1997, 213) invites deeper scrutiny of contemporary art’s knowledges, materialities, and chronopolitics. Developing the medievalist analogies of the compendium and the relic, I focus on specific exempla presented within the curatorial frameworks of two key biennale that offer a macro-cosmic discourse on contemporary art’s developing relations with knowledges, materials, and time. In unfolding anachronic materialist narratives, a nonmodern sensibility promised to liberate emerging art from the social constructivist paradigms that still dominate contemporary art. As a corollary of their nonmodern materialist epistemologies, the biennale that form my exempla also attempted to (dis)place the practices they curated through a polytemporality in which now-and-then and here-and-there areintertwined.
This book proposes ‘paragogic’ methods to re-imagine the art academy. While art schooling was revolutionised in the early 20th century by the Bauhaus, the author argues that many art schools are unwittingly recycling the same modernist pedagogical fashions. Stagnating in such traditions, today’s art schools are blind to recent advances in the scholarship of teaching and learning. As discipline-based education research in art eternally battles the perceived threat of epistemicide, transformative educational practices are rapidly overcoming the perennialism of the art school. The author develops critical case studies of open source and peer-to-peer methods for re-imagining the art academy (para-academia) and andragogy (paragogy). This innovative book will be of interest and value to students and scholars of the art school, as well as how the art academy can be reimagined and rebuilt.