Category Archives: Akadēmeia

🐲@Neoflagellants : The Middle Ages in the Modern World 🐉

A multidisciplinary conference on medievalism in the post-Middle Ages. MAMO 3 will take place at the University of Manchester between 28 June and 1 July, 2017.

SATURDAY 1 JULY

MAIN LECTURE THEATRE, SAMUEL ALEXANDER BUILDING, THE UNIVERSITY OF MANCHESTER, Lime Grove, Manchester M13 9PP 🐝

10:00-11.30am Panel session 10  

A. Neomedieval Fictioning before and after Contemporary Art 

(Org. The Confraternity of Neoflagellants; mod. Neil Mulholland)

Plastique Fantastique, ‘Mumming in the Post-Truth Era’

The Confraternity of Neoflagellants, ‘Trial by Future Dead’

David Steans, ‘Saint Good Works’

Panel Synopsis:

This panel consists of commissioned art works that take the form of three little neomedieval theory-fictions (c.20mins each).

In its attempt to disrupt postmedieval anthropocentrism, art is currently gripped by intense speculation on all things nonmodern. This often takes the form of nonmodern world-building, the practice of constructing theory-fictions. Fictioning as a world-building technology combines with mythopoesis: how previous modes of existence might be utilised against the impasses of the present. By using the term ‘fiction’ as a verb we refer to the writing, imaging, performance or other material embodiment of alternate worlds.

Broadly speaking, while the pre-modern bestiary has long formed the sine qua non of small scale curating, the pre-modern university – a hybrid, transtemporal fictioning of social relationships, tools and things – is fictioned as the true modus operandi of today’s artists. The medieval Wandergesellen is fictioned as a permanent supranational state, one in which artisans, scholars, cultural pilgrims, artefacts and many other things drift endlessly betwixt compagon and biennale.

In these brief examples, cultural production is periodically fictioned after contemporary art. The timeframe of artistic practice has shifted from the finite ‘just-now’, bound by human finitude, to a ‘long-now’ that outlives and eludes us, in which the people of the middle ages are our exact contemporaries. Fictioning today, thus, is both before and after contemporary art.

Presentations:

Trial by Future Dead

The Confraternity of Neoflagellants

Following their book-length neomedieval theory fiction thN Lng folk 2go (a preview of which was presented at MAMO 2013) the Confraternity have continued their project of non-modern ‘world building’ through a series of speculative hagiographies, avatar bestiaries, mall-rat pilgrim confessions, technocratic relic translations, liturgical corporate strategizing and scholastic summae of conflict management.

In attunement with neo-animist configurations of the non-human turn, this fictioning will precis two parts of the trial of a rooster-redeemed $50 Amazon Gift Voucher. The cock-a-rooster will undergo Trial by Compurgation and Trial by Ordeal:

“Great Moderator: Nevertheless, The Great Moderator asks this of its Defence Council: If we were to forcefully decouple said Voucher organ from said Polyresinal Rooster organ, do you propose that the Cock is culpable but the Coupon not?  How is The Swarm to discern and apportion the faulty or culpable portions of this thing without recourse to the butcher’s arts of cutting out the back bits to imprison in a humble pie?”

Similar to a medieval body-part relic, the Polyresinal Rooster organ-redeemedvoucher is part corporeal, part transaction and part commodity. As a person-object, subject to continuous translation, the Amazon $50 Redeemed Gift Rooster, inhabits and embodies a cosmology in which aesthetics is not limited to the sensual relations between human self and world, but, instead, describes a synaesthetic hyper-economy through which all ‘selves’ inscribed or enfleshed, animal, vegetable or mineral, represent, translate and co-construct common-oddities that probe the otherwise separate realities they inhabit. Will the Amazon $50 Redeemed Gift Rooster be proven innocent or guilty? Let the swarm decree….

The presentation will be performed in the Confraternity’s own ludic sub lingua franca comprising post-literate netspeak, emojinal gylphs, product spin, inter-species pidgin, object noise-chatter,  and middle American mall talk. Dialogue includes Electronic Voice Phenomena recordings of the medieval dead.

Green Screen Mumming in the Modern Age

Plastique Fantastique & Orphan Drift

Members of the group producing the performance fiction Plastique Fantastique will present a new collaboration with the artist group Orphan Drift. This collaboration involves  and a common interest in mumming and animism. Plastique Fantastique have used mumming – the tradition of presenting masked plays – as mode for delivering communiqués from the extreme past and future in a number of performance works, most recently in the flag-ship Apple shop in London. The talk will present the group’s films and discuss their interest in animism and human and non-human agents explored in relation to mass-media. They will also talk about the concept of myth-science and performance in relation to what has been referred to as the post-truth or past-fact era.

Saint Good Works

David Steans

Saint Good Works is a short fable that manifests in the form of a talking pebble: “When SGW reached the age of one hundred, he conclude d that his life was coming to an end, and that he was no longer able to usefully serve God on this earth. After attending to what little worldly affairs he had, he walked into the mountains, with neither provisions nor intent of return. After a day of walking he sought rest within a cave. Grown thin and weary, he sat down in the cave and contemplated his death. In the cave he held a stone, shiny and grey underneath its coat of moss. He contemplated the stone….”  The pebble will narrate its magnificent story.

Presenters’ Biographies and Contact Details:

1. The Confraternity of Neoflagellants (Hogg and Mulholland) are lay peoples dedicated to the ludic, ascetic, aesthetic and athletic treatment and application of neomedievalism in the hypereconomus of contemporary non-modern cultures. They are an equal opportunities confraternity bound by chirograph.

confraternityofneoflagellants.org.uk

@neoflagellants

2. Plastique Fantastique (Burrows and O’Sullivan) is a mythopoetic fiction – an investigation of aesthetics, the sacred, popular culture and politics – produced through comics, performances, text, installations and shrines and assemblages.

www.plastiquefantastique.org

3. Saint Good Works is a talking pebble made by David Steans an artist and curator based in Leeds. Steans co-founded the Medieval Helpdesk at the 2015 Leeds International Medieval Congress www.medievalhelpdesk.co.uk. He teaches fine art at Leeds College of Art and is a practice-based PhD student at The University of Leeds.

www.grinkinginthedraveyard.co.uk

@Dovad_Steans

“Der Fachidiot”: The paratechnic in the monotechnic

The Porous University – A critical exploration of openness, space and place in Higher Education | 8th and 9th May, An Lòchran, Inverness Campus

Prof Neil Mulholland
“Der Fachidiot”: The Paratechnic in the Monotechnic
(slide cast of provocation paper):

Paratechnic Principals … paraphrasing: ‘5 Principals’ in Corneli & Dandoff, (2011) Synergising individual organisational learning, Wikiversity

1. Diverse methods, diverse communities of practice
2. Externally-facing ’University of Dissensus’ [Readings: 1997]
3. Immediation, 1:1, live
4. Fluid, adaptive co-learning
5. Cooperative and collegiate

The Porous University Symposium – Programme

See ‘Additional info’ for details of sessions which can be viewed online – this includes sessions to be broadcast live via Twitter, and also a parallel session which will run as a webinar on Day 2.

The hashtag for the event is #porousuni

twitter.com/ShiftWorkESW

Confraternity of Neoflagellants | 48th Annual Conference of the International Visual Literacy Association

ivla-logo-colour-500pxhttp://ivla.org/conference2016/about/

More specifically, in attunement with neo-animist configurations of the ‘non-human turn’, this paper evokes a cosmology in which aesthetics is not limited to the sensual relations between human self and world but instead describes a synesthetic hyper-economy through which all selves inscribed or enfleshed, animal, vegetable or mineral, represent, translate and interact across the otherwise separate realities they inhabit. As anthropologist Eduardo Kohn argues, a subject, self or mind does not produce signs but is in fact an emergent product of semiosis, of the way it represents the world and is represented by others in the world. In other words a self is a “loci of enchantment”—the non-anthropological outcome of aesthetic processes. Thinking aesthetics in this way intervenes provocatively with the notion of ‘visual literacy’ since it requires a non-symbolic conception of representation as a “open whole” that cannot be confined within human linguistic frameworks.

The Confraternity pursues their speculative cosmology through their ongoing fascination with the enchanted iconicity of medieval sacramental practices such as body part relic-ing. The ritual elevation, translation and sometimes humiliation of ‘person-objects’ epitomizes the dynamic interrelations between corpus and textus, likeness and presence and confounds the hierarchical segregation of ‘representing subject’ from ‘represented thing’.

The A/V presentation takes the form of an alt-future parable, following the synesthetic adventures of an independent broker of sensual exchange. Part corporeal, part corporate and part commodity, Muller Ltd. is a journeying apprentice, or ‘Junior Solution Aligner’, who is pursuing the ultimate ambassadorial title of ‘Universal Travel Adaptor’ by immersing itself in increasingly ‘alien’ centers of experience. As the parable unfolds Muller Ltd’s ‘powers of feeling’ increase dramatically, but only at the terrifying cost of dissolving its own corporeal branding (its iconic ‘equity’) into the synesthetic matrix. The parable thus takes a speculative look at the precarious integrity of visual literacy as it expands its territory into the non-cognitive or ‘illiterate’ realm of the non-human sensorium.

Confraternity of Neoflagellants: Envisioning Future Premodern Materialisms

Day 3 – 23. September, 2016
18.15-18.45
Confraternity of Neoflagellants: Envisioning Future Premodern Materialisms

Performing Situated Knowledges: Space, Time, Vulnerability: 7th Annual Conference on the New Materialisms, Institute of Philosophy and Sociology, Polish Academy of Sciences, Warsaw.

Organized by: New Materialism: Networking European Scholarship on ‘How Matter Comes to Matter’, European Cooperation in Science and Technology (COST), Action IS 1307

This conference is one of a series of new materialism conferences that together aim to explore, through both theoretical and practical multiple transversal methodologies and approaches, the notion that vibrant, agential “matter” matters and further, to investigate the ontological, political, ethical, esthetical, and sociological implications this may carry. This year, whilst acknowledging the fast approaching thirtieth anniversary of the publication of Donna Haraway’s groundbreaking essay on “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective” (1988), we invite participants to explore, perform anew, and enliven the concept of “situated knowledges”.

http://newmaterialism2016.wixsite.com

Atelier: Daniel Miller

Atelier: Daniel Miller

Atelier’s Dr Angela McClanahan will interview Daniel Miller @DannyAnth within the Still life with flying objects exhibition on Sunday 21st August. Hosted by @Rhubaba as part of @EdArtFest 2016

http://edinburghartfestival.com/whats-on/detail/a-conversation-with-daniel-miller

(Part 1)

(Part 2)

Rhubaba presents Still life with flying objects, a group exhibition that brings together new and existing work by artists including Tim Dodds, Susie Green, Emma Hart and Susan Mowatt. Thinking about objects and why we are drawn to make them, the show will present work by artists who paint, weave, make films and build. In Still life with flying objects liquid paint settles, takes form as a twig, shape-shifts into a piece of rope and later slips off as a snake; a tapestry keeps out the cold, hanging as a soft wall and holding collaged lumps in its weave; at home a camera pans scraping along the radiator, coming across an out of reach cobweb which reveals lost treasure. By reaching under the bed, knotting the yarn and looking through the porthole, the artworks in the show consider what the stuff we surround ourselves with is, how it is made and where it ends up.

Atelier, Skye

Atelier, Skye 2016

The Atelier takes place in Trotternish, Waternish and Duirinish, Isle of Skye 9th-13th MAY 2016 with Atlas Arts http://atlasarts.org.uk

What is ‘Atelier, Skye’?
 
A charrette is an intensive participatory group that engages a common enquiry. Atelier, Skye is a three-day charrette wherein a group of artists, curators, academic researchers and members of Atlas Arts will work with a series of common research ‘objects’ located in the north of the Isle of Skye (Trotternish, Waternish and Duirinish). 
 
Working with the charrette curators, ATLAS Arts have identified a series of sites and objects that will facilitate and contrast different methods of visual and material enquiry. These objects range from artefacts in local museums, to areas of outstanding natural beauty. By engaging with ‘things’ in the custodianship of Atlas Arts, our charrette 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.
 
We aim to assist Atlas Arts in meeting their aims and obligations as the primary arts organisation for Skye and Lochalsh and thus to the local populace. We will enable this by enlisting Atlas Arts to collaborate directly with artists, arts professionals and academics in the creation of common research objects. The charrette will  transform participants’ understanding of what material research is, what it can be and of who/what might participate in it.  We also hope to use our visit to establish an open access online archive of the project, proxy distributed by Atlas Arts, that will ensure Atelier’s methods are available to artists, researchers and educators working with comparable community-based and site-sensitive organisations.
 
What is ‘Skye’?
 
For the purposes of this project, Skye functions as host environment for engaging a broader community of academics and non-academics in contemporary art and materialist research. It is both a slowly changing land mass and a more rapidly transforming series of agents, things and discourses. ‘Skye’ is a contingent object, one in an ongoing process of flow and growth. Following the material-turn, it is appropriate that we do not presuppose a singular thematic or disciplinary approach towards ‘Skye’. This is why participants will work only from  things hosted by the island, discovering a varied flow of entanglements over the duration of the charrette. Our initial meetings with Atlas Arts Director Emma Nicholson established our objects of enquiry, the journeys our research group will make around the island, the iterative structure of the charrette research process and the ways in which we will document this.
 
What is ‘Atlas Arts’?
 
Based in Portree, ATLAS Arts seeks to be a pioneering producer and commissioner of contemporary art that will create connections between artists and audiences, and respond to the unique qualities of this region, its landscapes, its culture and its people. http://atlasarts.org.uk

Atelier: Richard Sennett ‘The Craftsman’

 

original-2

Atelier Present:

Richard Sennett The Craftsman

THIS EVENT HAS SOLD OUT

Richard Sennett

Atelier warmly welcome Professor Richard Sennett, who will be discussing his seminal work The Craftsman at The University of EdinburghIn this book, he shows how history has drawn fault-lines between craftsman and artist, maker and user, technique and expression, practice and theory, and that individuals’ pride in their work, as well as modern society in general, suffers from these historical divisions.

Sennett’s research has explored how individuals and groups make social and cultural sense of material facts – about the cities in which they live and about the labour they do. He focuses on how people can become competent interpreters of their own experience, despite the obstacles society may put in their way. His research entails ethnography, history, and social theory. As a social analyst, Professor Sennett continues the pragmatist tradition begun by William James and John Dewey.