Category Archives: Paper

Crafting Values: Art and its Economies | Confraternity of Neoflagellants

January 23, 2015

School of Art, Edinburgh College of Art, University of Edinburgh (Hunter Lecture Theatre), 10.00 am

with Hans Abbing, Evangelos Chrysagis, The Confraternity of Neoflaggelants (Norman James Hogg and Neil Mulholland), Angela McClanahan, Georgios Papadopoulos, Stevphen Shukaitis, Marina Vishmidt

Taking its cue from debates surrounding the contested character of value in artistic production, this one-day symposium presents an interdisciplinary take on the issue by bringing together scholarship from the fields of anthropology, art and critical theory, Marxism and economics. Some of the areas that the participants will address include the following:

Aesthetic value and processes of urban regeneration

Speculation and art production

Ethical values and economies of affect

Emotional labour, entrepreneurialism and self-precarization

Technologies of value and digital media

Neo-medievalism and hyper-economies

Shift Happens

image001

Shift Happens

Published June 18th Journal of Artistic Research, Issue 3

jar-online.net

Shift/Work has arisen from a number of learning experiments conducted in Edinburgh Sculpture Workshop and at Edinburgh College of Art. Our shared concern is with addressing the failings of neoliberal art education in the Anglosphere that focuses solely on nurturing personal ontology. The unquestioned assumption here is that art (and education) is concerned with personal development, self-awareness, auto-critique, self-confidence… Today’s artists and art students compete to develop a private index of values, and thus to invalidate the research-value of their work as a transferable contribution to knowledge. The self-centredness of creative personal ontology encourages an apolitical and fallacious solipsism that does not develop practice or generate research. Shift/Work supports social actors who are learners within communities of practice. Key to this is an open engagement with practice (work) as a means of both generating and transferring new knowledge (shift). Shift/Work is an attempt to establish a collective ontology for practice, creating process-led pedagogy, critically reflecting upon the learning processes involved, and disseminating research on a share-and-share-alike basis. This paper describes and analyses the genesis of Shift/Work as an ongoing iterative process.

“Scotland 2014: Coming of Age and Loss of Innocence?”

I will give a paper entitled No True Scotsman: Neomedivalism and Scottish Cultural Politics

“Scotland 2014: Coming of Age and Loss of Innocence?”

Johannes Gutenberg University Mainz, the English Department in Faculty 06 (Germersheim)

Scotland 2014

The conference takes place one year before the Scottish referendum on independence and it will investigate the possibilities and prospects Scotland now has. Will it eventually come of age, but also lose its innocence? Connected with this look at the current and possible future situations, the conference will also try to give an account of how Scotland and the ideas of devolution and independence have been dealt with in various media since the Middle Ages. In order to establish a fairly comprehensive understanding of Scotland’s past, present and future, an interdisciplinary approach will be taken and speakers from the fields of politics, cultural policy, history, sociology, economics, media and film studies, cultural studies, literature, art, the law, and the cognitive sciences will be invited.

A cognitive perspective is necessary, as one needs to investigate the mental schemata that have consciously or rather unconsciously been employed whenever devolution and independence have been discussed. How, in fact, have devolution and independence been represented in literature, films, cartoons, the newspapers, on TV, in business or political articles in recent decades as well as in earlier centuries? How dominant is a Scottish perspective in these representations, and how can this perspective actually be defined? Is it really national, or regional, determined by class, wealth, people’s occupation, or in any sense individual? In which ways have the Scottish notions of devolution and independence been influenced by England, Europe, globalisation, the enlightenment, antiquity, romanticism, post-colonialism etc.?

One key question in this context is how the stories of independence and devolution have been narrated. In narratology, mental schemata are again of great importance both for the story’s structure, contents, protagonists etc. and for the genre or medium selected. Are the same stories told at the same time in different media, or do the stories change through the medium employed? What changes in the use of genres and media as well as in the kinds of narrations employed can be detected in representations of Scottish devolution and independence throughout the centuries? Do the new media and media convergence bring about new narratives or new ways of story-telling? Do they in any way tell different stories?

Two other important problems that must be tackled politically, socially, economically, legally as well as intellectually are a) the prospects for the future of Scottish devolution or independence and b) the question of who or what is in control of the shape Scotland adopts for itself. As far as a) is concerned, it has for a very long time been absolutely evident that England (probably Great Britain generally, which means Scotland, too) has defined itself mostly by means of concepts of the past and has, therefore, neglected the present and especially not sufficiently developed plans and ideas for the future. An extended Scottish devolution and above all Scottish independence would make it absolutely necessary for both Scotland and England to develop new plans for their future and with these new ideas also new definitions of their identities. What possibilities for future identities are detectable at the moment, and to what extent are they influenced or even predicted by concepts developed in the past? Do these new possibilities use new forms of narrative and new mental schemata or are they just variations of what human tradition has provided?

Problem b) is vital and for evident reasons extremely topical at the moment. It concerns basic questions of democracy, people’s participation in decisions about the economy, the execution of power, and the shape of the community they live in. It is quite revealing to find challenging descriptions of the current situation in both Great Britain and the United States in books like Charles H. Ferguson, Predator Nation: Corporate Criminals, Political Corruption and the Highjacking of America, New York 2012 as well as Ferdinand Mount, The New Few. A Very British Oligarchy, London 2012. Both see a small elite in power, abusing the economic and political systems for their own profit and dramatically endangering democracy as well as basic humanist values. This is a global phenomenon that must be tackled globally, but also locally. So what is the Scottish position in this context? What are Scottish answers to this problem, and how is the Scottish point of view connected with devolution, independence and new or old forms of narrative and thinking?

Is this now the time for Scotland to eventually grow up and finally leave Neverland? Has the Union allowed Scotland to abstain from responsibility, and does leaving the Union mean becoming a responsible grown-up? The traditional Scottish love of “another land, a rainbow-land, […] the vague Land of Youth, the shadowy land of Heart’s Desire” (Fiona Macleod, The Winged Destiny: Studies in the Spiritual History of the Gael, London 1927, 198) can now indeed either be left behind or turned into a present day reality. But what are the possibilities for this reality? Fortunately, nobody today will repeat Hugh MacDiarmid’s misguided suggestion of 1936 that Scotland’s independence should at least be “on the same footing […] as one of the autonomous republics of the U.S.S.R.” (MacDiarmid, Lucky Poet, London 1972, 145) But are today’s suggestions really more intelligent than this one? Answers are urgently needed. That they are not forthcoming from politics has easily understandable, if deplorable reasons, but where are answers to be found?

The influence of the mass media has increased tremendously, especially in connection with the new media. But what do they offer? The latest animated cartoon Brave by the world’s most successful producer of this medium, Pixar, is a typical example and an indicator of what has happened here again and again, namely a rehash of traditional ideas and well-known concepts. There is nothing new but the technology employed, used for very common effects and narratives. If new concepts and new forms of thinking and narrating are not being presented, perhaps a return to the stupendous tradition of human ideas, often simply forgotten, might be very useful now, a tradition to which Scotland, of course, has contributed considerably, and not only during the Scottish Enlightenment.

The conference thus intends to define past and present conceptions of devolution and independence in large contexts, but will also try to develop ideas about the future of Scotland, Europe and the democratic world. We’d be pleased to hear your ideas and suggestions for this event which will take place at Mainz University in its Faculty 06 in Germersheim. Alex Salmond said in early September 2012 that the 2014 referendum should be on 18 October 2014. Our conference will, therefore, examine the situation exactly one year earlier and analyse, describe, and discuss it from Thursday 17 to Sunday 20 October 2013, with an opening ceremony on Wednesday 16 October at 6.30pm.

Performing Worlds, Generator Projects

Performing Worlds, Generator Projects, June 12th 2012. I will read a future history:

After the Creative Economy…

The Deputy Prime Minister has revealed that he felt a deep-seated satisfaction when he saw a photo of Richard Floridas dead body for the first time. He said that the sight of his stinking bullet-ridden corpse made him think of the culture that died in the 00s – but denied that he did a high five in his mind. Florida was shot dead by EasyPolice on May 1 last year, the culmination of Project Scapegoat, a decade-long termination opportunity to hunt down the man behind the creative economy. His corpse is currently on public display at The Public, West Bromwich. See wwww.thepublic.com for two-for-one exhibition meal deals.

Post-Creative Economy

Live Constitution Period
Thursday 24th May 2012, 2:30-5:00pm

A round table on cultural theory and policy after the creative economy

Lanchester Gallery Projects, Coventry

http://lanchestergalleryprojects.org.uk

Chair: Prof Neil Mulholland, Professor of Contemporary Art, University of Edinburgh

Dr Kirsten Forkert: University of East Anglia
http://www.variant.org.uk/pdfs/issue35/CulturalLeadership.pdf
http://www.journalofaestheticsandprotest.org/5/articles/forkert.htm

Dr Roberta Comunian : Associate at University of Kent.

Owen Hatherley: Author of Militant Modernism, critic, writer.

Dr Rachel Granger : Coventry University

Scottish Independents

Scottish Independents

 

This democratisation of the intellect is our inheritance (not least since we have already paid for it), our creative commons; it is what enables us to innovate and to engage transnationally.

This is an invaluable and ambitious international role for interdependent organisations to play.

The history of artists’ cultural self-determination is linked and made stronger by that of making real the promise of political self-determination.

12:00 Friday 18th November 2011

Lecture Theatre

Royal College of Art, Sculpture School Project Space, 15-25 Howie Street Battersea

Followed by a presentation by Siesta Pinwheel.