Analogue Audience/Digital Interfaces

Shwetal A. Patel is a PhD student at Winchester School of Art and a founding member of Kochi-Muziris Biennale. As a founding member of KMB, Patel took a wide ranging role, which involved  research and national and international advocacy duties, including a key initiative between Google Art Project and KMB to bring the biennial experience to internet audiences globally. In this post, Shwetal provides an overview of ‘Analogue Audiences / Digital Interfaces’, a symposium he organised for WSA examining contemporary audiences in the context of galleries and museums. The symposium was held on the 24th November 2015, at the Royal Institute of British Architects in London.

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On an overcast drizzly Tuesday afternoon, high up in the Wren Room of the RIBA building in central London, a group of scholars, artists and experts gathered to participate in a symposium titled ‘Analogue Audience / Digital Interfaces‘ in an attempt to better understand our current digitally driven age. Our world today is increasingly one of hyper digital interaction in every conceivable sphere of society. We use our phones, our computers, our tablets, for almost all activities, and technology has become an intractable part of our daily lives. Projections for the numbers of people online are set to grow almost exponentially in the coming decade and there are even plans afoot to provide internet access to the most rural and improvised parts of the globe.
 
The effect that this might have on art, its production and its appreciation, is something we are only beginning to understand. In order to examine these issue more closely, faculty from Winchester School of Art (WSA) and I gathered some of the most accomplished thinkers and practitioners in this area. Participating WSA faculty included Head of Research, Professor Ryan Bishop, Head of School, Dr. Robert D’Souza, Reader in Critical and Cultural Theory, Dr. Sunil Manghani and the school’s Winchester Gallery curator, August Davis. Invited participants included curator, Hannah Redler, Head of Programmes and Operations at Sedition, Ashley Wong, Programme Manager at Google Cultural Institute, James Davis, artist and poet Robert Montgomery and Tate Modern Director, Chris Dercon.

‘Analogue Audience/Digital Interfaces’ was an attempt by us to discover something of the nature of the consumption, appreciation and understanding of artworks and how this is changed when a digital interface is interposed between artwork and viewer. Our collective intention was to explore the notion of the ever increasing digitisation and dissemination of art in the internet era, and also to explore philosophical and ideological issues and use this as the beginning for a larger discussion of our age. The selection of the speakers and moderators was made so as not to distil pre conceived notions or provide neat  ‘take aways’, but rather to gather a diverse range of voices that could set up important questions and examples of what was going on in the field. Following a brief introduction by myself, Ryan Bishop lay some of the theoretical groundwork for the symposium including the notion that interfaces can be simultaneously productive, alienating and liberating and that machines were increasingly speaking directly to other machines in the current phase of technological advancement. 

The first speaker in the symposium was Hannah Redler, an independent curator talked about a recent project curated by Lucy Dusgate for which Hannah selected key works as one of 5 guest curators. The show, titled Right Here Right Now, is an exhibition of contemporary art engaged in digital culture (Right Here Right Now is open at the Lowry until February 2016). Hannah is also the Open Data Institute Associate Curator, and a consultant art curator for the Institute of Physics where she recently co-curated an events series for Tate Modern titled ‘Light and Dark Matters’, with Tate and IOP programming teams Hannah brought a wealth of experience of working with artists who are using technology and digital strategies in interesting and unique ways.
 
Ashley Wong, Head of Programmes and Operations at Sedition – a leading online platform for artists to distribute work as digital limited editions for digital TV’s, smartphones, screens & tablets – discussed Sedition as a commercial platform for emerging and established artists. Artists Sedition currently offer on their platform include blue chip figures Bill Viola, Tracy Emin, Damien Hirst, Elmgreen & Dragset, Jake & Dinos Chapman and filmmaker Wim Wenders amongst nearly 100 others. During her presentation she explored several examples of artist practices who are engaging audiences in different ways with technology in their work whilst also discussing the interdependent relationship between the digital and physical in the post-digital age.
 
Robert Montgomery is a London-based, Scottish artist. He occupies a precarious space between street art and academia. His simple, graphic poems have been plastered, often illegally, over advertisements and billboards internationally, as well as being available (copyright free) over the internet. Montgomery was initially inspired by the graffiti artists of East London, the poetry of Philip Larkin, the philosophy of Guy Debord, and the French student protesters of May 1968. Montgomery became interested in the Situationist tradition while following the writing of Roland Barthes and Jean Baudrillard during his time at Edinburgh College of Art in the early 1990’s.
 
During his presentation Montgomery gave an example of a 22-year-old from Culver City who tattooed one of his poems on her arms and later emailed him the image through social media. His studio has since followed how the poems he writes get posted by people on Twitter /Facebook/ Pintrest/ Instagram etc and how his poem ‘The People You Love Become Ghosts Inside Of You And Like This You Keep Them Alive’ travels out into various communities of people beyond the contemporary art audience and gets used in sometimes unusual and expected ways. Montgomery also challenged the Benjaminian notion that the aura of an art work is diminished upon reproduction. Rather the artist felt that the internet was liberating his poetry and allowed him to disseminate his work to previously inaccessible audiences and engage in a dialogue with the public, suggesting that the internet was ‘like a democratic postcard’.
 
James Davis, Programme Manager at Google Cultural Institute presented Google’s ground breaking non-profit initiative, Google Art Project, as an online platform through which the public can access high-resolution images of artworks housed in partner museums and institutions, which currently number over 900 internationally. The fast expanding platform enables users to virtually tour partner museums’ galleries, explore physical space and monuments and research contextual information about artworks, and compile their own virtual collections as well as visit historical and archaeological wonders of the world. By using an internet connected webpage, he showed the audience the “walk-through” feature of the project which uses Google’s Street View and Gigapixel technology. Davis largely repeated the stated Google’s position/s and heralded the technology and platform as one that essentially provides “access to art and culture to anyone with an internet connection”. Google is one of the worlds most sophisticated and influential technology companies whose primary mission is to “organise the worlds information” though Google strongly believes in the potential of universal access to cultural production. 
 
To close the symposium, Chris Dercon, Director of Tate Modern was in conversation with Ryan Bishop and their free-form discussion expanded on some of the Tate’s Digital initiatives as well as personal insights into running a museum the size of Tate Modern in the digital age. Tate believes that digital media is an important channel for inspiring, challenging and engaging with local, national and international audiences. A useful insight garnered from Tate’s own research showed that 42% of visitors stated that they came to Tate to experience ‘encounters’, this was an interesting learning which illustrated how people are seemingly desirous of experiences and encounters which public spaces can provide in the digital age. Interestingly, 47% of visitors to the Tate website sited ‘research’ purposes as a reason for visiting the site. Dercon also mentioned that although their current Alexander Calder exhibition had received rave reviews from the art and mainstream press and that social media activity had been extremely high, the opening week attendance had been unusually low. This went against the idea that popularity on the web leads to greater footfall at exhibitions and he stated that Tate were currently analysing this phenomenon further to understand why. Despite substantial digital investment Dercon felt that it was still not possible to effectively translate theatre and museum experiences online.
 
As a result of the symposium there is now a platform of views and ideas to build upon, and a chance to open the discussion to audiences and scholars through the internet. The entire event is being transcribed from 3hrs and 42 mins of audio (links to be provided soon). This, it is hoped, will lead to new questions and possibly some conclusions emerging in the future. After the event, I said, ‘I feel this area is very fast moving and we are kind of guinea pigs of the digital revolution. Tech companies, artists, institutions and audiences are still feeling their way through the many changes and opportunities and it will take some time for the ground to settle and for concrete conclusions to be drawn. The lens of time and history will help.’ I hope many more people can join this discussion over the coming months as the topic broadens.
 
 
See also: Analogue Audience / Digital Interfaces [Programme Notes]

Image:
The Portrait of Sakıp Sabancı (2014) by KĂŒtlag Ataman at the Sabanci Museum. Photo: Shwetal A. Patel.


While in Tokyo…

Stephen Cornford is a PhD candidate at Winchester School of Art. His fine art practice-based research explores the materialities of residual media. In this blog post he reports on a recent commission for the Ftarri Festival in Tokyo, along with a further installation, Migration, and a CD, Kinetic Sculptures.

For the 2015 Ftarri Festival in Tokyo I was commissioned to make a new work to be performed by myself, long-term collaborator Patrick Farmer and a Japanese musician Madoka Kuono. My response to the commission was to produce a three-screen 16mm performance titled Digital Audio Film. The central concept of the work was the exposure of analogue film to the laser of a CD player – film emulsion being sensitive to radiation wavelengths far beyond the abilities of human sight. The work brings a technology for the reproduction of digital audio into dialogue with a moving image technology, allowing them to re-interpret one another. A machine intended to reproduce sound becomes a producer of images. This work was performed at SuperDeluxe on Sunday November 22nd with the help of Japanese filmmaker Shinkan Tamaki who leant me his projectors and provided technical support throughout the day.


After receiving the invitation I also managed to arrange an exhibition at a small independent art space, Gallery 20202 run by Yukari Fujimoto ex-promoter of Off Site, a performance space for experimental music now considered instrumental in the emergence of OnkyĂŽ. The work exhibited here titled Migration, is an installation for numerous factory-second dictaphones which modifies their mechanics and electronics to produce an audio-visual effect reminiscent of the massed migrations of birds or insects. In doing so the work draws a parallel between this organic seasonal process and the global shipping of electronics as they move through our economy from production to their inevitable end as pollutants.

Coinciding with this exhibition was the release of a new CD titled Kinetic Sculptures on the vlzprodukt label. This CD collects together works from 2006 to 2010 the majority of which were made during my MA at Dartington College of Arts.

While in Tokyo I also performed twice in collaboration with other musicians invited to the festival. On Saturday 21st I played a trio with Makoto Oshiro and Matija Schellander which took and saw us placing sound objects all over the venue in a performance which deliberately dispersed the traditional focus of attention on the stage space. I worked with 10 modified Dictaphones and a turntable placing these chirruping devices among the audience, at the bar and on the PA, while Matija walked in circles around his double bass, plucking a rod inserted between its strings and Makoto placed home-made vibrating devices and alarm clocks throughout the space and then preceded to set off firecrackers in the toilets. Finally on the Monday after the festival I performed a duo with British harpist Rhodri Davies at a local record store.

Throughout the week I was taken aback by the generosity and hospitality of the Japanese. During the installation of the exhibition and following the opening I was treated to several traditional Japanese meals at local restaurants, including one evening meal of almost a dozen small courses, each served on its own specific crockery. A wonderful week and I very much look forward to returning to Tokyo in the not-too-distant future.

 

To see more of Stephen Cornford’s work visit: http://www.scrawn.co.uk

Art, Work, and Archives: Performativity and the Techniques of Production

Jane Birkin is a former doctoral candidate at Winchester School of Art, completing her practice-based PhD in June 2015.  Her essay ‘Art, Work, and Archives: Performativity and the Techniques of Production’ was recently published in Archive Journal.

 

This essay attempts to address the significance of my longstanding working connection with image collections and archives. It explains how aspects of archival thinking permeate the practices of various artists (including my own), notably through the application of performative working methods that position their work within an established genre of indexing and categorisation.

Performativity is defined here as a two-step procedure: firstly the making of an instruction, and secondly the following of that instruction. This is at odds with the early designation by J.L. Austin, in How to Do Things with Words, where the ‘saying’ and the ‘doing’ are one and the same thing. It also avoids the theatrical aspects that are often associated with performance art.

The call for papers was on the theme of ‘Radical Archives’, and asked what this well-used term really means. The ‘radical’ that is so often perceived in relation to the archive in terms of radical content (punk archives and so on) is here differently defined through archival cataloguing techniques of ordering, description and listing. In the way of the ‘readymade’, these institutional techniques become radicalised through their passage into art practice. The use of archival description in relation to the photographic image (the subject of my PhD thesis) constitutes a radical form of writing and reading the image, at odds with traditional hermeneutical analysis. It is an indexical rather than a representational approach, consistent with the recent material turn in photographic studies that is becoming a critical methodology in theory, practice and education, and frequently with reference to the ‘archived’ image.

Read the essay here:

Art, Work, and Archives: Performativity and the Techniques of Production

 

 

Re-Making an Exhibition

The exhibition, Reading Room: Leaves, Threads and Traces (November 2015), exhibited book art originally shown in Delhi and at the Colombo Art Biennale, Sri Lanka (2014) and Kochi-Muziris Biennale, India (2014). Working in collaboration with Blueprint 12, these shows were curated by Amit Jain, joined staff and students at Winchester School of Art for the seminar and the installation of works. The original shows of ‘Reading Room’ featured works by fifteen artists from across the world. Many of these works were shipped over for a new iteration of the show, and which were brought into dialogue with a selection from the Artists’ Books Collection held at the Winchester School of Art Library, which comprises book art from the 1960s to the present day. The seminar will be co-convened by Sunil Manghani, Amit Jain, August Davis, and Linda Newington.

As the final wall text produced for the show explains:

In placing items from the School’s own collection alongside the visiting collection of book art from South Asia, the themes of leaves, threads and traces are explored. It brings to the fore both the physicality of books – their material properties and relationship to material culture – and an imagination of books. This edition of Reading Room opens up how we interleave, draw together and re-trace thoughts, beliefs and emotions within the boundaries of a book and the cultures in which they circulate.

Preliminary curatorial decisions, such as the objects to be made available for display, had already been made in lead up to the installation of the show. However, the all-important positioning of the objects, the handling of the space, and the ‘journey(s)’ laid out for the viewer – the exhibition making as a practice – was to be carried out by the postgraduate research group in just three days. Amit Jain, who had curated the two previous exhibitions and brought the books over from India, purposely played little part in the decision-making processes. He was interested to see how his exhibitions would be re-made, and how he would himself learn from the process. Amit made it clear from the start that the final exhibition, whatever shape it was to take, could never be perceived as a failure in either curatorial or pedagogic terms, but that the processes of making and juxtaposition, and the subsequent viewing by the public, would serve as a practical site of learning. Like all the events in the re:making series, this was designed as a collaborative and experimental task for PhD students; it was to be an intensive project that would thoroughly test the proposition of thinking through making that is key to this seminar series.

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The book is a mini exhibition space in itself: it has content and it has a physicality and a three dimensional space through which to navigate this content. Reading Room could be perceived then as an exhibition of interrelating exhibitions—a difficult and interesting curatorial notion to begin with. As we all know, the navigation of both books and exhibitions is not always linear, it is a complex back and forth interaction, often with multiple visits to certain parts. In this limited time, a coherent exhibition had to be installed that would expose commonality and create a dialogue between the two different collections, yet would still allow an openness of conditions so that the visitor/reader would be able to traverse the display in their own way and to make their own connections.

As with all exhibitions, logistics around the objects and the space in which they are to be displayed play a large part in the decision-making around display. The extremely delicate nature of a number of the objects meant that they could not be truly navigated at all, but were displayed as static objects that denied the visitor the haptic interface usually associated with the book. Happily, some objects could be touched and used as books; indeed they actively required handling in order to explore their methodology and message. Other objects were not books as we commonly experience them at all, but book-related artworks in different forms. These were conceptual pieces, some of a highly political nature, with temporal qualities (usually experienced through page turning) here embodied and understood through the varying and openly exhibited processes of their making.

RR19-2Before the books were even unpacked, systems of good practice had to be formulated that would ensure the safe handling of the objects, and some background information on the objects had to be relayed and considered. It was late on Day One before the fascinatingly inaccessible packing cases were opened and the books from India were uncovered and laid out. For the group this was at the same time a contemplative act of revealing and an abrupt realisation of the task ahead.

The three days of installation were peppered with periods of notional inactivity, weariness and even boredom. But these lulls were actually active times of information processing (such times play an important part in all making projects) and they undoubtedly played a significant part in the successful, intelligent and articulate final installation of the show. The act of unpacking that was so physically experienced by the group could be viewed metaphorically as a critical part of the thinking through making process.

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Drawing Together

Cheng-Chu Weng is a PhD candidate at Winchester School of Art, undertaking studio-based research concerned with shadows, the body and space. In this post she recounts her undertaking of an outdoor participatory drawing event, Drawing Together, which was part of 10 Days 2015 CHALK, Winchester’s biennial, interdisciplinary, arts festival.

Drawing Together was devised as a participatory outdoor drawing event. Co-orangised by Cheng-Chu Weng and Sunil Manghani, the event was held on Saturday 17 October 2015, 11am – 1pm at the Discovery Centre, in Winchester. The event was part of the wider programming for 10 Days, Winchester’s  biennial, interdisciplinary, arts festival. The event was advertised as follows:

Through the medium of chalk and shadows Drawing Together brings people together in a shared act of drawing. Visitors to the Discovery Centre are invited to draw together as a means to draw ourselves together if only fleetingly, just as our shadows are mere fleeting images of ourselves. This act of drawing upon the ground of the city in which we live and work is intended to mark a temporary reflection of ourselves as individuals and as a community.

The theme of the biennale was ‘chalk’. Thus, Drawing Together sought to make explicit use of chalk as its medium, along with shadows. The drawing of shadows, which are fleeting, ephemeral phenomena also relate to the ethereal mists of Winchester, borne of its chalk geology.

As an artist living in Winchester city, my aim was to engage with local people, beyond my studio at the School. My fine art practice begins in painting, but has now developed through installation works. I explore phenomenological readings of vision as embodied space: How people look, feel, and experience not just things, but emotions and memories. The phenomenon of the shadow is central to my practice, as it evokes questions about how we define the boundaries of our bodies and identities. What, for example, do we claim to be inside and outside of an outline? In Drawing Together, my aim was to  invite, demonstrate and direct people to mark out their shadows with chalk. This act of drawing upon the ‘ground’ of the city itself in which we live was intended to mark a temporary reflection of ourselves as individuals and as a community. (The plan was hold the event on the paved area immediately in front of the Centre’s entrance, but the weather was in fact quite poor, particularly the light levels on the day, which hampered the aim to draw shadows from natural light. We managed a short period outside, but in the main we had to move inside the Discovery Centre and work with artificial lighting).

Photograph: Ruby Chan

The process of engaging with local people through using chalks, lights and shadows prompted the action of tracing shadows. The following rubric was provided:

  1. Use chalk provided to trace the outline of the shadows of people around you as they form on the paved area outside of the Discovery Centre. Feel free to trace as many shadows as you like and do not worry about lines overlapping.
  2. Provide your name and address to the event organizers if you wish to receive a postcard of the finished work.
  3. Please feel free to post your own photos and videos of the drawing as it develops. Use hashtag #chalkshadows for Twitter and Instagram and/or post comments to the Facebook

Projects and artworks with a social dimension at their core have become increasingly common. However, any social artwork reveals not just collaborative efforts, but also what it means to be individual within a group. Drawing Together similarly played with the boundary between individual and collective. However, as a convenor of the project, what was particularly revealing was how the process of persuading visitors to draw shadow and make marks is not an easy job. It requires a good deal of skill in communication. This was a challenge for me. I am used to producing works individually, working in the studio environment which is tailored to making. In this environment there is a form of internal dialogue. It is a matter of experiencing objects as a form of non-verbal communication. Thus, aside from the event happening on the day, the underlying challenge to running a social community-orientated project – even one that on the surface seems very simple – is the lengthy process of organising and communicating with collaborators and the festival organisers. As a maker, I realise this is equally a part of making the ‘work’. However, it is really the participants on the day who bring the work into being. Once people have been invited to act, the situation changes; everyone can become an artist, as befits Joseph Beuys’ concept of Social sculpture. In this case, it was interesting to note, when comparing the two drawing surfaces, the pavement (outside of the Discovery Centre) and the boards (inside of the Discovery Centre), people found it much easier to be persuaded to draw on the pavement. There is a practical reason perhaps, since they do not need to take off shoes and need not worry about making a mess. To mark a person’s shadow on the pavement is more straightforward, and may even draw upon the participant’s memories of playing on the pavement, such as marking out hopscotch in a school playground etc.

The use of social media was suggested to participants, to allow the project to engage not just materially but also virtually. Images circulated on the day, and the final collaborative ‘drawing’ from the day was photographed and printed in a limited set of postcards (and sent out to all those who participated). However, the relationship between the participants, object (chalk) and surface or support (the ground, drawing boards) was the real ‘event’ of the project. Here we might think of Martin Heidegger’s concept of intentionality, the idea of the object within the subject intention, as Joel Smith explains: ‘Equipment is ready-to-hand, and this means that it is ready to use, handy, or available. The readiness-to-hand of equipment is its manipulability in our dealings with it’ (Internet Encyclopedia of Philosophy).

Drawing Together, in the end, was about the experience of the body – and indeed bodies – in using chalk as a means to trace our shadows. Ultimately this is an impossible task, but one we feel is nonetheless ‘ready to hand’. It was heartening to see people spent time to engage with the project. I am grateful to my collaborator, Sunil Manghani, and the Biennale organisers, Sophie and Jane, for helping to make Drawing Together happen. A big thanks also to Elham, Sarvenaz, Ruby and James for helping out on the day.

See also Re: Making

 

The Image of the Network

Yigit Soncul is a PhD Candidate at Winchester School of Art, working on a research project under the title of Contagious and Immunogenic Images of the Network. Working with Prof. Jussi Parikka, he has helped establish a research lab, Design and Media Ecologies, which brings together staff and students from across the school. In this post, he reports on the inaugural symposium of the lab, which he co-covenened. 

 

The Image of the Network was a one day symposium, held at Winchester School of Art, University of Southampton (WSA) on June 16, 2015. The event, which was generously funded by postgraduate research funds of the school, also marked the initiation of the new conceptual/creative lab of WSA, Design and Media Ecologies —a platform that engages with media theory and design. In this event we aimed to explore the intersections of aesthetics, politics and technology. Five presentations of the day ventured into an area upon which visual and network cultures overlap, whilst maintaining an overtly political/critical perspective. Although the event was open to public and those affiliated with the university on any level, WSA PhD students were assigned a collection of readings pertaining to the topics prior to date—hence, rendering the event, for them, an intensive workshop mapping aforementioned domains of enquiry. These texts included primary literature from French philosopher Gilles Deleuze and German art historian Hans Belting, along with titles from the speakers; Olga Goriunova, Tony D. Sampson and Jussi Parikka.

After the welcoming remarks by myself and Jussi Parikka , the day started with Dr. Tony D. Sampson’s presentation, “Waking the Somnambulist: The Capture of Affect, Attention and Memory (and Why We Need New Weapons to Stop it).” Sampson works as Reader in Digital Culture and Communications at University of East London and is one of the scholars responsible for a recently vitalised interest in the oeuvre of late 19th, early 20th century sociologist Gabriel Tarde. His book, Virality: Contagion Theory in the Age of Networks (2012), offers a refreshing take on Tardean contagion theory in relation to the contemporary technological-aesthetic condition. His focus on the day was the figure of the somnambulist(sleepwalker), which was utilised to elucidate the mode in which the contemporary subject navigates networked environments. Sampson was particularly careful in avoiding an approach that is based on a nature-culture divide, throughout his discussion on how networks mobilise life.

The second presentation of the day was delivered by Dr. Olga Goriunova, Senior Lecturer at Royal Holloway, University of London, with the title “Digital Subjects: On Persons and Singularity in Calculative Infrastructures.” Goriunova has published extensively in areas such as digital art and software studies, visual culture and aesthetics, and computational culture. She is the author of Art Platforms and Cultural Production on the Internet (2012) and editor of Fun and Software: Exploring Pain, Pleasure and Paradox in Computing (2014) among other academic literature. Goriunova’s approach during the talk was characterised by a refusal of online/offline binary. Instead she tackled the entanglement of these by employing a continuous model of subjectivity in the digital age. Goriunova does not search for digital subjectivities through venturing into what can be called as surveillance cultures. Rather, she explores the space between embodied beings and the data produced through their being in the world, to locate such digital subjectivities.

Following the presentations by guest speakers in the morning, the afternoon session continued with shorter talks by scholars from WSA. Dr. Jussi Parikka, who is Professor in Technological Culture and Aesthetics delivered a paper entitled “Smart Cities, Networks and the Industrial Residual.” Parikka has completed his media ecology trilogy in 2015 with the book A Geology of Media. His paper also employed a media ecological approach to the concept of “smart city” which emphasised the materiality of networked condition. Parikka explored the image of the city through the concept of network, alongside underlining contemporary cities as censored assemblages.

After Parikka, I presented a short paper, based on my PhD project, “Contagious and Immunogenic Images of the Network.” In parallel with the project, the paper discussed the prevalence of the image of the mask in present screen cultures through contagion theory and problematised the immunising qualities of its embodiments by organic and inorganic media alike. Dr. Jane Birkin, a PhD candidate at the time of the event, delivered the last talk of the day: “Keeping Time: Archive as Secure Back-up for the Networked Image.” Archival and distributed nature of the current temporal, textual and visual regimes were aptly woven by Birkin in her discussion of the networked image. The day ended with an hour long discussion session with all five speakers and the audience, chaired by Prof. Ryan Bishop from WSA.

Reading Room: Leaves, Threads and Traces

Reading Room: Leaves, Threads and Traces
Winchester School of Art Gallery
Tuesday, 2 November – Saturday, 7 November 2015,

The exhibition brings book art, originally shown at the Colombo Art Biennale (Sri Lanka) and Kochi-Muziris Biennale (India), into dialogue with a selection from the Artists’ Book Collection held at  the Winchester School of Art Library, which comprises book art from the 1960s to the present day.

In placing items from the School’s own collection alongside the visiting collection of book art from South Asia, the themes of leaves, threads and traces are explored. It brings to the fore both the physicality of books – their material properties and relationship to material culture – and an imagination of books. This edition of Reading Room opens up how we interleave, draw together and re-trace thoughts, beliefs and emotions within the boundaries of a book and the cultures in which they circulate.

The exhibition has been made possible through the support of Blueprint 12 and Winchester School of Art.

Community Media, Cultural Politics & the Greater London Council, 1981-1986

Hazel Atashroo’s doctoral research project is the product of an AHRC supported Collaborative Doctoral Award between Winchester School of Art, University of Southampton and Tate, entitled ‘Connected Communities in Art and Design since the 1980s’. This is part of a four-PhD research project, and follows on from Oliver Peterson Gilbert’s study of connected communities in art and design since the 1960s.  In the first year of her project, Hazel assisted on the exhibition ‘Keywords: Art, Culture and Society in 1980s Britain’ (2014) at Tate Liverpool, and conducted an in-depth visitor survey and report.  The subject of her thesis was tangentially prompted by aspects of the Keywords exhibition’s video selection, in addition to a curiosity about the development since the 1980s of the rhetoric of ‘community’ as it appears in discourses of governance and in public museums.  These interests led her to discover the radical and controversial community-targeted cultural policies enacted by the Labour Greater London Council (GLC) during its final term in office. The following article offers an overview of her research to date.

Ken Livingstone and actor Maureen Lipman, posing in front of a walk-in birthday cake structure on the South Bank. It was commissioned by the GLC in 1984, as part of an exhibition to celebrate 95 years of local government in London, by the London History Workshop. (Image Source: <http://www.tvcream.co.uk/?tag=ken-livingstone> accessed 10.09.2015)

‘We will use expenditure on the Arts not to provide the icing on the cake, but as a part of the political ingredient of that cake
 I want to see the arts integrated into socialist policy.’ Tony Banks, (Chair of the GLC Arts and Recreation Committee) (Sunday Times, 17th May 1981).

In April 1981, Ken Livingstone’s Labour left group, a post-1968 generation of young politicians, gained control of the Greater London Council (GLC), placing reform firmly on the agenda. The GLC was London’s metropolitan county council, the upper-tier of local government for the Greater London area. Occupying an oppositional stance towards the policies of Thatcher’s New Right in central government, the Labour GLC was able to initiate a number of radical reforms in its brief term in office, prior to the abolition of metropolitan county councils by the Conservatives in April 1986.

In the cultural field, the GLC’s experimental reform of cultural sponsorship objectives and new ‘cultural industries’ strategy particularly targeted the independent and voluntary sectors, also aiming to address the needs of frequently overlooked, socially diverse, multi-cultural inhabitants of the inner London boroughs. The experiments represent an early, rare instance of a UK local government body taking a serious interest in the political potential of cultural policy, in which distinct approaches were pursued across different departments, with varying levels of success.

Tony Banks’ GLC Arts and Recreation Committee were able to embrace a far broader, and more politicised definition of culture in comparison to the Arts Council, and over five years, it supported a wide range of cultural forms, beyond the major London theatre and ballet companies. These included community arts centres specifically for black and minority ethnic groups or for gay and lesbian Londoners, popular music projects for young people, women’s video workshops, a festival of world cinema, art exhibitions and cultural projects by Black artists, independent theatre groups, local history and literature workshops, community bookshops, a programme of public festivals in parks, and even sports facilities.

Cultural sponsorship frequently tied into GLC public campaign issues, particularly those against unemployment, ‘race’, sex and gender discrimination, the controversial redevelopment of what came to be known as London’s Docklands, and matters of civil defence – often contradicting central government policy.

One of the GLC’s many responsibilities included planning for the consequences of a nuclear attack on London, in co-operation with central government. The exposure of classified civil defence plans revealed the truth about the devastating effects of a nuclear attack, thereby rendering the advice of the government’s infamous 1980 public information booklet, Protect and Survive, a wholly inadequate response to the threat.

Livingstone’s Labour GLC chose not to co-operate with the Conservative government’s plans to abandon Londoners in the event of a nuclear attack, and instead transferred funds for war preparations to a GLC campaign for unilateral nuclear disarmament, thereby aligning the GLC with the CND and women’s peace camp at Greenham Common. Declaring 1983 ‘GLC Peace Year’, Livingstone announced that London was to become a ‘Nuclear-Free zone’.

Peter Kennard, ‘Keep London out of the killing ground’, GLC Peace Year poster, 1983.  Photograph by the GLC, collection of the artist.
Peter Kennard, ‘Keep London out of the killing ground’, GLC Peace Year poster, 1983.
Photograph by the GLC, collection of the artist.

Artist Peter Kennard won the ‘pitch’ against advertising agencies to promote GLC Peace Year with a series of arresting photo-montages, placed on public billboards around London. Similar posters were sent out in packs, free of charge to hundreds of community groups and activists, who applied from all over the country.

 

Docklands Community Poster Project, Loraine Leeson and Peter Dunn. The poster reads: ‘The Changing Picture of Docklands: The people of Docklands have always had to fight to make the best of appalling conditions – and to change them’.  Photo-mural on hoarding, Wapping. (Image Source: )
Docklands Community Poster Project, Loraine Leeson and Peter Dunn. The poster reads: ‘The Changing Picture of Docklands: The people of Docklands have always had to fight to make the best of appalling conditions – and to change them’. Photo-mural on hoarding, Wapping. (Image Source: <http://cspace.org.uk/category/archive/docklands-community-poster-project/>)

As well as employing cultural producers directly to promote campaigns, the GLC more frequently left it to organised community groups to pursue their own activism through public cultural projects. Consulting with local tenants action groups, community artist team Loraine Leeson and Peter Dunn facilitated the Docklands Community Poster Project, which sought to amplify the objections of local people to the moneyed might of the encroaching London Docklands Development Corporation in Tower Hamlets. One outcome of the project was a series of photo-murals, communicating the situation to local residents. In another, The People’s Armada To Parliament, a barge hung with banners was sailed past the houses of parliament during ‘GLC Thames Day’ festivities on the South Bank. The project successfully brought the local campaign to national press attention.

I intend for my thesis to provide a critical account of aspects of the community-targeted cultural policies of the Greater London Council (GLC), between 1981-86. It will consider the GLC’s efforts to sponsor politically engaged cultural production by, and for, newly recognised constituencies in London. While written accounts detailing these cultural policies exist, I aim to explore how grants and cultural policies actually played out in London’s cultural field. What did GLC sponsorship mean, for groups of cultural producers who might not have otherwise been funded under the auspices of traditional state sponsorship?

My thesis will focus on case studies of GLC grant-aided public media projects, and what are sometimes referred to as ‘community media’ ‘access workshops’, groups of cultural producers working with video, photography and print media, whose efforts were often directed towards providing communities and local activists with communications media training and resources. The GLC supported more than thirty organisations working in independent film and video production and distribution, in addition to more than ten established community photography workshops, photographic agencies, poster projects and print workshops.

I will use the GLC’s policies, and its records of recipients of GLC support as framework to discuss ‘community media’ activism in London in the 1980s, and more generally, the role of politics in culture and cultural policy.

 

Conversation As a Collaborative Research Method

At the 22nd June meeting of the Phenomenology and Imagination Research Group, Yonat Nitzan-Green led the group through reading and discussing the collaborative research method of conversation, referring to Allan Feldman’s essay ‘Conversation As Methodology In Collaborative Action Research’. Exploring conversation in personal experiences, including kibbutz childhood and way of life; and discussing Georg Gadamer’s concepts of ‘hermeneutic’ and ‘understanding’ as fundamental components in this method; the suggestion was that personal ‘threads’ might enrich the understanding of conversation. This article provides notes drawn from the seminar and commentaries from the participants: Jane Bennett, Bevis Fenner, Yvonne Jones, Yonat Nitzan-Green, Noriko Suzuki-Bosco, Cheng-Chu Weng and Simiao Wang.

Three main texts for the seminar:

  1. Allan Feldman, ‘Conversation As Methodology In Collaborative Action Research’, School of Education, University of Massachusetts, Amherst, MA. http://people.umass.edu/~afeldman/ActionResearchPapers/Feldman1999.PDF
  2. Jeff Malpas http://plato.stanford.edu/entries/gadamer/
  3. Ruthellen Josselson, Amia Lieblich, Ruth Sharabany, Hadas Wiseman, Conversation As Method, Analysing the Relational World of People Who Were Raised Communally, Sage Publications, London1997.

 

Yonat Nitzan-Green: Allan Feldman (Professor of Science Education at the University of South Florida) distinguishes between: 1. method and methodology. ‘Research methods are the techniques that are used by researchers. 
 [Whereas] A research methodology is a stance that a researcher takes towards understanding or explaining the physical or social world.’ (Feldman, 1999). 2. Conversation and other verbal exchange; 3. conversation and argument. ‘
 conversation is not a competition 
 ‘ (Feldman, 1999).

Feldman’s essay gives us an opportunity to critically reflect on our group. Some main purposes of the group are to engage the intellect in order to ‘feed’ our varied art practices; to gain a new understanding through a dialogue between our practices and theory; and to develop the method of conversation as part of PIRG’s methodology.

After a long-term commitment to doctorate research we have identified a ‘gap’: we all needed to carry on researching, however, there was no collective forum that could facilitate this need for us. However, need on its own is not enough to sustain the group. It is the method of conversation that was used from the group’s inception that sustains and nourishes it. Indeed, as Feldman writes: ‘Conversation suggests a connection that is sustained or sustainable and goes beyond chit-chat or chatter.’ (Feldman, 1999).

Amongst the characteristics of conversation is an ‘exchange of views 
 that consists of connected remarks.’ In the method of presentation the verbal exchange may be illustrated as a ‘star’ (see Fig. 1 below): the presenter shows and explains her/his slides, text or idea and members from the group direct their questions and comments to the presenter; the presenter then replies to the member who made the comment/question. The method of conversation may be illustrated as a web of ‘threads’ (Fig. 2): all connect and intersect each-other, yet capable to produce a coherent form at the end of the conversation.

 

Figure 1 – The Star of Presentation

 

Figure 2 – The Web of Conversation
Figure 2 – The Web of Conversation

Another characteristic of conversation is cooperation and a will to participate. Margaret Buchmann writes: ‘People do not insist that partners follow, it is enough that they enter into conversation. Thus conversation is a great respector of differences.’ (Buchmann, 1983, 21. Quoted in Feldman’s essay). One more characteristic is conversation’s need of time, people and a shared intention.The direction in conversation is not ‘predetermined by one or several of the participants, but rather a direction that arises through and in conversation via a hermeneutical process (Gadamer, 1992), and is associated with the growth of understanding.’ (Feldman, 1999). In our group what was and still is important is that a process of understanding will take place during the conversation.

Jeff Malpas explains Gadamer’s idea as follows:

‘The prejudicial character of understanding means that, whenever we understand, we are involved in a dialogue that encompasses both our own self-understanding and our understanding of the matter at issue. In the dialogue of understanding our prejudices come to the fore, both inasmuch as they play a crucial role in opening up what is to be understood, and inasmuch as they themselves become evident in that process. As our prejudices thereby become apparent to us, so they can also become the focus of questioning in their own turn.’ (From: http://plato.stanford.edu/entries/gadamer/).

As an example of Gadamer’s ideas of hermeneutic and understanding Yonat showed her installation Culture of Trauma (2006) that emerged from a dialogue with an old photograph involving materials and text and has led to a deconstruction of her kibbutz childhood experience. ‘No one knows in advance what will “come out” of a conversation. 
 a conversation has a spirit of its own, and 
 the language in which it is conducted bears its own truth within it – i.e. 
 it allows something to “ emerge” which henceforth exists (Gadamer, 1992, 383).’ (A quote from Feldman’s essay). In that sense, conversation is a collaborative phenomenological enquiry. Two questions arise as follows: How does the imagination function within conversation? and, What is the role of the imagination in the process of understanding? This needs a further research.

*

Yonat Nitzan-Green: Conversation and kibbutz up-bringing – Ruthellen Josselson et al Conversation as Method is a psychological critique of kibbutz life which was written in a form of conversation, documenting the conversations that took place between four psychologists. As such, it offers insights and a better understanding of one’s own kibbutz psychological history as well as a reflection on the method of conversation. All quotations in this part of the text are from this book.

Kibbutz was (and still is, but to a lesser degree) an Israeli communal way of life (the first kibbutz was established in 1909) where children lived in same age groups, ‘peer-groups’, in ‘children homes’ while their parents lived in ‘parents rooms’ at different parts of the kibbutz. Children were brought up by other adults, and visited their parents everyday for 3 hours in the afternoon, when parents didn’t work. This was considered to be ‘a quality time’. During the day all members of the kibbutz worked in agriculture, services and education, among others. This daily visits involved walking from the ‘children home’ to the ‘parents’ room’, starting at a very young age. One central idea was that the community will replace the nuclear family. It was a very secure and safe environment. However, psychological research, particularly from the past fifteen years reveal a psychological damage in the kibbutz population. The kibbutz system of child raising had changed during the 1980s. Today, children live with their parents.

Since the children lived away from their parents, the process of attachment, theorized by John Bowlby (1969) as the bonding between mother and child has been damaged. Amia Lieblich says: ‘According to Bettelheim (1969), the continuous part is the peers. It is very deep and primitive and primary.’ In the kibbutz system, children moved houses every two years and women who cared for the children changed too. However, the children grew up together and stayed in their original peer groups for 18 years. Ruthellen says: ‘for most people, it’s much more just the sense of being part of this group in an embedded sense, without the feeling that there was an individual who was there who could be counted on to be responsive.’ [My emphasis. YNG].

Ruth says: ‘Embeddedness in the group seems to offer a weaker substitute for attachment to a specific person.’

YNG showed her drawing, Dawn Group (Graphite powder and plastic glue, 2014). A stencil was made from a small toy soldier and was used to create an image of a group.

“During the making of this drawing I became aware that I might be in the presence of my own peer group. I recognized a state of dreaming with material, what Bachelard termed ‘material imagination’. All the images of the ‘people’ are connected, literally, by plastic glue”.

This drawing echoes a memory of being embedded in the peer group, literally called ‘Dawn Group’, without the feeling of real, deep, loving personalized care. One may have a sense of belonging to a group, yet the price is subdued feelings and suppressed emotions. It is in the light of this new understanding that conversation’s role in the peer-group needs to be re-visited and critically reflected upon. More research is needed.

In the chapter entitled ‘Eye to eye validation’ psychologist Ruthellen says: ‘Let’s talk about validation, eye-to-eye validation, with the negative pole being annihilation and rejection, and excess being transparency. 
 Of all the dimensions, this is where kibbutz members seem to locate the most pain and the most frustration.’

YNG’s Culture of Truama (first example) engaged with the problem of invisibility. Yonat’s face as it appeared in the original photograph had been covered with white paint, then turned into a screen on which images of army signs were projected.

Josselson writes: ‘Psychology understands the self far better than it understands connections between people.’ She makes the point that the professional language (psychology) and language in general is still limited in describing the human experience. ‘We have in our lexicon relatively few words to talk about our vast experience with relationship 
 Reality 
 far exceeds what we can express. We simply don’t have enough language to encompass what we know about the nuances of relationship.’

I think about conversation as a method that enables to refresh and perhaps widen language. The communication that takes place during a conversation is more than words. It includes body language (which in books or as text on screens is invisible); feelings, surprise, silences, hesitations, question marks, understanding or lack of it, all ‘written’ and communicated on and between bodies. The conversation reveals processes of thinking, day-dreaming, agreeing or disagreeing, engagement or disengagement and more, which are beyond the written text.

*

Cheng-Chu: Interaction process is a task for both peer and educator, it likes person drink tea with a beautiful pottery cup, and others never know the tea taste like until they drink it, of course, you may argue that every have a different sense of taste, yet I believe education is not just deliver knowledge but also create knowledge. The best method of interaction may as Yonat said “[
] the method of conversation has a potential for innovation” [Nitzan-Green, Y. (2015), Conversation as A Collaboration Research Method: P6]. Furthermore, the process of making an artwork could be the process of conversation, how artists communicate with the object.

Thanks for Yonat share the vibrate childhood experience, which contains humanity and political issues. It is hard to imagine that being ‘forcing’ to left parents and family, stay with same ages people. This is the typical case that citizens under the ‘shadow’ of politics. For me, this situation is hard to image, but I assumed that all of us already inform in the society systems unconsciously. Where is nature of a human being? Where is the sense of truth? For Yonat conversation is a method for understand philosophical view, which could be interrupt with others or herself, yet the process of conversation is not contain expression in a group, as she emphasis Ruthellen’s words ‘without the feeling’. This could link with Yvonne’s research of posthuman. Be in the peer-group or societal system people become less humanness. Where is the boundary between self identity and group?

In addition, the idea of visible and invisible could see in Yonat’s account, which could clear see in both context and the practice. The process of mixing the adding on the colour powders and effect of glue transformation fluid to solid state, presenting the phenomenological thinking of embodied in a group, equally, as Merleau-Ponty said: ‘The invisible is there without being an object, it is pure transcendence, without an ontic mask. And the “visible” themselves, in the last analysis, they too are only centered on a uncleus of absence’. Raise the question: the invisible life, the invisible community, the invisible other, the invisible culture. Elaborate a phenomenology of “the other world,” as the limit of a phenomenology of the imaginary and the “hidden” [Quoted by Reading Derrida, J. (1993) Memoirs of Blind: The Self-Portrait and Other Ruins, The University of Chicago Press: London, P52]

Following the above narrative, could describe that, in Yonat’s practice is presenting the invisible life through making, the figure as an icon attached to the nature ground which gave viewers boundless imagination space.

*

Noriko Suzuki-Bosco:  Yonat’s session highlighted the gap between theory on conversation (as potential methodology) and real conversation, where even amongst group of children, there was power at play to persuade and control others through talking. As Yonat pointed out, conversation in a theoretical sense is more than mere chit-chat. It involves extended dialogues, interactions, reflections, sensitivity to others and willingness to listen. The process of conversation, in theory, presents possible means of gaining empathetic insight of others.

Art Historian Grant Kester has noted, ‘We can never claim to fully inhabit the other’s subjective position; but we can imagine it, and this imagination, this approximation, can radically alter our sense of who we are. It can become the basis for communication and understanding across differences of race, sexuality, ethnicity, and so on.’ (Grant Kester, Conversation Pieces, Berkeley: University of California Press, 2004, p.115).  In ‘Women’s Way of Knowing’, Mary Field Belenky describes ‘connected knowing’ as a form of knowledge based not on counter poised arguments but on a conversational mode, in which the participators work to identify with the perspective of the others (Mary Field Belenky, Blythe McVicker Clinchy, Nancy Rule Goldberger and Jill Mattuck Tarule, eds., Women’s Ways of Knowing: The Development of Self, Voice and Mind, New York: Basic Books, 1986).

Nikos Papastergiadis references the theory of mediation as potential process of creative production where participators are encouraged to go beyond their own beliefs and participate in a ‘collaborative knowledge-making that is not just the sum of their previous experiences.’ (Nikos Papstergiadis, Cosmopolitanism and Culture, Cambridge: Polity Press, 2012, p. 174). He gives an example of an art project initiated by the collective Stalker where refugees at Laviro, a camp just outside Athens, were invited to take part in a ‘picnic’ on the island of Makronisos. Within the spirit of hospitality, everyone taking part in the project were encouraged to converse and to engage in various shared activities. Stalkers project offers an unending experience of a coming community.

The potential significance of conversation is uplifting and there are artists and creative groups who remain deeply committed to the emancipatory potential of art and the possibility of transforming human consciousness through the processes of dialogue and collaborative production. Like the example given earlier of the project initiated by Stalkers, some have produced successful outcomes.

However, it is also incorrect to assume that all social conflicts can be resolved through the power of free and open exchange. This is too idealistic. Kester notes, ’while the idea of an open and equitable dialogue is laudable, we must at the same time recognize that we enter into these exchanges with attitudes that have been shaped by a less-than-perfect world: a world riven by differentials in power, authority, and access to the tools of rational discourse itself’ (Kester, ibid, p. 73).

The durational aspect of conversation and the opportunity to ‘listen’ to others do open up space to imagine and to expand our understanding of others. We must all start from somewhere if we want to work through the complex relationships between empathy and negation, domination and dialogue, self and other. Perhaps conversation is as good as any place to start that process happening.

*

Simiao Wang: If we draw a comparison between East and West, Western culture is more like a sound motion picture while Eastern cultural is inclined to be a silent film. The emotional expression becomes a detour in a family discourse and the non-verbal language is widely used in a disciplinary method. In the seminar, we talked about the power-relationship in conversation (even though conversation is not a competition), and I am surprised to listen to Yonat’s experience of conversations in the groups without the control from parental superiority due to the historical circumstance.

The power-relationship in conversation is manifold in the Chinese context; a conversation is surrender to power and a gentle compromise to conflicts in Chinese culture. It is natural to allocate different roles in a successful conversation such as dominant controller, participator or listener, which means, in any case, the roles are not equal. This conversational inequality brought out soldiers’ loyalty to their commander, people’s patriotism for their motherland and furthermore, a compromise to any form of power (political, aesthetical and economical).

However, China has been striving to approach Communism, which demands equality of any power, from property to ideology. History taught us that equality is accompanied by poverty and starvation in 1960s, while capitalistic methods of economy solved poverty in 1979 but China is still exploring equality in the conversation between the government and people.

I could hardly make any judgement on both 1960s ‘good old time’, and the economic boom in 1979, but a good conversation, as Yonat said, is people’s participation and their coherent understanding of one thing. Based on the criteria from Yonat, the conversation in Chinese political strategies seems to be working well although many people still question democracy and human rights in China.

*

Jane Bennett – It was so interesting to hear Yonat speak about her upbringing as a child in the kibbutz and how conversation became the way in which decisions were made amongst the children themselves, how constant and competitive conversation was as a way to control and assert one’s position in the group, and how the conflict this engendered was the norm. If I understood correctly, she said it did not feel like a shared space.

Yonat then asked us all to speak about the role conversation plays in our families, when do we converse and how do we listen. It was surprising that much of what followed was about the failure of conversation in various ways. Whilst there appeared to be some cultural differences, in the end there were really many similarities. ‘Major’ conversations in families – as opposed to the casual, everyday exchanges – are frequently staged around the assertion of power, about reaching decisions and trying to control our environments at different levels. Non-verbal communication was just as influential in these exchanges as the verbal.

Looking, then, at conversation as a research method, Yvonne has pointed out, in her response to Yonat’s presentation, that ‘We need to be mindful of infused power, there is trust between us, it is not from others that this infusion could arise, but unconsciously from ourselves.’ (Yvonne Jones 28/06/2015) My curiosity about the phrase ‘infused power’ led me to think that whilst we take conversation almost for granted as something we can all participate in, it can be a bit of a mine field unless we take care how we proceed. Yvonne’s reference to power within our conversations is definitely something of which we should be observant. The importance of symmetrical relationships in conversations and authentic expression is highlighted in L R Beaumont’s concept of emotional intelligence, developed to aid skills in good communication. (http://www.emotionalcompetency.com/candor.htm)

In a paper for the Journal for the Study of Peace and Conflict, Evelin Lindner described how critical a symmetrical relationship is in conversation and how revealing her own history was the only way in which she could achieve this in her social research into such a sensitive and emotive topic as genocide. Writing about her search for a research method for her investigations into native Somalians’ experience of genocide that did not result in further humiliation for them nor for herself as researcher, ‘Dialogue was the answer to my struggle for method. Steinar Kvale writes, “The conversation 
 is not only a specific empirical method: it also involves a basic mode of constituting knowledge; and the human world is a conversational reality”. I had to enter into dialogue with people who knew much more about the subject I was to examine than me, namely about feelings in genocide, especially feelings of humiliation. I had to consider them as the experts. I had to become more aware of the social relations I actually formed by entering the scene as a researcher.’ (Lindner, Evelin Gerda, 2001 http://www.humiliationstudies.org/documents/evelin/ResearchCanHumiliate.pdf )

Whilst I am in no way putting our research on a level with Lindner’s, I thought this was a very moving demonstration of how thoughtfully this aspect of trust – essential to conversation and the perception of a shared space – must be dealt with.

*

Yvonne Jones: The session led by Yonat was packed with information and points for discussion. It has had such an impact on me that I am going to record here my personal thoughts and response arising from the session. For me understanding (through sharing) the history, culture values and patterns of others, of those around us, and, in an increasingly global situation, those across this decreasing-in-size world, is the way ahead for a better world. The enormity of this self-declared belief is unnerving.

Many questions and issues pour out of it. What am I saying here? That a better world will come out of understanding our difference? It has to go further, an understanding that there are differences, a tolerance of difference and an acceptance of difference. Inbuilt is the implied letting go of notions of conquering, either ideologically, geographically, physically or psychologically. There is an inbuilt (in this notion of a better world) characteristic of respect. Where the line, if any, has to fall is verging on impossible, if a culture cut the genitalia of its females, can tolerance prevail or must another value come into the fore? Clearly there is enough general evidence to demonstrate the human cruelty of the practice, therefore a legal stance to stop this is both understandable and acceptable. Is it the only way? Debate with the peoples who practice this could be a further tool.

Debate may change points of view; debate is not as free as it portrays itself. It is a free and open exchange of ideas, where points of view are presented, argued, supported and left for the masses to choose whose point to support. It is the equivalent of two or more forces acting on a central mass. It is a power struggle. Have you ever known a debate when one of those debating their point has changed their view? Debate is about each speaker PURSUADING the masses to their position. We have debates in politics, about important issues, without realizing it we are pawns in a power struggle. Debate is deadly and reinforces notions of power not equality.

In her session Yonat spoke of conversation as going beyond chit-chat, being an EXCHANGE of views that consists of connected comment. Debate exchanges views, however, the connection of comment is limited. One (speaker) makes a statement the other counters the statement. There is no attempt for one side to understand the other, its pull/push. It’s the equivalent of choose a banana or grapefruit; there is nothing in between, no greporanalun! If connections of comments were present there would be questions of the sort ‘ why do you believe this? Where does this notion come from? who gave you this information? When did you first think this?’ Giving space to choose or create a solution, allowing room for a greporanalun or even a pinoplum. Could conversation be a tool in the above example of FGM?

Conversation has the characteristics to be effective but only if the participants authentically desire and authentically seek, knowledge, awareness, understanding and respect for all, with some sense of opening a closer sense of a truthful scenario. In this respect what was ‘prescribed’ in the kibbutz as explained by Yonat, would seem ideal, until she divested the ‘performance’ of conversation with information that the conversations were usually infused with power. That is to say someone party in the process desiring a specific end decision, while appearing to be part-taking in authentic conversation, all the while guiding and persuading, giving the illusion of a democratic authentic conversation. Surely on humanity grounds ‘conversations’ on FGM would have the aim to dissuade the practice, and therefore be infused with power. Again where, if any, is the line?

This leaves a dilemma. While some people value power over all else, holding a conviction that their way is the right way, then all the more so will they feel justified to work to convince people, rather than converse with people, others find a justification. Power takes precedent in both cases. If knowledge, but here I have to pause and pull in justice and fairness, is not the goal there can be no authentic conversation, only debate, argument, persuasion, all quite forms of bullying. Is power infused conversation acceptable in order to protect human dignity and life?

What of our political lives, has conversation ever been the focal point, or only power struggles fuelled by the belief that this way or that way is the only way. Public discussions on a building development for example, have occasionally change things, but how many times were those changes already built into the plan? I have no political axe to grind. I freely state that I am not tied to any political ideology, having grown up in the middle of heated arguments of left and right between my parents. Nor have I looked for a middle road to balance the situation. I have what feels like, a refreshing position of being able to take a view on issues and make more balanced choices, using as much knowledge as I have at that moment. Politicians debate, bargain, argue, pressurise, the closest parties came to apparent conversation was with the coalition government, where of course all of the above power struggles were under pinning it. Power corrupts and total power corrupts completely. Politicians care for their careers it seems, more that the country and residents they represent. They forget they are representatives and believe they are rulers. Authentic conversations, may well lead to improved solutions for many of the issues we all face in society today.

Researchers have, on the whole, an authentic desire for knowledge and (truth?). Even here when funding is part of the equation, power comes into play to threaten derailment. Researchers have authentic conversations with their material, with theories of others, seeking new knowledge, new perspective on old knowledge. If the conclusions of research do not fit the aims of their funders what happens then? No more funds? No authentic research should be driven by political, financial or industrial goals. Funded research has access to the needed finance to proceed, and the promoted publication of the outcome. Unfunded research may have no agenda pressure, neither does it have an incentified promoter to publish it.

This session offered me hope and despair for society and humanity in equal measure. It would seem logically that while a society of fair-minded, open people were conversing, a society hungry for power and excited by control, could and would devour them, without any discussion what so ever.

The group, as evident from its form, growth and outcomes does use the methodology of conversation. We need to be mindful of infused power, there is trust between us, it is not from others that this infusion could arise, but unconsciously from ourselves.

*

Bevis Fenner: In some ways Yonat’s last PIRG session was the most important for the development of the group to date. In this session we started to make the first tentative steps towards developing a methodology through which our conversational methods could be used to feed back into our respective practices in order to acquire greater understandings of them as phenomena.

As a group, we have already become reflexively aware of methods as an attentive practice in itself. In response to one of the readings for the session – our ‘conversation is not a competition’ (Feldman,1999). We have an intuitive conversational method, which whilst utilising presentation and directed response as a starting point for discussion, does not privilege didactic discursive forms. Instead, we all take turns to relate our own ‘prejudices’ or preconceived understandings of the topic with a complete openness to challenging our habitual understandings through confrontation with difference. Thus the diverse cultural backgrounds of group members becomes an intrinsic part of our conversational method, which is ‘a great respecter of differences’ (Buchmann, 1983: 21. Quoted in Feldman, 1999). One of the things to mention in the light of this, is that phenomenology values the personal over the purely theoretical and this is important as there are not correct ways of approaching theory in the context of our methods – our conversations contain both deeply personal insights and abstracted or semi-detached overviews. They focus on the sharing of feelings, experiences and ideas, and are situated between theory and practice – they are more ‘mesa’ than ‘meta’. One key aspect of our conversational method is the ability to shift gears; to pan between a wide range of subjective perspectives from infra (subconscious) to intra-personal, inter to extra-personal.

In Yonat’s presentation, for example, there was a strong emphasis on the top and bottom end of this spectrum of understanding. In relation to her understandings of her kibbutz upbringing this meant looking both under and beyond the caring and sharing environment of her childhood, and focusing instead on the excess that had been chopped off in representation – that which haunted the complete picture and relayed areas of ambiguity and ambivalence that fell outside of common-sense understandings of the ideals of happy upbringing. Yonat described the structural necessity to find consensus within the social environment of the kibbutz and how accelerated normative processes grew out of the necessity for social cohesion. This meant that conversations were always a projection of power and that shared space always included the dissemination of a consensus reality.

It is my understanding that the need for solidarity and for knowing each other within the group produces an ‘excess’ within kibbutz living. In other words that the shared space of forever knowing others and being ‘known’ by others encourages readings of the self that do not allow for ambivalence or decent. In our shared social space we try to give space for this excess – to allow an openness in which meanings are never fixed but are always unfolding and in flux. We are also conscious of the temporality of social space and do not try to keep pace but instead allow a oscillating flow, which can speed up and slow down as needed. Prejudices can be interjected at speed and then stretched out, like making pasta – allowing them to be reconstituted in-being. This process is akin to attempting to give away the ego in order to find better insight; an ethics similar to that of Zen, in which ‘equanimity’ is produced in the sublimation of self to world. This ‘equanimity’ is an in-between state, between, on the one hand, ’suppression’ or when we deny, suppress or encase thoughts / feelings which arise, and on the other hand, ‘identification’ or when we fixate or hold onto a thought or feeling ‘inappropriately, not letting it arise, spread and pass with its natural rhythm’ (www.shinzen.org).

Another (less complex and problematic) way to look at our methodological approach is that we deploy a feminist ‘ethics of care’ (Tronto, 1994). Joan Tronto’s definition of ethics of care is as an empathetic and attentive practice directed towards the self, others and various objects of care, including the structures in which care can take place. This ethics encompasses four elements as explained in the following points taken from the Wikipedia page on Ethics of Care

  • Attentiveness
    Attentiveness is crucial to the ethics of care because care requires a recognition of others’ needs in order to respond to them. The question which arises is the distinction between ignorance and inattentiveness. Tronto poses this question as such, “But when is ignorance simply ignorance, and when is it inattentiveness”?
  • Responsibility
    In order to care, we must take it upon ourselves, thus responsibility. The problem associated with this second ethical element of responsibility is the question of obligation. Obligation is often if not already tied to pre-established societal and cultural norms and roles. Tronto makes the effort to differentiate the terms “responsibility” and “obligation” with regards to the ethic of care. Responsibility is ambiguous, whereas obligation refers to situations where action or reaction is due, such as the case of a legal contract. This ambiguity allows for ebb and flow in and between class structures and gender roles, and to other socially constructed roles that would bind responsibility to those only befitting of those roles.
  • Competence
    To provide care also means competency. One cannot simply acknowledge the need to care, accept the responsibility, but do not follow through with enough adequacy – as such action would result in the need of care not being met.
  • Responsiveness
    This refers to the “responsiveness of the care receiver to the care”. Tronto states, “Responsiveness signals an important moral problem within care: by its nature, care is concerned with conditions of vulnerability and inequality”. She further argues responsiveness does not equal reciprocity. Rather, it is another method to understand vulnerability and inequality by understanding what has been expressed by those in the vulnerable position, as opposed to re-imagining oneself in a similar situation.(https://en.wikipedia.org/wiki/Ethics_of_care)

Returning to Yonat’s description of the dynamics of conversation in the kibbutz there seemed to be a structural ethics of care within the unity of the group but a lack of ability to address ‘responsiveness’. In one particular example, Yonat’s described a scene in which structural ethics kibbutz prevented her peer-group from including a new member because she was a “liar”. Tronto’s ethics of care would have incorporated empathetic understandings, which would have gone beyond group unity to see the act of lying as a possible expression of vulnerability and inequality.

Since attending Yonat’s session, I have collaborated with another member of the group (Noriko) on a one day artist-led project. During this workshop we encountered problems with the structure of our project and a direct resistance from participants as a result. However, using our conversational methodology of care allowed us to get inside the problems and to empathise from within the social relations. Therefore, we were not simply able to put ourselves in the participants shoes but to put ourselves outside of the ideological structures and power relations we had produced in order to rebuild the conditions of care.

 

Tronto, J. Moral Boundaries: A Political Argument for an Ethic of Care. New York, NY: Routledge, 1994.

Tronto, J. “Women and Caring: What can Feminists learn about morality from Caring?” in V. Held, Justice and Care: Essential Readings in Feminist Ethics Boulder, CO: Westview Press (2006) 101-115.

London Look: Views on Political Aesthetics

On 4 June a PGR trip was arranged into London to visit two very different exhibitions, ‘Defining Beauty’ (British Museum) and ‘The Production Line of Happiness’ (Whitechapel Gallery) followed by a professorial lecture held at Goldsmiths University. The following gives a brief account of the exhibitions, along with thoughts and comments from those attending the trip. 

The day began with a visit to the British Museum to see the ‘Defining Beauty‘ exhibition. The focus was on the representation of the human body in ancient Greek art (and Roman remodelling). While Egyptian art had sought to cover the body, the Greek aesthetic was to represent the naked human body as both as an object of beauty and a bearer of meaning. At the opening of the show was a marble statue of a naked Aphrodite crouching as she bathes (a Roman copy of a Greek original, 2nd century AD). The statute is placed such that you arrive to see her from behind, with her finger-tips just hovering over one shoulder as if beckoning, making for a somewhat an erotic image. The wall text at the opening also reminds of the relationship made in the ancient Greek period between the human body and demos or democracy. This opening scene immediately set a theme for the day of the political aesthetic.

 

After the British Museum, we moved onto the Whitechapel Gallery for Christopher Williams’ ‘The Production Line of Happiness‘. The contrast couldn’t have felt much greater. In the mould of the anti-aesthetic, this exhibition while ostensibly a show of photography, is very deliberately staged to reveal its own sense of display. Elements of the previous exhibition held in the same space are visible, walls are brought in from other exhibitions, and elements of the work shown are placed in the foyer as as well as the designated gallery spaces. All in all the exhibition offers a defamiliarisation of curatorial display. However, while deconstructing the gallery setting, it is arguably an environment that is still inward looking – a critique of and for the few, not the many – unlike the human forms that we encountered in the British Museum (though it ought to be noted, the The Whitechapel exhibition was free entry, while the British Museum charged a high premium for an exhibition that was largely put together based on the Nation’s own collection!).

After visiting these two exhibitions, we ended the day at Goldsmiths to hear a public, professorial lecture given by Prof. Sean Cubitt, in the Media and Communications department. His lecture, with the title of ‘Political Aesthetics: Becoming Human’, began by suggesting a need to shift from the typical ‘political’ image (such as we might associated with the Obama ‘Hope’ poster of his 2008 election campaign). Instead, Cubitt placed attention upon a satellite image, looking out to the planet Saturn. This, Cubitt argued, was a deeply political image. We were told, for example, how the fuel powering this device orbiting the earth to bring us the image came from the uranium mines on aboriginal lands in Australia. As a form of cognitive mapping, whereby we need to reestablish an understanding of how we make meaning (and how all meaning is mediated) Cubitt considered not want that internet does as such, but rather what is made of. How it is powered, how it is transmitted, how it is discarded. In all cases, the contents is borne of political-economic condition that precedes it. In effect, the traditional questions of aesthetics about truth, beauty and the good (as we encountered in the British Museum exhibition, and then challenged at the Whitechapel) were recast in Cubitt’s talk to consider a new materialist and ecological take on both politics and aesthetics. We were asked to consider a new ‘human’, or at least a new set of rights for society that incorporations not just the human body, but the interacting ‘body’ of computers and land.

 

Thoughts & Commentaries

Jane Birkin: Through a survey of his own work, Christopher Williams references the multiplicity of photographies that can be found across a variety of milieus; this exhibition is not about the status of the single image, but the production and deployment of many. Some pictures have the look of those used in advertising, mainstream publications or commercial catalogues; there are indexically captioned plant typologies; and visually perplexing images that reject categorisation. There are layers and back-stories to these images that we are consistently and purposefully not told. A small document displayed on the upper floor playfully suggests that these images have been found and purchased as a ‘job lot’, bringing us forward to the shifting, authorless, decontextualized state of the photographic image today.

Williams presents us with the techniques of photographic production. An immaculate picture of the technical apparatus itself confronts us at the start: finger on shutter, it is a fitting introduction to a display of perfectly rendered images. But there are imperfections within the pictures, including the noticeable inclusion of photographic equipment, that would normally be lost in cropping or other post-production methods: thus we are not looking at the image itself but rather at its making. In a further technological referencing, the green colour that runs through the exhibition is that of the Fuji film carton. This same green dominates the exhibition catalogue, a beautifully constructed publication that contains none of the images from the exhibition. Why would it when there are important discussions that can be had around this work without its re-production?

In any case the catalogue could never replicate the affect of the installation, and it is this installation that is most immediately striking: the photographs are hung somewhat low on the wall, with the detritus of the previous exhibition becoming an integral part of the exhibition concept. The marks and imperfections on the walls, together with the swathes of Fuji green, interrupt the flow of the already disjointed collection of works and parallel the flaws in the images themselves. The installation presents as much of a deconstructed and voyeuristic view of exhibition making as it does of photographic production.

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Elham Soleimani: Visiting the exhibition ‘Defining Beauty’ provided me with a space to reflect on my own research and creative practice and, as my work mainly concerns the human body (in particular, the female figure), sexuality and veiling/covering, I believe that all these topics have been greatly explored through ancient Greek art. The human body, specifically its representation and beauty, has indeed received a great deal of attention from all civilizations throughout different eras, however, ancient Greek art explored the representation of the human body not only as an object, but also as a source of meanings. For instance, in one Assyrian scene titled ‘A Chronicle of Cruelty’, nakedness symbolizes failure and dishonor and the sculptures of women’s bodies are covered to represent their modesty and their desire to maintain their reputation.

Despite the wonderful masterpieces in this exhibition, one of the most fascinating features was a booklet with tactile images along with braille text, designed for visually impaired “viewers”. I sat there and simply touched the images. I tried to understand the lines and where they were trying to direct me. In fact, these lines introduced me to a new way of understanding and creating images that I am eager to experiment with, as my own creative practice concentrates on graphic illustration, the effect of lines and the emotions and understanding that one might achieve through them.

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Cheng-Chu Weng:  The first stop: to view the classical sculptures at the British Museum. Practicing, the Chinese idiom â€˜èź€èŹć·æ›žïŒŒèĄŒèŹé‡Œè·Żâ€™ , means ‘in order to attain wisdom, it is not enough merely to read books, you must be well travelled as well’. I have been researching the classical body in art through reading, yet inevitably the visit really helped increased my knowledge. It was magnificent that my own body was able to be around the sculptures, they seem so much more alive than photographs and video. From this point of view did there is a link with Professor Sean Cubitt’s lecture: Becoming human-Political aesthetics, given at Goldsmiths University. Two keywords in my research are pixel and body. At the beginning of the lecture Cubitt offered a critical view of the structure of image in hyper-reality, noting how pixels presented in grids of four via the ubiquitous CCD chip. He believes moderns are dominated by pixel and CCD chip. The images produced by high technology are political, such as an image of a faraway planet in the solar system. The reason that images from science or geology can be political, particularly today, is that we economically we rely on data. What we see or believe is through photography and computer screens, which construct data. This may seem to lack the aesthetic of more obvious political images, yet they are able to ‘enclose’ knowledge; again ‘in order to attain wisdom, it is not enough merely to read books; you must be well travelled as well’. Following Cubitt’s explanation of the human body, which could be analysis three types of the body, flesh (physical body), consuming/ labor body and body as the embodiment with technology, they are in the form of the political. Compare this with the classical body, engaged with myth and human desire; although through their display at the British Museum they become a political body as well. In the end, Cubitt left a fundamental, but challenging question: How should we be human?

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Oliver Peterson Gilbert: Sean Cubitt’s inaugural lecture, drawing on material archaeologies and the inherent politics of objects, was as alarming as it was insightful. His deconstruction of the eco-political implications of technological matter, from space telescopes to the icons on your computer, demonstrated our total complicity in the destruction of the planet. In particular, Cubitt’s use of Marx’s Grundrisse to reflect upon contemporary post-industrial cognitive-cultural economies and the plight of the digital factory worker was thought provoking and showed the continued relevance of this text in the 21st century.  Despite the ominous nature of his lecture, Cubitt used this public platform as a call-to-arms: presenting the case for a reclassification of the political to include both non-human and human actors, a radical vision which goes someway towards reforming the mankind’s political relationship with the planet.

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Walter van Rijn: If we consider the art object as that thing created by an artist and presented to us in a particular context, it is clear that the art object is subject to different forces leaving their mark on the object. The sculptures in the ‘Defining Beauty’ exhibition are prime examples of what I would call institutional objects. Objects determined by the institution. The institution determines not only how they look, but also who can see them, where and in which context they are shown, and what their meaning is supposed to be (Defining beauty of the human, or Greek society?). We might say that these sculptures were created by and to function in Greek society, copied and used as status symbol by Roman society, and commercialised and dislocated within British Society.The exhibition ‘The Production Line of Happiness’ by Christopher Williams looks like a completely different exhibition, but there are important similarities. The art objects are again institutional objects, but this time created by our society. Photographs of objects, despite the subject being human, animal, plant or thing. Photographs of objects created initially to function as an ideal representation of a thing in a publication.  Again they are copied or remade and dislocated into this exhibition. This time we are made aware of the dislocation, the procedures of display. The photograph of Buren’s work with green stripes, initially a non-representative, institutional critique work of art in situ, has been used by Williams to determine the green colour and structure of the exhibition space and artist’s book. A green stripe that has become distributed from original to photograph, to context, to artist’s book and art object again. It has become an institutional green, instituted by the artist, validated and consolidated by the art world.
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Xiao-yang Li: In a metaphoric sense, The British Museum’s exhibition is an event of human bodies confronting the ideals of a different set of human bodies from an era 2000 years apart. We, dwellers of our technology-obsessed time that worships the robotic and prizes the latest touch screen sensations, have come to witness a period with a special people who dared to understand their own body at its fullest, its most natural, most awkward and most beautiful moments! The Classical world did not just arrive out of nothingness, it followed Mycenaean civilization and the dark geometric era, borrowed iconographies and divinities from a mixture of Mesopotamian and ancient Egyptian beliefs, arose from the thousand-fold imperfect and crude Archaic votive figures and with its own gods and rites and Homeric ideologies, come into full blossoming. Here gods and goddesses were sculpted into their monumental splendidness, statues of larger-than-life size bodies were erected against other bodies or attached to an architectural fragment, vivid scenes of brutal killing or mythical rites were depicted on reliefs, and there lies countless broken bodies without an arm or a head or the ‘deep breasted bosom’


Perhaps the Greeks were the first official ‘realist’ artists, their understanding of the human bodies does not only concern with a higher degree of likeness through a more advanced sculpting technique, it also comes with a sense of human drama and errors. Therefore the divine and the mortals were represented side by side, possessing the same errors and beauties, and we watch this drama unfold before our eyes like the opening pages of an Homeric epic. The full confrontation with nature itself gave rise to meanings in a multi-fold dimension. It grants beauty and grace to all godly abductions, to the scene of the killing, to war, and to the translucently flowing draperies of Artemis’ dress that reveals part of her inner thigh in the most erotic manner. For the Greeks life comes with death and rape, virginity is paired with child-bearing and animal-sacrificing, blessings are peppered with curse and agony, concealment never fully shy away from the sensual exposure of playfulness, the absolute beauty arose from the ugliest castration of the universe, femininity only thrives when in tuned with masculinity. Here it seems the aesthetic reigns above all morality, and the beautiful Olympian gods are still busy entertaining themselves with their outrageous deeds that no mortal could understand. From the body, a sense of the divine is associated with a sense of reality, which reminds us of what we are as human beings, but this divinity is never fully real, for it is too idealized, and partially they are too close to nature they are at once very far away from human conducts. What di the Greeks dream? Was it filled with fantasy and sweet utterings? Or was it darkness of a storming night where all living creatures were erased and destroyed? It is difficult to tell, but we might think the Greeks’ dreams were of a strange set of comic tragedy. Their gods, who maintained in a human body, were so hard to please, it makes one wonder if the reality of human beings that the Greeks discovered was one of catastrophe and inevitably fateful existence. The naturalistically depicted gods and goddesses are the very epitome of this reality, in which humans, with their desperate awe towards nature, confront themselves and find that least human part from within. So what do we make of our current era – an era that slips away from this direct confrontation, are we wise to avoid that sense of the reality, that which could be so real that no human beings can bear anymore?

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Hazel Atashroo: On being asked, after the event, to respond to Sean Cubitt’s inaugural speech at Goldsmiths last week, I wished that I had had the foresight to take some notes. I foresee that I will have to risk relying on memory, living with my fear that my omissions might outlive me, on a data server, somewhere. A gulf frequently appears between what we initially intend, what actually we do, and the broader consequences.

Sean Cubitt discussed his new research, which returns to the ‘design and materials’ of media technologies and their role in delimiting ‘the political’, how people conceive of and experience ‘politics’ in the digital age.  This points towards the issues that have long occupied the area of the social studies of technology in general: the relationship between the ‘socially constructed’ nature of human productive activities, seen in aspects of material choice and design context, and their intended and unintended broader consequences.

The other fundamental part of this relationship is one of feedback in which the products and processes of human invention in turn re-create the human: changes which may occur ‘below the radar’ of our awareness. Ideologies embodied in everyday technologies- can have enabling, as well as powerfully delimiting effects on human life. Cubitt’s discussion appeared to follow in this critical interest, once indicated in Langdon Winner’s call for a ‘theory of technological politics’.Many years prior to this, GĂŒnther Anders wrote of humankind’s ‘Promethean Discrepancy’ – the gulf between human ability to create new technologies and the ability to visualize the consequences. Anders identified the need for a ‘moral imagination’ to avoid the kinds of technological developments that made atrocities like Auschwitz, Hiroshima and Nagasaki possible, and ecological disaster imminent.

In his speech, Cubitt mentioned the centrality of the data spreadsheet, an unassuming technology upon which life or death decisions are made. This impersonal utilitarian vista dominates the daily experience of workers across the globe.  Does the spreadsheet have a ‘moral imagination’?

See also:  Anders, G. Die Antiquiertheit des Menschen [The Obsolesence of Human Beings](1956; 1980). Bijker et. al. (1994) The Social Construction of Technological Systems. New Directions in the Sociology and History of Technology;  Schraube, E. ‘Torturing Things Until They Confess’: GĂŒnther Anders’ Critique of Technology (2005);  Van Dijk, P.  Anthropology in the Age of Technology: The Philosophical Contribution of GĂŒnther Anders (2000); Winner, L. The Whale and the Reactor. A Search for Limits in an Age of High Technology (1989).

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Sarvenaz Sohrabi: Although I have read in the past about the art of ancient Greece, the opportunity to look at the works shown at the British Museum while currently engaged in my own practice-based research brought to me new understanding of the works. Artworks, regardless of their aesthetic effects, are carrying messages in different fields and at different time of human thought. Hence they are a type of intermediate cognition of the past and present. Significantly, however, although about half of the human population are women, art history is frequently masculine, with women in second place. The lesser role of women in Greek art is visible. Most of sculptures show  powerful men with strong bodies. Even romantic stories on urns were designed to illustrate the love story of heroes. Visiting the exhibition made me think again about the gender-bias of gods and religions in different art periods.

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Simiao Wang: The sculptures embody religious functions based on Greek mythology, while its copy represents new politico-religious in Roman context, which emphasis on the duties of human instead of God (contributing to the collapsing of Greek culture). Human beings becomes the city culture identity in Roman empire time rather than God and Goddess, who are no longer enjoy the sacrifice dedicated on the shrine, but transfer from the sexual dimension and lustrous motifs to masculinity of warriors, heroes, and beauty of real human beings, from solemn tradition to a luxury art fashion and assumption of bureaucratic and the wealth.

No matter how eagerly the human beings are striving to replace the position of God in religions, the copy is fake but far more a simple intimation of physicality embodiment of figure but a creative methodology to enfranchise the power of body to a mundane, such as A Roman Lady as Venus (Ny Carlsberg Glyptotek), which has a personalized face with Venus body in order to make it look like a real Venus from Greek, this sophisticated way of engaging Goddess with mundane features to propagate the victor of human beings, in my perspective of view, loses the beauty of original function in aesthetics and religious, even worse, it is a braggadocio of the omnipotent of human beings.

Professor Sean Cubitt points out three virtues of human beings: consideration, wonder and hope. ‘ The hope is hope for a future that is not this one’, he also proposed that we should ‘ refuse the present and open the gate to the future’; if we make the hypotheses that Greek is the past, Roman is the present, and then what is the future? By putting a head on the tradition of beauty’s body could not be the future, for future is a partial denial of the past by respecting the past as what it was, and behind the head and its copied body, the political, economic and easthetic expenditures of celebrating the omnipotent human sculpture can not be ignored, the ceremonies of tradition still carries on with new fashion of wealth consuming. The beauty, decreased in the sense of pure ideological concept for the connections between human and God are vague and unimportant, while the tradition, or the media works as the bridge. In Roman’s case, the media is the sculpture and could also be the expenditures, the warriors, the craftsman and even the public who are getting involved in the ceremony. As Sean said, ‘ the human activities of massive expenditures in ceremonies of wild joy is the anti-aesthetic design to function instead of beauty pleasure.’

In a larger picture, the sculpture and everything behind the scene of sculpture becomes a geology of meditation, a phenomenon of ecological principle, or the fact of human beings become the minimal components of machinery world of celebrating in a shopping experience on ceremony. Quoted from Sean ‘media is not human, it is a thing.’ A thing without judgment on virtues and sins, but ‘can be more trustworthy than human beings’ for things have non-human being character and things knows things, but we, human beings, do not know each other. And in this media world, we lost the human character (it reminds me of robotic in science fiction) for we are volunteering to be part of the media.

Should we accept the fact that we are media instead of human beings? I think it is challenging to answer the question but the pleasure of appreciating the copy of sculpture of Venus is real, even though the original of Venus lost in 300 BC but we can still imagine there is a beauty once exist rather than not.