I will be at the 2013 Sensuous Knowledge conference in Bergen, Norway from the 23rd – 25th January. I will be giving a talk on Thursday afternoon as part of the program of presentations and discussions, on the theme of Data as Place: Aesthetics and Geopolitics of Data Centre Architecture. This talk and project is in collaboration with Amber Frid-Jimenez and Joe Dahmen.
A little about the conference:
The Sensuous Knowledge Conferences started in 2004 as an international venue for presentation and discussion of artistic research projects. The overriding purpose of these three-day working conferences is to contribute to the creation and refining of a discourse for critical reflection on artistic research. …
With this year’s conference, the 7th in the row, The Sensuous Knowledge Conference comes to town – and moves directly into the contemporary art world: A unique collaboration between The Art Museums of Bergen and Bergen Academy of Art and Design forms the context for a conference taking place within the precincts of the art museum…
I previously mentioned the Ant Farm DVD as a source of good DIY tips for building inflatables. Turns out their videos are up on Ubu Web. Check out Dirty Dishes for inflatable building tips (just sit through the giggly camera play at the start)
Ubu is much more in keeping with their sharing attitude – I was always surprised their videos were not archived on the web.
There is a rich background and considered approach to Krzysztof Wodiczko‘s more recent work of the last decade. It is a long process of interaction with individuals in a community before projecting the narratives they have recorded, or recount live, onto the sides of city architecture. However, what struck me most when I first saw a video of Wodiczko’s work was the sense of performance and intimacy that his technical set-up creates. The video I first saw was of an intervention in Tijuana, Mexico in which a live feed of woman’s face is projected in stark detail onto the curved surface of the El Centro Cultural building behind her while she recounts experiences from her life.
The camera, microphone and lighting are all mounted on to the participants head. This is cumbersome, and unnatural, and yet it frees them up to move as they wish through the crowd and space. This allows them to move themselves away from the centre of attention in the social space, although of course their face is always fixed in full illumination large on the building above. In an interview in “Art in the Twenty-First Century” from which the Tijuana excerpt is taken, Wodiczko describes this as “background and foreground at the same time … shifting focus”.