The next decade will bring a diversity of love partners for us to choose from – lovebots with intelligent skin, cyborgs with sensory implants, tele-dildonic connected avatars, through to empathetic personal carers loving you day and night. There will be intense debate on the ethical issues that emerge.
As human cyborgs appear more often in our communities, as our friends bring robot lovers to dinner, as touch, caress and gaze technology converge, we will see virtual reality, augmented reality and holograms deepening and intensifying our virtual-physical immersive experiences.
This expert panel will debate this looping of our senses and emotions with these ‘non-human humans’.
Chair: Luke Robert Mason, Director, Virtual Futures
Trudy Barber, Senior Lecturer and Course Leader, Faculty of Creative and Cultural Industries at the University of Portsmouth
Marco Donnarumma, Marco Donnarumma, performance artist and research fellow, Universität der Künste Berlin
Anna Troisi, Digital artist and researcher
Text from http://www.futurefest.org/speaker/synthetic-emotions

I'll move together with Rob Smith the huge hypersculpture now sleeping at Wysing arts centre. Glad to be able to exhibit this work we did together with Neal White for Office of Experiment. 

I'll move together with Rob Smith the huge hypersculpture now sleeping at Wysing arts centre at Cambridge. Glad to be able to exhibit this work we did together with Neal White for Office of Experiments and EMERGE.


Glad to have the opportunity to present the performance as well as giving a paper about the performance. Looking forward to it.

‘…if we really engage in storytelling as a sym-poietic practice, which is propositional and invitational, then we have a chance for re-worlding. Play always involves the invitation that asks ‘are we a “we”’? A “we” that does not pre-exist the propositional risk and testing.’ (Donna Haraway, 2015)

This conference explores the various ‘worldmaking’ practices of play and performance in their diversity - performance art, dance, sports, and games - from a feminist materialist perspective. How does play engender innovative and emancipatory social practices and invite us to rethink the social political challenges we are facing? Play and performance, as Haraway argues, are ‘worldmaking’ practices, premised not on the already there, nor on a story of origin - a true identity, a unified people, a nature prior to capitalism - but on a people who belong to the future. As workings of fiction, play and performance cannot be reduced to the binaries of true and false, playfulness and seriousness, real life and staged life. 
Invited to the panel "Creative Music Systems: Bridging the Divide Between Academia and Industry?
Anna Troisi, EMERGE Bournemouth University
Graeme Bailey, Cornell University
Andrew Lambert, City University London
Tamer Rashad, Founder & CEO at Humtap, San Francisco
Marcelo Gimenes, ICCMR Plymouth University

Tina O'Connell and Neal White present 9 Events, a series of experiments and observations, talks and films drawn from their on-going artistic interest in the raw resources that are a key index of wealth in a market based society - from oil to diamonds and gold. The work is made in the context of emerging ideas of environmental and geological change within the flood of unchecked global capital.

As with other works and projects undertaken by the artists, the space is used as a platform through which temporality can be explored. In this sense, the use of the RCA's Dyson exhibition space and its wider context for the presentation on objects or artefacts is reconfigured through perspectives of energy, action and reaction, collapse and control, via simulation, derivation, extraction and exchange.

1.Audio Soundscape. Anna Troisi with Office of Experiments. Seismic Data and Super Collider
2.Four elements and two events. Extract from Deep Freezer. O’Connell and White 2016
3.Bitumen Sample, Teflon Sheet, Cable Ties and Gravity.  O’Connell and White 2016
4.Hand Blown Glass Chemists Sphere, Bitumen Sample, Cable Ties, Bungee and Gravity.  O’Connell and White 2016
5.Selected extract from Rio Tinto presents ICE DIAMONDS. information film replay in slow motion. © RIO TINTO ZED 2013
6.Deep Freezer Casts, Bitumen Samples, Wall, Bungee, Cable Ties and Gravity.  O’Connell and White 2016
7.Experiment with Liquid Nitrogen, Bitumen Sample. 10 minutes.  O’Connell and White 2016
8.Entombed Archeological Objects. London Riots, Brixton 2011. Department of Catastrophe. O’Connell and White 2016

With thanks to Colab at Bournemouth University and University of Reading.
Samples donated by Total Bitumen.

Practice as "Search" towards a different form of knowledge. Dr Anna Troisi

“Research” has always been a tricky word when associated to the practice towards an artistic purpose. The major aim of research has always been related to a form of investigation, analysis, inspection and assessment. The epistemological intrinsic aspect of the research brought us thinking that every approach to create knowledge and awareness should pass through a research methodology to deserve the right to be validated and to produce an appreciable output.

As digital artist and performer, my input material, my research pathway and my final results, collide in a mixture of scientific and artistic vibrant matter, but it is not always true that they are really so distinct. I use to code and I use my scientific background while sculpting my artistic outputs, but I never considered the practical side of my work as a standard research process but rather a “search”. I spend my academic research time looking trough physical, abstract or virtual spaces carefully to find the right interpretation for something that I already have in my mind. Instead of “researching” I look for paradigms that enable my performances to use the real world as a media. I search and my every day practice is searching towards a form of knowledge that cannot be described with scientific words such as “output” or “finding”.

Do we really need to investigate, inspect or assess in order to produce arts?

Additionally while being able to contextualise our artworks is of great help to enhance the philosophical potentiality of our work, will it be likewise useful for the audience to perceive a performance as a layered sliced form of expression where every detail is revealed? Is academia trying to force a different form of knowledge in a context that worked well and still works well for other forms of knowledge?
Glad to know that my seismic sounds will continue shaking the building of the "Objectif Exhibitions" Gallery in the exhibition of Neal White "Sites of Excavation and Construction" 13 November 2015–16 January 2016http://objectif-exhibitions.org/programme/exhibitions/neal-white-sites-of-excavation-and-construction/
Great intense gig of Non-recursive The Engine Room for Bournemouth Emerging Arts Fringe can be listened here:https://archive.org/details/BEAF_Gig_Engine_Room

. Next gig will be 28th of January for the "Interdisciplinary Research week 2016", @BU

Thanks to EMERGE and the Colab where we rehearsed.

The programme included explorations of hardware-hacked devices, simple electronic instruments, data networks and basic sensors to augment and inform laptop improvisations, immersive fixed-media soundscapes 
Performances were by a selection of artists connected to Bournemouth University who use technology as part of their creative practice. 
Performers include:
Anna Troisi, http://www.annatroisi.org/
Antonino Chiaramonte, http://www.antoninochiaramonte.eu/
Rob Canning, http://rob.kiben.net/
Bill Thompson, www.billthompson.org
Ambrose Seddon, http://www.ambroseseddon.com/
Tom Davis, http://www.tdavis.co.uk/
Visuals by Kavi, https://vimeo.com/user324972