OB-scene will be at RE:SOUND – 8th International Conference on the Histories of Media Art, Science and Technology 2019
I'm very pleased that I was invited to contribute my expertise to The International Encyclopedia of Gender, Media, and Communication. This will be an important scholarly publication consituting the latest project in the ICA series of Sub-Disciplinary Encyclopaedias of Communication.
And YES, sometimes we write without the REF in mind, because actually writing is fun and can be done for the pleasure of doing it. No shame.
I'm Principal Investigator of the project CoaAst which has received a ARHC/CGFR grant.
CoaAst is a project which involves a small community (Bamburi Beach) located in the coastal area in Kenya close to Mombasa. The project foresees children from two local schools creating an archive of aural memories which will be accessible to the public. Children, coordinated by their teachers, will be equipped with audio recorders and they will hunt for memories in the village, to the shore, at their homeplaces. The final outcome of this project is an interactive work which will enable users to have access to the archive in a playful way. The archive will be visualised as a map and accessible both online on a web platform but also exhibited in the Fort Jesus National Museum of Kenya in Mombasa in the form of an interactive installation which will be artistic and informative at the same time. We believe that involving the children and the community to create an archive of memories will help the policymakers to better understand how the community perceives landscape, cultural, environmental and economic changes in the area and how those changes affect their everyday life. We believe that the process itself can help the community to better engage with matters which are important for them. The idea of connecting generations towards a process of self-understanding and understanding of the coastal Marine Cultural Heritage (MCH) will stimulate social cohesion around themes like economic growth and conservation.
Post-/Human - FLUX event at the Library Club, London, 26th September 2018
"With FLUX: Post-/Human, we ask about the present and future of the limits between human and technology in Media Art. Is consciousness really an epiphenomenon, its embodiment a happy accident or can it be a human creation? How does the synthesis between human and machine affect our perception of self and other? Where is posthuman Art heading? Curated by Oliver Gingrich, FLUX invites an array of contemporary artists working across different media to discuss Post-/Human practices."
Nonrecursive at Bournemouth Arts Fringe Festival 1st May 2018, Old Fire Station, Bournemouth
NonRecursive is a free-entry experimental music/sound-art event featuring a soundtrack of electronic atmospheres, noisescapes, pulses/rhythms and tones/drones. The programme will include explorations of hardware-hacked devices, simple electronic instruments, data networks and basic sensors to augment and inform laptop improvisations, immersive fixed-media soundscapes and live visuals.
Performances will be by a selection of artists connected to Bournemouth University throiugh the Experimental Media Research Centre (EMERGE) who use technology as part of their creative practice. Performers include Anna Troisi, Panos Amelides, Ambrose Seddon, Tom Davis.
Norm contaminated, a soundscape as result of a fieldwork at the Perenco Oil Farm. Arts Catalyst Gallery from 22/03/2018 to 12/05/2018
Norm contaminated is a sound piece commissioned by Arts Catalyst for the Exhibition “Brownsea: an imaginary island (an island of the imaginary)” 22/03/2018 to 12/05/2018 - Arts Catalyst, 74-76 Cromer Street, King's Cross, London.
Norm Contaminated is part of a series of artists’ projects, curatorial interventions, and transdisciplinary research Test Sites: Poole which is curated and produced by Arts Catalyst and it is the result of a field work taken place the 22nd of February 2018 around the Perenco Oil Farm, Poole, Dorset. The commission for the exhibition and co-inquiry aimed to respond to the issue to involve the local community to respond collectively to social and environmental challenges in the local area of the Poole harbour. This piece is part of a project called Test Sites, a longitudinal environmental project with a range of partner institutions (The Forestry Commission, The National Trust, and Canals and Rivers Trust). The long-term goal is to engage the public in a discussion of ethical and social implications of environmental politics, and to address key issues of sustainability for agencies and local socially engaged groups, clubs and societies.
FUTURE LOVE at the Futurefest 17-18 september 2016
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
The Hyperdrone at DHRA 2016 Digital Research in the Humanities and Arts
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.
OB-scene @ drha 2016 | Digital Research in the Humanities and Arts
Glad to have the opportunity to present the performance as well as giving a paper about the performance. Looking forward to it.
OB-SCENE @ The Politics of Performance and Play. Feminist Matters, Institute for Philosophy University of Leiden July 7 & 8
‘…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.
1st Conference on Computer Simulation of Musical Creativity (University of Huddersfield)
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
OB-SCENE @International Metabody Laboratory, Brunel University, 4-9 April 2016
9 Events, RCA with Tina O'Connell & Neal White in association with Objectif Exhibitions, Antwerp Saturday 5 March - Friday 25 March 2016
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.
Talk “Practice as "Search" towards a different form of knowledge” “Intersections 2016: Practice (...) Research”, The Royal Central School of Speech and Drama (London) 14th Jan 2015
“Intersections 2016: Practice (...) Research”, The Royal Central School of Speech and Drama (London) 14-15th Jan 2015
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/
EMERGE experimental group will play for the "Interdisciplinary research week 2016" at bournemouth university 28/01/2016
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.
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
The HyperDrone is a project developed by Rob Smith, Anna Troisi and Neal White for the Office of Experiments.It will be exhibited at Wysing Arts center the 26th of August. For a related video click here: https://vimeo.com/135457991