The 1st of June I will leave Greenwich University to join UAL Camberwell (Creative Computing Institute) as Course Leader for the BSc Creative Computing.
University of the Arts London (UAL) is ranked 2nd in the world for Art and Design (2020 QS World University Rankings®), for the second year in a row. It is Europe’s largest specialist art and design university, with over 19,000 students from more than 130 countries.
Want to thank everybody who contributed, supported and mentored me in the past. A special thanks to all my professors at the University of Bologna where I got my first degree many many years ago.
Just to share my COVID-19 experience:
I got ill on the 29th of February. Sorethoath and fever to start with and after 3 days breathing issues (which I still have). They only did the swabs the 13th, mostly because they were worried I had a pulmonary embolus, and the protocol for testing changed, so I become eligible and got tested at the hospital. Eligible? Are we not all eligible? no, we are not.
I was tested late when other cures were not working (after 14 days having contracted the virus) and it was negative since after 7 days you are actually out and have only complications to fight with.
Doctors said that my illness was the Covid19 since I'm not used to breathing problems at that level of gravity plus a low level of oxygen in the blood. NHS staff reassured they gave me the right treatments (steroids in high doses) which I still have to take since I'm still having issues at breathing. My lungs will take months to get back normal, but I feel very lucky and I handled this well with little stress. I've genetic preconditions.
NHS amazing but very overwhelmed, both times I got to the hospital it was crazy, three times I was visited at the GP in their back garden or isolated room. What helps? music, being in contact with your body, rest. I believe whoever had previous serious illness can handle this gracefully and more prepared mentally.
Had a great amount of chocolate. Make sure you have a lot at home.
This post is not for seeking empathy, cause sadness. It's more for encouraging. I'm very well. Just wanted to say that the infection can be handled, however, we should take it seriously and respect for the community. Fear does not help, but you please do use your brain and stay at home.
Virtuoso Lydia Kavina leads a Theremin ensemble in a diverse programme celebrating the one hundredth anniversary of the invention of the Theremin.
I had the pleasure to have one of my piece (Hyperdrone #2 for prepared piano, theremin and seismic data) performed by Lydia and myself on such an important stage. It has been such a great honour!
- Chase - Andrew Knight-Hill - [WORLD PREMIERE]
- The Swan - Camille Saint-Saëns
- Free Music 1 & 2 - Percy Grainger
- Rhythmicon Ensemble - Lydia Kavina
- Hyperdrone #2 - Anna Triosi - [WORLD PREMIERE]
- Mixing Radio - Lydia Kavina
- Theremin Breaks - Mishael Holdbrook [WORLD PREMIERE]
- Theremin Film Music - Bernard Herrmann, Danny Elfman, Howard Shaw
- Sirenscapes - Nadine Schütz - [WORLD PREMIERE]
Lydia Kavina is one of the leading performing musicians on the theremin. She began studying the theremin at the age of 9 under the direction of Léon Theremin. Lydia’s most notable recent works were solo performance in Danny Elfman’s UK concert tour with BBC concert orchestra and London Concert orchestra (2013-2014), as well as the theremin solo in ''The Little Mermaid'', a ballet by Lera Auerbach, choreographed by John Neumeier, in Copenhagen New Opera House, Hamburger Staatsoper and Beijing Tianqiao Theater, (2005-2015). Lydia played for a number of film soundtracks including “Ed Wood” and “eXistetnZ” with music by Howard Shore and ''The Machinist'' by Roque Banos.
Glad to have been invited as a speaker at this REF event. It's free!
Practice research and REF2021
27 November 2019, 11am – 5pm, Attenborough Centre for the Creative Arts, University of Sussex, Falmer
A day event exploring practice research excellence, sharing approaches and creating cross disciplinary dialogue. Aimed at practice researchers both established and early career, HoDs, research managers and administrators. Presentations from researchers and REF panel members.
Panel members: Anne Boddington (Chair 32), Justin Lewis (Chair 34), Robert Adlington (Deputy Chair 33), Paul Allain (33), Kate O’Riordan (34), Stephen Partridge (32)
Speakers: Robert Hampson (Creative writing), Anna Troisi (digital media), Nick Higgins (immersive technologies), Nick Till & Alice Aldridge (music), Pratap Rughani(film), Jane Arnfield (performance), Sue Thornham (REF2014 panel 36) + others tbc.
The event is free through the generous support of the School of Media, Film and Music and the School of English at the University of Sussex and the MeCCSA Practice Network.
(AHRC/GCRF). The project aims at the creation of a media archive which, presented in a form of an interactive installation, collects and preserves the memories and intangible cultural practices of a small coastal community near Mombasa, Kenya. The driving assumption is that “the organisation of space is a cultural representation—and it is through this representation that the individual constructs both herself/himself and her/his image of the world” (Moore, 1986:120). Therefore, this archive will help to develop a role for the creative analysis of data as an aid to understanding how the community could shape policy development and environmental decision-making. The main research method is a community-based participatory research which will refer to cooperative inquiry methods (Co-inquiry).
CoaAST (Coastal Aural archive of Spaces & Time) is a project funded by “Rising From the Depths” It draws on ideas of co-inquiry (Heron & Reason, 2006), defined as research with people rather than research on people. Knowledge gained through a participatory approach explore local knowledge and perception, enhance the research aims aligning them with what the community perceive as goal (Israel at al. 2001), empowers the community by considering them as agents who can investigate and make actions regardless their own local reality (Webb, 1990). Using participatory methods, we are working with educators and children to seek out evidence of what the community core values are and how these are connected to their environment. CoaAST will involve two local schools, and will resonate with the local community as a ludic-critical practice.
"How will this help me catch more fish?": Interfacing intangible cultural heritage in an off-grid environment
DRHA2019 conference. London – 8-10 September 2019
Navigating between virtual/physical environments and information bubbles
"How will this help me catch more fish?": Interfacing intangible cultural heritage in an off-grid environment
Anna Troisi (School of Design, Greenwich University)
Gauti Sigthorsson (Dept. of Media, Culture and Language, U. of Roehampton)
In this presentation we ask whether Augmented Reality (AR), anchored in physical environments, can go beyond simply enhancing a specific location, drawing in temporal and emotional features connected to communities and intangible heritage. AR has been used in numerous projects relating to cultural heritage management: It works as a digital "layer" on top of physical reality which enables the user to see, hear and feel "more" of the environment where s/he is located. In this way, AR can be used to map buildings and features on to geospatial coordinates, but it can also locate memories, traditions and practices associated with intangible cultural heritage.
First, how to "augment" something when it’s not know in advance, when the researcher comes from outside the community and only has broad preliminary knowledge about what constitutes intangible cultural heritage for its members: The main research method explored here is a community-based cooperative inquiry, which draws on ideas of co-inquiry (Heron & Reason, 2006), defined as research with people rather than research on people.
Secondly, is digital compulsory? As a brief look at the literature will show, AR requires internet access. But what if you're working in contexts where connectivity is limited, unreliable or absent? This is consequential for research on intangible cultural heritage, for example when it's under threat from the displacement of people or rapid, large-scale development - circumstances in which digital resources can make an enormous difference to the volume and detail of the archive (Eoin, Owens, and King 2013). Our specific example is CoaAST (Coastal Aural archive of Spaces & Time), now underway in Mombasa, Kenya. The aim of CoaAST is to investigate the impact that changes in the environmental and economic conditions along the coastal areas of Mombasa have had upon the communities that live there, and on their cultural practices. These changes are sometimes unwelcome, as the title question illustrates, asked by a fisherman from Bamburi Beach.
The area in which the fieldwork takes place raised an immediate question when we first arrived in Mombasa: How to engage local people in discussions of cultural heritage when it's not a priority for them? Furthermore, what do you do in the absence of a digital infrastructure, if your aim is to collaborate on creating an overlay of documentation and memory atop the immediate physical environment? CoaAST serves as a starting point for thinking about "immersion" from the low-tech end.
Media Arts on the Impact of Big Data on our Life
Curated by Oliver Gingrich
Speakers: Lumen Prize Winners Boredom Research, Stacey Pitsillides, Anna Troisi and Rachel Ara
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 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
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