Ⓥ V.15 Virtual Discussion - Papers
Tuesday, June 25, 2024 |
4:10 PM - 5:00 PM |
Virtual |
Overview
Group discussion giving virtual presenters the opportunity to discuss their work with colleagues and delegates
Details
Join the session here
This virtual discussion session will give virtual presenters the opportunity to participate in a live interactive virtual panel discussion facilitated by an academic chair. Virtual delegates will be encouraged to pre-watch the presentation videos (available via the OnAIR conference platform) and then join this discussion session, which will run through a provided Zoom link. The Aim of this session is to provide an opportunity for presenters to share and discuss their work with colleagues and for delegates to engage in Q&A. Each discussion will run for 30-50 minutes depending on how many virtual presenters and delegates are participating.
This virtual discussion session will give virtual presenters the opportunity to participate in a live interactive virtual panel discussion facilitated by an academic chair. Virtual delegates will be encouraged to pre-watch the presentation videos (available via the OnAIR conference platform) and then join this discussion session, which will run through a provided Zoom link. The Aim of this session is to provide an opportunity for presenters to share and discuss their work with colleagues and for delegates to engage in Q&A. Each discussion will run for 30-50 minutes depending on how many virtual presenters and delegates are participating.
Speaker
Ms Bilyana Palankasova
Doctoral Researcher
University of Glasgow / University of Edinburgh
FP: World-building Through Techno-scientific Creative Practice: A Case Study of Workshops as Material Discursive Curatorial Tools
Abstract
This article frames workshops as material discursive curatorial methods drawing on ideas from new media discourses and materialist feminism. It takes as a case study a series of speculative world-building workshops by artists and physicist Libby Heaney delivered to three groups of participants: young people, scientists and artists, drawing on examples from the last one. The workshops were commissioned as a material discursive form to unpack the artist’s practice and invite audiences to workshop ideas and themes within it. The outcomes demonstrate the capacity of workshop methods in the context of transdisciplinary technoscientific artistic practices for futuring, speculation and world-building with emerging technologies while generating discourse.
Biography
Bilyana Palankasova is a curatorial researcher, currently a PhD candidate in Information Studies at the University of Glasgow with co-supervision at Edinburgh College of Art, University of Edinburgh. Her doctoral work is concerned with the relationship between computational and technocritical arts, curatorial methods, and institutional conditions with a focus on festivals; the research draws on curatorial practice, history of art, organisational studies and science and technology studies. Bilyana holds MA History of Art and Digital Media from the University of Glasgow, MSc Modern and Contemporary Art from The University of Edinburgh and graduated with Distinction from the MLitt Curatorial Practice (Contemporary Art) programme at The Glasgow School of Art. She’s worked with organisations such as FutureEverything, NEoN Digital Arts, Jupiter Artland, GSA Exhibitions, CCA Derry~Londonderry and the Scottish Graduate School for Arts and Humanities.
Dr Julie Marsh
University of Westminster
PIC: Virtual Assembly: The Transformative Power of Artistic Collaboration and Experiential Archiving
Abstract
This visual essay introduces Virtual Assembly (2023), an interactive 3D model of the Old Kent Road Mosque, London’s oldest Nigerian community. In September 2021, the mosque building was demolished to allow for a six-storey mosque to be built on the site as both an act of devotion and a practical response to a growing community. Before the demolition, a LiDAR scan of the entire building was made by the Fabrication Lab at the University of Westminster. Working in collaboration with the Old Kent Road Mosque community, this scan became the foundation for an interactive 3D model to house pre-recorded films of congregational prayers, complemented by a collection of stories and personal accounts from mosque members. The project’s methodology, ‘Site-integrity’, directly involved community members in the capture and analysis of their cultural heritage through artistic collaboration and experiential archiving. This democratic approach to research encourages reflexive conversations that avoid reductive ethnographic portraits of subjects, transforming the traditional anthropological ‘subject of research’ into the producer of their voice. The essay explores the potential of art and technology to promote polyvocality and investigate new ways to capture, perform, and safeguard diaspora faith communities’ intangible cultural heritage through innovative digital modelling.
Biography
Julie Marsh is an artist and researcher at the Centre for Research and Education in Arts and Media (CREAM) at the University of Westminster. Julie is a specialist in collaborative and knowledge-led approaches to field research. In 2017, she coined the term ‘site-integrity’ as part of her practice-based PhD at London College of Communication, University of the Arts, London. Her interdisciplinary practice explores the intersections between film, installation, performance and site-specificity. Through the exploration of real and representational space, she investigates how technical machines can perform site, creating critical experiences for audiences that open debate and question social spaces. She has exhibited most recently as part of the ‘Three British Mosques’ at Venice Architecture Biennale 2021, LOOP Moving Image Festival, Barcelona (2019), The Biennial for Emerging Arts, Romania (2018) The Starmach Gallery, Krakow (2018), Sputnik-Kino, Berlin Short Film Festival (2018), Meetfactory, International Centre of Contemporary Art, Prague (2018).
Mx Gillian Rhodes
Lahore Digital Arts Festival
SP: Mapping the Digital Arts Industry in Pakistan
Abstract
In 2023, Lahore Digital Arts Festival (LDF) conducted a landmark research project, Mapping the Digital Arts in Pakistan (MDAP), in response to a need to understand and support the nascent digital arts industry in the country more formally. While there are any number of gaming and animation studios and a boom in emerging digital artists, the indus-try remains nascent. Digital arts are still rare in gallery spaces, and it is only after 2020 that the first NFT/digital arts-based exhibitions have taken place. The industry represents excellent potential, especially for young people and minorities; however, there has been little attempt to study and understand the scope of the industry and the challenges facing its future growth. Here, the archive in question does not refer to specific artworks but instead documents the current context of the digital arts industry within a particular region. This paper presents a potential route for such a project by outlining the research and methodology and explaining the main findings and recommendations.
Biography
Gillian Rhodes is an American performer and storyteller by profession. They are the Content and Research Lead for Lahore Digital Arts Festival and currently the Global Outreach Coordinator at the School of Creative Arts for the University of Lahore. They graduated from Columbia University in 2012 and have lived and worked globally since, in Cambodia, South Korea, and Pakistan.
Mr Najam Ul Assar
Founding Curator
Lahore Digital Arts Festival
Co-presenter
Biography
Najam Ul-Assar is a creative entrepreneur with more than 10 years of experience in managing cultural businesses and has managed more than 25 large-scale festivals across South Asia. He is the co-founder of rearts, Pakistan’s most prominent record label, and did
his Master’s in Media Arts Cultures from the Erasmus Mundus Joint Degree. He founded LDF in 2019, also consults the United Nations in Copenhagen, and has just begun his PhD in Digital Humanities in British Columbia, having his life between Canada, Denmark and Pakistan.
Dr Vanina Yael Hofman Matusevich
Universitat Rovira i Virgili
SP: Cultural Heritage Virtualization: A Collaborative Hands-on Approach for Training Students in Archaeological Preservation
Abstract
The present paper shares the experience of collaboration among the Universitat Rovira i Virgili (URV), the National Archaeological Museum of Tarragona (MNAT), and the Catalan Cultural Heritage's 3D digitization project, Giravolt. The aim that drove the partnership was to train students in 3D techniques while simultaneously building a learn-by-doing environment that could benefit an approach to digital heritage deeply engaged with the sociotechnical, ethical, and geopolitical issues entailed in virtualization processes.
Biography
Vanina Hofman is a Lecturer at the History and Art History Department of the Universitat Rovira i Virgili (Catalonia) where she is also Director of the Unit Aula de Cine. She develops her work in a hybrid territory between academic research and cultural production. Her field of interest lies in the intersections among Art, Science, Technology & Society. She is particularly interested in the processes involved in the construction of memory in digital culture, the archiving of media arts, the unconventional arts histories and the digital materialities. She has recently published the book “Divergent Practices of Media Arts Preservation. Remembering and Forgetting in the Digital Culture” (Prometeo Libros, 2019) based on previous fieldwork conducted in Argentina.
https://www.vaninahofman.com/
Ignacio Fiz, PhD. is a Serra Hunter Associate Professor in the Department of History and Art History at the Universitat Rovira i Virgili (URV) since 2014, and Research Fellow (R4) at the Catalan Institute of Classical Archaeology (ICAC) since 2008. With a degree in computer science and a PhD in Archaeology, he is an expert in information technologies applied to the humanities. He currently teaches on the Master's Degree in Classical Archaeology, the Bachelor's Degrees in History, Archaeology and Art History and the Master's Degree in Advanced Research in Humanistic Studies, teaching subjects related to the Digital Humanities.
https://www.historia.urv.cat/en/faculty/arqueologia/fiz/
Both work together in the Digital Humanities Lab at URV and teach courses related to these subjects at the undergraduate and postgraduate levels.
https://www.instagram.com/humanitatsdigitals/
Ms Elena Giulia Abbiatici
Now Independent, previously Politecnico of Milano
FP: The Demiurgical Principle of Digital Senses
Abstract
The paper aims to investigate uncommon senses, human and non human, developed by cyborg and performative artists, specifically founders and members of Cyborg Foundation and Transpecies Society in Barcelona. While making use of advances in cybernetics, the new uncommon senses want to build bio-political networks, technologically capturing the energy of the living and discharging it into the human in a process reminiscent of the first Creation. Inspired by Donna Haraway's sprawling thought, Katherine Hayles’s posthuman philosophy and the “re-cosmicisation” of the world by philosopher Yuk Hui, the paper discusses the way how new senses challenge the dualism of the categories deity/humanity, omnipresence/liminality, omniscience/human speculation, and opens up to a nomadism within the same categories. On the borderline between animism and transhumanism, the new sensory implants become the cornerstone of technological religions and, while expanding the sensory cognitive potential, become themselves part of an atypical process of biopolitical control of the world.
Biography
Elena Giulia Abbiatici is an art historian, researcher and curator of the contemporary art. She has exhibited and developed projects at numerous contemporary art events, including: I and II edition Something Else - Off Biennale Cairo (2015, 2018, 2023), 56th and 57th Venice Art Biennale (2015, 2017), 15th Venice International Architecture Biennale (2016), Media Art Festival Maxxi Prize (2016), 15th Istanbul Biennale (2017), Berlin Art Week (2017), Manifesta 12 Collateral Events Palermo (2018). Her latest project 'THE ETERNAL BODY. The human senses as a laboratory of power, between climate crisis and transhumanism', has been initiated in the year 2021, thanks to the Italian Council award, an initiative of the DGCC of the Italian Ministry of Culture, in partnership with the University L'Orientale of Naples and Tecnoculture Research Unit (Naples); Tor Vergata University, Rome- Department of Humanities, Art and Philosophy. In she was invited by POLI.design (Milan) to teach within the Master's Degree Course in Olfactory Design.
Session chair
Elena Giulia Abbiatici
Now Independent, previously Politecnico of Milano
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