The Centre brings together a group of researchers who are seeking new knowledge and understanding of how network and computational culture has and is changing the production and reception of art and … read more
CSNI Panel Discussion with Anne-Marie Schleiner (via video link), Michaël Borras A.K.A Systaime, Gaia Tedone curated and moderated by Magda Tyżlik-Carver.
Thursday 6 Apr, 18.30.
The claim that curating is posthuman recognises the changing modes of curating in the world of mass participation in and mass creation of popular culture. It is no longer just about meaning making by art professionals who commission, archive and interpret objects in museums’ collections but it defines a popular activity performed daily by agents of different orders. Not just curators but users of social media, not just people but algorithms and software are actively involved in managing, organising and evaluating content. Curating has become a practice that supports creation of narratives and online personas, generation of data and content that is displayed and managed across different social media platforms. While using digital objects and networked images to represent identities and conceptualise ideas about the world, the self and others, curating is firmly situated as an element of computational cultures distributing, constructing and performing ever new subjects, content, data, objects, and concepts.
05 April 2017
10h – 16.30h
Instituto Universitário da Maia, Porto, Portugal
With Tiago Cruz, Irene Luszting, Magda Tyżlik-Carver, Francisca Gonçalves AKA DJ Sininho, Ricardo Salazar
Expressions with sound and image. Technic-praxis-theory is a series of open classes, promoted by the curricular unit of scenic arts of the arts and multimedia course at the Instituto Universitário da Maia in Porto, Portugal, presenting artistic work, and national and international investigations in the various areas of sound and image.
15:00 – 17:30
Executing Practices is a public book launch and alternative presentation of content from Data Browser 6: Executing Practices, to be published by Autonomedia in early 2017. The book brings together artists, curators, programmers, and theorists whose practices make critical intervention into executions (of code, orders, laws etc.), drawing attention to their assembled structures and biopolitical strategies. The contributing authors engage with execution from diverse vantage points, defining the actors and forces guiding execution practices, and for whom or what they are performed. Queering the typical book launch, the event features different execution practices from the book, expanding related dialogue beyond the written texts.
CSNI and The Photographers’ Gallery
Thu 24 Nov, 2016, 18.30
Curated by artist and educator Nicolas Malevé with Federica Biotti and Zach Blas
What happened to the face? The list is long of what computers do with faces. Applying filters, they improve facial aesthetics. Computers also detect faces in pictures – they identify people, they reconstruct faces based on data, they correlate faces and other data, they predict the evolution of a face.
The face is not a given, it is always under construction. It only exists as a face as long as we have the right apparatus to perceive it and the
right configuration. The face can escape and elude perception (as in the case of prosopagnosia). A long process of reconstruction and archeology may be necessary to make it re-emerge from traces (as in forensics practices). At the same time, the face is under a permanent scrutiny that produces discrimination and stigmatisation.
How to detect a face, to construct one and to evade from one are not necessarily oppositional questions. The face becomes a space where different strategies and forces are active. Panel participants will articulate different responses where the networked image is solicited in various ways. And redefined in the process.
On audience attitude in participative and interactive forms
by Garrett Lynch
Part of InDialogue, Notthingham Contemporary, 1 and 2 December
Audiences are experiencing a growing apprehension and distrust of interaction in art and a reluctance to engage with art that employs it. Interactive art can be categorised in broadly two ways: works that are highly technological or works that are highly social. While apprehension of interaction in art has always existed it is proposed that rather than originating from fear of technology or social embarrassment, it now originates in an understanding of what technology can do (e.g. surveillance, data harvesting etc.) and a hyper-awareness of the self in the public sphere.
In Unthinking Photography, September 2016
This short text is the result of an attempt to understand photographic theory by YouTube, which took the shape of an online errand of forking paths, full of interesting digressions, leading of course everywhere and nowhere. After several evenings of semi-distracted browsing and a solid half-day of clicking and watching I had to put a stop to it. Just how many paid/unpaid, work/leisure hours should one dedicate to the world’s third most visited website, where five billion videos are watched each day by over one billion users who upload 300 hours of video every minute ? By what methods is such a vast repository of data to be navigated and made sense of? Or, perhaps the goal of making sense belongs to an older and possibly generational logic, now overturned by the non-linear essence of digital archives and the click or swipe of a screen replacement. As a strategy to avoid the mental exhaustion of finding a theory of photography via YouTube the quest took a reflexive turn towards the question of what YouTube does to the user. A question I consider more anchored in the body, real time and space and possibly more pertinent to our period of accelerated cultural consumption and its precarious conditions. Surely, if you can watch a video that shows you how to remove the oven door, then you can learn about photographic theory, or can you? [Read more…]
In Unthinking Photography, September 2016
I am watching Professor Fei-Fei Li, director of Stanford Artificial Intelligence Lab giving a TED Talk titled ‘How we teach computers how to see’, uploaded to the YouTube platform. She begins her lecture by evoking an image of a three-year-old girl: “She might still have a lot to learn about this world, but she is already an expert at one very important task: to make sense of what she sees.” (00:38)
The little girl is the first of the many children that will illustrate the presentation, including Leo, Li’s son. However, another child (albeit never qualified as such) looms in the background: the machine learning algorithm. [Read more…]
This is a flexible post, to assist in the co-ordination of the Centre’s public events with The Photographers’ Gallery London, including the preparatory organisation of an International Conference on the Networked Image, currently planned for early 2018.
Ideally the person appointed will have expertise in the digital media field. This is a flexible post, which could be combined with other collaborations and be conducted online, with various planned London meetings.
The closing date for the application is Friday 21 October 2016. For further information and application process see website LSBU.
Article and Presentation
Annet Dekker @ MAP: Endnotes, Edinburgh Art Festival,
Saturday 13 August 2016
Endnotes is part of the MAP Footnoting the Archive project curated by guest editors Suzanne van der Lingen and Claire Walsh. Responding to the theme of endnotes, and coinciding with the completion of the MAP online archive, the editors invited contributors to examine ways of approaching archives as a creative, active platform rather than a static reserve of documented content. Each of the invited artists and researchers propose critical approaches to archiving, contemporary art and digital production. [Read more…]
Juan Martín Prada & Remedios Zafra
July – September 2016
Expected Research // Centre for the Study of Networked Image, LSBU
Considering art as a privileged practice for the critical examination of digital and visual culture, the purpose of this research proposal is to investigate in depth the emerging challenges and transformations of the photographic image as a symbolic agent and as a medium for the (self)representation of social identity as produced and distributed in the Internet. [Read more…]
Maria Chatzichristodoulou, Ioanna Zouli @ EVA2016, St. Petersburg
Thursday 23 – Friday 24 June 2016
The aim of EVA2016 is to provide a forum for the user, supplier and scientific research communities to meet and exchange experiences, ideas and plans in the wide area of Culture & Technology. Participants receive up to date news on new international arts & information communication technologies (ICT) initiatives as well as on Projects in the visual arts field, in archaeology and history. Working Groups and new Projects are promoted. Scientific and technical demonstrations are presented.
Garrett Lynch, Nicolas Maleve, Gaia Tedone, Ioanna Zouli @ LSBU Southwark Campus
Friday 10 July 2016, 9:00-17:00
Post-Screen Cultures/Practices is a one-day practice/research symposium hosted by the School of Arts and Creative Industries at London South Bank University, with support from the Journal of Media Practice and the Media, Communications and Cultural Studies Association (MeCCSA) Practice Network.
Fully funded AHRC Collaborative PhD studentship at London South Bank University in partnership with Rhizome.
Performativity and Preservation in the Archive of Online Born-Digital Art
The Centre for the Study of the Networked Image, London South Bank University invites applications for an AHRC-funded Collaborative Doctoral Partnership with Rhizome, commencing in October 2016 for a period of up to three years (Full Time). [Read more…]
TPG Geekender: Experimental Photo School
Nicolas Malevé @ The Photographers’ Gallery, London
Sunday 29 May 2016, 10:00 – 13:00
The workshop A Bag Of Visual Words explores photography and computer vision with the Scandinavian Insitute of Computational Vandalism.
Today “computer vision” techniques are pervasive, integrated in smartphone cameras, surveillance systems, and cloud-based image search and tagging. Over the last 15 years, computer vision engineers have increasingly used so-called “visual vocabularies”, clusters of algorithmically determined visual features to index and order image collections. But what precisely are these features in visual terms? What can photography practices offer to (and receive from) these techniques?
Presentations and discussion @ The Photographers’ Gallery, London
Thursday, 17 March, 18:30
In this panel discussion, we will explore the ways in which photographs are read, sifted, and evaluated in online platforms. Speakers will address advances in machine learning, the challenges of connoisseurship online, and the new forms of cultural value being created in online imaging platforms. [Read more…]
Nicolas Malevé @ Transmediale, Berlin
Sunday, 7 February, 12:00 – 14:00
moderated by Jussi Parikka
with: Anne-Marie Duguet, Oliver Grau, Joasia Krysa, Constant (Michael Murtaugh, Nicolas Malevé)
The archive is unbound, no longer restricted to a space of storage or a logic of cultural memory. Today the archive is also a site of sharing, distribution, education, critique, imagination, and artistic activity. This panel brings together curatorial, artistic, and academic perspectives on media art in order to discuss the role archives can play in curation, spatial design, and technology-based art practice. The panelists will discuss examples such as Erkki Kurenniemi’s archival and technological art, artistic projects with the Asger Jorn Archive, and other innovative examples of ways the archive continues to be reimagined. Also at stake are how archives can feed into (media arts) education. How does the archive shift when it becomes an active online environment that can work against reification of knowledge? [Read more…]
Garrett Lynch @ #performingself
Garrett Lynch uses the ‘virtual’ world of Second Life as a staging point for work dealing with identity, representation and place. Within the ‘virtual’ world the artist’s representation wears a sandwich board stating “I’m Garrett Lynch (IRL)”, a reference to the performance work Trouser – Word Piece (1972-1989) by Keith Arnatt. The boards statement is both an abbreviation of the artist’s national identity (Ireland) and an acronym for ‘real’ location (In Real Life), that which is outside of the ‘virtual’. [Read more…]
In the first of Goldsmiths’ 2016 Digital Arts Computing masterclass series, Belgian artist, programmer and data activist Nicolas Malevé talks about his work with cartography, information structures, metadata and the means to visually represent them.
Nicolas Malevé is a visual artist and software developer. His trajectory combines an art practice with technical curiosity. A core member of the association Constant for Arts and Media since 1998, Nicolas has closely studied digital culture, organised and participated in numerous debates and events. Together with Michael Murtaugh, he developed a research project called Active Archives, working with visual archives and exploring new ways to navigate and question them. While doing this, he developed my interest in the techniques that are used to classify, annotate and disseminate large collections of images. As a consequence, his interests include computational photography, the networked image, digital archiving and the curatorial dimension of algorithms.
Katrina Sluis @ Animate Projects in partnership with QUAD
Friday 22 January 2015, Derbys (UK)
Animate Projects in partnership with QUAD are holding an informal seminar on critically engaged digital practice. Artists and curators will make brief provocations, referencing notable artworks, organisations and events, to set a context for a discussion addressing questions that may include:
How do we square embracing and utilising technological change and forms, with critical interrogation?
Does public strategy help or hinder, lead, follow or shape practice?
How does creative innovation and experiment blur distinctions across commercial and cultural practice? [Read more…]
Annet Dekker @ Digital Horizons, Virtual Selves: Rethinking Cultural Heritage in the Museum
Research Centre for Material Culture, Leiden (the Netherlands)
Thursday 20 January 2016
Organised by Karin de Wild and Liza Swaving
This presentation will focus on attempts that have been made to preserve online cultures: from large institutes that scrape content and invent new documentation methods, to ‘amateur’ examples that form their own ‘networks of care’, and finally by paying attention to the stories, myths and fictions that survive through analogue means and stick in human memory. [Read more…]
In this new essay, writer and researcher Andrew Dewdney responds to Daniel Rubinstein’s essay What is 21st Century Photography? published by The Photographers’ Gallery in July 2015.
Victoria Walsh (RCA), Andrew Dewdney and Ionna Zouli (LSBU) and Emilie Pringle (Tate)
AHRC RCA / Tate Collaboration
This collaborative and interdisciplinary research project between Tate, the Royal College of Art and London South Bank University (2013/14) was based upon the recognition that contemporary professional practice, policy-formation and understandings of cultural value remain resolutely analogue despite the profound changes in how knowledge and contemporary culture is being produced and experienced. [Read more…]
Garrett Lynch @ Photo Mediations
Photomediations Machine is a curated online space where the dynamic relations of mediation as performed in photography and other media can be encountered, experienced and engaged. [Read more…]
Annet Dekker, 10 December 2015, @ Alternative Film/Video Research Forum 2015, in Belgrade
Whilst video art is just being accepted in the commercial and museum art worlds, it is overtaken by the proliferation of web-based video that is increasingly delivered via all kinds of networks and based in databases. [Read more…]
Current Research by Annet Dekker (as part of a residence at CCS, Bard College, February-June 2015)
It could be argued that the transformation from analogue to digital archives and archiving has shifted from selecting single documents in favour of seeking relations between documents and stimulating audiences to actively participate in curating archival and museum collections. [Read more…]
with: Harm van den Dorpel, Aymeric Mansoux, Martine Neddam, Michael Murtaugh, Anne Roquigny, Robert Sakrowski, Katrina Sluis
Thursday 26 November 2015, 13:00 – 17:30
Gerrit Rietveld Academie, Gym, Amsterdam
During a one-day-open market with workshops, lectures and performances, How to Do Art With Networks shows how networks are art.
How to Do Art With Networks provides an opportunity to share experiences, to experiment with platforms, tools and media, to conspire and discuss questions of sustainability, growth and informality. The day is based around several existing net-art-works that act as catalysts to show different perspectives, scales, potentials and pitfalls. [Read more…]
Andrew Dewdney and Victoria Walsh @ PARSE Biennial Research Conference on TIME
4-6 November 2015, Gothenburg (Sweden)
How are artists, curators and theorists responding to the new conditions of hypermodernity and chrono-reflexivity within the spaces and time of the art museum? Marked by a distributed archival aesthetic, post-digital culture directly challenges the museum’s logic of collection, as well as exposing the flaws of the atemporal modernist aesthetic hang. [Read more…]
Current Research by Andrew Dewdney
I am working with a longstanding research collaborator, Professor Victoria Walsh, on rethinking the theoretical intersection between art, media and technology through the prism of the strategic and curatorial practices of museums and their response to the rise of network culture. [Read more…]
4 and 25 October @ The Photographers’ Gallery, London
Join us for our inaugural “Geekender”, a weekend of events and workshops devoted to digital culture on 24th and 25th October at The Photographers’ Gallery, London. Saturday night we will open late until 9pm, with a party to celebrate 25 years of Photoshop. Experience the delights of being hands-on with Photoshop version 1.0, a live “cut and paste” studio (SouthBank Collective) and a Photoshop Battle. Photoshop Layer Cake and RGB Drinks will be served from the Photoshop “Toolbar” whilst Adam Brown (Buncefield Records) will translate your favourite JPEG images into sound in a special DJ set. Visuals taking you through the history and culture of Photoshop will be provided by Central Saint Martins MA Photography Students.
PhD research by Nicolas Maleve (collaborative PhD with The Photographers’ Gallery)
Today, as we are confronted on a daily basis with millions of images on the Internet, grasping the visual world seems an overwhelming task. [Read more…]
PhD research by Ioanna Zouli (AHRC funded – CDA award)
Ioanna’s PhD research is part of a developing discussion on the contemporary museums’ relation to digital technology and network structures. The study employs Tate as the institution under focus and examines the dynamics of institutional practices as a response to contemporary technological developments. [Read more…]
PhD research by Gaia Tedone
Gaia’s current research project considers the shifting conditions of the photographic image within contemporary culture at large, exploring how digital technologies and social media are opening up new spaces for encountering and exhibiting visual material. [Read more…]
PhD research by Garrett Lynch
Currently Garrett’s research and practice focus is exploring the thesis that networks are a transformative factor in contemporary art practice. [Read more…]