12 September - 23 October 2009
Exhibition Preview: 25 September, 6.30pm
Preview Performance: 25 September, 7pm
Peninsula Arts Gallery at the University of Plymouth, UK.
http://www.kurator.org/afterthenet/
The exhibition presents works by artists: Roy Ascott | Wayne Clements | Geoff Cox | Lutz Dammbeck | Jeff Gompertz & Caen Botto (Universomente) | Rui Guerra | Linda Hilfling | Aymeric Mansoux & Marloes de Valk (GOTO10) | Graham Harwood, Richard Wright & Matsuko Yokokoji
‘After the Net (2.0)’ explores the paradoxical development of the Internet. As the current Web 2.0 hype begins to wane, the exhibition reflects upon the promises of technological progress, global networking and instantaneous communication. Presented artworks draw attention to key developments: from cybernetics to free and open source software, and social networking platforms.
Reflected in the title, the exhibition makes explicit reference to the documentary film ‘The Net’ by Lutz Dammbeck (2003), and has three iterations: for Valencia (2008), Plymouth (2009) and Toluca (2010). The selection of artists is updated for each venue as a new version.
Curated by Joasia Krysa (KURATOR) | Produced by  LaAgencia (Madrid)
Supported by KURATOR, LaAgencia, Observatori, Peninsula Arts / University of Plymouth, Tecnologico de Monterrey Toluca and Arts Council England.
Exhibition Press Release
VoxBox: One audio input, infinite cultural output
Dates: 18 May – 21 May 2009
Preview: 6pm, Monday 18 May 2009
Location: Crosspoint, Roland Levinsky Building, University of Plymouth, UK.
InNoPO (In No Particular Order) is pleased to present:
**VoxBox: One audio input, infinite cultural output** a cross-disciplinary group exhibition featuring new work from 6 international artists selected from an open call, and work from Plymouth’s Cafe Concrete Collective. Each new artwork has been made in response to the same audio clip, recorded from a secret location in Plymouth.
The aim of the exhibition is to spark discussions about the way we make art, where autonomy fits in, and the role of technology in the process, be it paintbrush, computer or rear end. By remediating the same audio source, each artist brings to the project their own histories, experiences and realities – journeying in their own particular way towards the final artwork. The combination of artists gives to an eclectic blend of media, culture, and practice, creating a show that celebrates difference and all its intricacies, conflicts and influences.
The discussions on remediation - broadly referring to the refashioning of one set of data into another set of data – oscillate around three key themes: The media (for example from audio to visual), the individual (from acoustic associations to artistic decisions), and the location (from Plymouth to the rest of the world, and back again).
The study of the media relations, from source code to target language, seeks to highlight processes embedded in their operation and the ways in which they interact with other technologies. Exploring the human element in remediation brings in ideas of how individuals understand the world, and how we interact with others. Notions of identity and free will intersect with social conditioning, religion, and physics. All these are wrapped up and mediated in the perceptual frameworks of the individual as subjectivity. When considering the role of the location in art practice, Voxbox takes on the mantra of Rene Dubos by “thinking globally and acting locally”. The Internet transcends national borders and reaches out across the world to feed back a wealth of shared knowledge, understanding and action. Making use of this invaluable networking tool, Voxbox consumes and reproduces this data on a local stage, presenting the people of Plymouth with an array of new artworks, all based on interpretations of their city’s sound.
Artists Nicu Ilfoveanu & Vlad Gherghiceanu (Romania) fuse mythic narrative with structures of knowledge; judsoN (USA) lays out a platform for interactions between acoustics, aesthetics the audience and space; Katie Davies, Jeremy Lee & Peter Walters (UK) explore the potential for material outcomes through immaterial sources with 3D printing technology; Theo Firmo (Brazil) breaches the linguistic turn with a dash of chaos; Cathy McCabe, Jojo & Gina Sherman (UK) dissolve formality with subversions of domesticity; Brice Jeannin (France) recreates the conditions of a listening situation.
Plymouth’s Cafe Concrete Collective provide the anchor to the international artists, placing their work in a local context. The 10 works from artists including Koombe, Tony Hill, Neil Rose and DJ Contort, form something of an ode to Plymouth, remediating not only on the acoustic properties but the living, breathing experience of the city itself. Alongside the exhibition is an online platform for members of the public to create their own responses to the audio. Upload your text, video, photo or audio to take part in the global gallery. VoxBox is made possible with the support from Groundwork Devon and Cornwall, and the University of Plymouth
InNoPO is a cross-disciplinary collective dedicated to the research, development, production and experimentation of contemporary art. Founded in 2008 by Winnie Soon (Hong Kong), David Johns (UK) and Danai Katsanta (Greece), at the University of Plymouth. VoxBox is their first collaboration.
For further information please email: voxboxart@siusoon.com
VoxBox <one audio input, infinite cultural output>
The VoxBox project opens up questions of experience, perception and remediation. Six international resident artists showing new work in response to the VoxBox audio.‚Ä(r) Exhibition will be on 18th May to 21st May in CrossPoint, Roland Levinsky Building, University of Plymouth.
Workshop Details:
Title: Sound performance and improvisation (Free)
Venue: Room 011, Roland Levinsky Building, University of Plymouth
Date:  7th May, 2009 (Thur), 09:45 - 16:30
Capacity: 12
Target group: University and College students
Description: This workshop explores the concept of remediation and interpretation of audio input through a series of art media including creative writing, audio mixing, and body movement.The output will be released in the VoxBox Online Gallery.
Website for details: http://www.voxboxart.com 
To register: voxboxart@siusoon.com
Presented by InNoPO
VoxBox is a contemporary arts exhibition that brings together a selection of international artists from a wide range of disciplines to remediate a single audio source.
We are looking for artists to generate new work in response to the audio, and upload to the website.
Selected online submissions will be shown alongside international resident artists in our May exhibition.
Exhibition: May 18th - 21st, Roland Levinsky Building.
www.voxboxart.com
- Download the audio
-Generate art in response
- Upload to the website (video/text/photo/audio)
- Comment, discuss, take part together!
4 April – 24 May 2009
The first UK retrospective exhibition of the pioneering cybernetic artist Roy Ascott, curated in collaboration with i-DAT (University of Plymouth).
Long before email and the internet, Roy Ascott started using online computer networks as an art medium and coined the term telematic art. Since the 1960s he has been a pioneer of art, which brought together the science of cybernetics with elements of Dada, Surrealism, Fluxus and Pop Art. Parallel to his artwork, Roy Ascott is a highly acclaimed teacher and theorist of art pedagogy.
This exhibition explores the influences and rhetoric of Roy Ascott’s work, mapping the impact, history and development of technology and looking to the future of Web2 and Second life. Roy Ascott sees telematic art as the transformation of the viewer into an active participant in creating the artwork, which remains in process throughout its duration. Significantly, the content of his projects were often spiritual: staging the first planetary casting of the I Ching with an early form of network in 1982; whilst his major installation at the Ars Electronica centre in 1989 explored Gaia theory.
The exhibition also looks back at the impact of Roy Ascott’s experimental years of art education. In the 1960s Roy Ascott was the head of Groundcourse at Ealing College of Art and developed one of the most influential and unorthodox approaches to teaching foundation studies in art. The basis of the course was developed around cybernetic theories of systems of communication: the flow of information, interactive exchange, feedback, participation and systemic relationship.
From http://voxboxart.com, presented by InNoPo
Call for entries:‚Ä(r)
We are looking for a selection of artists working in different disciplines. We
do not have any restrictions on art form, but to give an example (in no
particular order) works can range from digital technologies such as physical
computing and electronics, software computing, robotics, net art, mobile
computing, video to traditional media such as sculpture, performance, paint,
photography, etc. We shall provide a single audio source and you will
participate in making new work in response to this sound, using your chosen
medium for public exhibition.
For selected artists, the final artwork will be included in the larger group
exhibition held in Spring 2009 in Plymouth, UK (venue tbc). An initial briefing
session in early February will kick off the project, with the final artworks to
be submitted on or before 15-Mar-2009.
We provide exhibition venue, publicity, technical equipment for exhibition, and
documentation.
Application deadline: 16 January 2009
Announcement of selected artists: 26 January 2009
Initial briefing session: 2 February 2009
Deadline for production of final work: 15 March 2009
To apply, please email voxboxart@siusoon.com providing the following
information:
*********************************************
*No restrictions on group/individual entries
Full name‚Ä(r) Contact details ‚Äì Email, phone number, address.
URL ‚Ä(r)/ pdf of your portfolio
CV – 2 pages maximum
Statement: Description of interests and working practice. Please indicate which
media and/or technology you might use to address this project brief. – 800 words maximum
Maximum attachment size – 7MB
*********************************************
We encourage applicants to explore original concepts, alternative points of
view and demonstrate their capacity and commitment to bring the project to
successful completion.
Info & contact:‚Ä(r) voxboxart@siusoon.com
For more details, please visit http://voxboxart.com
Who we are:
InNoPO(In No Particular Order)
A trans-disciplinary curatorial partnership.
InNoPO is a new international curatorial partnership made up of Winnie Soon
(Hong Kong), David G. Johns (UK) and Danai-Maria Katsanta (Greece). We are
dedicated to the research, development and production of high quality artworks
from new, emerging and established practitioners across a range of disciplines.
We aim to bring together artists who contrast in philosophy and practice, and
yet complement one another in their difference. We see artistic conflict and
synthesis as a reflexive process that informs (and re-informs) the writing and
reading of cultural texts.
The heart of InNoPO is diversity. We seek artists to form residencies,
exhibitions and discussions, which challenge ideas, make statements, and take
part in the perpetual cycle of cultural production. The only thing we specify
is that artists are led by their own perceptual framework. Art, regardless of
discipline, facilitates the growth of diversity in culture – through
perceiving it, interpreting it, producing it. Our relationship with art takes
influence from, shapes and evolves culture. InNoPO brings this relationship to
the fore, slaps it about the chops a bit, and gives us all a little more to
think about.
Torsten Anders and Eduardo Miranda are organising an introduction to computer music programming for Negotiated Practice B in Term 2 for 8 weeks, on Mondays 15:00-16:00, starting on 26 January, in Room B323 Portland Square. The course will be based on SuperCollider (http://supercollider.sourceforge.net/) and the ixi software (http://www.ixi-software.net/content/software.html), which run in SuperCollider - all free from the net.
An international conference, Centre for Intermedia, University of Exeter, UK, 26-29 March 2009
CONFERENCE ANNOUNCEMENT AND CALL FOR PAPERS:
DEADLINE FOR PROPOSALS, 1st DECEMBER 2008.
Performing Presence is the culminating conference of the Arts and Humanities funded interdisciplinary research project, Performing Presence: from the live to the simulated (2005-9). The project is tracked at our major website at http://presence.stanford.edu
Wednesday 1st October 2008 8:00pm
Jill Craigie Cinema, Roland Levinsky Building, University of Plymouth
Electroacoustic music is often referred to as ‘Cinema for the Ear’ as the pieces are entirely produced in an electronic music studio and are played back ‚Äì or ‘projected’ ‚Äì to the audience using loudspeakers. The concert will feature classic electroacoustic pieces and works combining electronically generated moving images and sounds. The performance includes music by the University of Plymouth composers Torsten Anders and Eduardo Miranda.
Tickets £5 (£3 over 60s)
FREE FOR UOP STUDENTS AND STAFF
http://cmr.soc.plymouth.ac.uk/concerts.htm
Location:- University Campus - the old Planetarium.
We are limited to 40 places, so please can you let me know if you are intending to come along.The first sciBAr of the new academic year will be located in the “Immersive Vision Theatre” housed in the old Planetarium on the University campus. This will us an all opportunity to view a fascinating new educational facility.
“University of Plymouth’s state-of-the-art, ¬£1.2-million Immersive Vision Theatre, (IVT), which is thought to be the only one of its kind at a UK university. A digital theatre in which images are projected on to the dome, filling the viewer’s direct and peripheral vision, the IVT gives users the feeling of being ‘in’ - rather than simply observing - the image, whether it’s the Borneo jungle or the human body. Photographs, visual interpretations of complex data and computer-generated images can all be projected so that the world around us can be speeded up, slowed down, simplified or magnified, helping audiences to understand it better.
The new facility, which is in the university’s former planetarium, will enhance students’ learning across a broad range of subjects, including the sciences, the arts and medicine, and will be an important addition to the city’s educational facilities. It is part of the Centre for Experiential Learning in Environmental & Natural Sciences, one of the university’s four Centres for Excellence in Teaching & Learning (CETLs) for which it was awarded government funding of ¬£18 million in 2005.”
We have planned some interesting future discussions based around renewable energies - November 4th - Biomass, December 2nd Marine renewable sources of energy, including WAVEHUB and these will be back at the Caf√(c) Les Jardins de Bagatelle.
I look forward to seeing you all again.
Nigel
email nigel.may@plymouth.ac.uk<mailto:nigel.may@plymouth.ac.uk>