Short Big Drama highlights the theatricality of the artist’s practice. This comprehensive exhibition presents a wide selection of existing works together with specially commissioned new pieces. The spotlight falls on three types of works — monumental wall paintings, colorful Pixel Box installations and interactive Drawing Machines.

In the installation of the works, contradiction takes center-stage. Playing with the nature of drama — be this epic or mundane, short or big, or perhaps all of these at once — the project adapts exhibition space to draw out the tensions and attractions between the distinct impulses that animate Bulloch’s practice. For Witte de With, the artist interprets and manipulates earlier, potentially clashing installations into a seemingly harmonious whole, revealing a particular beauty which lies at the heart of complexity.

Bulloch’s approach is interdisciplinary, incorporating references from a wide array of sources, amongst them modern history, vanguard film, punk and electronic music. In her wall paintings, specific references to aesthetic, political or social developments are deconstructed and graphically re-assembled. Through this process of détournement, the artist questions the informational status of an artwork, as well as the possibility of narrating history. Bulloch’s Drawing Machines are interactive pieces, triggered or altered by the movements of visitors. In this way, her works explore the dialectic between technology and labor, making us conscious of our place, and that of others, within the gallery space. With her Pixel Boxes, Bulloch ‘programs’ our experience of art by encoding her signature modular light and sound installations with data from a vast array of cultural sources. Though these sources and the workings behind the installations remain invisible, a viewer may sense the imposition of a predefined code, even if unconsciously.

The manipulation of codes and a sense of control pervade Bulloch’s artistic practice. Whether that code is music- or text-based, the artist plays with and orchestrates our perception and experience of art. In proposing that this experience can be ’subliminal’ her work aims to stage that which is beyond our grasp.

Curated by Amira Gad & Nicolaus Schafhausen.

Angela Bulloch (b. 1966, Canada) is a Berlin-based sculptor, installation and sound artist. She is recognized as one of the Young British Artists and was included in the 1988 Freeze Exhibition. In 1997, she was nominated for the Turner Prize. Recent solo exhibitions include Information, Manifesto, Rules and Other Leaks…, Berlinische Galerie, Berlin (2011); Discrete Manifold Whatsoever, Simon Lee Gallery, London; Redux, Esther Schipper, Berlin (both 2010); and The space that time forgot, Städtische Galerie im Lenbachhaus & Kunstbau, Munich (2008). Recent group exhibitions include Art Parcours, Art Basel 41, Münster Cathedral, Basel; A Roll Of The Dice, Cristina Guerra, Lisbon; Drawing Time, Galeries Poirels, Frac Lorraine, Metz; High ideals and crazy dreams, Galerie Vera Munro, Hamburg; and Open light in private spaces, Biennale for international Light Art, Unna (all 2010); Universal Code, The Power Plant, Toronto; and Yellow and Green, MMK Frankfurt, Frankfurt (both 2009). Bulloch teaches at De Ateliers in Amsterdam.

PUBLICATION
Source Book 10: Angela Bulloch
ISBN: 978-94-91435-00-3

To accompany the exhibition, Witte de With Publishers will release Source Book 10: Angela Bulloch in March 2012. In addition to visual documentation of the exhibition, this publication will include critical texts by Nav Haq and John Miller as well as a script by Christine Lang and Christoph Dreher. It will also feature a special selection from Angela Bulloch’s Rules series under the title of “Rules of this Century.”

Source Book 10: Angela Bulloch is the 10th and final publication of Witte de With Publishers’ Source Book series, monographic publications providing an in-depth look into one artist’s practice.

Visit Witte de With’s online shop: www.wdw.nl/shop

Supported by: Goethe-Institut Niederlande, Botschaft der Bundesrepublik Deutschland Den Haag, and The Canada Council for the Arts.

People in audiences act: they talk, clap, heckle, sigh, inhale, exhale, rustle, twitch, tweet, dance, flirt, laugh, whisper, shuffle, cough… in doing so, they interact. There is a structure and dynamic to these responses which is central to the experience of being in a live audience. This workshop aims to bring together researchers and professionals with interests in performance, interaction and technology who are working on understanding, instrumenting or experimenting with these dynamics, and the shifting ends of audience that they reveal.

We invite proposals for oral presentations, live demonstrations, installations and performance experiments that explore the nature of interaction in audiences. We especially welcome interventions, participatory formats and creative approaches to convening workshop sessions. Topics include but are not restricted to:

- the dynamics of collective and individual experiences of performance,
- the communicative organisation of audience-audience interaction,
- non-verbal interaction and emotional contagion,
- remote and co-present audience interactions,
- the phenomenology of audience interaction,
- changing historical and cultural understanding of the audience,
- technologies and methods for sensing audience dynamics,
- technologies and methods for enhancing and manipulating audience engagement.

The workshop will take place in the new Arts 2 building at Queen Mary University of London. Spaces include black box theatre, lecture theatre, foyer and breakout rooms. Specifications are available on
request.

Submission Format: A two page summary including: a 300 word abstract, methods and rationale for your work, a specification of format and any technical requirements. Document in PDF format submitted via email to: audience [at] qmedia.qmul.ac.uk

With the practices of art, science and technology increasingly converging, the concepts of origins and originality raise some of the most pressing questions in contemporary research, including issues of agency and accountability, hybridity and identity, intellectual property and oeuvre, intention and authority. These, and a constellation of related philosophical, economic, aesthetic, legislative and political concerns, are today subject to rapid reconfiguration due to the current pace of technological and theoretical change. Second Nature accordingly brings into a productive, interdisciplinary dialogue scholars working at the intersections of art, science and technology. Contributions explore how technologies of reproduction alter the meaning of concepts such as origin and originality, and how the borders between what we think of as “authentic” and “fake,” “natural” and “artificial,” are under constant negotiation and transformation. 
Interdisciplinary – and transdisciplinary – research demands rethinking our existing discursive and methodological orthodoxies. Second Nature arrives as a timely response, illuminating contemporary debates concerning digital and biological reproduction, nature and technology, art and authenticity, criticality and hybridity.


We are pleased to announce the third Leonardo satellite symposium at NetSci2012 on Arts, Humanities, and Complex Networks. The aim of the symposium is to foster cross-disciplinary research on complex systems within or with the help of arts and humanities.

The symposium will highlight arts and humanities as an interesting source of data, where the combined experience of arts, humanities research, and natural science makes a huge difference in overcoming the limitations of artificially segregated communities of practice. Furthermore, the symposium will focus on striking examples, where artists and humanities researchers make an impact within the natural sciences. By bringing together network scientists and specialists from the arts and humanities we strive for a better understanding of networks and their visualizations in general.

The overall mission is to bring together pioneer work, leveraging previously unused potential by developing the right questions, methods, and tools, as well as dealing with problems of information accuracy and incompleteness. Running parallel to the NetSci2012 conference, the symposium will also provide a unique opportunity to mingle with leading researchers and practitioners of complex network science, potentially sparking fruitful collaborations.

In addition to keynotes and interdisciplinary discussion, we are looking for a number of contributed talks. Selected papers will be published in print in a Special Section of Leonardo Journal (MIT Press), as well as online in Leonardo Transactions.

For previous edition papers and video presentations please visit the following URLs:
- 2010 URL: http://artshumanities.netsci2010.net
- 2011 URL: http://artshumanities.netsci2011.net

Confirmed keynote speakers:
- Burak Arikan, Artist based in New York and Istanbul:
- Pedro Cano, Chief Technology Officer, bmat.com:
- Miriah Meyer, Assistant Professor, University of Utah:

Organizing committee:

- Maximilian Schich, DFG Visiting Research Scientist, CCNR, Northeastern University, USA
- Roger Malina, Executive Editor at Leonardo Publications, France/USA
- Isabel Meirelles, Associate Professor, Dept. of Art + Design, Northeastern University, USA
- Cristián Huepe, Visiting Scholar, Applied Math Department, Northwestern University, USA

Possible subjects include:

- Contemporary art and network science;
- Cultural analytics, culturomics, and high throughput approaches;
- Cultural exchange and trade networks (from the Neolithic to modern supply chains);
- Emergence and evolution of canon in art, music, literature and film;
- Evolution of communities of practice in art and science;
- History and theory of network visualization;
- Networks in architecture and urban planning (from Ekistics to Reality Mining);
- Network structure and dynamics in art, music, literature, and film;
- Taxonomy and evolutionary models in art and science.

Submissions:

We are looking for eight 15 minute contributions covering a large territory around arts, humanities and complex networks. Abstracts should not exceed 300 words and include one relevant URL. You are also
requested to upload your most awesome figure in jpg format. You have the opportunity to post your submission using the EasyChair system at https://www.easychair.org/conferences/?conf=ahcnnetsci2012

Important dates:

The deadline for applications is March 16, 2012.
Decisions for acceptance will be sent out by March 30, 2012.

The symposium will take place at Northwestern University near Chicago, IL on the shores of Lake Michigan on June 19, 2012.

Attendance:

Attendance to our symposium is free of charge. As space is limited, we require registration. We encourage everyone to also register for the main NetSci2012 conference. NetSci2012 attendees can register directly during main conference registration. For the NetSci2012 registration fee and deadline please see here.

In addition we will give out a limited number of free tickets via Eventbrite. Tickets will be given out in a first come, first serve basis as soon as possible. Free Eventbrite tickets will become available at http://ahcn2012.eventbrite.com. The Evenbrite waitlist is open.

In case of questions, please drop us a mail at artshumanities.netsci [at] gmail.com.

The International School and Conference on Network Science (NetSci2012) will bring together leading researchers and practitioners in network science - analysts, modeling experts, and visualization specialists with graduate students from many different research areas for interdisciplinary communication and collaboration. The conference focuses on novel directions in networks research within the biological and environmental sciences, computer and information sciences, social sciences, finance and business.

NetSci 2012 will take place in June 18-22, 2012 at Northwestern University near Chicago, IL on the shores of Lake Michigan and hosted by NICO, the Northwestern Institute on Complex Systems.

Links:

Arts, Humanities, and Complex Networks at NetSci2012:
http://artshumanities.netsci2012.net
NetSci2012: http://www.netsci2012.net
The 2010 abstracts, papers and videos:
http://artshumanities.netsci2010.net
The 2011 abstracts, papers and videos:
http://artshumanities.netsci2011.net
BarabásiLab, Northeastern University, Boston: http://www.barabasilab.com
Dept. Art+Design, Northeastern University, Boston:
http://www.art.neu.edu
Leonardo/ISAST: http://www.leonardo.info
Leonardo/OLATS: http://www.olats.org
NICO: http://www.northwestern.edu/nico/

Contact: If you would like to be added to the list of interested people, please drop us an e-mail with the subject Please add me to the Arts, Humanities, and Complex Networks list at artshumanities.netsci [at] gmail.com. Alternatively you can follow us on Twitter.

Reference / Quellennachweis:
CFP: Arts, Humanities, and Complex Networks at NetSci2012. In:
H-ArtHist, Dec 16, 2011. http://arthist.net/archive/2408.

shut up and listen! (SUAL) 2011 provides a stage for artists from the so-called ‘Near East’, some of whom found a second (maybe temporary) home in Austria or other European countries. The festival’s title Near West implies a change of perspective regarding the – sometimes utopian - proximity to the ‘Fortress Europe’. SUAL 2011 strives to present exceptional artistic positions in the realms of music, sound art, as well as related artistic categories. Far beyond political demarcation lines, a geographic region is explored by artistic criteria, individual idiosyncrasies are highlighted, individual collaborations encouraged. The scope of SUAL 2011 ranges from contemporary instrumental compositions free improvisation, electroacoustic electronic music, and world music, to artistic creations within the domains of documentary film and media art. Additional activities include a panel discussion, a lecture about traditional Arabic music, and a composition contest in collaboration with Austrian and international music institutions.

Produced by sp ce – Platform for Music, Art and Intermedia.
Curators: Belma Bešlić-Gál and Bernhard Gál

We have just finished two and a half glorious days at the University of Michigan. Soon we at HASTAC Central will write a formal thank you blog to all the incredible planners, organizers, and participants of our fifth HASTAC Conference, Digital Scholarly Communications, sponsored by the University of Michigan Institute for the Humanities, the Mellon Foundation, and the Kidder Residency in the Arts, and led by two of our HASTAC Steering Committee members, Danny Herwitz and Julie Thompson Klein. And many others. Incredible event.Incredible people.

Now some overview thinking, not just about the #hastac2011 but about what it all means at this point in HASTAC’s history:

In 2002, David Theo Goldberg and I left a formal meeting of humanists who were determined “to take a stand against technology” because we knew that kind of stand would be the death of humanism and the impoverishment of whatever is meant by “technology.” That luddite stance also didn’t jive with the multidisciplinary passions of the students we were seeing in our classrooms and the brilliant colleagues we knew in so many different fields who understood the revolutionary implications of new forms of interactive communication and interaction. In 2003, we gathered our first groups of scholars, at UCHRI, at NSF, and then at Stanford and Duke, and among our founding principles was the idea that we could take the practices and principles of open web developers, the collaborative methods through which the World Wide Web was created, and explore the ways that those principles and methods could transform higher education.

Some basic other parts of this include these aims: to rebalance intelligence for the interactive digital age with emphasis on collaboration, on interdisciplinary crosstalk (“collaboration by difference”); by remelding the two cultures of arts, humanities and social sciences on one side and technology and natural and computational sciences on the other; by erasing the distinction between theory and practice, thinking and making; to think about all research as public (in process as well as in final product) and shared and sharable; to use historical perspective and the archive to substitute either “techno-utopianism” or “techno-apocalypse” with “technopragmatism” and “technorealism” based on hands’ on practice not punditry (most punditry is based on what I call the “baseline of nostalgia” — an imagined past from which declension can be measured); to meld research with teaching, and teaching with perpetual learning; to re-examine pedagogy; to challenge contemporary modes of assessment; and to realize that professional seniority often does mean privilege but does not necessarily mean excellence.

That is why HASTAC is largely a network of networks, why membership simply requires signing into the website, and why we work very hard to instill the idea of productive creativity moving forward rather than critique of one another’s foibles as the best basis for the “critical thinking” that we all prize. From the beginning our three areas have been new media (building it, using it, modding it, thinking about it), critical thinking, and participatory learning. I personally do not believe you can have participator, connected interactive learning without a generous view of critical thinking, where one learns from mistakes — one does not strive to humiliate others for making them. To me, a practice based on flaming others for their failures is inherently conservative. It means that you set your own bar only at “higher than that last stupid guy’s bar” and that, to my mind, is way too low.

Here’s another part of that: calculated optimism. That is, if everything around you is a disaster, if the future only looks bleak, if there seems to be some devolution from some (mythical) past that was free of problems, easier, where everyone who went before you had a “pass,” made it in a simple way whereas you have to deal with catastrophe at every turn, then, well, why bother? The past is never as simple or easy as we think it was — either through imagination or memory. The baseline of nostalgia is more like quicksand … we get stuck there, unable to move. It is self-defeating and self-undermining. (NB: if you are a theorist and haven’t read Lauren Berlant’s Cruel Optimism, you should!)

I am very happy to say that, in paper after paper at HASTAC2011, I saw productive, collaborative, process-oriented, creative, imaginative, interdisciplinary, engaged, and critically optimistic thinking that began with its own goals and ideals as the high bar and didn’t waste a lot of time yapping about what some other random strawperson had done badly. The critical thinking was turned towards one’s own project, how to make it better, rich, full, and, well, critical.

I was mulling these thoughts when I went to Josh Greenberg’s excellent talk “Data, Code, and Research at Scale.” I’m going to take some of the basic insights from that talk and apply them to general and personal observations from my experience at #HASTAC2011. In this endeavor I am aided by the public notetaking of HASTAC Scholar Karen Petruska, from Georgia State, whose notes for all the keynotes are on the HASTAC site and are just brilliant. I have used hers to supplement my own. You can find them here. Some HASTAC Principles Going Forward (inspired by Josh’s talk and, needless to say, my own Now You See It ideas about how we got here and where we need to be going):

(1) Learning/research as Macroscope: “Telescopes let you see far, microscopes let you see small, now we are talking about a macroscope — that let’s you see big and complex.” One of HASTAC’s founding ideas is that, if individual achievement in highly specialized research on even more specialized topics as credentialed by a hierarchy of institutions is key to the Industrial Age project of task-oriented, quantifiable, measurable productivity, then what is key to our age? Learning as Macroscope is a good metaphor for the post-1993 Internet-inspired Information Age project of collaborative, self-publishable, collectively editable thinking that aims at thinking big and complex and developing better tools for that job. Over and over at #hastac2011 I heard talks that were doing exactly that.

(2) Code is Never Finished. Josh asked, “what if scholarship worked like code?” In code, there is version control, you release an idea time stamped and you can go back and revise it later. Code is always evolving. The whole point of the HTML that Tim Berners-Lee evolved for writing the World Wide Web is that it was open and anyone could contribute, including those he had never met whose credentials were unknown or located in their skill, not in their certification or degrees or reputations. A system grants its terms of access and anyone who meets that standard can then contribute. But everything you contribute has attribution, and what you contribute becomes your reputation — and your gateway to continued participation or denial of access. Version control: that means, in part, that if an editor is doing something that impedes the improving of the code, he or she might not be invited to edit in the future. In a loose way, that is exactly how we have structured HASTAC membership. You cannot contribute to the network, to the www.hastac.org website, without signing in, but once you sign in you can contribute as you wish, as long as you realize your contribution has attribution. You are responsible to the participatory community’s flourishing by your contribution. Trust is a key component of open web development, attribution is part of that trust.

(3) Ability to tell stories with data. In every field I know right now, the ability to make narratives, to tell stories of the massive amounts of data we now have access to is absolutely key. Collaboration by difference should be sending social scientists, computational scientists, and natural scientists into massive collaboration with humanists and artists right now — and vice versa — because it is almost impossible to be brilliant at story telling and brilliant at data mining all on your own. Macroscopic research is almost always collaborative and cross disciplinary because, despite our highly successful lifelong training as academics in, for, and by Industrial Age timed, item-response testing, reaching beyond those restrictive modes is the only way to succeed in the world we live in now. The ability to tell stories with data requires understanding where, how, why, and when that data is generated, to what purpose, and by what means. Very #hastac2011.

(4) Forking. In writing code together, sometimes there are crucial and key disagreements. You come to a fork in the code and one participant wants to go one way, one another. Forking allows you to mark the place of disagreement and get past it. You agree to follow one fork. If it isn’t working, if it isn’t giving you the macroscopic view, you can then go back to the fork, and try to pursue the other path. What is great about this method in open web development, is returning to the fork, having pursued the other one, almost always means that you disagree with your original position, and now pursue the opposite form but in a way that has been transformed by having followed the other path for a time. We do not have a built-in practice — yet — of forking scholarly discourse, but, in the many papers I heard, I was seeing this open web practice incorporated as an intellectual, collaborative practice.

(5) Building Better Tools Together. As Josh said, we do not yet have forms of scholarly communication that allow us to express collaborative differences and the divergent, forked modes of working out disagreement and profiting from it. We need better modes. Having written The Future of Thinking on an open Comment Press platform and having worked to create a potential Master’s in Knowledge Network on that platform, I am all to aware of its clumsy, frustrating, difficult, and clunky affordances — yet it is also helpful because it does allow line by line annotation by others without changing the original tesk and attribution is part of contribution. But we need better tools to serve our goals.

For now, #hastac2011 was the best possible “tool” for all these goals. I leave for the airport now, returning back to Durham, energized, inspired, grateful, engaged, and, well, fired up and ready to go again. THANK YOU ALL FOR YOUR PARTICIPATION AND CONTRIBUTION.

And next time, Toronto: I can’t wait. Our first international conference. Hosted by Caitlin Fisher (York) and Maureen Engel (Alberta). It is going to be awesome. I can’t wait for our reunion, can’t wait to see you all there, and to meet others new to our HASTAC network. Sixteen months from now, in Toronto, April 25-28, 2013, HASTAC’s 10th Anniversary Celebration.

The Live Art Almanac Volume 3 will draw together all kinds of writing about and around Live Art, and aims to be both a useful resource and a great read for artists, writers, students and others interested in the field of interdisciplinary, performance-based art.

The Live Art Almanac Volume 3 is a not-for-profit publication, produced and published by the Live Art Development Agency (London, UK) in partnership with Live Art UK, Performance Space 122 (New York, USA), Performance Space (Sydney, Australia), La Pocha Nostra (San Francisco, USA), and Maska (Ljubljana, Slovenia).

The first Live Art Almanac was published in the UK by the Agency in partnership with Live Art UK in 2008. Live Art Almanac Volume 2 (2011) was an international partnership between the Agency, Live Art UK, Performance Space 122, and Performance Space - organisations committed to the development of Live Art and contemporary performance in the UK, USA and Australia.

VOLUME 3

For The Live Art Almanac Volume 3 we want to widen the international framework further to reflect the dynamic, international contexts in which Live Art and radical performance-based practices are happening and represent a broader range of writings from around the world. To help us do this we are collaborating for the first time with Maska in Slovenia, and La Pocha Nostra with their extensive networks across Latin America, North America, Southern Europe, and Australasia. We also have the additional promotional support of our international Associates Asia Art Archive (Hong Kong), ArteEast (New York/Middle East) and Ashkal Alwan (Beirut) to help spread the word.

The Live Art Almanac Volume 3 will be published in English. Ideally, non-English language recommendations will be translated at source prior to submission. In exceptional cases however the publishers may be able to make a small budget available for translation.

SUBMISSIONS WANTED

We are seeking recommendations for material to include in The Live Art Almanac Volume 3. What articles or reviews have you read, what new stories have you spotted, what emails did you receive or forward to a friend, what blogs have you visited, what texts crossed your path? Did they engage you, provoke you, amuse you, or make you rethink Live Art and radical performance? If it caught your eye and had something interesting to say then we want to know about it.

We welcome all kinds of submissions for The Live Art Almanac Volume 3 - from more traditional forms such as journal essays, newspaper reviews, transcribed interviews, symposium papers, public lectures or book chapters, to digital forms such as blog entries, Facebook pages and Twitter conversations, to even less conventional forms of “publishing” such as emails, diary entries, and letters. The submission must be engaging, provocative, and thoughtful writing on and around the contemporary cultural landscape in which Live Art practice sits and must shed light on the various debates and ideas in circulation within that landscape.

Your recommendation or submission can be from any source between January 2010 to December 2011. We will prioritise material that has been published or distributed between these dates but we will also consider new writing not yet published or distributed. You may submit your own writing but we really want you to tell us about interesting material you have read. Contributions may be any length up to 5,000 words.

The publication is produced as a print-on-demand initiative with text only and no images. The Live Art Almanac is sold at cost price (ie the price it costs to manufacture and distribute the publication) and we are therefore not able to offer fees for contributions.

The content of The Live Art Almanac Volume 3 will be selected by an editorial panel made up of representatives of: Live Art Development Agency, Performance Space 122, Performance Space, La Pocha Nostra, and Maska. Permission will be sought from all authors and publishers before publication. The Live Art Almanac Volume 3 will be published late 2012.

WHAT IS LIVE ART?

Please look at the following link for more information. We are conscious that the term “Live Art” is not necessarily used or understood consistently across different international contexts. We are also aware that the live, performative and experiential artistic practices that we are interested in, and the writing about and around that work, may struggle for recognition. We therefore strongly encourage responses to this Call that highlight underrepresented artists, projects and related issues.

HOW TO SUBMIT MATERIAL

To submit a recommendation or to directly submit material email: contact [at] thisisLiveArt.co.uk

To make a submission or recommendation, include the following information in your email:

• title
• author
• where published
• publication date
• a short statement as to why you consider the recommendation to be appropriate for the Live Art Almanac

If possible, include an electronic version of the text, ideally in Word or other word processing format. It would also be useful for us to know how you found out about the Live Art Almanac.

Email your recommendations to contact [at] thisisLiveArt.co.uk with ‘Almanac’ in the subject line. We must receive your recommendation or submission no later than 31 January 2012 for consideration for inclusion in The Live Art Almanac Volume 3.

The Live Art Almanacs Volumes 1 and 2 are available to purchase from Unbound.

Useful links for further information:

Live Art UK www.liveartuk.org
Performance Space 122 www.ps122.org
Performance Space www.performancespace.com.au
La Pocha Nostra http://www.pochanostra.com/
Maska www.maska.si
Asia Art Archive http://www.aaa.org.hk
ArteEast http://www.arteeast.org
Ashkal Alwan http://www.ashkalalwan.org
Unbound www.thisUnbound.co.uk

We have always regaled ourselves with speculative stories of a day yet to come. In these polemic visions we furnish the fictional spaces of tomorrow with objects and ideas that at the same time chronicle the contradictions, inconsistencies, flaws and frailties of the everyday. Slipping suggestively between the real and the imagined these narratives offer a distanced view from which to survey the consequences of various social, environmental and technological scenarios.

Wonder Stories chronicles such tales in a sci fi storytelling jam with musical interludes, live demonstrations and illustrious speakers from the fields of science, art and technology presenting their visions of the near future. Join our ensemble of mad scientists, literary astronauts, design mystics, graphic cowboys, mavericks, visionaries and luminaries for an evening of wondrous possibilities and dark cautionary tales.

For the first time, Wonder Stories will be simultaneously hosted in London and New York and Popular Science will join the Architectural Association and Studio X NYC in coordinating the event this year. Join us for the third event in the series as we chart a course from science fiction to science fact with talks, a hands on taxidermy workshop, animatronic guests, swarm robotics demonstrations, datascapes walking tour and live movie soundscapes.

LONDON EVENT

Hosted by
LIAM YOUNG (‘Tomorrows Thoughts Today’ and the AA’s ‘Unknown Fields Division’)
MATT JONES (‘BERG London’, Design technologists)

VINCENZO NATALI
Director of Splice, Cube, and forthcoming films based on J.G. Ballard’s High-Rise and Neuromancer by William Gibson

BRUCE STERLING
Scifi author and futurist

KEVIN SLAVIN
Game designer and spatial theorist

ANDY LOCKLEY
Academy Award-winning visual effects supervisor for Inception,compositing/2D supervisor for Batman Begins and Children of Men

PHILIP BEESLEY
Digital media artist and experimental architect

CHRISTIAN LORENZ SCHEURER
Concept artist and illustrator for video games and films such as The Matrix, Dark City, The Fifth Element, and Superman Returns

JULIAN BLEECKER
Designer, technologist, and researcher at the Near Future Laboratory

CHARLIE TUESDAY GATES
Taxidermy artist and sculptor, to lead a live taxidermy workshop

DR RODERICH GROSS AND THE ‘NATURAL ROBOTICS LAB’
Head of the Natural Robotics Lab at the University of Sheffield,to lead a live Swarm Robotics demonstration

GAVIN ROTHERY
Concept artist for Moon, directed by Duncan Jones

GUSTAV HOEGEN
Animatronics engineer for Hellboy, Clash of the Titans, and Ridley Scott’s forthcoming film Prometheus

SPOV
Motion graphics artists for Discovery Channel’s Future Weapons and Project Earth

ZELIG SOUND
Music, composition, and sound design for film and television

RADIOPHONIC
Throughout the day we will be accompanied by electronic tonalities from Radiophonic

NEW YORK EVENT

Hosted by
GEOFF MANAUGH (BLDGBLOG, STUDIO-X NYC)
NICOLA TWILLEY (EDIBLE GEOGRAPHY, STUDIO-X NYC)
POPULAR SCIENCE

BJARKE INGELS
Architect, WSJ Magazine 2011 architectural innovator of the year, and author of Yes Is More: An Archicomic on Architectural Evolution

NICHOLAS DE MONCHAUX
Architect and author of Spacesuit: Fashioning Apollo

HARI KUNZRU
Novelist and author of Gods Without Men and The Impressionist

JAMES FLEMING
Historian and author of Fixing The Sky: The Checkered History of Weather and Climate Control

ANDREW BLUM
Journalist and author of Tubes: A Journey to the Center of the Internet

DAVID BENJAMIN
Architect and co-director of The Living

MARC KAUFMAN
Science writer and author of First Contact: Scientific Breakthroughs in the Hunt for Life Beyond Earth

DEBBIE CHACHRA
Researcher and educator in biological materials and engineering design

JACE CLAYTON AND LINDSAY CUFF OF NETTLE
Nettle’s latest album, El Resplandor, is a speculative soundtrack for an unmade remake of The Shining, set in a luxury hotel in Dubai

CHRIS WOEBKEN
Interaction designer

SETH FLETCHER
Science writer and author of Bottled Lightning: Superbatteries, Electric Cars, and the New Lithium Economy

SIMONE FERRACINA
Architect and author of Organs Everywhere

DAVE GRACER
Insect agriculturalist at Small Stock Foods

HOD LIPSON
Researcher in evolutionary robotics and the future of 3D printing

ANDREW HESSEL
Science writer and open-source biologist, focusing on bacterial genomics

CARLOS OLGUIN
Designer at Autodesk Research working on the intersection of bio-nanotechnology and 3D visualization

[Image credit 'Inception' dir. Christopher Nolan]

The Guapamacátaro Interdisciplinary Residency in Art and Ecology is a site-based and community-oriented program for artists from different disciplines, scientists, educators and activists, aimed at fostering socially and ecologically-conscious cultural development in the area where the Guapamacátaro hacienda is located.

The program was founded in 2006 by Mexican artist and curator Alicia Marván, as an extension of her artistic practice. Its conceptual and artistic framework includes ecology in its broad sense, not limited to its common association with the preservation of the natural environment. All components of the local ecosystem (human, natural and artificial) and their relationship to each other are subject of inquiry, creativity and growth.

The Guapamacátaro hacienda was built in the late 1800’s and is located in the culturally rich Purepecha region in the state of Michocán, Mexico, an hour and a half from the city of Morelia and three and a half hours from Mexico City. Nearby towns include Maravatío, Tlalpujahua and El Oro. The facilities, set on rural farmland, include several studios, large common areas and ample outdoor space. Housing is made available on the grounds in single and double rooms. Click here for images.

Each year the residency takes place in Winter/Spring and lasts 3 weeks. Because of the relative inaccessibility of the place and a desired cohesiveness of the group, all participants are required to be there the whole time, arriving and departing on specific dates and times.

During their stay, participants use the hacienda grounds as a laboratory for the creative process and engaging with the local community in art, ecology and development practices. They are free to work whenever desired in the provided studios and anywhere in the property. Experimentation is encouraged as is discourse and collaboration. Daily group activities such as morning stretch and meditation, and occasional guided walks and fieldtrips to nearby towns and natural areas are often organized, depending on people’s interests.

Up to 10 people are selected from a mix of the following disciplines:

- Performing Arts (Music, Dance, Performance, Theater, Puppetry, etc)
- Visual Arts (Painting, Drawing, Mixed-Media, Photography, Film/Video, etc)
- Sculpture and Installation
- Design and Architecture
- Humanities and Social Sciences (Anthropology, Philosophy, Writing, etc)
- Natural Sciences (Ecology, Hydrology, Biology, Geology, etc)

The selection process is both by invitation and application. Participants are selected by the residency director in conjunction with the Advisory Board. Application is open to professionals (or students who demonstrate maturity) from all countries, cultural backgrounds and aesthetics.

Body, Space & Technology, now in its eleventh year of publication, is an on-line interdisciplinary, innovative refereed journal that welcomes submissions from all aspects of contemporary arts and new technologies. As well as articles, perspectives and reviews of books we are actively seeking reviews of performance and visual and sonic art. We would also like reports on related conferences, symposia and events.

The Journal supports interactive sound and visual media.

Deadline for Paper Proposals: October 25, 2011
Deadline for Finalised Material: November 25, 2011

Deadline for Perspective, Reviews and Performance Proposals: November 15, 2011
Deadline for Finalised Material: November 26, 2011

Publication January 2012

Send articles, perspectives, reviews, reports, visual artworks, sonic artworks and performances to
susan.broadhurst [at] brunel.ac.uk, barry.edwards [at] brunel.ac.uk