e-poltergeist

E-poltergeist takes over the user’s internet browser, automatically initiating Web searches without their permission. Web-based artwork which explores issues of user control when confronted with complex technological systems, questioning the limits of digital interactive arts as consensual reciprocal systems. e-poltergeist was a major web commission that marked an early stage of research in a larger enquiry by Craighead and Thomson into the relationship between live virtual data, global communications networks and instruction-based art, exploring how such systems can be re-contextualised within gallery environments. e-poltergeist presented the 'viewer' with a singular narrative by using live internet search-engine data that aimed to create a perpetual and virtually unstoppable cycle of search engine results, banner ads and moving windows as an interruption into the normal use of an internet browser. The work also addressed the ‘de-personalisation’ of internet use by sending a series of messages from the live search engine data that seemed to address the user directly: 'Is anyone there?'; 'Can anyone hear me?', 'Please help me!'; 'Nobody cares!' e-poltergeist makes a significant contribution to the taxonomy of new media art by dealing with the way that new media art can re-address notions of existing traditions in art such as appropriation and manipulation, instruction-based art and conceptual art. e-poltergeist was commissioned ($12,000) for 010101: Art in Technological Times, a landmark international exhibition presented by the San Francisco Museum of Modern Art, which bought together leading international practitioners working with emergent technologies, including Tatsuo Miyajima, Janet Cardiff, Brian Eno. Peer recognition of the project in the form of reviews include: Curating New Media. Gateshead: Baltic Centre for Contemporary Art. Cook, Sarah, Beryl Graham and Sarah Martin ISBN: 1093655064; The Wire; http://www.wired.com/culture/lifestyle/news/2000/12/40464 (review by Reena Jana); Leonardo (review Barbara Lee Williams and Sonya Rapoport) http://www.leonardo.info/reviews/feb2001/ex_010101_willrapop.html All the work is developed jointly and equally between Craighead and her collaborator, Jon Thomson, Slade School of Fine Art.

Modular Form as a Curatorial Practice

This article discusses a curatorial approach to authorship as a model for thinking about what I describe as an iterative modular poem, a poetic text composed of appropriated segments. As a response to contemporary proliferation of literary and artistic works created by iterative means, i.e. through acts of appropriation, remixing and remediation, the article is an attempt at putting forward ‘the curatorial’ as an emerging paradigm of writing for the twenty-first century. The article approaches established paradigms of authorship, creativity and originality as inadequate with respect to contemporary experimental poetic practices to suggest a shift from creating to collecting and curating as a possible alternative model for thinking about instances of iterative creative writing. The argument focuses on Robert Fitterman’s Holocaust Museum (2011) as an example of an iterative modular poem and a text emblematic of such curatorial approach to authorship.

Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums

Contém artigos apresentados na International Conference “Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums”, na Fundação Calouste Gulbenkian (Lisboa), 31 Outubro - 1 de Novembro de 2014) de: Helena Barranha e Susana S. Martins - Introduction: Art, Museums and Uncertainty (pp.1-12); Alexandra Bounia e Eleni Myrivili - Beyond the ‘Virtual’: Intangible Museographies and Collaborative Museum Experiences (pp.15-32); Annet Dekker - Curating in Progress. Moving Between Objects and Processes (pp.33-54); Giselle Beiguelman - Corrupted Memories. The aesthetics of Digital Ruins and the Museum of the Unfinished (pp.55-82); Andrew Vaas Brooks - The Planetary Datalinks (pp.85-110); Sören Meschede - Curators’ Network: Creating a Promotional Database for Contemporary Visual Arts (pp.11-130); Stefanie Kogler - Divergent Histories and Digital Archives of Latin American and Latino Art in the United States – Old Problems in New Digital Formats (pp.131-156); Luise Reitstätter e Florian Bettel - Right to the City! Right to the Museum!(pp.159-182); Roberto Terracciano - On Geo-poetic systems: virtual interventions inside and outside the museum space (pp.183-210); e, Catarina Carneiro de Sousa e Luís Eustáquio - Art Practice in Collaborative Virtual Environments (pp.211-240).

Rethinking 'Inside the Visible'

This essay appears in the first book to examine feminist curatorship in the last 40 years. It undertakes an extended reading of Cathy de Zegher's influential exhibition, Inside the Visible, An Elliptical Traverse of 20th Century Art. In, of and From the Feminine (1995) which proposed that modern art should be understood through cyclical shifts involving the constant reinvention of artistic method and identified four key moments in 20th century history to structure its project. The essay analyses Inside the Visible's concept of an elliptical traverse to raise questions about repetitions and recurrences in feminist exhibitions of the early 1980s, the mid 1990s and 2007 asking whether and in what ways questions of feminist curating have been continuously repeated and reinvented. The essay argues that Inside the Visible was a key project in second wave feminism and exemplified debates about women's time, first theorised by Julia Kristeva. It concludes, however, that 'women's time' has had its moment, and new conceptions of feminism and its history are needed if feminist curating is not endlessly to recycle its past. The essay informs a wider collaborative project on the sexual politics of violence, feminism and contemporary art, in collaboration with Edinburgh and one of the editors of this collection.

Civic geographies of architectural enthusiasm

In this short intervention, we introduce the display and walking tour that formed our contribution to the ‘civic geographies’ exhibition and session at the Royal Geographical Society (with IBG) Annual Conference in July 2012. We then move on to explore the notion of ‘civic geographies’ in relation to the architectural enthusiasm, specifically a strong emotional attachment to buildings, exhibited by members of The Twentieth Century Society. In doing so, we suggest that a more critical account of the role of enthusiasm in the civic realm is required for two important reasons: first, because such groups can be understood to be doing geography beyond the academy in the civic realm; and second, because enthusiast knowledges and practices are active in the (re)constitution of civic landscapes of various kinds. Enthusiasts participate in caring for buildings, preserving heritage, making community spaces, as well as creating and curating local histories. An understanding of who is participating in making these civic geographies, why, how, and with what consequences, is therefore crucial.

Nanoinformatics approaches for information extraction and text mining in nanomedical research texts

La nanotecnología es un área de investigación de reciente creación que trata con la manipulación y el control de la materia con dimensiones comprendidas entre 1 y 100 nanómetros. A escala nanométrica, los materiales exhiben fenómenos físicos, químicos y biológicos singulares, muy distintos a los que manifiestan a escala convencional. En medicina, los compuestos miniaturizados a nanoescala y los materiales nanoestructurados ofrecen una mayor eficacia con respecto a las formulaciones químicas tradicionales, así como una mejora en la focalización del medicamento hacia la diana terapéutica, revelando así nuevas propiedades diagnósticas y terapéuticas. A su vez, la complejidad de la información a nivel nano es mucho mayor que en los niveles biológicos convencionales (desde el nivel de población hasta el nivel de célula) y, por tanto, cualquier flujo de trabajo en nanomedicina requiere, de forma inherente, estrategias de gestión de información avanzadas. Desafortunadamente, la informática biomédica todavía no ha proporcionado el marco de trabajo que permita lidiar con estos retos de la información a nivel nano, ni ha adaptado sus métodos y herramientas a este nuevo campo de investigación. En este contexto, la nueva área de la nanoinformática pretende detectar y establecer los vínculos existentes entre la medicina, la nanotecnología y la informática, fomentando así la aplicación de métodos computacionales para resolver las cuestiones y problemas que surgen con la información en la amplia intersección entre la biomedicina y la nanotecnología. Las observaciones expuestas previamente determinan el contexto de esta tesis doctoral, la cual se centra en analizar el dominio de la nanomedicina en profundidad, así como en el desarrollo de estrategias y herramientas para establecer correspondencias entre las distintas disciplinas, fuentes de datos, recursos computacionales y técnicas orientadas a la extracción de información y la minería de textos, con el objetivo final de hacer uso de los datos nanomédicos disponibles. El autor analiza, a través de casos reales, alguna de las tareas de investigación en nanomedicina que requieren o que pueden beneficiarse del uso de métodos y herramientas nanoinformáticas, ilustrando de esta forma los inconvenientes y limitaciones actuales de los enfoques de informática biomédica a la hora de tratar con datos pertenecientes al dominio nanomédico. Se discuten tres escenarios diferentes como ejemplos de actividades que los investigadores realizan mientras llevan a cabo su investigación, comparando los contextos biomédico y nanomédico: i) búsqueda en la Web de fuentes de datos y recursos computacionales que den soporte a su investigación; ii) búsqueda en la literatura científica de resultados experimentales y publicaciones relacionadas con su investigación; iii) búsqueda en registros de ensayos clínicos de resultados clínicos relacionados con su investigación. El desarrollo de estas actividades requiere el uso de herramientas y servicios informáticos, como exploradores Web, bases de datos de referencias bibliográficas indexando la literatura biomédica y registros online de ensayos clínicos, respectivamente. Para cada escenario, este documento proporciona un análisis detallado de los posibles obstáculos que pueden dificultar el desarrollo y el resultado de las diferentes tareas de investigación en cada uno de los dos campos citados (biomedicina y nanomedicina), poniendo especial énfasis en los retos existentes en la investigación nanomédica, campo en el que se han detectado las mayores dificultades. El autor ilustra cómo la aplicación de metodologías provenientes de la informática biomédica a estos escenarios resulta efectiva en el dominio biomédico, mientras que dichas metodologías presentan serias limitaciones cuando son aplicadas al contexto nanomédico. Para abordar dichas limitaciones, el autor propone un enfoque nanoinformático, original, diseñado específicamente para tratar con las características especiales que la información presenta a nivel nano. El enfoque consiste en un análisis en profundidad de la literatura científica y de los registros de ensayos clínicos disponibles para extraer información relevante sobre experimentos y resultados en nanomedicina —patrones textuales, vocabulario en común, descriptores de experimentos, parámetros de caracterización, etc.—, seguido del desarrollo de mecanismos para estructurar y analizar dicha información automáticamente. Este análisis concluye con la generación de un modelo de datos de referencia (gold standard) —un conjunto de datos de entrenamiento y de test anotados manualmente—, el cual ha sido aplicado a la clasificación de registros de ensayos clínicos, permitiendo distinguir automáticamente los estudios centrados en nanodrogas y nanodispositivos de aquellos enfocados a testear productos farmacéuticos tradicionales. El presente trabajo pretende proporcionar los métodos necesarios para organizar, depurar, filtrar y validar parte de los datos nanomédicos existentes en la actualidad a una escala adecuada para la toma de decisiones. Análisis similares para otras tareas de investigación en nanomedicina ayudarían a detectar qué recursos nanoinformáticos se requieren para cumplir los objetivos actuales en el área, así como a generar conjunto de datos de referencia, estructurados y densos en información, a partir de literatura y otros fuentes no estructuradas para poder aplicar nuevos algoritmos e inferir nueva información de valor para la investigación en nanomedicina. ABSTRACT Nanotechnology is a research area of recent development that deals with the manipulation and control of matter with dimensions ranging from 1 to 100 nanometers. At the nanoscale, materials exhibit singular physical, chemical and biological phenomena, very different from those manifested at the conventional scale. In medicine, nanosized compounds and nanostructured materials offer improved drug targeting and efficacy with respect to traditional formulations, and reveal novel diagnostic and therapeutic properties. Nevertheless, the complexity of information at the nano level is much higher than the complexity at the conventional biological levels (from populations to the cell). Thus, any nanomedical research workflow inherently demands advanced information management. Unfortunately, Biomedical Informatics (BMI) has not yet provided the necessary framework to deal with such information challenges, nor adapted its methods and tools to the new research field. In this context, the novel area of nanoinformatics aims to build new bridges between medicine, nanotechnology and informatics, allowing the application of computational methods to solve informational issues at the wide intersection between biomedicine and nanotechnology. The above observations determine the context of this doctoral dissertation, which is focused on analyzing the nanomedical domain in-depth, and developing nanoinformatics strategies and tools to map across disciplines, data sources, computational resources, and information extraction and text mining techniques, for leveraging available nanomedical data. The author analyzes, through real-life case studies, some research tasks in nanomedicine that would require or could benefit from the use of nanoinformatics methods and tools, illustrating present drawbacks and limitations of BMI approaches to deal with data belonging to the nanomedical domain. Three different scenarios, comparing both the biomedical and nanomedical contexts, are discussed as examples of activities that researchers would perform while conducting their research: i) searching over the Web for data sources and computational resources supporting their research; ii) searching the literature for experimental results and publications related to their research, and iii) searching clinical trial registries for clinical results related to their research. The development of these activities will depend on the use of informatics tools and services, such as web browsers, databases of citations and abstracts indexing the biomedical literature, and web-based clinical trial registries, respectively. For each scenario, this document provides a detailed analysis of the potential information barriers that could hamper the successful development of the different research tasks in both fields (biomedicine and nanomedicine), emphasizing the existing challenges for nanomedical research —where the major barriers have been found. The author illustrates how the application of BMI methodologies to these scenarios can be proven successful in the biomedical domain, whilst these methodologies present severe limitations when applied to the nanomedical context. To address such limitations, the author proposes an original nanoinformatics approach specifically designed to deal with the special characteristics of information at the nano level. This approach consists of an in-depth analysis of the scientific literature and available clinical trial registries to extract relevant information about experiments and results in nanomedicine —textual patterns, common vocabulary, experiment descriptors, characterization parameters, etc.—, followed by the development of mechanisms to automatically structure and analyze this information. This analysis resulted in the generation of a gold standard —a manually annotated training or reference set—, which was applied to the automatic classification of clinical trial summaries, distinguishing studies focused on nanodrugs and nanodevices from those aimed at testing traditional pharmaceuticals. The present work aims to provide the necessary methods for organizing, curating and validating existing nanomedical data on a scale suitable for decision-making. Similar analysis for different nanomedical research tasks would help to detect which nanoinformatics resources are required to meet current goals in the field, as well as to generate densely populated and machine-interpretable reference datasets from the literature and other unstructured sources for further testing novel algorithms and inferring new valuable information for nanomedicine.

Cajas de luz. Pintura y arquitectura

Sorolla participó más que activamente en la construcción de su casa-jardín. Lo curioso es que de su estudio no exista trabajo de su mano. Dos metáforas como Cajas de Luz guían el descubrimiento de este espacio junto al contexto histórico del pintor: la corriente plenairista y la aparición de la fotografía. El interés reside en la capacidad de otras disciplinas para generar arquitectura. Le Corbusier aparece como personaje más indicado para constatar esto. Al mismo tiempo –como caso práctico- el comisariado de una exposición reúne muchos de los temas aquí tratados y expone una manera personal de hacer arquitectura. Sorolla participated more actively in the construction of his home. The funny thing is that in their study there is no work of his own hand. Two metaphors like Light Boxes guide the discovery of this space by the historical context of the painter: the pleinairism current and the appearance of the photography. The interest lies in the ability of other disciplines to generate architecture. Le Corbusier appears more indicated to confirm this character. At the same time, as if practical-curating an exhibition brings together many of the topics addressed and sets a personal way of making architecture.

La ciudad editada: de Las Vegas a Nueva York (1972-1978): Venturi / Scott Brown / Koolhaas

Si hubiese un denominador común entre todas las artes en lo que ha venido llamándose postmodernidad, éste tendría mucho que ver con el final del origen de la obra. Desde la literatura y la música hasta las artes plásticas y la arquitectura, la superación de la modernidad ha estado caracterizada por la sustitución del concepto de creación por el de intervención artística, o lo que es lo mismo, la interpretación de lo que ya existe. A principios del siglo XX los conceptos modernos de creación y origen implicaban tener que desaprender y olvidar todo lo anterior con el ánimo de partir desde cero; incluso en un sentido material Mies sugería la construcción literal de la materia y su movimiento de acuerdo a unas leyes. A partir de la segunda mitad de siglo los planteamientos historicistas empezaron a surgir como reacción ante la amnesia y la supuesta originalidad de los modernos. En este contexto surgen los libros Learning from Las Vegas, 1972 y Delirious New York, 1978, ambos deudores en muchos aspectos con el anterior libro de Venturi, Complexity and Contradiction in Architecture, 1966. Estos dos libros sobre ciudades, alejándose decididamente de las tendencias historicistas de la época, proponían utilizar el análisis crítico de la realidad existente como vehículo para la teoría y el proyecto de manera simultánea, convirtiéndose indirectamente en Manifiestos. Si en un primer momento Venturi, Rossi y otros planteaban acabar con los límites formales establecidos por la modernidad, así como por cualquiera de los cánones anteriores, tomando la totalidad de la obra construida como sistema de referencia, - al igual que hiciera Eliot en literatura, - los libros de Las Vegas y Nueva York sugerían directamente borrar los límites de la propia disciplina, llegando a poner en duda ¿Qué puede ser considerado arquitectura? Sin embargo, debido precisamente a la ausencia total de límites y a la inmensidad del sistema referencial planteado, “todo puede ser arquitectura”, como apuntaba Hans Hollein en 1968, los libros proponen al mismo tiempo definir el campo de actuación de cada cual de manera individual. Los escritos sobre Las Vegas y Nueva York suponen por un lado la eliminación de los limites disciplinares y por otro, la delimitación de ámbitos de trabajo concretos para sus autores: los propios de cada una de las ciudades interpretadas. La primera parte de la Tesis, Lecciones, se ocupa del necesario proceso de aprendizaje y experimentación previo a la acción crítica propiamente dicha. Los arquitectos contemporáneos necesitan acumular material, conocimiento, documentación, experiencias... antes de lanzarse a proponer mediante la crítica y la edición; y al contrario que ocurría con los modernos, cuanto más abundante sea ese bagaje previo más rica será la interpretación. Las ciudades de Roma, Londres y Berlín se entienden por tanto como experiencias capaces de proporcionar a Venturi, Scott Brown y Koolhaas respectivamente, sus “personales diccionarios”, unas interminables imaginerías con las que posteriormente se enfrentarían a los análisis de Las Vegas y Nueva York. La segunda parte, Críticas, se centra en la producción teórica en sí: los dos libros de ciudades analizados en estrecha relación con el Complexity and Contradiction. El razonamiento analógico característico de estos libros ha servido de guía metodológica para la investigación, estableciéndose relaciones, no entre los propios escritos directamente, sino a través de trabajos pertenecientes a otras disciplinas. En primer lugar se plantea un importante paralelismo entre los métodos de análisis desarrollados en estos libros y los utilizados por la crítica literaria, observando que si el new criticism y el nuevo periodismo sirvieron de guía en los escritos de Venturi y Scott Brown, la nouvelle critique y su propuesta de identificación poética fueron el claro referente de Koolhaas al abordar Nueva York. Por otro lado, la relevancia ganada por la actividad de comisariado artístico y la aparición de la figura del curator, como autoridad capaz de utilizar la obra de arte por encima de las intenciones de su propio autor, sirve, al igual que la figura del editor, como reflejo de la acción transformadora y de apropiación llevada a cabo tanto en Learning from Las Vegas, como en Delirious New York. Por último y a lo largo de toda la investigación las figuras de Bergson y Baudelaire han servido como apoyo teórico. A través de la utilización que de sus ideas hicieron Venturi y Koolhaas respectivamente, se ha tratado de mostrar la proximidad de ambos planteamientos desde un punto de vista ideológico. La Inclusión propuesta por Venturi y la ironía utilizada por Koolhaas, la contradicción y la paradoja, no son sino el reflejo de lógicas que en ambos casos reaccionan al mismo tiempo contra idealismo y materialismo, contra modernidad y antimodernidad, en un continuo intento de ser lo uno y lo otro simultáneamente. ABSTRACT If there was a common denominator among all the arts in what has been called postmodernism, it would have much to do with the end of the origin of the artwork. From literature and music to fine arts and architecture, overcoming modernity has been characterized by replacing the concept of artistic creation by the one of intervention, in other words, the interpretation of what already exists. In the early twentieth century modern concepts of creation and origin involved unlearning and forgetting everything before with the firm intention of starting from scratch. Even in a material sense Mies suggested the literal construction of matter and its motion according to laws. From the mid-century historicist approaches began to emerge in response to the amnesia and originality alleged by moderns. In this context appeared the books Learning from Las Vegas, 1972 and Delirious New York, 1978, both debtors in many respects to the previous book by Venturi, Complexity and Contradiction in Architecture, 1966. These two books on cities, which broke away decidedly with the historicist trends of the time, proposed using critical analysis of the existing reality as a vehicle for theory and projecting at the same time, indirectly becoming manifests. If at first Venturi, Rossi and others pose to erase the formal limits set by modernity, as well as any of the canons before, taking the entire work built as a reference system, - as did Eliot in literature - the books on Las Vegas and New York proposed directly erasing the boundaries of the discipline itself, coming to question what could be considered architecture? However, and precisely because of the absence of limits and the immensity of the established framework, - “everything could be architecture” as Hans Hollein pointed in 1968, - the books suggested at the same time the definition of a field of action for each one individually. The cities of Las Vegas and New York represented on the one hand the elimination of disciplinary limits and on the other, the delimitation of specific areas of work to its authors: Those on each of the cities interpreted. The first part of the thesis, Lessons, attend to the necessary process of learning and experimentation before the critical action itself. Contemporary architects need to accumulate material, knowledge, information, experiences... before proposing through criticism and editing; and unlike happened with moderns, the most abundant this prior baggage is, the richest will be the interpretation. Rome, London and Berlin are therefore understood as experiences capable of providing Venturi, Scott Brown and Koolhaas respectively, their “personal dictionaries”, interminable imageries with which they would later face the analysis of Las Vegas and New York. The second part, Critiques, focuses on the theoretical production itself: the two books on both cities analyzed closely with the Complexity and Contradiction. The analogical reasoning characteristic of these books has served as a methodological guide for the research, establishing relationships, not directly between the writings themselves, but through works belonging to other disciplines. First, an important parallel is set between the methods of analysis developed in these books and those used by literary criticism, noting that if the new criticism and new journalism guided Venturi and Scott Brown´s writings, the nouvelle critique and its poetic identification were clear references for Koolhaas when addressing New York. On the other hand, the relevance gained by curating and the understanding of the figure of the curator as an authority capable to use artworks above the intentions of their authors, like the one of the Editor, reflects the appropriation and processing actions carried out both in Learning from Las Vegas, and Delirious New York. Finally and over all the research Bergson and Baudelaire figures resonate continuously. Through the use of their ideas done by Venturi and Koolhaas respectively, the research has tried to show the proximity of both approaches from an ideological point of view. Inclusion, as posed by Venturi and irony, as used by Koolhaas, contradiction and paradox are reflections of the logic that in both cases allow them to react simultaneously against idealism and materialism, against modernism and anti-modernism.

Performing Pedagogies and Exploring Embodied Knowledge

Performing Pedagogies was a week-long performance and exhibition series I organized that took place in Kingston, Ontario between March 15th - March 20th 2016. The motivation for this project came from a desire to explore performative modes of experiencing critical, embodied knowledge. The series featured five performances, a long distance collaboration between thirty-one Queen’s undergraduate students and a Vancouver artist-run free school (The School for Eventual Vacancy), a subsequent exhibition, a panel discussion, and a radical performance pedagogy workshop led by co-artistic director of the international performance art troupe, La Pocha Nostra. Artists featured included Golboo Amani, Basil AlZeri, Caitlin Chaisson, Justin Langlois, Saul Garcia-Lopez, Francisco-Fernando Granados, and Andrew Rabyniuk. By curating examples of performance art that variously incorporated embodied pedagogical interventions, I examined the processes of performance as pedagogy. Performing Pedagogies explored interventions into contemporary contours of neoliberal education paradigms through embodied encounters—fostering conversations about the meanings and limitations of knowledge dissemination and education today and posing questions about possibilities for radical pedagogies, embodied knowledge, and counter curricula.

Performing Pedagogies and Exploring Embodied Knowledge as Curatorial Investigation

Performing Pedagogies was a week-long performance and exhibition series I organized that took place in Kingston, Ontario between March 15th - March 20th 2016. The motivation for this project came from a desire to explore performative modes of experiencing critical, embodied knowledge. The series featured five performances, a long distance collaboration between thirty-one Queen’s undergraduate students and a Vancouver artist-run free school (The School for Eventual Vacancy), a subsequent exhibition, a panel discussion, and a radical performance pedagogy workshop led by co-artistic director of the international performance art troupe, La Pocha Nostra. Artists featured included Golboo Amani, Basil AlZeri, Caitlin Chaisson, Justin Langlois, Saul Garcia-Lopez, Francisco-Fernando Granados, and Andrew Rabyniuk. By curating examples of performance art that variously incorporated embodied pedagogical interventions, I examined the processes of performance as pedagogy. Performing Pedagogies explored interventions into contemporary contours of neoliberal education paradigms through embodied encounters—fostering conversations about the meanings and limitations of knowledge dissemination and education today and posing questions about possibilities for radical pedagogies, embodied knowledge, and counter curricula.

(Re)Imagining Relationality: Brad Isaacs and The Map of the Empire

The exhibition, The Map of the Empire (30 March – 6 May, 2016), featured photography, video, and installation works by Toronto-based artist, Brad Isaacs (Mohawk | mixed heritage). The majority of the artworks within the exhibition were produced from the Canadian Museum of Nature’s research and collections facility (Gatineau, Québec). The Canadian Museum of Nature (CMN), is the national natural history museum of (what is now called) Canada, with its galleries located in Ottawa, Ontario. The exhibition was the first to open at the Centre for Indigenous Research Creation at Queen’s University under the supervision of Dr. Dylan Robinson. Through the installment of The Map of the Empire, Isaacs effectively claimed space on campus grounds – within the geopolitical space of Katarokwi | Kingston – and pushed back against settler colonial imaginings of natural history. The Map of the Empire explored the capacity of Brad’s artistic practice in challenging the general belief under which natural history museums operate: that the experience of collecting/witnessing/interacting with a deceased and curated more-than-human animal will increase conservation awareness and facilitate human care towards nature. The exhibition also featured original poetry by Cecily Nicholson, author of Triage (2011) and From the Poplars (2014), as a response to Brad’s artwork. I locate the work of The Map of the Empire within the broader context of curatorship as a political practice engaging with conceptual and actualized forms of slow violence, both inside of and beyond the museum space. By unmapping the structures of slow, showcased and archived violence within the natural history museum, we can begin to radically transform and reimagine our connections with more-than-humans and encourage these relations to be reciprocal rather than hyper-curated or preserved.

Sound Art and Public Engagement in the Built Environment: Reflections from an Architecture Center

This article explores the deployment of sound in architectural-curatorial and community engagement contexts through the work of PLACE, a multidisciplinary not-for-profit architecture center in Belfast, Northern Ireland. The author, who worked with PLACE and contributed to the projects discussed here, contextualizes architecture centers and their relationship with sound before examining the specific case of sound and sound art in Northern Ireland and case studies of projects delivered by PLACE. Specifically, the article evaluates two sound installation artworks and three community engagement projects for young audiences. As a means of curating urbanism and architecture, sound-art-as-public-art affords useful strategies to examine, describe or critique the environment as alternatives to traditional architecture exhibition formats. Sound’s temporality and materiality allow sound art works to exist as temporary sculptural interventions in the urban sphere, with attendant implications for public art procurement and urban acoustics. Rich territories of engagement are opened when using sound in a community participatory context.

Web-based museum trails on PDAs for university-level design students: Design and evaluation

This paper describes the development and evaluation of web-based museum trails for university-level design students to access on handheld devices in the Victoria and Albert Museum (V&A) in London. The trails offered students a range of ways of exploring the museum environment and collections, some encouraging students to interpret objects and museum spaces in lateral and imaginative ways, others more straightforwardly providing context and extra information. In a three-stage qualitative evaluation programme, student feedback showed that overall the trails enhanced students’ knowledge of, interest in, and closeness to the objects. However, the trails were only partially successful from a technological standpoint due to device and network problems. Broader findings suggest that technology has a key role to play in helping to maintain the museum as a learning space which complements that of universities as well as schools. This research informed my other work in visitor-constructed learning trails in museums, specifically in the theoretical approach to data analysis used, in the research design, and in informing ways to structure visitor experiences in museums. It resulted in a conference presentation, and more broadly informed my subsequent teaching practice.