14º Encontro Internacional de Arte e Tecnologia: #14.ART: arte e desenvolvimento humano

#14ART: Arte e Desenvolvimento Humano propõe-se discutir novos territórios para uma maior sustentabilidade, assim como debater futuras evoluções criativas. O evento procurará entrepor-se em zonas de contato entre domínios tradicionalmente separadas - a arte e a ciência, pesquisa acadêmica e práticas criativas independentes, politicas sustentáveis e engajamento social, para o século XXI. Pretende-se que a discussão se centre, sobretudo, sobre como explorar o potencial transformativo da arte na pós-média. Hoje, de acordo com vários pensadores - Rosalind Krauss, a Lev Manovich, Peter Weibel – estamos numa fase pós- média; não existe um só meio, nos nossos dias, que domine o discurso da pratica artística contemporânea no campo dos média, bem pelo contrário os média encontram-se, hoje, engajados no pensamento critico do discurso da contemporaneidade. Através dos eventos anteriores deste Encontro Internacional, ficou claro que a arte hoje - com as condições proporcionadas pelo discurso do pós-média - oferece um potencial muito mais inteligente e interessante elocução para as artes. No entanto, as qualidade simbólicas e estéticas, bem como o pensamento critico e os aspectos investigativos e de confronto teórico da “pré-média arte”, também se apresentam ser tão importantes para a “pós-media arte”, obrigando o discurso artístico a manter um fio condutor entre o físico (a obra) e o mental (conceito) - realidades e utopias.

Machinic Assemblages: Women, Art Education and Space.

In this paper I explore connections between women, art education and spatial relations drawing on the Deleuzo-Guattarian concept of machinic assemblage as a useful analytical tool for making sense of the heterogeneity and meshwork of life narratives and their social milieus. In focusing on Mary Bradish Titcomb, a fin-de-sie`cle Bostonian woman who lived and worked in the interface of education and art, moving in between differentiated series of social, cultural and geographical spaces, I challenge an image of narratives as unified and coherent representations of lives and subjects; at the same time I am pointing to their importance in opening up microsociological analyses of deterritorializations and lines of flight. What I argue is that an attention to space opens up paths for an analytics of becomings, and enables the theorization of open processes, multiplicities and nomadic subjectivities in the field of gender and education.

Exploring the Roles of Technology and Social Play in Art Museums

This co-written chapter was included in an edited book featuring invited authors from different countries and different areas of museum research and practice. The chapter uses a theory of play by Johan Huizinga (1938) to frame case studies of play-based interactive experiences in museums in various countries. The aim was to use theory to ground museum practice, in order to evaluate existing practical implementations as well as to inform the design of new ones. The book was nominated as one of the 10 best museum education books of 2011 by Museum Education Monitor, and the chapter led to a subsequent technology residency the author undertook in the Spike Island gallery, Bristol in 2012, funded by the National Endowment for Science, Technology and the Arts, Arts and Humanities Research Council and Arts Council England. It also informed his subsequent postgraduate teaching, an example of which is a recent MA project, which deconstructs play from a computational perspective. Collaborations have continued with the co-author, which have resulted in a number of invited lectures. In this chapter the authors explore play as a structure for supporting visitor learning, drawing from international research in museums and interaction design. Four aspects of play first proposed by Huizinga are explored – the free-choice aspect of play, play as distinct from real life, play as an ordering structure, and the role of play in bridging communities. The chapter argues that play provides museums with ready-made structures and concepts, which can help planning for visitor learning. The research was equally divided between the co-authors, who developed the conceptual and theoretical aspects of the article by drawing on their own research alongside key examples of museum design and digital media.

A World Drawn: An Introduction to the art of Julian Opie (for a Polish Audience)

Essay in a monograph associated with the exhibition Julian Opie: Sculptures, Paintings, Films at the Museum of Contemporary Art in Krakow, Poland, 18 October 2014 to 25 January 2015. Slyce attempts to re-examine the lineaments of Opie's practice for a new and broader audience. During which, he calls attention in the writing to the processes of its commissioning and early request to do so for a 'Polish audience'. He attempts to bring to light some of these often invisible moves in the commissioning of catalogue essays, while also re-examining Julian Opie's practice in light of its established reception in Britain.

Computing, Design, Art: Reflections on an Innovative Moment in History

The paper is concerned with the role of art and design in the history and philosophy of computing. It offers insights arising from research into a period in the 1960s and 70s, particularly in the UK, when computing became more available to artists and designers, focusing on John Lansdown (1929-1999) and Bruce Archer (1922-2005) in London. Models of computing interacted with conceptualisations of art, design and related creative activities in important ways.

Digital Debris of Internet Art: An Allegorical and Entropic Resistance to the Epistemology of Search

This Ph.D., by thesis, proposes a speculative lens to read Internet Art via the concept of digital debris. In order to do so, the research explores the idea of digital debris in Internet Art from 1993 to 2011 in a series of nine case studies. Here, digital debris are understood as words typed in search engines and which then disappear; bits of obsolete codes which are lingering on the Internet, abandoned website, broken links or pieces of ephemeral information circulating on the Internet and which are used as a material by practitioners. In this context, the thesis asks what are digital debris? The thesis argues that the digital debris of Internet Art represent an allegorical and entropic resistance to the what Art Historian David Joselit calls the Epistemology of Search. The ambition of the research is to develop a language in-between the agency of the artist and the autonomy of the algorithm, as a way of introducing Internet Art to a pluridisciplinary audience, hence the presence of the comparative studies unfolding throughout the thesis, between Internet Art and pionners in the recycling of waste in art, the use of instructions as a medium and the programming of poetry. While many anthropological and ethnographical studies are concerned with the material object of the computer as debris once it becomes obsolete, very few studies have analysed waste as discarded data. The research shifts the focus from an industrial production of digital debris (such as pieces of hardware) to obsolete pieces of information in art practice. The research demonstrates that illustrations of such considerations can be found, for instance, in Cory Arcangel’s work Data Diaries (2001) where QuickTime files are stolen, disassembled, and then re-used in new displays. The thesis also looks at Jodi’s approach in Jodi.org (1993) and Asdfg (1998), where websites and hyperlinks are detourned, deconstructed, and presented in abstract collages that reveals the architecture of the Internet. The research starts in a typological manner and classifies the pieces of Internet Art according to the structure at play in the work. Indeed if some online works dealing with discarded documents offer a self-contained and closed system, others nurture the idea of openness and unpredictability. The thesis foregrounds the ideas generated through the artworks and interprets how those latter are visually constructed and displayed. Not only does the research questions the status of digital debris once they are incorporated into art practice but it also examine the method according to which they are retrieved, manipulated and displayed to submit that digital debris of Internet Art are the result of both semantic and automated processes, rendering them both an object of discourse and a technical reality. Finally, in order to frame the serendipity and process-based nature of the digital debris, the Ph.D. concludes that digital debris are entropic . In other words that they are items of language to-be, paradoxically locked in a constant state of realisation.

Communicating culture: strategic communication management of the contemporary art museums in the XXIth century, in Portugal: case studies: Museu Nacional de Arte Contemporânea: Lisboa; Museu de Arte Contemporânea de Serralves, no Porto; Museu de Arte Contemporânea de Elvas

Throughout the year and half of research developed during the times of crisis or economic crisis in Portugal due to the austerity measures, this thesis focuses on the cultural communication and museology in the area of cultural management in Portugal. With an ever growing number of research being developed over the world, this study is unique as it studies managerial diversity and organisational structures of Contemporary Art Museums that exist in Portugal but more importantly how they communicate their organizations within and beyond the Museum walls such as online or other technological media. As the communication management of the museums is one of aspects of culture in which cultural management intends to intervene. The research study that I proposed to analyse has at the forefront the intention to understand how the Contemporary Art Museums in Portugal manage their communication and respective organizations, whether they be a Public-Private/Foundation, State or Council run organizations but also understand if a strategic plan is designed and implemented in times of crisis, to withstand disruptive economic scenarios projected on a daily basis. The following Museums were selected due to the fact of being Contemporary Art Museums but also their respective diverse territorial distribution, one in the city capital of Portugal, Lisbon: MNAC – Museu Nacional de Arte Contemporânea, a stately run organisation; the second, in the north of Portugal: MACS – Museu de Arte Contemporânea de Serralves, a public/private organisation under the Foundation organics and the third Museum in interior central region of Portugal, Alentejo: MACE – Museu de Arte Contemporânea de Elvas, managed by the Elvas City Council.

The Art of Nursing in a Postmodern Context

Notions of the "postmodern" pervade various fields of study, but have rarely been applied to the practice and theory of nursing. This paper uses some conceptions of the "postmodern" to remedy this. Though there are many contested usages of the term, here "postmodern" will be used broadly in a periodical sense to trace changes in society and culture from the "modernism" of the 18th and 19th centuries to current concerns about "postmodernism". How these changes have been reflected in nursing practice and nursing theory will be explored. The changing use of the term "modern" to describe up-to-date practice will be addressed in the course of this. It is suggested that contextualizing nursing as a social/cultural activity in this way offers perspectives which will help us untangle the conflicting agendas and issues which form the fabric of the social world in which current nursing takes place, enabling us to act more effectively in promoting our own professional agendas.

'Anyone But England‘, Glasgow 2014 and the Independence Referendum: Exploring the Role of Narratives in the Sociological Study of Scottish Sport.

Drawing upon the findings of my MSc dissertation and the proposed methodology for my current PhD thesis, this paper will critically reflect upon the potential uses of narrative analysis within the sociological study of sport. The majority of this paper will consider the expression of anti-English sentiment by Scots in relation to both sporting and wider social contexts. Drawing upon the conceptual framework of ‘narrative identity’ proposed by Somers (1994), data was generated through semi-structured interviews focusing upon the ‘ontological’ and ‘public’ narratives of Scottish identity as expressed by Scots living in England. The relationship between Scotland and England is argued to be heavily influenced by the existence of an ‘underdog mentality’ grand ‘public narrative’ for Scots in relation to their English neighbours, based on perceived differences in economic and sporting resources. This ‘underdog mentality’ is argued to act as a legitimating force for the expression of anti-English sentiment within an individual’s ‘ontological narrative’ in both a sporting and wider social context. The paper concludes by reflecting upon the benefits of adopting a narrative analysis approach, and outlining the proposed use of similar methods within my PhD research on the 2014 Glasgow Commonwealth Games and the Scottish independence referendum.

The Glasgow 2014 XX Commonwealth Games and Scottish Independence: “Political Truce” or Political Truth(s)?

This paper explores the political reaction to Lord McConnell’s appeal for a political ‘truce’ in the form of a temporary halt to campaigning by all political parties and organisations involved in the debate regarding the Scottish independence referendum during the Glasgow 2014 Commonwealth Games (BBC, 2014; McConnell, 2014). Urging both sides of the debate to cease campaigning for the two-week period of the Glasgow 2014 games, the current Labour peer and past First Minister of the Scottish Parliament cited concerns that there are “genuine concerns that the Games, and the image of Scotland, could be damaged by attempts by either side – for and against – to use the Games to promote their cause, or to use the venues for campaigning” (McConnell, 2014). Drawing upon the principles of both a critical discourse and a narrative analysis methodological approach, this paper will scrutinise the nature of the political reactions to McConnell’s proposal from a variety of perspectives on both sides of the independence referendum debate. In particular, the emphasis in the responses from both sides of the debate regarding the apolitical nature of the 2014 Games will be critiqued, drawing upon the arguments of past analyses of sporting mega-events which highlight the potential for political exploitation of such events by the host nations (e.g. Horne, 2007; Grix, 2012; Houlihan and Giulianotti, 2012; Roche, 2006). Furthermore, the findings of academic research on the political implications of hosting the Commonwealth Games will be considered (e.g. Majumdar and Mehta, 2010; Van Der Westhuizen, 2004; Macintosh and Greenhorn, 1992; Majumdar, 2011; Lockstone and Baum, 2010; Macfarlane and Herd, 1986), highlighting a number of precedents which demonstrate the numerous challenges faced in any attempts to the keep the 2014 Games free from political influence.

Political Discourse Analysis, Sport and Scottish Independence: Provisional Reflections upon Fairclough and Fairclough's (2012) Analytical Framework.

This paper aims to reflect upon the potential analytical utility of the political discourse analysis framework proposed by Isabela Fairclough and Norman Fairclough (2012). This framework represents the most recent substantive development upon Norman Fairclough's past work situated within the wider school of Critical Discourse Analysis, building upon his influential position this methodological tradition. Central to this development is the additional emphasis placed upon the necessity to conceptualise all political discourse as 'argumentative' in nature, given that political actors are ultimately proposing or refuting particular courses of concrete future action. This paper will therefore apply Fairclough and Fairclough's model to provisional data derived from an ongoing doctoral thesis which considers the nature of political discourse relating to sport, the Glasgow 2014 Commonwealth Games and Scottish independence, with an ultimate aim of critically considering the benefits and limitations of applying this analytical framework as a methodological tool within this ongoing study.

The Working Group on Scottish Sport and the Scottish Independence Referendum: an Unrealised Political 'Imaginary'?

In September 2014, a historic referendum on the issue of Scottish independence was held, with the potential to dissolve the political union between Scotland and the other constituent nations of the United Kingdom which had survived intact since the 1707 Act of Union. On a significantly high electoral turnout of 84.6%, the Scottish electorate opted to reject the proposals of the governing party in the devolved Scottish Parliament, the pro-independence Scottish National Party (SNP), to create an independent Scottish state, with 55.3% of the electorate voting ‘No’ to Scottish independence against a 44.7% ‘Yes’ vote. In the grand scheme of the Scottish independence referendum campaigns, sports policy remained a somewhat peripheral issue within the arguments forwarded by the Yes Scotland and Better Together campaigns. Nonetheless, developments such as the formation of the 'Sport for Yes' campaign sub-group, the inclusion of sport within the Scottish Government’s White Paper on Scottish independence and the establishment of the Working Group on Scottish Sport demonstrated that the potential implications of independence were still deemed significant enough to merit a degree of policy planning by the Scottish Government (Lafferty, 2014; Scottish Government, 2013; Working Group on Scottish Sport, 2013, 2014). This paper will critically consider the implications of the 'No' vote in the Scottish independence referendum for the latter of these developments, the policy proposals of the Working Group for Scottish Sport. Drawing upon the principles of critical discourse analysis, specifically the analytical framework proposed by Fairclough and Fairclough (2012), the content of this group's proposal will be examined in order to critically explore the policy for Scottish sport it envisaged for an independent Scottish state. The paper will then conclude by reflecting upon the extent to which elements of this political 'imaginary' (Fairclough and Fairclough, 2012) of Scottish sport remain a possibility for future sports policy in Scotland following the eventual 'No' vote in the referendum.

‘Sport for Yes’? The Precarious Positioning of Scottish Athletes in the Scottish Independence Referendum Campaign.

This paper will critically consider the implications for Scottish athletes who have publicly stated their personal opinion on the Scottish independence referendum. Developments such as the inclusion of sport within the Scottish Government’s White Paper on Scottish independence, the establishment of the ‘Working Group on Scottish Sport’ and the establishment of the ‘Sport for Yes’ campaign group demonstrate the harnessing of sporting issues as an additional, if somewhat peripheral, debate point in the referendum campaigns (Lafferty, 2014; Scottish Government, 2013; Working Group on Scottish Sport, 2013, 2014). The latter of these developments, the establishment of the ‘Sport for Yes’ campaign group, is of particular interest, offering evidence of the explicit political mobilisation of past and present athletes in support of the ‘Yes Scotland’ pro-independence campaign. Whilst the pro-union ‘Better Together’ campaign does not possess a comparable group to the ‘Sport for Yes’ example, examples of athletes discussing the potential negative impact of Scottish independence on the funding and organisation of Scottish sport have been capitalised upon by pro-union campaigners, as exemplified in the comments of Sir Chris Hoy (BBC, 2013; Daily Record, 2013a). Given the negative reaction to Hoy’s comments from certain pro-independence campaigners (Daily Record, 2013b; Swanson, 2013), other Scottish athletes have understandably attempted to avoid controversy by refusing to align with either side of the referendum debate. This paper will therefore consider the potential pitfalls for athletes who publicly announce their political positions, whilst also scrutinising the extent to which such pronouncements are of political significance, drawing upon past academic analyses of the interrelationship between sport and politics (e.g. Coghlan, 1990; Houlihan, 1994; Jeffreys, 2012; Macfarlane, 1986; Whannel, 2008).