The Art Line Catalogue: A Baltic Collaboration collects together a series of essays from artists, researchers, and culture workers to document the scope of the 3 ½ year-long EU project focussed on innovative art cooperation in the Southern Baltic region. And it is beautiful! It is available in print, in a pdf version, and also in a lovely digitally-rendered version that encapsulates the spirit of water and flow between the voices and materials of our Baltic adventure. Looking back over the projects, it is clear to see why Art Line was selected by The European Commission as a flagship project and why it is now a part of the Action Plan for the Baltic Sea Strategy. It’s hard to believe so much was accomplished by so many in such a relatively short time. And it’s astounding to see the level of talent among the artists, curators, researchers, and others who worked in the various projects. As one of our contributors, Chris Torch from Intercult writes, “If you are in the least interested in contemporary art in the context of public space, digital media, storytelling and/or new technology, this is for you! “ I also have contributed 2 essays to the volume, focused on developing a sustainable “digital art platform” and on the Telling the Baltic project, where I served as a project coordinator, contributer, and researcher. Visit the Art Line Catalogue Website to access the catalogue in its various iterations: either via map, gallery, and/or downloadable full pdf. Print copies may be available on request.
Tag Archives: Art Line
After our screening of the video submissions for the Remaking Moby-Dick project, Trish Harris (project curator) and I continued to accept more literary submissions from which we made a selection and collected together in a print volume, with QR-code links to other video and audio remakings. We even included contributions from more playful non-human poetry generators. It’s a truly inspiring collection of reflections with Melville’s Moby-Dick as an inspirational muse, and the breadth and talent of the contributors is astounding; from authors with multiple books of poetry and fiction, to academics with a love of media and literature, to musicians, photographers and fine artists, they all came aboard and made our project an enormous success. You can view the remaking blog for a list of contributors and links to find the full text, available online via Lulu and Amazon. Remaking Moby-Dick was published jointly by Art Line and the Pea River Journal.
As a researcher in Digital Culture with a particular interest in mixed reality (MR) performance, that is the integration of physical and mediated spaces that engage/support/create active and dynamic sites and interfaces between them, I am very pleased to be organizing a festival in May 2013 to explore the theme in more depth. The Mixing Realities Digital Performance Festival (or#MIXITUPFEST) is a result of my involvement in the Digital Art Platform Initiative in Art Line which intends to research innovation in art and media, with a particular focus (for me) on emergent media forms and types with performative dimensions. Interactive installations, hybrid live and mediated performances, augmented reality (AR) tools and experiences, as well as social and locative media are just some of the ways in which one can study the increasingly (e)merged contexts within contemporary media culture. As media types and forms entangle within emerging media outlets, “lived” human experiences, and other phenomena, understanding the boundaries and aesthetics and expressive properties of these assemblages and formulations is critical. Our festival will explore some of these questions in practical and theoretical ways though a one-day seminar and workshop on AR/MR, interactive installations, hybrid live and media performances, a collaborative reading of Melville’s Moby Dick (The Moby Reading Marathon) held live and online with participants from around the world, and demonstrations and discussions of locative, social, and media interventions in public spaces. A public screening of the Remaking Moby-Dick Project video will also be included at the Blekinge Museum for the festival. More about the festival is available on the Art Line website, as well as on the ReMaking Moby and Moby Marathon Reading blogs. I’m honoured and excited to be coordinating this exciting line-up of artists and researchers, and also happy to showcase some of my own recent projects. #MIXITUPFEST ftw!
So in January and February I am in away in Iceland on a two-month research residency working on a number of creative projects, finishing some (I hope) and starting some (for sure) and in development on more (no doubt). In January I am in residence at Gullkistan in Laugarvatn in Southern Iceland, on a sheep and horse farm next to a geothermal lake, and in February I am at Listhús in Ólafsfjörður, a herring village in the northeast of Iceland located at the mouth of the fjord Eyjafjörður. It’s an amazing opportunity to continue with work that draws inspiration from landscapes as a form of affective digital storytelling. Although the goal is to work on a number of projects, many Art Line related or inspired, I am also taking time to finish an article on augmented reality exploring the nature of “place,” “materialities,” and “reading differently” in the context of the “(Re-)Mapping Moby” project. It’s for a special issue of Convergence focussed on “Cultural Expression in Augmented & Mixed Reality” and co-edited by my colleagues Jay D. Bolter and Maria Engberg. I will be working from a distance with collaborators to finish a video installation version of the “(s)AND” project which will be shown as part of the Telling the Baltic exhibition in Rostock Germany (Feb-March 2013) and continuing on to Kaliningrad (April 2013). Although we had hoped to work on an augmented reality version of the work for Rostock, we will save that for the “Mixing Realities Digital Performance Festival” to be held in Kalrksrona in May 2013, also as part of the Art Line project. (Another post will follow about the festival with more details.) The festival will include a variety of scholars and artists working across media in installations, exhibitions, performances, and seminars. I am also directing the festival, and so I have many hats to don, wonderous hats, fascinators even, if ever there were a more apt definition of the word. (Another post will follow about the festival with more details.)
One of the new projects I’m working on is a project called “iSLAND” which will be exhibited in the Marinmueum (Swedish Naval Museum) in Karlskrona in fall 2013. It’s another landscape-based work that works to forge connections between Iceland and Karlskrona through expressions of isolation, intimacy, and bridging watery-distance. I’ve included a full description below and a slideshow of just a few images (of the hundreds I’ve captured so) that have already begun to inspire me. This is a mystical magical place, where you are likely to encounter a rainbow, a geyser, a waterfall, a herd of horses in the yard, and a hot-pink sunset, all in the same day. iLike.
an experiment in intimate screens and touchable narratives
Project Leader: Lissa Holloway-Attaway
In this collaborative project, we are exploring alternative methods for digital storytelling via the use of the iPad. The goal is to make and tell a fictional story based on identities found in distant histories and landscapes surrounded and connected by water, ships, submarines, and submersibles. The story will be an artistic historical reflection on islands and sea cultures, in particular on Karlskrona and Iceland.
The iPad will be used both as a production tool and as an interface for displaying the story content. The touch screen capabilities of the iPad, as well as the “personal” nature of the hand-held screen is a key component in our research. The iPad touch screen provides “up-close and intimate connections” between the producer and the viewer/user and in our method of revealing the story, we will incorporate these elements. For our production methods, we will use the built-in iPad camera in a number of ways: still photos, video, and augmented reality panoramas, for example. Also, we will use iPad applications for “filmmaking,” audio production, and artistic expression (particularly those developed to engage and explore touch and sensory input on iPad screens).
The project title “ iSLAND” suggests both the device used to produce and exhibit the project (an iPad) and references the content and the locations for the storytelling. This will be a personal (fictional) story of identity-making set in the converged landscapes of Iceland and Karlskrona, Sweden. In Swedish, “Iceland” is translated as “Island,” which in English means a land-mass surrounded by water. Both Iceland and Karlskrona are deeply connected to their physical nature of being islands. For Iceland, a remote island country on the border of the Northern Atlantic and Arctic Oceans, this suggests both isolation and uniqueness in its culture, people, and heritage. For Karlskrona, a small city comprised of more than 30 islands in the Baltic archipelago, this suggests a kind of scattering of identities over land and sea. The “i” then in our project title also hints at the personal identities an island can contain, as well as on human individuality and uniqueness. Drawing on old histories of sea culture and sea crossings (above the sea in ships, and under it in submarines), we will try to cross the waters and find cultural and historical connections.
The story will be revealed in a series of panoramic images (still images, video, augmented reality), audio expressions, (remixed texts, original poetry, music, and ambient landscape recordings), and text and video files. The content will use a mixture of languages (English, Swedish, Icelandic, German, Polish, and maybe more). The story will be accessed on an iPad where the user may select a series of clips, texts, and other media to “touch” together the story. In the use of augmented reality panoramas in particular, the user also will be required to hold, move, and physically interact with the screen in ways that highlight how contemporary digital media has moved beyond story-telling on the traditional page, computer monitor, or film screen.
This project is partially funded by Art Line, an EU project exploring digital art innovation in the Southern Baltic region. It will be developed in part during a two month research artist residency by the project leader (Lissa Holloway-Attaway) in Iceland in January and February 2013. Following the residency, other collaborators in Sweden will work together to create the story and technology. The project will be exhibited in the Swedish National Naval Museum (Marinmuseum) in Karlskrona in Fall 2013.
In the spirit of all things Moby, I am working on yet another Moby-themed project. This is the Remaking Moby-Dick Project, an International multimodal digital storytelling event that will be screened at the Mixing Realities Digital Performance Festival in May 2013 in Kalrkskrona, Sweden, but also published and recirculated in other forms. I am working with curator Trish Bodiford Harris to coordinate this project, and we are currently seeking submissions and participants. You can read more about the project on our Remaking Moby-Dick blog. Come aboard and join the fun. We need you. Moby needs you.
*Update: In May 2013, the Remaking Moby-Dick Project YouTube version was screened at the “Mixing Realities Digital Performance Festival” in Karlksrona at the Blekinge Museum and in late 2013, the print version of Remaking Moby-Dick was published. Wahoo! It’s a wonderful collection of more print-centric creative reflections on the text, but also includes QR code links to select video components. (A more current blog post about the publication is also available with links to access the texts.)
I’m sharing below a few pics of the story-collection videos, postcards and digital book now exhibited in Gdansk in the Telling the Baltic Exhibition at the Gdansk Science and Technology Park. They document some of our story-collection methods for the exhibition.
The videos, shown on a large screen on the wall can be accessed by a touch-screen interface, and users who want to watch and listen can choose from the menu. Exhibition designer Marek Zygmunt also created the video display. The display includes a number of video interviews and documentations of the stories collected around the Baltic as part of the exhibit. Included also are videos of our ferry interviews (Stena Line and Aspö), as well as documentation of the (s)AND project. Martin Arvebro, videographer, and I worked together on concepts for these videos, and he has produced some evocative work and excellent documentation of our process.
There is also a digital “book” in the exhibit that users can interact with, and it contains text fragments of Baltic stories collected for the exhibition (transcripts of interviews from Russia, Poland, Germany, and Lithuania), translated in multiple languages, as well as photos and images from our inspirations in Sweden that my collaborators and I have gathered. These include photos from the Blekinge Museum archives, collected by curator Karin Nilsson, with whom I worked to make a selection, and photos taken by myself and Ida Gustavsson for the (s)AND project. Ida’s images of the landscapes are breathtaking. Many of these images are also included in digital form online on a YouTube channel, as “video postcards” designed by Martin Arvebro from Ida’s images, where viewers can leave comments and tell their stories. We are using them in print form in the museum, on board the Stena Line ferry between Karlskrona and Gdynia, and in the exhibition sites to inspire others to write texts and stories that will be remixed in the (s)AND work and displayed as part of the Digital Performance Festival I am coordinating in late spring or early fall 2013.
An excerpt from my prose-poem “Pangaea Drifting” or “after a period of prolonged suffering, for Gordon” is also included in the book. I have written of the context for this piece in an earlier blog post, and a text excerpt is available there. I am very pleased to see the work in a new context in the gallery space. It made me stop and think of Gordon and our journey together. Drifting is hard.
It was exciting though to watch visitors sit at the display and access the stories, images, and videos and even provide new input by writing on the postcards. Content-gathering. That’s what I’m talkin’ about…
Here is a brief slideshow of media–taken with a rather low-quality camera, but you can still “get the picture” so to speak:
The upcoming Art Line research seminar I am organizing on Oct 26, 2012 at BTH promises to be extra-awesome.
There is a great line-up of artists and scholars, and all will come together to demo and reflect on their own work curating, exhibiting, and creating performative media art. I’m very happy to have such an interesting group of creative talent on hand to explore a topic so close to my current research.
Following a talk I will give with my collaborator Daniel Spikol (computer scientist, Malmö Högskola), I will also be demoing a live/mediated performance with Astrid Selling Sjöberg and Kristin Borgehed, incredible folk musicians and scholars from the Folk Practice Academy. Inspired by the (s)AND project, we will use my poetic texts, live music and song, iPad generated sound-art, video projections and photographs created by my colleagues Martin Arvebro (videographer) and Ida Gustavsson (photographer) to explore and perform the eco/echo-systems of Baltic landscapes and the stories they circulate.
Check out the seminar details:
“Performing Exhibitions: Displaying Digital Art and Media” is a seminar exploring exhibition, curation, and performative practices in digital art and mixed media. How does digitally-mediated art engage human actors, embodied agents, and sensory input? What factors influence exhibition and curation choices when displaying innovative art, technology and media forms? How do media artists work to enhance and/or perform liveness and human sensation? What questions do researchers explore when working with the aesthetics of techno-human interfaces? These are the questions we will examine. Featured speakers include an International range of artists, curators, researchers, and scientists working across disciplines and media contexts.
Featured Speakers: Ada Auf Der Strasse (media artist, dancer); Lissa Holloway-Attaway (digital media researcher/mixed media performance); Elektro Moon Vision: Elwira Wojtunik and Popesz Csaba Láng (visual artists/live performance duo); Susan Kozel (media artist/researcher, dancer); Jacob Lillemose (curator); Jesper Norda, (sound artist); Mateusz Pek, (digital artist); Rebecca Rouse (digital media researcher/theater performance studies); Daniel Spikol (computer science/digital media researcher); Teresa Wennberg (mixed media artist/researcher);
Special Performance: Astrid Selling Sjöberg, Kristin Borgehed (Folk Musicians)
Session Moderators: Maria Engberg, Talan Memmott (Senior Lecturers, BTH, Digital Culture and Communication)
Special Installation: Baltic Agora (Mateusz Pek)
This seminar is sponsored by the Department of Culture and Communication at BTH and by Art Line, an EU-funded project exploring art in public, physical and virtual space in the southern Baltic region