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- Bowman, Jason E., 1967
(författare)
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Speaking Mandy
- 2014
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Ingår i: European Artistic Research Network Conference: Thinking on Stage, May 2 2014, National College of Art and Design, Dublin, EIRE.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- I will present at the very beginning of a research process, towards the making of a new art work through which I aim to interrogate the heritage of the phonocentric Oralist tradition in the education of Deaf people. I seek to ‘read’ and deconstruct Alexander McKendrick’s film, Mandy (1952) through a co-participatory process - with Deaf people educated through Oralism and of the same generation as the child protagonist in the film - to question the advocacy of entry into the symbolic via the ‘spoken’ and ‘speech-identification’ and its relations to psychoanalytic and inter-subjective, spectator-focused film theory. Through mimetic and performative processes inherent to Oralism (such as speech-reading, lip-reading, ventriloquism, echo-practice, dubbing and lip-synchronisation) I aim to adapt Mandy - itself an adaptation of Hilda Lewis’ novel, 'The Day is Ours' (1947) – in ways that reveal the psychoanalytic dynamics of shame at play in Oralism’s delineation of Deafness as a culture and its adherence to Deafness as a disability.
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| 2. |
- Leach, Maddie, 1970
(författare)
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Engaging with Place: Ruin, Memory, Regeneration : Att hämta vatten – The Fountain: An art-technological social drama
- 2022
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Ingår i: The Curatorial Thing: Audacious Landscapes. - Copenhagen, Denmark : SixtyEight Art Institute.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- AUDACIOUS LANDSCAPES took place in Copenhagen 1 – 8 October 2022, with workshops and lectures led by invited culture, science, and technology professionals. The symposium's goal was to move participants’ thinking from art histories of grief to imaginative proto-histories of thriving in profoundly changed ecosystems and to move critical inquiry from a modernising to an ecologising mindset. The aim was to find a triad of art histories, climate narratives, and innovative spatial-natural theories that could enable a new climate art history. The paper ´Att hämta vatten – The Fountain: An art-technological social drama' was presented as part of a panel with the theme of Engaging with Place: Ruin, Memory, Regeneration.
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| 3. |
- Bowman, Jason E., 1967
(författare)
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De-Imagining Critical Communities
- 2015
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Ingår i: Community Arts? Learning from the Legacy of Artists' Social Initiatives Conference, Liverpool, 1st of nov.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- I contributed a presentation and moderated a session. This daylong event brings together distinguished thinkers and practitioners from the field of community arts, in order to discuss the legacy of such practices in the light of a renewed interest in socially engaged art. This event will re-open conversations and instigate new ones, ensuring that important work undertaken in the 1970s and 1980s continues to resonate. Speakers: Assemble, Ania Bas, Sonia Boyce, Jason E. Bowman, Polly Brannan, Anna Colin, Anna Cutler, Rosie Cooper, Janna Graham, Granby 4 Streets Community Land Trust, Jeanne van Heeswijk, Homebaked, Sophie Hope, Nina Edge, Bill Harpe, Wendy Harpe, Loraine Leeson, Angela McKay, Andrea Phillips, Laura Raicovich, Alan Read, Frances Rifkin, Sally Tallant, Nato Thompson and Ed Webb-Ingall. This event is part of a weekend of programmes in Liverpool and beyond that considers current approaches in socially engaged art
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| 4. |
- Bowman, Jason E., 1967
(författare)
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Expert Panelist : Visible Art Award
- 2015
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Ingår i: Visible Award Parliament.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- I was invited as an expert panelist for the Visible Award. The Visible Award is the first international production award devoted to art work in the social sphere, that aims to produce and sustain socially engaged artistic practices in a global context. Part of the broader research project, aims to research, support and offer a discursive and productive platform to innovative artistic projects that are able to become visible also in fields other than the artistic ones.
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| 5. |
- Mistry, Jyoti, 1970
(författare)
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Decolonising Film Education
- 2020
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Ingår i: Film Education Journal. - Scotland : SCOTTISH INTERNATIONAL FILM EDUCATION.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The discussion around how to develop curricula that are inclusive and reflexive of their historical and epistemic positions has grown in urgency. This is connected to discourses around the call for decolonising institutions, reconstituting teaching-learning frameworks and revitalising pedagogy, which draws from and includes multiple experiences and subjectivities present in the classroom. How then do we approach the necessity for revising received certainties of western knowledge paradigms and reference points to include histories, experiences and image-making practices that draw from multiple positions and perspectives? More significantly, images (and image-making) are increasingly central to modes of expressing research processes and outcomes across faculties and disciplines. Experiments in decolonising pedagogy implies that there are no given certainties of what decolonising might mean in image-making beyond its metaphoric meanings. The approach suggests working through historical and contemporary power relations in representations to encourage collaborative understandings of what the “decolonial” might be that advances active teaching-learning and encourages critical thinking which is central to the idea of critical pedagogy. More importantly how does this relate to the contemporary issues in film education where online platforms are increasingly central to education and exhibition (dissemination) of content. Drawing from the conference-workshop titled: Decolonising Pedagogy: Exploring processes in image-making as a case study this presentation provides some reflection on the implications of shifting paradigms and challenging received canons and addressing an integrated disciplinary approach to other (across) disciplines. This presentation will offer a set of conceptual possibilities gleaned not just from this particular workshop-conference but site some examples from visual methodologies framed by the BRICS (Brazil, Russia, India, China South Arica) geo-economic alliance film practice research. The ideas proposed in this presentation will further suggest that strategies for active learning implies not just a radical shift in pedagogic approaches but that the re-examination of the curriculum advances socio-political enquiry, affirming critical thinking by encouraging student engagement with curriculum (content) and the how (methods) of what is taught (not just the what (content) of the curriculum) is paramount to active learning.
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| 6. |
- Rosen, Astrid von, 1964
(författare)
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Scenographic approaches: conceptualizing multisensory heritage
- 2017
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Ingår i: GPS400 conference 8-9 November 2017.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- During the last decades the concept of scenography has not only undergone considerable theorization but has also expanded beyond more traditional theatrical settings to include potentially all environments, objects, actors and actions (McKinney & Butterworth 2009, Lotker & Gough 2013, McKinney & Palmer 2017, Aronson 2017). This expansion has to an increasing extent emphasized the critical, transformative potential of embodied, multisensory dimensions of scenographic events emphasizing the roles of participants and performers. In recognition of this the aim of my presentation is to identify productive approaches within scenography research to better conceptualize and examine multisensory heritage. In particular the paper will explore relational, affective and material approaches to multifaceted performative, socially engaged and artistic events. I will for example look into Dr Alda Terracciano’s multisensory digital installation Zelige Door on Golborne Road from the arts and heritage project Mapping Memory Routes of Moroccan Communities.
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| 7. |
- Radomska, Marietta, PhD, 1984-
(författare)
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RESURRECT.ME 2.0: Invoking the Dead, or on a Thousand (Tiny) Extinctions
- 2024
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- What does resurrection mean in the digital era and beyond religious associations or sentimentality? The virtual and the physical are more entangled than they may seem, blurring the boundaries between the living and the non-living, or further: the dead. The environmental cost of generative AI might be one example. But digital worlds also play a special role in the context of the question of death as such. Around 20 years into the existence of Myspace, Facebook, and other social media platforms, these spaces have been populated by profiles of people long gone. On the other hand, digitalized venues of remembrance multiply: from digital ‘tombstones’ in China, through various memorial websites (commemorating humans and their nonhuman companions alike), to digital transformation of photography in the practices of remembering, like in the case of “New Dimensions of Testimony” by the Shoah Foundation, which enables interaction with holograms of Holocaust survivors. Yet, human (mass) death is not the only one that ‘materializes’ digitally. The Anthropocene necropolitics is being fleshed out in many ways: the sixth mass species extinction, extractivist capitalism- and war-induced ecocide, pollution, toxicity, and slaughter for the sake of slaughter. The more-than-human worlds are dying. While finding new ways of staying with and caring for ‘terminally ill’ environments – to paraphrase queer-ecocritical scholar Sarah Ensor – is a must, there is also a need for cultural and affective ways of working with the actual or potential loss, for communities to partake in. This is where the digital meets the physical, once again. Following this intuition, the present talk will zoom in on new-media artworks, design projects, or digital sound archives that venture into the living/non-living interface by bringing back to ‘life’ – even if for a brief moment – that which in one way or another has been marked as ‘extinct.’ Some of the examples include: Tanja Vujinovic’s “Carboflora,” a virtual environment populated by the plants of the Carboniferous period; C-Lab’s “The Living Dead: On the Trail of a Female,” which uses a drone with a multispectral camera to search for a potential last remaining female specimen of the “Encephalartos woodii” cycad – a plant species that does not exist in the wild; or Alexandra Daisy Ginsberg’s “The Substitute,” dealing with the extinction of the northern white rhinoceros. What do such projects tell us about practices of remembrance? How are they linked to the de-extinction movement? What do they tell us about our relation to that (more-than-human) which is gone? And perhaps, even more importantly, to that (more-than-human) which is not gone yet? Where does the boundary between the living and non-living run – if there is still one? Who is at the center of digitalized resurrections? These are some of the questions this talk aims to tackle.
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| 8. |
- Bowman, Jason E., 1967
(författare)
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Elements of Performance Art : The Theatre of Mistakes
- 2015
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Ingår i: PARSE Conference, Universitty of Gothenburg, 3-6 November.
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Konferensbidrag (refereegranskat)abstract
- Elements of Performance Art. The Ting: The Theatre of Mistakes ‘Working without a watch and without a tape-measure, the performance artist may come to rely on a sense of “performance time”- where yards are expressed by strides and feet by paces, where minutes are expressed by counts and, where time and space are expressed by any means that may be devised.’ Instigated by Anthony Howell, a poet and dancer and founder of conceptualist magazine Wallpaper, The Ting: The Theatre of Mistakes was a UK-based collective formed in 1974, which disbanded in 1981. Their foundational work was generated through a series of openly advertised events at which, from 1974-1976, attendees co-developed a series of game-based exercises via instructional rules informed by spatiotemporal mechanisms, which were collectively named The Gymnasium, and thoroughly recorded in a suite of eponymous notes. Their sole publication Anthony Howell and Fiona Templeton’s Elements of Performance (refined by activities developed via The Gymnasium from 1974-76) was self-published and distributed by Ting in 1976 in an initial edition of 60 and in 1977 in a revised edition of 800. The Ting: The Theatre of Mistakes’ ethos and methods of production are outlined in the publication against six convergent elements: conditions, body, aural, time/space, equipment and manifestation with a total of 42 exercises to be structured via chance allowing for multiple formations and focalised structures. Designed as a comb-bound instructional manual with an introductory manifesto, Elements of Performance Art offers a unique insight into how Ting advocated the temporal liveness of performance art be created via instruction and chance with cross-disciplinary activities. It remains an out-of-print but influential publication within the history of inter-disciplinary and is arguably the first manifesto for Performance Art in the UK. Jason E. Bowman will curate a career survey of The Theatre of Mistakes in 2017. For the PARSE conference he has invited Anthony Howell to workshop, with a series of participants, a re-activation of exercises from Elements of Performance Art. Bowman and Howell will subsequently be in conversation regarding Elements of Performance Art, temporalities and inter-disciplinary concepts of time.
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| 9. |
- Bowman, Jason E., 1967
(författare)
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Scavenging Surveillance
- 2015
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Ingår i: WATCHED! Symposium 7-8 oktober. Surveillance Art & Photography in Europe post 9/11'.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Jason E. Bowman will examine his 2009-10 project Untitled (on a day unknown), commissioned by the Whitworth Art Gallery. Bowman worked with Out in the City - a group of LGBTQ senior citizens - to exhume then re-iterate and interpret a court case of a group of 29 men tried for homosexual crimes in 1936 in a small English town. From multiple archival resources - newspaper reports, criminal and court records etc. – the trial, its mediation within popular press and its meanings within a culture of inter-war years surveillance were re-traced. Via a performative reiteration of the trial, held in private, a series of pinhole photographs and a suite of drawings, conducted from memory by a official court artist, were produced, then co-exhibited. Jason will discuss the relations between the psychoanalytic culture of shame, the performativity of the legal body, and of scavenging amidst an historiography of surveillance as a method to ingeminate the queered archive as a site of trauma, violence and inspection.
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| 10. |
- Groth, Camilla, et al.
(författare)
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When Art meets Science: Conditions for Experiential Knowledge Exchange in Interdisciplinary Research on New Materials
- 2019
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Ingår i: Proceedings of the International Conference 2019 of the DRS Special Interest Group on Experiential Knowledge. Tallinn, Estonia, 23-24 September. p. 237-250.. - 9789949594825
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Konferensbidrag (refereegranskat)abstract
- Interdisciplinary research across art and science offers the potential to open up new areas of knowledge previously hidden in-between disciplines. At the same time, differences in disciplines’ theoretical frameworks, verification methods and expectations can cause discrepancies, which can be fruitful but may also require further navigation efforts. In this paper, we discuss the potentials and challenges of combining scientific and artistic research in interdisciplinary projects studying new materials. We interviewed 11 researchers working in different projects that combined scientific and artistic research in Finland and Germany, in order to investigate how they deal with different epistemological approaches and the limitations and possibilities that they brought up the interviews. In this paper, we focus on experiential knowledge sharing between the researchers in their research of organic materials. Our findings show that the prerequisites for experiential knowledge transfer need to be built consciously, over a long period of time by engaging in handson practices and cognitive activities that surpass the personal comfort zone of all members, and the common goals and research questions need to be motivating for all involved. Although academic research funding agents encourage interdisciplinary research, funding alone is not sufficient to motivate people to work and truly learn together. Even when motivation and common goals are found, the short longevity of funding might drive researchers to multitask, which in turn may damage the ideal conditions for transformational learning and knowing together. Thus, in addition to recruiting enabling professionals who have t-shaped experience of two or more disciplines, we suggest that conscious education in a new discipline could create a new generation of thinkers and makers who feel comfortable in the possibly unsettling zone between the disciplinary borders of arts and sciences.
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