Transdisciplinary Arts Research at the Intersections of Art, Science and Culture
LEAF: Experimental Arts Education Panel Notes
Ionat Zurr SymbioticAWhat does it mean to teach experimental art?
From her partial perspective, SA teaches art and life, art and biology, technology is life itself
so evocative and experimental that all pedagogy at symbiotica is unpredictable
life is unpredictable
working with life ends up as a failure
we are located within the scientific school
people are taken out of their comfort zone, acquiring new languages
not about same language or agreement but about communication, agreeing to disagree
The clinician does not do the work, the students do the experiments themselves
students also come from the sciences and are introduced to the arts
“true hybrid” students
explaining to science supervisors “what is art” is the best challenge
this results in intersting expressions that are experimental, about communication
if we’re talking about this
life
failure
experiment
experimental process, we don’t know the results
we have a hypothesis (do a hypothesis)
you’re not allowed to publish failures in the sciences, you are allowed to publish your failures in art
some of our failures are the best works we do
the language (verbal, in a more conceptual sense) to be able to cross disciplines
Alex White Digital Learning producer
community making, community development
projects around electronic art and experimental music
intersections of creativity and technology
who gets to have those experiences?
space between community, technology, creativity
25k students per year
modifying space continuously
connecting students remotely, supporting educators in the building
developing programs that experiment with art processes and emerging technologies
two projects (Alex, I missed the name of these artists! Please let me know LK)
distance learning program called “digital excursion”–building on established histories of distance learning to experiment with two way video connection. how could students participate in and have unpredictable experiences with an artwork remotely
experiments with conceptual powerpoint art
create experiments, not workshop
performed by art educators at MCA
discussion is followed by post excursion activities
designed for high school students
subtle critique of other artists
ideas like appropriation and materiality
a work that isn’t trying to carry a message or be representational
2) How do we approach sound and video art based programs?
Long duration, several hours
workshops take only 60-90 minutes
teaching the program rather than teaching the ideas
Adobe Premiere, how to use menus etc
militaristic modes of new media instruction
working with a developer to build a new video editing tool with a simplified interface
DJ deck setup with fade, effects, etc
No menus
no complicated steps
Another one for sound.
Tara Morelos
iMovie experiment
Dlux media arts, full purpose org supports artists (please add your text, thanks Tara!! Tough to keep up)
Scanlines
(Paul is a CI on this project)
sample of works from Curtin Gallery
in entirety is 12 works
materiality of works ranges across many tech and formats
education program around archive
program goes into schools
archiving experimental and revealing evidence of experimentalism through artist interviews & documentation of how artists come to work with media art
their understanding of the development of the practice in Australia
dissemination of experimentation to teachers by way of integrated modules aimed at teachers
disrupt education system
a good device for bending young minds
ed space is difficult to work within
modules use mobile devices and tech
these are common tools
workshops are process based
Experimentation makes strange with technology, culture, forms of life, grabbing these modalities and extending them into unexpected situations
new visual language
DLAB has been around since 2011, works with young women from aboriginal and rural backgrounds with little previous interest
confidence building, collaboration, role modeling
we made the way by walking it: experimental workshops draw on expertise of elders, scientists, and participants
model was brought to us by NAME (Tara, sorry I didn’t catch this! Please fill in –LK)
mobile media lab in rubbish bin (is there a picture we could use?)
drawing on our large network of history with artists etc
rolling out in 4 locations dubbo, catherine, MISSED THE REST! (Tara, sorry I didn’t catch this! Please fill in –LK)
art projects relevant to participants and unique to location
modular learning approach
identifying key skill areas
what existing skills there are
Bianca Beetson
From Dreamtime to Machine time
Student works
students resilient to doing anything beyond dot work
dot work sells
machinetime
Not doing a great job with names! please help full in, Bianca, can’t see them all from my spot!
Lost language machines
Digital drawing pad works redrawing identity
identity is central to what they’re learning
making artwork out of fairy floss
push beyond skills you bring/are comfortable with and immerse in experimental processes
push from first year dots to immersive installation
smell, sound, tapestry, interesting from a male perspective
Moving from “how do” questions to “what if” questions?
what if you set it on fire, cut a hole in it, push boundaries, take risks
what do they want?
encouraging happy accidents
i love happy accidents in my department
decolonizing
decolonizing language
decolonizing visual and written language of the colonizer
embracing new media, accessibility, importance of accessibility
affording a camera, creating works on smartphone
working from history of located media, exhibiting from smartphone
how to work around licenses for software
creating new audiences through social media; flash mobs are frequent
art and politics class
art for art’s sake
just do it, just keep trying, doesn’t matter if it doesn’t have a deep concept
how do we develop conceptual art: through experimentation
they think they have to make work connected to history and culture
influence from contemporary space
using art as a form of nonviolent protest
mapping the indigenous art industry
what happens when an aboriginal artist makes work that “doesn’t look black enough”?
preconceived ideas of what black art is
artists have an obligation to look at history and tradition
how do we do cultural restoration through new media work
don’t resist new media
resistance is futile
we all knew then, what we know now, dots, are one of the best forms of communication
critical thinkers
Highlights from Question Time
the excitement of technologies; resisting the excitement
what is missing with the rebellion
we might like the struggle
how do we rebel against excitement to find experimentation?
it’s not about the technology,
the experimental is about quality of ideas, interaction, process
learn by doing every minute
developing language to empower someone to be experimental
if we’re thinking about experimentation it’s also about play, play with purpose
purpose seeks results, not necessarily commercial results, but for the medium itself
experimentation can involve ideas, understanding, reflection, historical reflection
artists being the ones to develop a new language that is more reflective, with different purpose.
problem finding vs problem solving
what we have learnt, is that there are endless possibilities, the inability to define art matters.
at what point do you move from problem finding to problem solving, and does that moment mean entering process rather than experimentation?
an experiment is something that can fail
sometimes failure is the result
failure can be good in both science and art
the core aspect is freedom to be experimental
we look forward to outcomes of infinite nothingness and practicality
From her partial perspective, SA teaches art and life, art and biology, technology is life itself
so evocative and experimental that all pedagogy at symbiotica is unpredictable
life is unpredictable
working with life ends up as a failure
we are located within the scientific school
people are taken out of their comfort zone, acquiring new languages
not about same language or agreement but about communication, agreeing to disagree
The clinician does not do the work, the students do the experiments themselves
students also come from the sciences and are introduced to the arts
“true hybrid” students
explaining to science supervisors “what is art” is the best challenge
this results in intersting expressions that are experimental, about communication
if we’re talking about this
life
failure
experiment
experimental process, we don’t know the results
we have a hypothesis (do a hypothesis)
you’re not allowed to publish failures in the sciences, you are allowed to publish your failures in art
some of our failures are the best works we do
the language (verbal, in a more conceptual sense) to be able to cross disciplines
Alex White Digital Learning producer
community making, community development
projects around electronic art and experimental music
intersections of creativity and technology
who gets to have those experiences?
space between community, technology, creativity
25k students per year
modifying space continuously
connecting students remotely, supporting educators in the building
developing programs that experiment with art processes and emerging technologies
two projects (Alex, I missed the name of these artists! Please let me know LK)
distance learning program called “digital excursion”–building on established histories of distance learning to experiment with two way video connection. how could students participate in and have unpredictable experiences with an artwork remotely
experiments with conceptual powerpoint art
create experiments, not workshop
performed by art educators at MCA
discussion is followed by post excursion activities
designed for high school students
subtle critique of other artists
ideas like appropriation and materiality
a work that isn’t trying to carry a message or be representational
2) How do we approach sound and video art based programs?
Long duration, several hours
workshops take only 60-90 minutes
teaching the program rather than teaching the ideas
Adobe Premiere, how to use menus etc
militaristic modes of new media instruction
working with a developer to build a new video editing tool with a simplified interface
DJ deck setup with fade, effects, etc
No menus
no complicated steps
Another one for sound.
Tara Morelos
iMovie experiment
Dlux media arts, full purpose org supports artists (please add your text, thanks Tara!! Tough to keep up)
Scanlines
(Paul is a CI on this project)
sample of works from Curtin Gallery
in entirety is 12 works
materiality of works ranges across many tech and formats
education program around archive
program goes into schools
archiving experimental and revealing evidence of experimentalism through artist interviews & documentation of how artists come to work with media art
their understanding of the development of the practice in Australia
dissemination of experimentation to teachers by way of integrated modules aimed at teachers
disrupt education system
a good device for bending young minds
ed space is difficult to work within
modules use mobile devices and tech
these are common tools
workshops are process based
Experimentation makes strange with technology, culture, forms of life, grabbing these modalities and extending them into unexpected situations
new visual language
DLAB has been around since 2011, works with young women from aboriginal and rural backgrounds with little previous interest
confidence building, collaboration, role modeling
we made the way by walking it: experimental workshops draw on expertise of elders, scientists, and participants
model was brought to us by NAME (Tara, sorry I didn’t catch this! Please fill in –LK)
mobile media lab in rubbish bin (is there a picture we could use?)
drawing on our large network of history with artists etc
rolling out in 4 locations dubbo, catherine, MISSED THE REST! (Tara, sorry I didn’t catch this! Please fill in –LK)
art projects relevant to participants and unique to location
modular learning approach
identifying key skill areas
what existing skills there are
Bianca Beetson
From Dreamtime to Machine time
Student works
students resilient to doing anything beyond dot work
dot work sells
machinetime
Not doing a great job with names! please help full in, Bianca, can’t see them all from my spot!
Lost language machines
Digital drawing pad works redrawing identity
identity is central to what they’re learning
making artwork out of fairy floss
push beyond skills you bring/are comfortable with and immerse in experimental processes
push from first year dots to immersive installation
smell, sound, tapestry, interesting from a male perspective
Moving from “how do” questions to “what if” questions?
what if you set it on fire, cut a hole in it, push boundaries, take risks
what do they want?
encouraging happy accidents
i love happy accidents in my department
decolonizing
decolonizing language
decolonizing visual and written language of the colonizer
embracing new media, accessibility, importance of accessibility
affording a camera, creating works on smartphone
working from history of located media, exhibiting from smartphone
how to work around licenses for software
creating new audiences through social media; flash mobs are frequent
art and politics class
art for art’s sake
just do it, just keep trying, doesn’t matter if it doesn’t have a deep concept
how do we develop conceptual art: through experimentation
they think they have to make work connected to history and culture
influence from contemporary space
using art as a form of nonviolent protest
mapping the indigenous art industry
what happens when an aboriginal artist makes work that “doesn’t look black enough”?
preconceived ideas of what black art is
artists have an obligation to look at history and tradition
how do we do cultural restoration through new media work
don’t resist new media
resistance is futile
we all knew then, what we know now, dots, are one of the best forms of communication
critical thinkers
Highlights from Question Time
the excitement of technologies; resisting the excitement
what is missing with the rebellion
we might like the struggle
how do we rebel against excitement to find experimentation?
it’s not about the technology,
the experimental is about quality of ideas, interaction, process
learn by doing every minute
developing language to empower someone to be experimental
if we’re thinking about experimentation it’s also about play, play with purpose
purpose seeks results, not necessarily commercial results, but for the medium itself
experimentation can involve ideas, understanding, reflection, historical reflection
artists being the ones to develop a new language that is more reflective, with different purpose.
problem finding vs problem solving
what we have learnt, is that there are endless possibilities, the inability to define art matters.
at what point do you move from problem finding to problem solving, and does that moment mean entering process rather than experimentation?
an experiment is something that can fail
sometimes failure is the result
failure can be good in both science and art
the core aspect is freedom to be experimental
we look forward to outcomes of infinite nothingness and practicality