{"id":2725,"date":"2015-11-22T18:01:59","date_gmt":"2015-11-23T01:01:59","guid":{"rendered":"http:\/\/blogs.unsw.edu.au\/tiic\/?page_id=2725"},"modified":"2015-11-22T18:02:58","modified_gmt":"2015-11-23T01:02:58","slug":"leaf-experimental-arts-education-panel-notes","status":"publish","type":"page","link":"https:\/\/blogs.unsw.edu.au\/tiic\/neaf-experimental-art-education-workshop\/leaf-experimental-arts-education-panel-notes\/","title":{"rendered":"LEAF: Experimental Arts Education Panel Notes"},"content":{"rendered":"
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Ionat Zurr\u00a0SymbioticA<\/strong>What does it mean to teach experimental art?<\/p>\n

From her partial perspective, SA teaches art and life, art and biology, technology is life itself<\/p>\n

so evocative and experimental that all pedagogy at symbiotica is unpredictable<\/p>\n

life is unpredictable<\/p>\n

working with life ends up as a failure<\/p>\n

we are located within the scientific school<\/p>\n

people are taken out of their comfort zone, acquiring new languages<\/p>\n

not about same language or agreement but about communication, agreeing to disagree<\/p>\n

The clinician does not do the work, the students do the experiments themselves<\/p>\n

students also come from the sciences and are introduced to the arts<\/p>\n

\u201ctrue hybrid\u201d students<\/p>\n

explaining to science supervisors \u201cwhat is art\u201d is the best challenge<\/p>\n

this results in intersting expressions that are experimental, about communication<\/p>\n

if we\u2019re talking about this<\/p>\n

life<\/p>\n

failure<\/p>\n

experiment<\/p>\n

experimental process, we don\u2019t know the results<\/p>\n

we have a hypothesis (do a hypothesis)<\/p>\n

you\u2019re not allowed to publish failures in the sciences, you are allowed to publish your failures in art<\/p>\n

some of our failures are the best works we do<\/p>\n

the language (verbal, in a more conceptual sense) to be able to cross disciplines<\/p>\n

Alex White\u00a0Digital Learning producer<\/strong><\/p>\n

community making, community development
\nprojects around electronic art and experimental music<\/p>\n

intersections of creativity and technology<\/p>\n

who gets to have those experiences?<\/p>\n

space between community, technology, creativity<\/p>\n

25k students per year<\/p>\n

modifying space continuously<\/p>\n

connecting students remotely, supporting educators in the building<\/p>\n

developing programs that experiment with art processes and emerging technologies<\/p>\n

two projects (Alex, I missed the name of these artists! Please let me know LK)<\/p>\n

distance learning program called \u201cdigital excursion\u201d–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<\/p>\n

experiments with conceptual powerpoint art<\/p>\n

create experiments, not workshop<\/p>\n

performed by art educators at MCA<\/p>\n

discussion is followed by post excursion activities<\/p>\n

designed for high school students<\/p>\n

subtle critique of other artists<\/p>\n

ideas like appropriation and materiality<\/p>\n

a work that isn\u2019t trying to carry a message or be representational<\/p>\n

2) How do we approach sound and video art based programs?<\/p>\n

Long duration, several hours<\/p>\n

workshops take only 60-90 minutes<\/p>\n

teaching the program rather than teaching the ideas<\/p>\n

Adobe Premiere, how to use menus etc<\/p>\n

militaristic modes of new media instruction<\/p>\n

working with a developer to build a new video editing tool with a simplified interface<\/p>\n

DJ deck setup with fade, effects, etc<\/p>\n

No menus<\/p>\n

no complicated steps<\/p>\n

Another one for sound.<\/p>\n

Tara Morelos<\/strong><\/p>\n

iMovie experiment<\/p>\n

Dlux media arts, full purpose org supports artists (please add your text, thanks Tara!! Tough to keep up)<\/p>\n

Scanlines<\/p>\n

(Paul is a CI on this project)<\/p>\n

sample of works from Curtin Gallery<\/p>\n

in entirety is 12 works<\/p>\n

materiality of works ranges across many tech and formats<\/p>\n

education program around archive<\/p>\n

program goes into schools<\/p>\n

archiving experimental and revealing evidence of experimentalism through artist interviews & documentation of how artists come to work with media art<\/p>\n

their understanding of the development of the practice in Australia<\/p>\n

dissemination of experimentation to teachers by way of integrated modules aimed at teachers<\/p>\n

disrupt education system<\/p>\n

a good device for bending young minds<\/p>\n

ed space is difficult to work within<\/p>\n

modules use mobile devices and tech<\/p>\n

these are common tools
\nworkshops are process based<\/p>\n

Experimentation makes strange with technology, culture, forms of life, grabbing these modalities and extending them into unexpected situations<\/p>\n

new visual language<\/p>\n

DLAB has been around since 2011, works with young women from aboriginal and rural backgrounds with little previous interest<\/p>\n

confidence building, collaboration, role modeling<\/p>\n

we made the way by walking it: experimental workshops draw on expertise of elders, scientists, and participants<\/p>\n

model was brought to us by NAME (Tara, sorry I didn\u2019t catch this! Please fill in –LK)<\/p>\n

mobile media lab in rubbish bin (is there a picture we could use?)<\/p>\n

drawing on our large network of history with artists etc<\/p>\n

rolling out in 4 locations dubbo, catherine, MISSED THE REST! (Tara, sorry I didn\u2019t catch this! Please fill in –LK)<\/p>\n

art projects relevant to participants and unique to location<\/p>\n

modular learning approach<\/p>\n

identifying key skill areas<\/p>\n

what existing skills there are<\/p>\n

Bianca Beetson<\/strong><\/p>\n

From Dreamtime to Machine time<\/p>\n

Student works<\/p>\n

students resilient to doing anything beyond dot work<\/p>\n

dot work sells<\/p>\n

machinetime<\/p>\n

Not doing a great job with names! please help full in, Bianca, can\u2019t see them all from my spot!<\/p>\n

Lost language machines<\/p>\n

Digital drawing pad works redrawing identity<\/p>\n

identity is central to what they\u2019re learning<\/p>\n

making artwork out of fairy floss<\/p>\n

push beyond skills you bring\/are comfortable with and immerse in experimental processes
\npush from first year dots to immersive installation<\/p>\n

smell, sound, tapestry, interesting from a male perspective<\/p>\n

Moving from \u201chow do\u201d questions to \u201cwhat if\u201d questions?<\/p>\n

what if you set it on fire, cut a hole in it, push boundaries, take risks<\/p>\n

what do they want?<\/p>\n

encouraging happy accidents<\/p>\n

i love happy accidents in my department<\/p>\n

decolonizing<\/p>\n

decolonizing language<\/p>\n

decolonizing visual and written language of the colonizer<\/p>\n

embracing new media, accessibility, importance of accessibility<\/p>\n

affording a camera, creating works on smartphone<\/p>\n

working from history of located media, exhibiting from smartphone<\/p>\n

how to work around licenses for software<\/p>\n

creating new audiences through social media; flash mobs are frequent<\/p>\n

art and politics class<\/p>\n

art for art\u2019s sake<\/p>\n

just do it, just keep trying, doesn\u2019t matter if it doesn\u2019t have a deep concept<\/p>\n

how do we develop conceptual art: through experimentation<\/p>\n

they think they have to make work connected to history and culture<\/p>\n

influence from contemporary space<\/p>\n

using art as a form of nonviolent protest<\/p>\n

mapping the indigenous art industry<\/p>\n

what happens when an aboriginal artist makes work that \u201cdoesn\u2019t look black enough\u201d?<\/p>\n

preconceived ideas of what black art is<\/p>\n

artists have an obligation to look at history and tradition<\/p>\n

how do we do cultural restoration through new media work<\/p>\n

don\u2019t resist new media<\/p>\n

resistance is futile<\/p>\n

we all knew then, what we know now, dots, are one of the best forms of communication<\/p>\n

critical thinkers
\nHighlights from Question Time<\/p>\n

the excitement of technologies; resisting the excitement<\/p>\n

what is missing with the rebellion<\/p>\n

we might like the struggle<\/p>\n

how do we rebel against excitement to find experimentation?<\/p>\n

it\u2019s not about the technology,<\/p>\n

the experimental is about quality of ideas, interaction, process<\/p>\n

learn by doing every minute<\/p>\n

developing language to empower someone to be experimental<\/p>\n

if we\u2019re thinking about experimentation it\u2019s also about play, play with purpose<\/p>\n

purpose seeks results, not necessarily commercial results, but for the medium itself<\/p>\n

experimentation can involve ideas, understanding, reflection, historical reflection<\/p>\n

artists being the ones to develop a new language that is more reflective, with different purpose.<\/p>\n

problem finding vs problem solving<\/p>\n

what we have learnt, is that there are endless possibilities, the inability to define art matters.<\/p>\n

at what point do you move from problem finding to problem solving, and does that moment mean entering process rather than experimentation?<\/p>\n

an experiment is something that can fail<\/p>\n

sometimes failure is the result<\/p>\n

failure can be good in both science and art<\/p>\n

the core aspect is freedom to be experimental<\/p>\n

we look forward to outcomes of infinite nothingness and practicality<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Ionat Zurr\u00a0SymbioticAWhat 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…<\/p>\n","protected":false},"author":99,"featured_media":0,"parent":2657,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2725","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages\/2725","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/users\/99"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/comments?post=2725"}],"version-history":[{"count":2,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages\/2725\/revisions"}],"predecessor-version":[{"id":2727,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages\/2725\/revisions\/2727"}],"up":[{"embeddable":true,"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/pages\/2657"}],"wp:attachment":[{"href":"https:\/\/blogs.unsw.edu.au\/tiic\/wp-json\/wp\/v2\/media?parent=2725"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}