Monday 21st March edit
APPLICATION FORM MADE CALL FOR PROJECT
1- Applicant Name(s) and Surname(s) (s) applicant(s):
Company, corporation, university: ELK
Country: UK
Website:
2 - Project title:
Triadic Oculus
3- Documentation (digital files to send by email):
4- How does the work address the relationship between the artist (s) and the audience? Please add in any additional comments you have not already provided in your previous application.
(Please refer to the section Participation in our original application.)
What and who is the audience? Where does it begin and end?
The making of Triadic Oculus will be driven by a mobile research hub that travels across Europe interacting, sharing, and learning from the people and places it encounters en route and in residence. These meetings will enable the gathering and creation of data that will be used to feed the work. As well as chance encounters on specific research questions the artists will set up throughout, in discussion with the residency hosts, they will also organise think tanks, workshop and facilitators, enabling the construction of an instrument, Triadic Oculus, by creating a wide circle of localized contributors and participants, so building an expanding knowledge base that will contribute to its construction. Triadic Oculus itself will be an instrument, mediating the hopes and fears of people now, also creating unique art works at every performance.
This process will mean that even though there will be a final performance in Paris, the three residencies and journeys between will create and encounter audience throughout. The specifics of this process are laid out below.
1. Istanbul Residency : conceptual development, Road trip across Europe,
September 2011.
In Istanbul, the overall aim will be to collectively devise questions that will be asked to the oracle. It can be said that when audience are invited to contribute to a work during its performance, in this case the asking of questions, they are likely to ask mundane lightweight thoughts. The artists have determined therefore to create a body of questions to expand on the diet for the oracle through recording chance encounters on the road, workshop discussion sessions and think tank type forums they will run in Istanbul through working closely with the residency hosts before arrival and throughout.
The theme of thoughts to be considered will focus on people's hope and fears today. Specifically, the central questions asked are inspired by the work of scientist Otto Roesler who, during an interview with Eleonora Oreggia in 2008, affirmed that humans are confronted with crucial questions only 3 times in their life.
what is that question..(s) ele? please can you put it in? http://en.wikipedia.org/wiki/Otto_R%C3%B6ssler
On the road, the artists will set up a safe environment with the people they encounter to enable their recounting of secret and personal experiences when asked to consider the Rossler questions. Chance encounters between strangers on the road can produce setting for revelations of the most intimate nature. These events will recorded, sound and picture, if acceptable with the person. In Istanbul, the artists will set up a salon within which people will also be invited to come talk of their hopes and fears. The techniques tried and tested on the road to Istanbul will also be used here. The questions to the oracle will look into the future but the questions to the people will invite them to consider their personal experiences as well as their understanding of the relation between European and Asian culture and its implementation of differing oracular systems.
We will also host two carefully considered think tanks to which we invite an ascetic Dervish, an astronomer , a geologist , a geophysicist , an alchemist, a Christian , a Muslim , an urban planner , a practical psychologist , a local politician , a women/refugee/care centre practitioner to discuss the topics and to devise trhge quresrtionms for the oracle. Please see original project proposal for detail.
The meeting will be broadcasted into a local radio. discuss this,,,,
2. London, concept to creation January/February 2012:
The focus of the London residency will be twofold.
1. To ask the questions gathered in Istanbul to Londoners, so expanding the European conversation and breadth of material gathered. At the same time, the stories of human questioning and uncertainty through the sounds and images gathered there will be presented. Being London based, the artists already have networks, but they will work closely with the London hosts to realize this. An example could be to set up 3 well publicized salons asking a series of questions collected and collated to local residents in three different areas/targeting different communities. Result will be to expand the collection of audio/visual material.
2. For the artists to reflect on and begin the processing of the material gathered in the studio collaborating with local practitioners where necessary such as programmers startx and Lisa Haskel, hardware engineer Alexei Blinov, and media artists Graham Harwood, Antonios, Rob. Also through 3D AV practical research at AudRey research lab, with multichannel sound and image systems, consultation with audio consultant David Mallam and audiences invited to a test presentation.
3. Mons, production April 2012:
Shouldn't we begin to make this in London where we have our networks already...? then we develop it and work on it through using it in mons?
The third residency is focused on running open rehearsal lab, production of big visible tangible layout of circuitry .
1.7x2 metres oracle machine, played by the artists and triggered by the audience, video editing.
The production process will rely on connections we make with a number of local residents to help us with feedback on the ease of use of the system we developed.
Experts??:
- sound designers
- stage designers
- light designers
4. Paris, performance June 2012:
This will be the culmination of a year and a half long journey in creative explorations, learning about Europeans' hopes and dreams, ancient and contemporary oracular divinations and fusion of all in a big cauldron that is Triadic oculus performance.
5- How can your work be made accessible to the widest possible audience in Europe?
Triadic oculus starts with a bang! Our journey will make noise: 3 european women crossing Europe in a car to reach the south-eastern limit of the continent. During the trip we plan meeting with various local authorities, radio, newspaper and tv to communicate the 'mission'. Our experience throught the different places and phases of work will be narrated in chapters for the radio and broadcasted we we go along.
In addition to blogs (Artists talking at a-n.co.uk), streaming, internet, art publications and magazines (furtherfield.net, Art Monthly, etc), and critical theory, we would like to involve a larger audience which is not normally engaging with new media art and experimental creative technology. Our aim is to create an infecting media campain which can reach and communicate our contemporary form of media, this very new instrument we are building, through the use of old media, that is to say, the classic media of the XIX century, or the last millennium.
Our communication strategy will include newspapers (starting local with hackney citizen, guardian, to go to other european languages and countries, and eventually get this very european experience cross the borders of europe to reach and resonate elsewhere in the world), radio (Açık Radyo, Istanbul; Resonance FM, London; YouFM, Mons, Radio libertaire, Paris) and television. We will seek to employ a PR advisor to trigger a mediatic process to communicate the work to a larger audience.
6- How the work addresses and raises awareness of questions about artist mobility, distribution and intercultural exchanges in Europe?
The method of audience engagement and data gathering described in question 1, shows how the very making and performance of Triadic Oculus will engage the artists as mobile interactive nodes of knowledge and ideas. Collectively devising the oracular questions in Istanbul, bringing and asking them in London, presenting and opening and rehearsing the system in Belgium, and presenting the beast in Paris. This work is a mobile instrument, able to mediate the hopes and fears of people across Europe, giving the answers to their questions, and creating an astonishing art work ta the same time.
The work in itself addresses that through:
- the trip
- the interconnections between people
- the questions of people circulating all over europe
7- How do you justify your technological choices? Please evaluate these choices in terms of the potential of the technologies you have chosen. To what extent are your technological choices innovative?
We want to build and instrument which recalls a very ancient dream of humanity, that of building a machine able to create though, and to give answers to problems almost unaided (Leibniz in his monograh 'Dissertatio de Arte Combintoria', 1666, described and analysed in detailes his idea of a special alphabet whose elements represented not sounds, but concepts.) We believe that building our own instrument and learning how to do it is part of the research to build foundations of how the work should function. We also believe that there is a certain power and characteristic that we can impress into the instrument through building it with our hands, both in terms of electronics and software.
Our philosophy is that of Floss, Free Libre and Open Source software and hardware: we want to document the process and the techniques we use, and release our software and hardware open for other people to read, use it, learn from it, manipulate it. This way we propose a collaborative methodology of research and development that does not base its creative mechanisms on competition but builds its foundation on collaborative tools and distributed communities of development.
http://en.wikipedia.org/wiki/Free_and_open_source_software
http://en.wikipedia.org/wiki/Open_hardware
We propose a DIY (Do It Yourself) approach and we refer to its cultural references
http://en.wikipedia.org/wiki/Do_it_yourself
This is also important because, if the functioning of our instrument can be compared to a magic event, still its procedures are not hidden or secret but visible and transparent.
We think it is very important from ethical and practical points of view that our oracular software is not patented and that its functioning and the outcomes of our research are brought back into the community.
Additionally, the audio database will be processed by a Pure Data (Open Source software) patch and custom software plus CMOS micro logic boards; an algorithmic process whose rules will be influenced by geological, astronomical and other local data (humidity, temperature, etc) will reconstruct a new oracular speech out of the database of European voices we collect during the research period and the trip.
http://puredata.info/ http://en.wikipedia.org/wiki/CMOS
As mentioned before video will be collected via interkomm software (Open Source online video repository developed by Larisa Blazic) and projected using VPT 5.1 (Video projection Tool) using Pure Data feed.
http://projects.plentyfact.org/wiki/interkomm/Manual http://hcgilje.wordpress.com/vpt/
About the costumes:
We would like 3 dresses different for each of us, here a short plan:
- turkish inspired shapes and fabric (are we sure? the proj should be european...)
- design in London (stylist: Vivienne Westwood, respect!)
- fitted in Belgium
- worn in Paris
8- How does the project approach sustainability and onwards distribution? (it’s adaptability in production and finances)
As stated in question 4, the making of Triadic Oculus(T.O.) will create an instrument that will produce unique site related art works at every location. T.O. will not just be a one off show but a new and innovative system able to reflect the hopes and fears of the human animal as it hurtles towards the end of 2012. The Paris prémiere therefore will be just the beginning of its creative life.
To this end therefore, the artists will seek contacts and support from the MADE community to tour and perform the work. This process will engage new communities in situ and en route ever expanding its data base and audience. The project will also explore the possibility of working this European made system in Asia, reaching Singapore, China, India and Japan where the artists already have contacts. Similarly the US.
An essential aspect of T.O's design will be for it to be robust and sustainable in its performance and mobility. AV projection equipment, travel, accommodation, fees and sustenance will be all that is required for performances keeping costs adaptable to different situations. Production requirements will also be at a minimum with performances able to occur either inside or out.
T.O's online life will also be ever active, with real time blog feeds as other communities become involved. Terrestrial and virtual radio will also be engaged at every new situation. It is also anticipated that a DVD publication will be produced documenting the making and presenting of various performances. Virtual and terrestrial radio and paper publication and interview will also be sought where relevant. To this end, the artists will therefore seek a project manager.
?
can u clarify this...?
- software release and hardware DIY (Do It Yorself) instruction manuals
