Month: September 2010

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an experiment

“The term ‘experience’ is crucial: for too long spectators have been
equated with readers as decipherers of meaning. … The traditional
task of ‘making sense’ is then replaced by unique experiences, which
are both cognitive operations and forms of emotion. The word
‘experience’ derives etymologically from the French ‘to put to the
test’. Experience is an experiment.”

?????David George (1996: 23) ?????cited in Robin Nelson ‘Modes of
Practice-as-Research Knowledge and their place in the Academy’, 2010:
122

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SEAM 2010

From Critical Path: If you’re interested in the cutting edge connection between Dance performance and technology, then take a look at what’s happening during SEAM 2010. The focus will be on Embodiment in Digitally Mediated Environments and includes a 2 day Symposium at the Seymour Centre (15 and 16 Oct), public talks and artist performances/ presentations by Chunky Move (GLOW), Hellen Sky, George Khut and Frédéric Bevilacqua, leader of Real Time Musical Interactions at the Institute for Music/Acoustic Research in Paris. Exhibitions include Christian Ziegler’s (DE) Wald Forest and Emio Greco/PCs Double Skin/ Double Mind installation. SEAM 2010 can be sampled by choreographers, students, musicians, allied artists, ‘geeks’ and the general public in different intensities depending upon their individual requirements. Exhibitions are free, and student and other concessions to the Symposium are only $25 for a full day or $40 for 2 days of talks, installations and performance, presenting the most current research available. Visit the Critical Path Website; www.criticalpath.org.au and follow the links to the SEAM 2010 blog or http://sydney.edu.au/seymour/boxoffice/program_seam.shtml to book.

SEAM2010_symposium.pdf

 

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reaching beyond

"Henson and Mills represent very different sensibilities, yet what is most striking about these lectures is their common ground. Both strongly assert the centrality of art to human life, its crucial importance at the core of lived experience and knowledge, in the face of a society in which it is most often claimed that art is a luxury, a kind of optional add-on that is extrinsic to the serious business of reality. Both attacked the utilitarian mindset and language of politics, claiming that its very language constricts our human perceptions and possibilities, making us smaller than we are in a time when we need more than ever to reach beyond ourselves to cope with the challenges that constitute our future. And both called for art to be fundamentally integrated into the education of our children, as a matter of urgency: for their individual and for our social good."
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??? Alison Croggan talking about Bill Henson and Jonathan Mills
http://theatrenotes.blogspot.com/2010/08/matter-of-art.html

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skin deep

This looks pretty interesting indeed. Strange though, that given the 'theme' of the conference they are inviting papers for submission.

ABSTRACT SUBMISSION NOW OPEN!

EKSIG 2011 will address the theme of ???SkinDeep ??? Experiential Knowledge and Multi Sensory Communication???. The conference will be convened by the DRS Special Interest Group on Experiential Knowledge (EKSIG), and hosted by the University for the Creative Arts, UK.

Date: Thursday and Friday, 23 – 24 June 2011
Organisers: Kerstin Mey, Kristina Niedderer, Seymour Roworth-Stokes, Linden Reilly
Venue: University for the Creative Arts, UK
Conference home page: http://www.experientialknowledge.org
Contact: info@experientialknowledge.org

CALL FOR PAPERS

We invite submissions for the theme ???SkinDeep – Experiential Knowledge and Multi Sensory Communication???. With this theme, we aim to provide a forum for debate about the multi faceted, multi sensory and multi modal possibilities of communicating knowledge in the creative and practice-led disciplines.

The need to address the issue of communication has arisen from the different approaches and requirements regarding the dissemination of knowledge and experience in research and creative practice. For example, creative practice tends to convey its content and meaning through its outcomes, which can relate to different, often intersecting or converging sensory stimuli such as visual, aural, tactile or olfactory. Equally, procedural or process knowledge ??? in the creative disciplines more commonly known as skill ??? relies on demonstration and first hand experience for its communication as much, or more so, than on written text.

In contrast, the presentation of research traditionally has been fixed to its verbal and textual articulation with a whole tradition of dissemination, mainly in written formats, such as peer reviewed conferences and journals. This predominance of textual presentation has long been questioned in the creative disciplines, and recent workshops on the role and balance between text and other forms of the communication of research, and on the multi modal presentation of research have indicated a strong interest and need to exchange knowledge and experiences on the issue of multi sensory communication of research.

With this conference, we wish to explore the different ways in which tacit knowledge can be given more appropriate consideration within the framework of research. This may include for example investigations into the nature, aims, validity, evaluation, and/or necessity of different modes of communication and exchange.

Questions of interest are, for example:
??? ?? ?? ?? What do we mean when we say we ???communicate knowledge????
??? ?? ?? ?? How can we articulate and/or communicate tacit knowledge/knowing within the process of research?
??? ?? ?? ?? What frameworks, modes and methods are there to guide the communication and presentation of research (process and/or outcomes)?
??? ?? ?? ?? What frameworks are there to guide the communication of the contribution to knowledge?
??? ?? ?? ?? What frameworks are there to guide the reception and interpretation of any research communication, for example research exhibitions or performances, etc?
??? ?? ?? ?? Why is the communication of tacit knowledge important for the understanding of research?
??? ?? ?? ?? What contribution can the use of creative practices make to the understanding and communication of tacit knowledge in research?
??? ?? ?? ?? What issues evolve from criteria of research such as repeatability and transferability for the foregrounding of tacit knowledge in research in the creative disciplines?
??? ?? ?? ?? Can we talk about the communication of tacit knowledge, or should we talk about a transfer, etc?
??? ?? ?? ?? What means and methods do we have to transfer and iterate tacit knowledge?

We wish to bring together engaged practitioners and scholars from various disciplinary backgrounds, fields of knowledge production, and methodological approaches to explore these issues. We invite contributions from the art and design disciplines (design, engineering, craft, media, fine art, etc), philosophy, education, health and knowledge management, neuroscience and others that are concerned with multi sensory and multi modal communication of knowledge in research and in creative and professional practice.

SUBMISSIONS

For EKSIG 2011, we invite papers, which offer challenging new views on the subject. Papers will be selected subject to a double blind review process by an international review team. In the first instance we ask for the submission of abstracts. Authors of selected abstracts will be asked to submit full papers.

We invite the submission of abstracts of 800 words including title and references by 30 September 2010. Authors of selected abstracts will subsequently be invited to submit full papers (4000???5000w) in January 2011. Please submit your abstract through the conference submission system, which can be accessed from the conference website:

http://www.experientialknowledge.org

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Cognitive scientists

An email from Random Dance:

Dear Friend,
??
For the creation of our next full-length work, FAR (World Premiere – November 17, 2010, Sadler's Wells, London, UK), we are privileged to be joined in the studio by two of the world???s leading cognitive scientists, Phil Barnard, from the Cognition and Brain Studies Unit in Oxford, and David Kirsh, from the University of San Diego???s Interactive Cognition Lab.
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Both have been engaged with Wayne McGregor for several years in a study of the choreographic process, producing findings not only of scientific importance, but also fuelling Wayne???s and the dancers??? creativity. They will be continuing their investigations in the context of the 8-week creation process.
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To mark these collaborations we have invited both Phil Barnard and David Kirsh to talk about their work with Wayne and his dancers, and to reveal the specifics of their enquiries.?? These talks will be moderated by the Director of the Company???s research department, Scott deLahunta.
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The talks will take place at The Jerwood Space in Southwark, London and are free of charge:
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20 September 6.30 – 8pm
Cognitive Scientist Phil Barnard from the Cognition and Brain Studies Unit, Medical Research Council, Cambridge and composer and software programmer Nick Rothwell.
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27 September 6.30 – 8pm

Cognitive Scientists David Kirsh and Dafne Mutanyola, Interactive Cognition Lab, University of San Diego California.
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Please email me – Nicola@randomdance.org – if you would like to book a place at one, or both, of the talks.??

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R-Research gratefully acknowledges the support of The Quercus Trust, Portland Green Cultural Projects and Arts Council England.
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Nicola