Presenting my talk at the international Studies Association annual conference in San Francisco.
I have just returned from my month long trip from Brisbane, to San Francisco, to new York, to Cambridge and London and home via Hong Kong. I did not post while I was away - the first time I have missed even one week, let alone four, in nearly twelve years!
ISA
Happy to report that my presentation at the
International Studies Association annual conference, San Francisco, was received very well. I was asked to speak about my paintings - my dronescapes - how they resist the insidious [and no so insidious] infiltration of militaristion into everyday life, imagination and the future.
This conference was a massive one. Every session I went to was stimulating. An array of different topics, approaches, and people from around the world.
GOLDSMITHS
Happy to also report that my presentation at Goldsmiths, University of London, was also well received. Dr. Claire Reddleman and Dr. Elke Schwartz also spoke. I was asked to speak about my work in reference to issues relating to new landscapes/topographies and drone vision.
CENTRE FOR THE STUDY OF EXISTENTIAL RISK, UNIVERSITY OF CAMBRIDGE
A highlight of the trip was attending the
Centre for the Study of Existential Risk, University of Cambridge, annual conference. This was a small conference and I was delighted to be invited to attend. It was two days of fascinating presentations and participatory workshops. The focus was on thinking about strategies to help inform the broader community, policy makers, governments and corporations about existential risk ie: often considered low probability, but high impact events that could cause human species demise or civilisation collapse. Regular readers will know why I was so pleased to attend this conference - I have been interested in existential risk posed by emerging technologies for many years. Ideas associated with existential risk have informed both my creative practice and academic research.
Presenting my talk at the international Studies Association annual conference in San Francisco.
Presenting at Goldsmiths, University of London
TALKS
In both my talks I questioned the term vision and its application to a machine. I asked, are we relinquishing human vision before we understand the ramifications of doing so? I couched this in reference to vision as an expansive human capacity ie: not only seeing with eye-ball and pupil, but also with our mind's eye/imagination, in dreams and visionary thinking. I argued that a drone cannot dream nor imagine, rather a drone's imaging technology gives it scoping capabilities, not vision capabilities. Are we exposing ourselves to risk by ascribing human capabilities to drones [and other machines, no matter how advanced they are]?
My way of countering this reduction of vision is to invite people to 'fly' around the drones, or indications of their presence, in my paintings. The cosmic perspective allows for some considerable soaring! Thus, human vision, in all its capacities, is turned back upon the drones........a radical surveillance.
The poster advertising the talk at Goldsmiths, University of London
View out the window at a workshop for the Centre for the Study of Existential Risk, University of Cambridge. Jesus College courtyard.
The Centre for the Study of Existential Risk conference dinner at Jesus College, Cambridge.
FORENSIC ARCHITECTURE
There were many high points during the trip. One was visiting
Forensic Architecture's exhibition
Counter Investigations at the Institute of Contemporary Art [ICA], London. I used some of Forensic Architecture's ideas in my M. Phil thesis, particularly in my visual analysis of, Australian artist, Jon Cattapan's paintings. Their
Lexicon was very useful for a variety of reasons. So, I was very keen to see Forensic Archicture's work at the ICA. I spent hours at the exhibition. A few days after seeing the show, Forensic Architecture was nominated for the Turner Prize.
Forensic Architecture is a research group at Goldsmiths, University of London. They investigate sites of atrocity, war crimes, human rights violations and more. They gather a plethora of evidentiary material, which they then piece together. This evidence is presented in layered visual formats, often further overlaid with audio material. Comparative analyses of sounds, photographs, shapes in imagery, timelines, satellite imagery, trajectories of bullets, and more, are provided by computer generated tools presented as visual graphics that provide another visual layer. The outcome is a reconstruction of a site or an event - relived, but also explained. Forensic Architecture's work is complex and compelling, visually/aesthetically, and as evidence. This evidence is used in legal and human rights arenas. Additionally the group exhibits their work in art exhibitions. The bridging between seemingly different worlds is extraordinary. For me, their
Lexicon provides clues to this success. It demonstrates creative thought and the depth of their research - and - thus, the precision of their evidence. As art, it is meaningful.
Me at Forensic Architecture's exhibition Counter Investigations at the ICA, London.
I will write more about the trip in my next post:
- The ballet Manon at the Royal Opera House, London.
- Visiting Bletchley, the secret WW 2 code breaking site half an hour out of London.
- Visiting the Intrepid Air and Space Museum, New York.
- The Imperial War Museum, London, and the special exhibition Art in the Age of Terror
- Revisiting the National Gallery, London
- Revisiting the marvelous Frick Museum, New York
- And More!
Cheers,
Kathryn
