HERA: Technology, Exchange and Flow: Artistic Media Practices and Commercial Application (TEF)
Transtechnology Research at the University of Plymouth in collaboration with the VU University, Amsterdam, the University of Applied Arts, Vienna, the Eye Film Institute Netherlands and The Netherlands Institute for
Sound and Vision are currently undertaking a major three year project approved under the HERA JRP call ‘Humanities as a Source of Creativity and Innovation’.
Through a series of distributed projects and subprojects ‘Technology, Exchange and Flow’ will explore the relationship between creativity and innovation within the contemporary European media sector. The project asks how traffic between cultural forms in Europe, such as industrial film and new media arts on the one hand, and commercial exploitation of audio-visual media on the other hand, is radically transformed at key moments. As such it is intended to prepare the way for thinking about new media environments when the distinctions between kinds of producers and the consumer and the producer are no longer valid or viable distinctions.
International Network for Trans-disciplinary Research (INTR)
This project sets up an international network of research organisations concerned with post-doctoral and early career, practice based research. Its purpose is to collate and cascade best practice at postdoctoral level in order to: (i) support early career researchers (ii) to enhance the provision and experience of PhD students working particularly with trans-disciplinary practice.
The network builds upon and extends the current international collaborations at Transtechnology Research in order to develop methods, pedagogies and resourcing strategies for trans-disciplinary practiced based research at the highest level. The structure comprises five network meetings financed in collaboration with participating institutions and the outcome will be a joint funding application to extend the network and a joint research proposal.
Micro-Edging Art in Outer Space: One Millimeter Square Space Art
SPRITE-SAT Payload H-IIA JAXA(GOSAT) launched January 2009 http://www.astro.mech.tohoku.ac.jp/SpaceArt/e/
SPRITE-SAT is a micro satellite in the size of 50 cm cube and weighing less than 50-kg, developed by Tohoku University. The satellite conducts scientific observation of atmospheric luminous emissions called “sprites”. It has been launched in January 2009 as a piggyback payload of an H-IIA rocket for the JAXA’s Greenhouse Gas Observation Satellite (GOSAT). The orbit is a sun-synchronous polar orbit with 660 km altitude form the earth’s surface. The top of the antenna of the micro satellite exhibits 51 art pieces in orbit which were miniaturized and fabricated on a silicon wafer using photolithography and dry-etching technology.
Punt and Blassnigg have contributed with two entangled diagrams engraved on the antennae boom of the Sprite-Sat for an experiment in which a super-quantum entanglement takes place in the realm of absolute immanence. More…
Visit the art installation at: http://www.astro.mech.tohoku.ac.jp/SpaceArt/e/ (left hand corner)
An Experiment in Pata-Entanglement: “One millimetre of quality time experience” (Blassnigg)
“One millimetre of quality time experience” displays a transparent surface for the refraction of light, as a membrane to absorb and listen without creating any additional noise or information, as an “empty space” in the sense of the Japanese concept MA 間, as a Bergsonian ‘space in between’, or in the art historian Aby Warburg’s terms, as a space for reflection (what he called Andachtsraum or Denkraum der Besonnenheit). A conceptual participant observer of the sprite phenomena, agent and mediator to transmit and share experience immaterially in an amplified quantum-time-space-correlate between the two entangled planes of immanence.
This project is part of a larger research investigation into an application of certain aspects of Henri Bergson’s philosophy, such as aesthetic intuition, duration and recollection, to the cognitive processes involved in the perception and interaction within audio-visual environments. It concerns an immaterial intervention in relation to the reception and reflection of super-sensory data as an experiment of pata-entanglement in combination with M. Punt’s “Teleportation Mill”.
An Experiment in Pata-Entanglement: “The Teleportation Mill” (Punt)
Exactly four years ago, in August 2004, Martha Blassnigg and Michael Punt isolated a small piece of land between two towers on Mars thanks to “The First Interplanetarian Exhibition Space on Mars” (http://www.mars-patent.org/)
The purpose of this isolation was to create an experimental laboratory that was devoid of all human, animal and alien telepathic traffic (http://www.mars-patent.org/projects/absolute_openness/absolute_openness_form.htm). In this laboratory a number of experiments have already been conducted concerning non-chronological and non-linear timeframes, contingent realities, multidimensionality, paradox, immanence, etc. For this new project we wish to pick up an outstanding topic: entangled co-ordinates.
Michael Punt has re-engineered Eli During’s double cone of Bergson’s schematic to become a serviceable “Teleportation Mill” to condense the matter into a dimensionless plain of purity and openness in preparation for an entanglement experiment in deep space. In order that the experiment may be repeated (and cross-validated) a diagram of “The Teleportation Mill” is to be engraved on the antennae boom of the Sprite-Sat (to be launched in January 2009) together with M. Blassnigg’s project “One millimetre of quality time experience” (in a gestalt image) of the experiment in which a super-quantum entanglement takes place in the realm of absolute immanence.
The experiment may be repeated without the permission of the authors. However, we would appreciate notice of your results; for contact and further details see www.trans-techresearch.net
The Amazing Field Project
December 2008-April 2009
At Molenick, on the Port Eliot Estate there is a field that at first sight appears to be a neglected patch of random agricultural land. On closer inspection this field is the site of the remains of an ancient circle and apparently random lumps of earth begin to reveal an underlying intelligence to the topography. On wider inspection the whole landscape as far as the eye can see is connected to this mound through sight-lines and other archaeological features. On top of this field is another field: an apparently random microwave field of communication networks. This too, on wider inspection, is connected to the wider area.
Bianca Eliot, the current owner of these two fields, has invited multidisciplinary teams to submit artworks the join these two fields. During the next six months a number of artists are invited to work with a nominated collaborator from another discipline to produce small-scale artworks which can be circulated to a wide audience through mobile phone technologies.
Each team of two collaborators, one artist and another from a different discipline will be invited to stay for three days (two nights) at her house to scope the project undertake the preliminary research. Guest accommodation will be provided and there will be a small caravan in the field to be used as a studio during the brief residency.
Participants: Dr Martha Blassnigg, Hannah Drayson, Len Massey, Isobel Taylor, John Vines and Dr Brigitta Zics.
AHRC ICT methods network workshop at the Immersive Vision Theatre, University of Plymouth, 13 Dec. 2007
Workshop coordinators: Dr. Martha Blassnigg, Prof. Michael PuntThe event was convened jointly by Transtechnology Research at the University of Plymouth and the AHRC ICT Methods Network.
Aims of the workshop:
This workshop concerns content design for immersive vision theatres. These are typically planetariums refurbished and modified to accept ¬±180 degree digital projection. Facilities such as these are increasing in the UK in the HE and the museum sector, and with the advent of portable inflatable domes, there is a growing interest in primary and secondary sectors. This event aims to identify:* the key topics, approaches and discourses that need to be co-ordinated to develop reliable practices and methods of evaluation in designing immersive audio-visual experiences in an educational and research context;* existing strategies for the effective use of immersive A/V environments for the transfer of knowledge;* new areas of research that will contribute toward a deeper understanding of the experience for the participant. The workshop will draw together leading scholars from the Humanities, Arts and Sciences, immersive theatre designers, technical support teams, content providers, software engineers, evaluators and educationalists to pool research and discipline specific approaches. One of the outcomes of the day will be a preliminary bibliography relevant to the specifics of the audiovisual immersion and a viable network for future research collaboration.
Beyond the visible spectrum in Zero Gravity
Following our Mars Patent project Design for Absolute Openness (www.mars-patent.org) we are testing the possibility that the telepathic dimension may be influenced significantly by gravity. We will conduct a series of experiments during a parabolic flight to test this hypothesis and expect to publish the outcomes as an artwork and a reportStakeholders: ZGAC: September 2006, NASA, Los Angeles (Zero Gravity Artists Consortium), University of Plymouth.
Bio-feedback in the future theatre
A new large-scale visual and physical performance piece based on research into consciousness, action and precognition is to be created in collaboration between The Theatre Royal Plymouth and the University of Plymouth. The theatre and university will work in collaboration with the international choreographer, Yacov Sharir, using a specially designed data collection system in the theatre, which will enable biometric feedback between the audience and performers. Through ongoing evaluation, participatory observation and beta-testing of creative strategies it is intended to develop ways to transfer knowledge between distinct disciplines in art and science through performance and public interaction.
On trans-method for space science and art (Performance and Consciousness, Ideas and Intuitions)
The project is intended to conduct research into a comparative analysis of differing approaches to cosmology and their dissemination in two apparently mutually contradictory worldviews; this includes the study of a performance ritual in connection with spiritual beliefs and the traces of ritualistic performance in scientific methods associated with rationalism.