Andrew G Paterson
'Artist-organiser', cultural producer, educator and independent researcher. Specialises in developing and leading inter- and trans- disciplinary projects exploring connections between art, digital culture and science, cultural activism, ecological and sustainability movements, cultural heritage and collaborative networks.
Originally from Scotland, Andrew Gryf Paterson has been most active in the past decade in Helsinki, Finland, aswell as Latvia, and the Baltic Sea region in particular. He works across the fields of media/ network/ environmental arts and activism, pursuing a participatory practice through workshops, performative events, and storytelling. Strengths lie in hybridity, communications, organisation and network arts: the ability to bring together and involve people in creative, collaborative exploration, developing temporary communities, gathering unexpected elements and components as new spaces of/for cultural activity.
His main involvement of recent years has been with Pixelache Helsinki node of Pixelache Network. From early 2011 until end of 2014, he was coordinator and facilitator of the 'Pixelversity' around-the-year informal educational programme for Pixelache [http://pixelache.ac]. Other earlier significant processes/projects include 'Herbologies/ Foraging Networks' (2010), Window Farms Finland (2010); 'Alternative Economy Cultures' programme of Pixelache Helsinki Festival (2009); 'Clip Kino' in Kirjasto10 Helsinki library and other locations (2008-2011); 'Hengitä.hankala hengittää' at Happihuone, Helsinki (2007), 'Add+PF+?' in the Pedagogical Factory programme at Hyde Park Art Centre, Chicago (2007); 'Tähtikuvitelma' for Valon Voimat Festival, Helsinki (2005); 'Locative Media Workshop: Rautatieasema' for Pixelache Helsinki Festival (2004/2006), 'Mapmyths' (2003-2004). Over this period, experience, reflections and findings have been written as articles in various cultural publications, and his 'auto-archaeological' methodology 'Stratigraphical Recall' reflecting on ones own cultural practice practice was published in the peer-reviewed Journal of Visual Art Studies (Intellect 2011).
Paterson has a multi-disciplinary education, with BA(Hons) Fine Arts from Glasgow School of Art, and a MSc degree in Computer-Aided Graphical Technology Applications from University of Teesside. He has been a doctoral candidate at Aalto University School of Art and Design, Media Department, with the uncomplete working thesis titled “Artistic Practice as Fieldwork”, reflecting upon the various practice-led processes which he has been involved in since moving to the Eastern Baltic Sea region since 2003.
He has taught courses at Aalto University's School of Art and Design; Helsinki Metropolia University of Applied Science, and given numerous presentations in higher institutions and festivals internationally. He has also specialised in coordinating and facilitating workshops for multi-disciplinary professionals, students and young people.
Supervisors: Prof. Lily Diaz-Kommonen and Aalto University ARTS Media dept.
Originally from Scotland, Andrew Gryf Paterson has been most active in the past decade in Helsinki, Finland, aswell as Latvia, and the Baltic Sea region in particular. He works across the fields of media/ network/ environmental arts and activism, pursuing a participatory practice through workshops, performative events, and storytelling. Strengths lie in hybridity, communications, organisation and network arts: the ability to bring together and involve people in creative, collaborative exploration, developing temporary communities, gathering unexpected elements and components as new spaces of/for cultural activity.
His main involvement of recent years has been with Pixelache Helsinki node of Pixelache Network. From early 2011 until end of 2014, he was coordinator and facilitator of the 'Pixelversity' around-the-year informal educational programme for Pixelache [http://pixelache.ac]. Other earlier significant processes/projects include 'Herbologies/ Foraging Networks' (2010), Window Farms Finland (2010); 'Alternative Economy Cultures' programme of Pixelache Helsinki Festival (2009); 'Clip Kino' in Kirjasto10 Helsinki library and other locations (2008-2011); 'Hengitä.hankala hengittää' at Happihuone, Helsinki (2007), 'Add+PF+?' in the Pedagogical Factory programme at Hyde Park Art Centre, Chicago (2007); 'Tähtikuvitelma' for Valon Voimat Festival, Helsinki (2005); 'Locative Media Workshop: Rautatieasema' for Pixelache Helsinki Festival (2004/2006), 'Mapmyths' (2003-2004). Over this period, experience, reflections and findings have been written as articles in various cultural publications, and his 'auto-archaeological' methodology 'Stratigraphical Recall' reflecting on ones own cultural practice practice was published in the peer-reviewed Journal of Visual Art Studies (Intellect 2011).
Paterson has a multi-disciplinary education, with BA(Hons) Fine Arts from Glasgow School of Art, and a MSc degree in Computer-Aided Graphical Technology Applications from University of Teesside. He has been a doctoral candidate at Aalto University School of Art and Design, Media Department, with the uncomplete working thesis titled “Artistic Practice as Fieldwork”, reflecting upon the various practice-led processes which he has been involved in since moving to the Eastern Baltic Sea region since 2003.
He has taught courses at Aalto University's School of Art and Design; Helsinki Metropolia University of Applied Science, and given numerous presentations in higher institutions and festivals internationally. He has also specialised in coordinating and facilitating workshops for multi-disciplinary professionals, students and young people.
Supervisors: Prof. Lily Diaz-Kommonen and Aalto University ARTS Media dept.
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Papers by Andrew G Paterson
The ethnographic lenses that will form the thematic sections of this text are explicitly guided and relate to fieldwork: biography, physical and emotional, situated, relational and conversational work, and the recognition of issues of representation, memory and commitment. As a reflective exercise on the practice undertaken in field, cross-reference is made to 'consequences and commitments' themes concluded in The Ethnographic Self: Fieldwork and the Representation of Identity (Coffey, 1999).
The Unreal 3D engine and editor are chosen as a test environment. Several multi-functional classes are designed and programmed using UnrealScript - similar to a combination of Java and C++. These classes offer a variety of options for playing sounds, manage the passage of phases, and allow for interactive agency. Both theory and code are applied to construct a creative virtual environment, illustrating the arrangement of consecutive and consequential
sounds into data-lists. Ultimately this 'archive' is placed within the Editor environment, to create an experimental soundscape.
Experience of production infers that computer-generated stratigraphical sequences are a useful step towards flexible creation and visualisation of relativity between units of narrative content.
Likewise the multi-functional classes fulfill the purpose of translating these relations in the terms of agency, although 'real' time remains to be addressed satisfactorily. It is recognised that further temporal relations have to be identified beyond the present approach that accounts for sounds two nodes of existence – the beginning and the end. The lack of malleability of the record during run-time, indicates next step research is necessary to consider programmable behaviours or AI attributed to the sound actor, and how such features would develop narrative potential.
However, the overriding opinion gathered from the investigation is that although the metaphor of archaeological record should be treated as a state of transference and modification, rather than empirical and static, it represents a structure of narrative potential that can be released by the interactor's agency.
The ethnographic lenses that will form the thematic sections of this text are explicitly guided and relate to fieldwork: biography, physical and emotional, situated, relational and conversational work, and the recognition of issues of representation, memory and commitment. As a reflective exercise on the practice undertaken in field, cross-reference is made to 'consequences and commitments' themes concluded in The Ethnographic Self: Fieldwork and the Representation of Identity (Coffey, 1999).
The Unreal 3D engine and editor are chosen as a test environment. Several multi-functional classes are designed and programmed using UnrealScript - similar to a combination of Java and C++. These classes offer a variety of options for playing sounds, manage the passage of phases, and allow for interactive agency. Both theory and code are applied to construct a creative virtual environment, illustrating the arrangement of consecutive and consequential
sounds into data-lists. Ultimately this 'archive' is placed within the Editor environment, to create an experimental soundscape.
Experience of production infers that computer-generated stratigraphical sequences are a useful step towards flexible creation and visualisation of relativity between units of narrative content.
Likewise the multi-functional classes fulfill the purpose of translating these relations in the terms of agency, although 'real' time remains to be addressed satisfactorily. It is recognised that further temporal relations have to be identified beyond the present approach that accounts for sounds two nodes of existence – the beginning and the end. The lack of malleability of the record during run-time, indicates next step research is necessary to consider programmable behaviours or AI attributed to the sound actor, and how such features would develop narrative potential.
However, the overriding opinion gathered from the investigation is that although the metaphor of archaeological record should be treated as a state of transference and modification, rather than empirical and static, it represents a structure of narrative potential that can be released by the interactor's agency.