Artistic Connectivity Unfolding

his book, including the foreword, editors’ dialogue and each artist’s contribution, developed around seven terms that discussed during the Summer School Communication and Interaction through Art in Public Spaces, which took place in Belfast in 2007. 10 artists were invited to respond to questions around interactivity, collaboration, participation, sustainability, responsibility, feedback and authorship in relation to one specific project they have realized. The contributions of the participating artists, Susanne Bosch (GER/NI), Michelle Browne (IRE), Chrissie Cadman (NI), Ele Carpenter (UK), Fiona Larkin (IRE/NI), Christine Mackey (IRE), Ailbhe Murphy (IRE), Andrea Theis (GER/NI), Sabe Wunsch (GER) and Francis Zeischegg (GER), can now be found in this publication. Ten artists make their work transparent reflecting and explaining what they actually do when they are practicing in communication with others. The book is to be read as a toolbox for artists operating with participatory and collaborative strategies. Based on the art projects presented as ‘case studies’, it refers to artistic methodologies, but also to theoretical frameworks and other practitioners. Susanne Bosch / Andrea Theis (eds) Authors: Susanne Bosch (GER/NI), Michelle Browne (IRE), Chrissie Cadman (NI), Ele Carpenter (UK), Fiona Larkin (IRE/NI), Christine Mackey (IRE), Ailbhe Murphy (IRE), Andrea Theis (GER/NI), Sabe Wunsch (GER) and Francis Zeischegg (GER).Date of publishing: July 2012 Publisher: Interface, UU, Belfast ISDN: 978-1-905902-06-4

Theory, Culture & Society, 2004

Focusing on the connections between the artwork and its internal and external network, the article presents four different approaches to the sociology of art developed by Lyotard, Bourdieu, Luhmann, and Hennion and Latour. While Lyotard, from a phiosophical point of view, emphasizes the transcendence of the artwork in relation to its network, for Bourdieu the work of art is part of a network and the ‘social genesis’ grounds the artwork as an artwork. In contrast to Bourdieu, Luhmann conceives of art as an autopoietic system and the artwork as a communicative artefact. Yet, in this, the materiality of the artwork disappears in communication, which is why Hennion and Latour’s approach to the world of art as heterogeneous networks of human and non-human mediators is significant. ‘Thinking with’ these different approaches, the article produces three main results. First, Bourdieu’s and Luhmann’s otherwise very different sociologies significantly parallel each other regarding arts and mod...

Manifestations of Relational Artist Practices, 2010

1 Acknowledgements The journey of this thesis would not have been possible without the guidance of many. I am particularly thankful to my supervisors for their patience and support; Dr. Outi Lahtinen, especially for her insights about authorship reaching beyond the confines of the work at hand and her compassion; and Dr. Milija Gluhovic for pushing me further at all times and for his strategic interventions at crucial turning points. Dr. Tim White, Erin Brubacher and Diego De La Vega Wood were always available with their emotional and academic support. The creative and recreative companionship that Erin, Diego and I had in the form of NED/END/DEN fed into this research in innumerable ways. I am indebted to Seçil Yersel (Oda Projesi) and Julie Upmeyer for sharing their archives, making time to meet me more than once in the scarcity of time, particularly for their opennes to discuss and let fruitful exchanges arise out of our agreements and disagreements. Asu Aksoy and Pelin Tan have been valuable counselors over the course of the project, leading me to crucial resources and people. Bahadir Turan, Öncel Naldemirci and İrem Bostancı were constant inspiration and always available for discussing ideas, reading drafts or sharing the anxiety of writing. Adam Putz provided valuable support during the last cries for help of the thesis and was particularly generous and patient in providing the corrections. Last but not the least, I am thankful to my parents Tülay Özerengin and Remzi Tosun, for being so supportive of my nomadisms, though deep inside them they would like to see me on their side, as a permanent dweller.

With the revision of canonical accounts of art history and the rise of digital humanities over the past two decades, networks have emerged as useful tools for visualizing the redistribution of dominant art historical narratives. Networks, however, represent nodes and edges, at times obscuring the social realities in between, and art historical scholarship on them has been critiqued for its lack of attention to art objects themselves. This session therefore asks: How can the concepts of network science be applied to art historical research? What new questions might be drawn from an exploration of social networks of the past? And how might artistic production itself be an instrumental component of, or even a vehicle for, networked action? We aim to consider the ways and means that network science might be used as a methodological tool of inquiry within the discipline of art history, and as a space to consider how networks have been understood historically both by artists and art historians. This session calls for short paper presentations, to be followed by a productive discussion/debate amongst presenters and attendees about the ramifications of social network science within art historical discourse. All disciplines, periods, and perspectives are encouraged to submit proposals. Session Chairs: Miriam Kienle, University of Illinois, Urbana-Champaign; Claire Kovacs, Canisius College; Lauren Applebaum, University of Illinois, Urbana-Champaign.

Por la invitación de la historiadora del arte brasileña Cristina Freire, puse en debate algunos legados del arte correo latinoamericano pensados desde el artista chileno Guillermo Deisler, y como ejemplificarlo desde una iniciativa puntual de la desaparecida red de residencias artísticas. Este texto se publicó en la Revista Art&Margins de MIT press

2020

The potential for Participatory Arts to contribute to Mental Health and Wellbeing has been subject of Parliamentary Debates, All-Party Interparliamentary reports, research by the Arts Council of England as well as academic research. Often, these questions stand in the light of accountability of Art, of measurable societal benefit, not at least to justify funding decisions and institutional support. Criticism of this quantitative reading of participatory arts centres around limitations in measuring social connectedness and its benefits, as well as other side-effects of reductionism (Bishop 2012). This paper presents four recent media arts projects aiming to contribute to social cohesion through a multitude of strategies. This paper discusses the potential of media arts to contribute to social connectedness as well as challenges in measuring their success.

Every artistic approach throughout history has formed its own language and reshaped the object of art. As for contemporary art, it was technology that determined its orientation: the computer, intermediary spaces, mass communication tools and the Internet have become the new media for many artists working today. It is clear that the digital perspective presents new and powerful sources Essay

Digital Arts and Culture 2009, 2009

This paper draws upon the notion of the networked artwork in order to suggest possibilities for new media art education, informed by research in complexity and systems theory, participatory media, and critical pedagogy.

Artworks as mediums and objects of knowledge: animating creative communities Our paper we consider artwork as a medium for 'animating' communities -shaping ties, driving communication and emotional flows inside of them. We draw our attention to the remarkable public art objects "Red People" which appeared in the city of Perm, Russia, and gave impulse to debates and performances in the local communities. Introducing different regimes of involveness into cultural transformations in the Perm-city Red People gave floor to different agent groups to recreate and argue their view on the state of affairs. Red People also triggered identity-seeking processes and practices of reinhabiting the city among the weaker publics. The discourses and performances mediated by the art objects were of such a large scale and differed so much from previous experiences that we can register emerging of a 'creative' Perm-city community brought into interaction by an artwork. This community metaphor has even more connotations in the Perm context due to new 'progressive' cultural policies introduced there.

Paris College of Art , 2023

This study analyzes how the application of technology in the context of an interactive art installation contributes to the development of Nicolas Bourriaud’s theory of relational aesthetics and fosters social connectivity. To do this, we compare the many styles of interaction and look closely at the strategies of interaction used in new media art, which allow the participant to play an active role, thus engaging with, and even triggering, the interactive quality of the installation. We look at three artists or art collectives whose work is emblematic of this notion: Random International, Rafael Lozano-Hemmer, and Daan Roosegaarde. According to our findings, installation art facilitates social engagement by capitalizing on the participants capacity and desire for social connectivity while providing an aesthetic experience. Interactive installations serve as channels for this social interaction, while also receiving significant support from technology. This study highlights the necessity to consider the expanding social context that has come with the advancement of technology, that announces a future into the realm of interactive art installations.