National Experimental Arts Forum 2015




in Collaboration with Leonardo Education Arts Forum and National Institute for Experimental Arts.



Ionat Zurr


SymbioticA


What does it mean to teach experimental art?


From her partial perspective, SA teaches art and life, art and biology, technology is life itself


so evocative and experimental that all pedagogy at symbiotica is unpredictable


life is unpredictable


working with life ends up as a failure


we are located within the scientific school


people are taken out of their comfort zone, acquiring new languages


not about same language or agreement but about communication, agreeing to disagree


The clinician does not do the work, the students do the experiments themselves


students also come from the sciences and are introduced to the arts


“true hybrid” students


explaining to science supervisors “what is art” is the best challenge


this results in intersting expressions that are experimental, about communication


if we’re talking about this


life


failure


experiment


experimental process, we don’t know the results


we have a hypothesis (do a hypothesis)


you’re not allowed to publish failures in the sciences, you are allowed to publish your failures in art


some of our failures are the best works we do


the language (verbal, in a more conceptual sense) to be able to cross disciplines






Alex White


Digital Learning producer


community making, community development
projects around electronic art and experimental music


intersections of creativity and technology


who gets to have those experiences?


space between community, technology, creativity


25k students per year


modifying space continuously


connecting students remotely, supporting educators in the building


developing programs that experiment with art processes and emerging technologies


two projects (Alex, I missed the name of these artists! Please let me know LK)


distance learning program called “digital excursion”--building on established histories of distance learning to experiment with two way video connection. how could students participate in and have unpredictable experiences with an artwork remotely


experiments with conceptual powerpoint art


create experiments, not workshop


performed by art educators at MCA


discussion is followed by post excursion activities


designed for high school students


subtle critique of other artists


ideas like appropriation and materiality


a work that isn’t trying to carry a message or be representational


2) How do we approach sound and video art based programs?


Long duration, several hours


workshops take only 60-90 minutes


teaching the program rather than teaching the ideas


Adobe Premiere, how to use menus etc


militaristic modes of new media instruction


working with a developer to build a new video editing tool with a simplified interface


DJ deck setup with fade, effects, etc


No menus


no complicated steps


Another one for sound.






Tara Morelos


iMovie experiment


Dlux media arts, full purpose org supports artists (please add your text, thanks Tara!! Tough to keep up)


Scanlines


(Paul is a CI on this project)


sample of works from Curtin Gallery


in entirety is 12 works


materiality of works ranges across many tech and formats


education program around archive


program goes into schools


archiving experimental and revealing evidence of experimentalism through artist interviews & documentation of how artists come to work with media art


their understanding of the development of the practice in Australia


dissemination of experimentation to teachers by way of integrated modules aimed at teachers


disrupt education system


a good device for bending young minds


ed space is difficult to work within


modules use mobile devices and tech


these are common tools
workshops are process based


Experimentation makes strange with technology, culture, forms of life, grabbing these modalities and extending them into unexpected situations


new visual language


DLAB has been around since 2011, works with young women from aboriginal and rural backgrounds with little previous interest


confidence building, collaboration, role modeling


we made the way by walking it: experimental workshops draw on expertise of elders, scientists, and participants


model was brought to us by NAME (Tara, sorry I didn’t catch this! Please fill in --LK)


mobile media lab in rubbish bin (is there a picture we could use?)


drawing on our large network of history with artists etc


rolling out in 4 locations dubbo, catherine, MISSED THE REST! (Tara, sorry I didn’t catch this! Please fill in --LK)


art projects relevant to participants and unique to location


modular learning approach


identifying key skill areas


what existing skills there are





Bianca Beetson


From Dreamtime to Machine time


Student works


students resilient to doing anything beyond dot work


dot work sells


machinetime


Not doing a great job with names! please help full in, Bianca, can’t see them all from my spot!


Lost language machines


Digital drawing pad works redrawing identity


identity is central to what they’re learning


making artwork out of fairy floss


push beyond skills you bring/are comfortable with and immerse in experimental processes
push from first year dots to immersive installation


smell, sound, tapestry, interesting from a male perspective


Moving from “how do” questions to “what if” questions?


what if you set it on fire, cut a hole in it, push boundaries, take risks


what do they want?


encouraging happy accidents


i love happy accidents in my department


decolonizing


decolonizing language


decolonizing visual and written language of the colonizer


embracing new media, accessibility, importance of accessibility


affording a camera, creating works on smartphone


working from history of located media, exhibiting from smartphone


how to work around licenses for software


creating new audiences through social media; flash mobs are frequent


art and politics class


art for art’s sake


just do it, just keep trying, doesn’t matter if it doesn’t have a deep concept


how do we develop conceptual art: through experimentation


they think they have to make work connected to history and culture


influence from contemporary space


using art as a form of nonviolent protest


mapping the indigenous art industry


what happens when an aboriginal artist makes work that “doesn’t look black enough”?


preconceived ideas of what black art is


artists have an obligation to look at history and tradition


how do we do cultural restoration through new media work


don’t resist new media


resistance is futile


we all knew then, what we know now, dots, are one of the best forms of communication


critical thinkers
Highlights from Question Time


the excitement of technologies; resisting the excitement


what is missing with the rebellion


we might like the struggle


how do we rebel against excitement to find experimentation?


it’s not about the technology,


the experimental is about quality of ideas, interaction, process


learn by doing every minute


developing language to empower someone to be experimental


if we’re thinking about experimentation it’s also about play, play with purpose


purpose seeks results, not necessarily commercial results, but for the medium itself


experimentation can involve ideas, understanding, reflection, historical reflection


artists being the ones to develop a new language that is more reflective, with different purpose.


problem finding vs problem solving


what we have learnt, is that there are endless possibilities, the inability to define art matters.


at what point do you move from problem finding to problem solving, and does that moment mean entering process rather than experimentation?


an experiment is something that can fail


sometimes failure is the result


failure can be good in both science and art


the core aspect is freedom to be experimental


we look forward to outcomes of infinite nothingness and practicality