post digital 2015

NOTES ON FLOATING REVERIE

Floating Reverie is a digital online residency started in early 2014 by Carly Whitaker who takes on the role of a curator/programmer.

Floating Reverie has hosted eleven individual artists and two collectives to date, with two of the artists using the networked platform to collaborate actively. The residency reiterates the scope and potential of networked media for an integrated and innovative networked creativity.

//2Weeks is the title of the residency and happens every month. Artists are invited to respond online to the brief – ‘You have 2 weeks. 14 days. 336 hours. 20 160 minutes. What will you do?’ and produce or (check-in) online every day for two weeks. The residency is not location-specific and exists solely in the digital world, which can be an empowering aspect for many artists. //2Weeks seeks to provide a space and platform for digital artists to experiment, create and produce.

Artists are presented with a framework, guidelines and conditions and are encouraged to explore it repeatedly throughout the two weeks, dynamically changing their creative process daily.

This catalogue presents the artists who were selected to participate in the residency over this year and subsequently the POSTDIGITAL 2015 exhibition, their conceptual statements behind their residency, some screen shots of each residency and their final artwork.

NOTES ON //2WEEKS

Floating Reverie is an on-going, annual experiment. Each residency and artist brings a new dynamic to the process and added insight to the framework. The residency has naturally and expectedly shifted towards a process orientated, research residency as opposed to a conventional residency which would be focused on the art object or exhibition.

The artist’s process is often removed from the final showing of a work. It can be treated as a mystical and for his or her own eyes. It is not often that in the process the audience or viewer is involved or necessary. This residency process breaks with these conventions.

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NOTES ON POSTDIGITAL 2015

It starts off as a daily iteration online. What happens to the artwork then?

It is important to translate artworks, processes and research from a digital medium into the physical. postdigital2015 is a reimagining and engagement with the residencies from 2015. Artists have been encouraged to interrogate their own experience of the residency, their process and how they produced work. Floating Reverie has encouraged the artists to maintain the essence of the digital residency, the process and research and to engage with their own experience during the residency. With this consideration and further development, artists have taken their initial engagement and are re-locating it from a virtual, digital space, into a physical, real space.

23 MARCH 2015 - 5 APRIL 20152015

CHLOË HUGO-HAMMAN

14 STORES NATIONWIDE

HTTP://CHLOEHUGOHAMMAN.TUMBLR.COM/14STORESNATIONWIDE TUMBLR

*NO PRESERVATIVES ADDED

VINYL AND INSTALLATION

2016

Trained in Architecture and Fashion, Chloë Hugo-Hamman explores issues around identity, commodification, consumerism and colour theory. Using Photo Booth, Tumblr, GIFs, and other online forms, as well as clothing, collage, installation and video performance, she works within existing structures, both physical and technological, as a means to discover and subvert the restrictions of the structure itself.

Hugo-Hamman received her undergrad in Architecture in 2005 from UCT, she then studied at the Design Academy of Fashion in 2007. She has produced a shoe design for Converse, was in residency at Joule City as part of the Performance Arts Incubator in 2013, launched a clothing collaboration in 2014 based around her themes with street wear brand 2BOP and was commissioned to make an art work for What If The World’s group show “Uncertain Terms” at the end of 2014.

14 STORES NATIONWIDE Last year I created a range of wearable art works (You Are What You Eat) in the form of fashion items in collaboration with the local street wear label 2Bop. A portion of this range is now available in 14 of the top tier Sportscene stores in South Africa. These stores are in 5 provinces and in 7 cities nationwide.

Over the course of fourteen days I will be exploring the location of each of the Sportscene stores as well as their surrounds, one store each day for fourteen days.

*NO PRESERVATIVES ADDED No description or statement.

29 APRIL 2015 – 12 MAY 20152015 ASHLEY HOLMES

IT WON’T HAPPEN TO YOU, SO YOU CAN LAUGH

WWW.JEFFGERBER.TUMBLR.COM TUMBLR

MR POWELL

VINYL

2016

Ashley Holmes, born in 1990, (Luton, UK) studied a BA (Hons) Fine Art at Sheffield Institute of Arts and currently lives and works in Sheffield. Holmes' is also director of Plenty Vibes, a platform interested in our experiences & interactions with music, technology & art - both online & physically. Recent exhibitions include A Pixel Or A Digit, Turf Projects, Parfitt Gallery, Croydon School of Art, London (2015); Faux Sho, It's All Tropical, Assembly House, Leeds (2015);The Common, The Midas Touch, Luton (2014); Power Up! Salt & Powell, York (2014); I DUNNO SHIT, Cactus @ Rogue Projects, Manchester (2014); S1 Introduces, S1 Artspace Bursary Award Exhibition, Sheffield (2014)

IT WON’T HAPPEN TO YOU, SO YOU CAN LAUGH It Won't Happen To You, So You Can Laugh is a new on-going documentation work that through a process of collating and collaging sound, image and text is dedicated to solely addressing understandings of Black Britain. The work, for the duration of the 14-day period, focuses on the idea of both exploitation and control of symbolism and motif.

Watermelon Man, a 70's American film, written by Herman Raucher, that tells the story of an extremely bigoted 1960's era White insurance salesman named Jeff Gerber, who wakes up one morning to find that he has become.

MR POWELL Interested in notions of power, in several iterations Holmes uses a process of constructing and editing of Black British cultural productions. These ideas manifest as works in a combination of real and digitally imagined spaces that confront power structures and the associated prosperity of authority.

17 AUGUST 2015 – 30 AUGUST 2015

SORAYA FATHA

TABBY CAT

HTTP://2WEEKSSF.TUMBLR.COM/

TUMBLR

*ITS NO GOOD … SINGLE CHANNEL VIDEO DISPLAYED ON IPHONE & MIXED MEDIA

2016

Soraya Fatha (b.1990, UK) received her BA (Hons) Fine Art in 2014 from Central Saint Martins. Recent group exhibitions include sofltly overrripe, Ha Ha Galley, Southampton, 2015; Business As Usual, Turf Projects, Croydon & STCFTHOFS, Leeds, 2015; A Pixel or Digit?, Turf Projects & Croydon School of Art, Croydon, 2015; £1 Fish, Tropical Arts, S1 Artspace, Sheffield, 2014; BYOB, Brighton Digital Festival, Brighton, 2014; The Polaroid Show, Doomed Gallery, London, 2014; Power Up, Salt and Powell, Artemis House, York, 2014; BYOB, Moving Image Art Fair of Contemporary Video Art, London, 2013; BYOB, Vivid Projects, Birmingham, 2013 & 2012; Transform, West Yorkshire Playhouse, Leeds, 2011. Future projects include her first solo show heavily heavenly, breath at University for the Creative Arts, Farnham this September.

Soraya’s work has been featured online by A.N, 2015; Arts Thread, 2014; Hoax Publication, 2014 and Digital Present, 2014.

TABBY CAT Tabby Cat is a new durational work that will use the algorithms of my online browsing to explore the practice and process of mass digital curation and public archiving. *Start search engine.

*brow

*sing

Built in a fragmented style that narrates the way we navigate the Internet and ‘brows’ing, the work over a 14 day period will be an investigation into discursive methods and contexts rather than material or subject matter. *Insert picture of eyebrows —— *C-L-I-C-K ‘brow’

*[brown brows]

*my bros,

*wing

Tabby Cat will be constructed via multiple daily uploads to the internet via an online blog, commenting on the relationship people have when confronted with multiple emotions, interfaces and sensory stimulations.

*eht

*Enter nit

*ITS NO GOOD … Exploring the ‘leftover’ fragments of online data

*Reuse,

*Recycle,

*Reproduce,

Tabby Cat uses a combination of video, digital media, sculpture and found objects to re-represent the algorithms of my online browsing (that’s *brow *sing) during two weeks in August 2015.

*ITS NO GOOD …a wall-mounted iPhone erratically announces a repetitive meme, extracted from the virtual work. It calls for a window of attention, a brief moment of intimacy with the viewer.

*doubt

Small abstracted physical objects occupy the space, tying the ethereal history of the Internet to a physical object. These raw materials are reminiscent of data, fragmented, pulled apart from its origin, adapted, mistranslated

*SLOWLY DYING OF HEARTBREAK.

Then.ThemorningofMonday17August2015://2Weeks is a digital residency program hosted by Floating Reverie. This month Soraya Fatha is the resident artist. //TITLE Tabby Cat //CONCEPT Tabby Cat is a new durational work that will use the algorithms of my online browsing to explore the practice and process of mass digital curation and public archiving. *Start search engine. *brow *sing Built in a fragmented style that narrates the way we navigate the Internet and 'brows'ing, the work over a 14 day period will be an investigation into discursive methods and contexts rather than material or subject matter. *Insert picture of eyebrows ------ *C-L-I-C-K ‘brow’ *[brown brows] *my bros, *wing Tabby Cat will be constructed via multiple daily uploads to the internet via an online blog, commenting on the relationship people have when confronted with multiple emotions, interfaces and sensory stimulations. *eht *Enter nit //DATES 17 August 2015 - 30 August 2015

Now.TheeveningofThursday25February2016: Dear Artists, Congrats on participating in a great year! We are looking at putting together Post Digital, an exhibition of this year’s residencies and would like to invite you to participate. //CURATORIAL STATEMENT Post-Digital 2015 is a re-imagining and engagement with the residencies from 2015. Artists have been encouraged to interrogate their own experience of the residency, their process and how they produced work. Floating Reverie has encouraged the artists to maintain the essence of the digital residency, the process and research and to engage with their own experience during the residency. With this consideration and further development, artists are taking their initial engagement and re-locating it from a virtual, digital space, into a physical, real space. //POST-DIGITAL EXHIBIT Exploring the ‘leftover’ fragments of online data *Reuse, *Recycle, *Reproduce, Tabby Cat uses a combination of video, digital media, sculpture and found objects to re-represent the algorithms of my online browsing (that’s *brow *sing) during two weeks in August 2015. *ITS NO GOOD …a wall-mounted iPhone erratically announces a repetitive meme, extracted from the virtual work. It calls for a window of attention, a brief moment of intimacy with the viewer. *doubt Small abstracted physical objects occupy the space, tying the ethereal history of the Internet to a physical object. These raw materials are reminiscent of data, fragmented, pulled apart from its origin, adapted, mistranslated *SLOWLY DYING OF HEARTBREAK. //DATES 25 February 2016 – 5 March 2016

12 OCTOBER 2015 – 25 OCTOBER 2015

LOUWRENS FERRIERA

BEHIND THE SOUNDS HTTP://FLOATINGBEHINDTHESOUNDS.TUMBLR.COM/

TUMBLR

FIELD ENCODER

SOUND INSTALLATION

2016

Louwrens Ferreira is a composer and a performer who works with electroacoustic sound as his main medium.

In 2014 he obtained his BMus degree from the University of Witwatersrand for which he was awarded the Mary Rorich Prize and Kirby Medal. Currently he is enrolled for an MMus in Electroacoustic Music Composition at the University of Witwatersrand and is employed as a Sound Design lecturer at Open Window Institute.

His focus as a composer is in the area of electronic and electroacoustic music working with field recordings, acoustic instruments and electronically generated sound. Recent compositions include various pieces for acoustic instruments and electronics that where performed by various artists including German Ensemble Cross.Art. He has also participated in various collaborative projects involving visual artists, programmers, engineers and composers.

BEHIND THE SOUNDS For the purpose of this residency a number of field recordings will be used as the raw material for sonic explorations. These recordings were accidentally made over a period of roughly two days.

These field recordings contain daily events, interactions, commuting and conversations as well as long stretches of silence. As these recordings only contain the audible events it does not represent aspects of the experience that are linked to internal and inaudible processes.

The aim of this two-week residency is to re-contextualize the found sound by applying compositional processes to the raw material as a way of representing the internal and inaudible processes that took place and could not be captured.

The result of this process may not necessarily uncover a particular meaning within the recordings nor does it aim to impose a meaningful structure onto the material. It could be seen as a way to emphasise a process of mundane and arbitrary interactions that takes place on a daily basis.

Three compositional processes will be applied to the material:

Indeterminate Compositional Process: parameters such as playback position and speed will be randomised

Algorithmic Compositional Process: a set of determinate rules will be applied

Improvisations: based on the nature and personal interpretation of the recordings a number of compositional decisions will be taken and applied

FIELD ENCODER Following on the two week residency this work serves as a physical counterpart to some of the processes that were applied to field recordings. A device is used that translates electromagnetic fields into sound. This device acts as a probe into the internal processes of smartphones, computers, electrical lines and anything that emits electromagnetic fields.

The work consists of four main components: the scanning device; a computer that translates the scanned electromagnetic fields into visual as well as sonic information; a screen that outputs the visual information; and a loudspeaker that emits sound. Patch cables connect the different components of the device.

While scanning for electromagnetic fields the viewer is presented with a listening score of sorts. A listening score in traditional electroacoustic music is a visual representation of the movements, gestures and quality of the sound. This is viewed while listening to a piece. In Field Encoder it accompanies the sounds emitted by the loudspeaker. The sound is an audification of the scanned electromagnetic fields that is synthesised into rhythmic pulses and resonant frequencies.

The result of this process may not necessarily uncover any particular meaning within the scanned information but could be seen as a way to represent an invisible and inaudible process that forms part of our experience of everyday life.

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post digital 2015

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