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technology

A Confused Mass, Sophie Rogers

Inspired by the way sci-fi creates fictional universes, artist Sophie Rogers uses digital software to create navigable simulations of imagined places and scenes.

In August 2019 Sophie undertook a residency with Mansions of the Future, resulting in a digital commission to coincide with Frequency Festival.

This new online commission combines simulations of alternate realities with research into Donna Harraway’s writing on how the human and non-human are inextricably interlinked.

July 9, 2019 on Artwork, Featured, Online Zone

Furtherfield People’s Magna Carta – Street Events

Furtherfield bring two weekends full of street games and events to Lincoln High Street for Frequency ’15. Create your own manifesto, draw a new video game, get involved with a lightening speed debate or just shout at a brick, as Frequency Festival takes over the High Street and Brayford Wharf.
Manifesto! – Holly Gramazio
Holly Gramazio and Sophie Sampson of Matheson Marcault are bringing their interactive game Manifesto! to the streets of Lincoln on 24th and 25th October. A fast and funny game exploring some of the tensions inherent in the democratic process. Work against the other team to get your manifesto out there first, but make sure it’s something you can all stand behind! The game asks you to think about personal beliefs and compromise via the medium of flags, boards and shouting. Drop in for ten minutes to play or see the online gallery at manifestogame.tumblr.com

Holly Gramazio and Sophie Sampson from Frequency Festival on Vimeo.
24-25 October, 10.30-5pm, High Street (Shopping Centre Main Entrance)
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Everywhere A Sign: A Guided Walk by Tim Waterman
Tim Waterman is a landscape architect, urbanist, and writer who writes about taste, democracy, and power in landscapes.
The walk looks at how the urban landscape has evolved to provide cues to human behaviour, to improve or curtail our freedoms in the city, and to facilitate or hinder the construction of civil society and the public realm. In the spirit of Magna Carta, the walk through Lincoln’s streets explores how our freedoms and the right to the city and landscape are mutually assured by trespass, dissent, resistance and manners.
24 Oct 3pm and 25 oct 11am
Meeting point: Speakers’ Corner (High Street and Cornhill)
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Challenging A Brick – Stephen Sheehan
The brick will always me a brick, no matter how much you scream at it.
Reprising a three minute action of screaming at a brick. To be performed live once by the artist and then repeated by local theatre students.
Born and living in Birkenhead Stephen Sheehan is an artist creating a variety of work, ranging from films to performances. Challenging A Brick will be an impromptu street performance to be performed live once by the artist and then repeated by local theatre students in various locations along the festival trail.
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The Rewriting of the Magna Carta
A participatory work for the people of Lincoln. A team of social media scribes will observe and listen for insights and utterings of participants in the street activities, sharing them back into the net via a selection of popular hashtags.
Play Your Place: Play the MC
People of all ages bring their experience, aspirations and expertise to public game-jam events through two world-forming activities: drawing and play. The result is hundreds of drawings and a new platform game level of People’s Magna Carta of Lincoln.
31 October – 01 November, 11-4pm
Cornhill
Talkaoke: A pop up talk show led by The People Speak
A pop-up talk show, set up on the street around an illuminated round table with an enthusiastic host sitting in the middle on a swivel chair. Participants are given the microphone whenever they want, coming and going as they please, generating a conversational journey from one unexpected subject to another.
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31 October – 01 November, 11-5pm
Sat 31 Oct at Cornhill and Sun 01 Nov tbc

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Find out more about People’s Magna Carta
www.furtherfield.org

 

October 7, 2015 on Blog, News updates

Not goodbye, but au revoir.

40 Artists, 17 venues, 9 days
This news post marks the end of Frequency 2013. We have welcomed thousands of people through our doors, immersing them in digital culture to inspire, challenge and encourage creative debate.
2013 saw the UK/European premiere of LA group WIFE, and 11 other World Premiere events, brought into the heart of Lincoln. With work from Lincolnshire-based, national and overseas artists alike, Frequency 2013 has brought innovative, diverse work to Lincoln. From screenless animation, to video goggles, to projection mapping, we’ve explored the possibilities and the changing relationships between digital and art.
Our Storify articles have captured comments, photos and videos to see the Festival through your eyes. Take a look to see the journey of the Festival and for a breakdown of the highlights. We also received some fantastic write ups from New Scientist, Design Week, Run Riot and Wild Culture.
“there’s a pretty good chance that Lincoln, the steeply cobbled East Midlands treasure that motorways forgot, might just become the destination for digital culture in the UK”
– Wild Culture 
The synergy between historic sites and new technologies has been at the heart of Frequency. To all of those who saw, for example, Trope’s Conversio at Posterngate or Alexis Rago’s Impermanent and Everlasting at Chad Varah House, you could experience first hand how the city of Lincoln was integral to the work, and we look forward to exploring these interconnections further in 2015.
Although the Festival has ended, Frequency is still about… We are delighted that The Collection will be running Where are we now? until 12th January, and the National Centre for Craft and Design will be running Alexis Rago’s Chaos Contained until the 17th November and Revolution in the Bedroom, War in the Playground until the 5th January.
We would like to take this opportunity to thank our partners, supporters, artists and all of our wonderful volunteers, all of whom helped make Frequency 2013 happen.
As 2013 ends we are already looking forward to Frequency 2015,  when we will join in with the celebrations of the 800th anniversary of the Magna Carta, exploring ideas around Liberation during the October Half Term.
We’ll see you then.
– Threshold Studios & the Frequency Partners

November 6, 2013 on News, News updates

Artist Focus 16: Justin Blinder

Justin Blinder is a Brooklyn-based media artist, programmer, and designer. His work examines how our claims of ownership, criteria for an object’s value, and ways of interacting with others have changed in the digital landscape. Justin’s projects aim to simultaneously provide usable tools and a critical analytical lens, sparking dialogues on how technology and digitization shape our social behaviors. His project Dumpster Drive, a file-sharing application that recycles digital files, helped to build a networked community of users around the ubiquitous, but understudied, digital process of deleting. 
Justin’s projects have received attention from media outlets such as the New York Times, the Washington Post, the Atlantic, the BBC, the Guardian, and Gizmodo. Justin holds a BFA in Design and Technology from Parsons the New School for Design. In the past, Justin has worked as a team developer on the open source project ShiftSpace, served as a Research Resident at Uncommon Projects, and was recently a Resident Technologist at EDesign Labs. Justin is currently the Creative Technologist at Sub Rosa, and an Honorary Fellow at Eyebeam Art and Technology Center.
Wi-Fi spotting
Using NYC.gov wireless hotspot data, Wi-Fi Spotting topographically visualizes Wi-Fi saturation in the metropolis.
Taking inspiration from Italo Calvino’s Invisible Cities, the piece questions what is imagined, and what is real, when exploring the physical formation of digital networks. The meta-data of our wireless signals float off of us along specific routes like those on a map, but the structures and architecture of our communications and technologies—our virtual skyline—are not usually seen. By highlighting how our immediate environments are saturated by other’s signals, as part of an on-going revolution of white noise, Wi-Fi Spotting aims to prompt viewers to think about the underlying social contracts hidden in geographic datasets.
At first glance, there is nothing inherently revolutionary about digital files, but once we examine the history of media digitization, the liberatory potential of data to defy their original forms becomes apparent. Casting a critical lens on our digital files raises our awareness of how states govern and surveil data, and what the power dynamics between everyday citizens, corporations, and states should look like. His projects aim to ferment such potential revolutions by harnessing digital excess— the white noise that surrounds us. The binary code of our deleted files, the components rusting in discarded printers that litter the streets, and our ignored search histories contain the seeds of future, heretofore unrecognized changes.
 
Wi-Fi Spotting is part of the Where are we now? exhibition opening 14th September 2013 and running until 12th January 2014 at The Collection.
 Tune in to Justin’s news: www.justinblinder.com
Follow him: @justinblinder
More videos: vimeo.com/justinblinder

September 27, 2013 on Blog, News updates

#RiseoftheSocialPlatforms

Before I start this blog, I’d just like to clarify a couple of things:
•I love social media
•I am however writing this as a pessimist
•I am aware of the irony of complaining about social media and then promptly advertising this blog post on Twitter.
Social Technology has advanced far beyond our expectations, it has invaded the vast majority of our everyday activities becoming a regular tool for communication. Facebook can be regarded as the dominant social medium, since it started in 2004 it has gained 1.16 billion users, roughly 16% of the planets population. A study conducted in association with Bournemouth University called The World Unplugged found that students that gave up technology for a certain period experienced withdrawal symptoms similar to that of a drug or alcohol addict. We are encouraged to upload everything on to the interest, photos, occupation, education, what we had to eat last night, it is worrying how transparent our lives have become.
On the other hand social technology has given us the incredible opportunity to experience other peoples lives and cultures around the world from the comfort of our own homes, we have unprecedented access to celebrities personal lives through Twitter and Instagram. It enables us to keep in touch with people living far away and because of this the act of leaving home is starting to become less of a worry . By using various social mediums families are contained with a “virtual household” which is capable of keeping members instantly connected over vast distances. Therefore it can be argued that due to new social mediums, families are more likely to maintain close relationships throughout their lives.
So, social media is great by the sounds of it, who can argue with the simple fact that it brings people closer and helping us to understand new and exciting cultures. But I believe that there is a darker side to this glorious social revolution. Social mediums are simultaneously bringing the world together and driving it apart. It contains us in a social bubble, privatising all our interaction methods, forcing us to always communicate through a membrane, for example a mobile phone or a laptop. Ultimately this could cause the decline of face to face interaction.
Most social activities have been privatised with the arrival of various technologies. When the Walkman was invented in 1979 it allowed a music collection to become portable. More importantly, that the user was the only person that could listen to the music. The act of enjoying music went from something that was often shared between multiple people, in an open environment to a private indulgence, a method in which an individual could escape.
Fast forward to 2001 and the explosion of the iPod in to popular culture and you do not have to look to far to see people in the streets with headphones plugged in to their heads. I am not claiming to be a saint, free from all social sins, as I write this I have music plugged in to the drown out the general noise of the public. Two earphones in is becoming the universal sign for “please do not talk to me, I am not interested”
As an architect in training, I am very passionate about spaces, places and people. I have made a habit of studying the decline of the public realm. Urban design could be an integral response to the change in interaction methods between humans as it represents the physical side of communication, one that is no longer the priority when it comes to creating and maintaining social ties. If we can create spaces that integrate technology with the motive of encouraging people to venture out from behind their screens and interact with each other, then, like computer software, we should update public spaces across the globe.
Through my studies I have discovered some scholars that believe that priority of Western public spaces was to beautify the urban environment, with visual order being of greatest importance, so, although methods of interaction are changing, the public areas in which we used to communicate were never designed in the first place to accommodate the public as a priority. This could set the scene for an overhaul of social spaces in urban areas.
In the modern age the streets have become the hunting ground for the shopper, stalking the jungle that is the modern high streets. You could argue that shopping is the last form of social activity. I feel that there needs to be a rethink of public spaces, one that incorporates new methods of interaction. Our current spaces are outdated, unused and will fall in to ruin if something does not change. I have seen people freak out of the realisation that their phone is running out of battery. So why not create a public square with it’s own power source? In a perfect world, you could harness the kinetic energy of people walking across the square to power this refueling station. Add in a free wi-fi hotspot and some flexible street furniture and you’ve got a public space that people can use as a resting place, charge themselves and their phones and venture on. Of course this idea is expensive but if a space is well designed then higher quality interaction will occur in it. Therefore people will be more likely to reuse the space. If you were to encase this space with shops (predictable I know) and the result is a space that contributes to it’s energy consumption, encourages people to spend money and raises the cities social status.
The need to understand and include social mediums in public spaces is urgent, because they are going from strength to strength with no sign of slowing down. The simple truth is that we cannot escape from the revolution we are currently experiencing. The golden age of social technology will only continue to gain momentum. The main challenge that designers face when confronting the modern style of interaction through social networking is that there is a lack of theoretical knowledge to truly understand how this shift in interaction methods is affecting us. This means that the reorganising of public spaces is faltering. Until we can acknowledge that social platforms have changed the way we interact, our public spaces will lay dormant. If we accept the fact that social technologies are challenging the preset ways we interact with and try to work with the new mediums, in both professional work and design contexts, public spaces will emerge as areas in cities that fully harness the flow of human movement. Virtual and physical occupants will be able to converse with each other to create a rich engaging tapestry of human interaction. The social revolution has already begun, architects and planners cannot afford to wait much longer until they react.
Please feel free to give me your thoughts and feelings on this subject, I am planning to base my Masters thesis on social technology and the design of public space so the more feedback I get the better.

September 22, 2013 on Blog, News updates

Artist Focus 11: Juneau Projects

Juneau Projects was formed in Birmingham in 2001 by Philip Duckworth and Ben Sadler. Their work features painting, sculpture, installation, animation, sound, music and participatory elements. They are particularly interested in the rapidly increasing speed of technological development, and its associated obsolescence.
Chapel of the Infocalypse
Juneau Projects’ new installation imagines how society’s attitude towards technology might change following some form of global disaster. Once familiar objects become a focus for worship, the scientific explanations of their functions being replaced by ideas of mysticism and magic.
Juneau Projects have been fascinated for a number of years now by the phenomenon of Cargo Cults (indigenous societies forming religious beliefs, following contact with more technologically advanced colonizing societies, in the hope of gaining material wealth) and the way in which technology completely revolutionizes the societies involved.
This new work is an attempt to imagine how situations akin to Cargo Cults might arise following some form of information apocalypse.
Evolution and revolution
‘Revolution for us is about change. We are constantly considering what we do and, if it is not working (for us at least), we change it. Change maintains our interest in our work and our practice develops through a balance of evolution and revolution.’ Juneau Projects
Tune in to their news : www.juneauprojects.co.uk
Twitter: @juneauprojects
YouTube: http://www.youtube.com/user/juneauprojects
 

September 21, 2013 on Blog, News updates