Tilda Swinton in The Last of England by Derek Jarman



Film director, set designer, artist, writer and polemicist Derek Jarman (1942-1994) is widely recognised as one of the most influential artists of his generation. His early experimental super 8mm films preceded a career that included Caravaggio (1986), Jubilee (1978) and Wittgenstein (1993).

Stuart Comer is Curator of Film at Tate Modern, overseeing moving image work for the Tate Collection and Displays. He recently co-curated the opening programme for The Tanks and organises an extensive programme of screenings, performances, events and exhibitions.

James Mackay worked alongside Derek Jarman for many years, producing some of Jarman’s most important films, such as The Angelic Conversation (1985), The Garden (1990) and Blue (1993).

5.30 – 7.00pm
Wednesday 20th February 2013

Lecture Theatre
Chelsea College of Art & Design
16 John Islip Street
London, SW1P 4JU

Admission Free, Open to All
RSVP to gsevents@arts.ac.uk

This event is a CCW Graduate School Public Research Platform in collaboration with CHELSEA Space.



Ten public lectures on philosophy, politics and the arts

Dates: 31 January 2013 until 30 May 2013

Centre for Research in Modern European Philosophy and The London Graduate School in collaboration with Art and Philosophy at Central Saint Martins:

The lectures are free: arrive in good time to ensure a seat.

Thursdays, 18.00–20.00
Central Saint Martins University of the Arts London
Lecture Theatre E002
Granary Building
1 Granary Square
London N1C 4AA (Kings Cross tube)

Philosophy and the Black Panthers
31 January 2013
Howard Caygill (CRMEP)

The talk will reflect on the role played by philosophy in forming and articulating the political tactics and strategies of the Black Panthers (originally, the Black Panther Party for Self-Defense), the revolutionary African-Amercian organization formed in California in 1966. It will suggest that philosophy provided a position from which the Black Panthers developed a radical politics of race in the USA beyond the religious orientations of the Civil Rights movement and the Nation of Islam. Focusing on the work of Huey Newton, the talk will emphasise the role played by Plato, Nietzsche and Speech Act Theory in the formulation of a politics of visibility and a performative concept of cultural and political intervention. It will also critically consider the reflections of the French writer Jean Genet on the Black Panthers practice of resistance.

The Singularity of Literary Cognition
7 February 2013
Sam Weber (LGS)

Whatever cognition is produced by the reading of literary – and probably more generally artistic – texts is sharply different from that produced by other disciplines. Most, if not all, critics will agree that a literary or artistic interpretation does not provide a universally valid meaning of the work or text being read, but rather something far more singular, more situationally bound, that arises from an encounter. Literary interpretations that matter are those that open the possibility of future encounters by sensitising one to the significance of hitherto neglected details or aspects, focusing as much on the “how” as the “what”. In this respect, literary encounters produce not so much knowledge as acknowledgement of the radical heterogeneity of texts. To that extent they can claim to provide an exemplary experience of singularity that is not without affinities to certain developments in contemporary science.

A Thought of/from the Outside
21 February 2013
Étienne Balibar (CRMEP)

A well-known essay published by Foucault in 1966 on the work of Maurice Blanchot, La pensée du dehors, was translated into English in two different ways: ‘The thought of the outside’, and ‘The thought from outside’. This indicates a deep ambiguity concerning its possible interpretations. Together with the earlier essay on Bataille (‘Preface to Transgression’), the essay forms the metaphysical counterpart to the early ‘archeological’ work, beginning with History of Madness and ending with The Order of Things, centered on the ‘anti-humanist’ doctrine of the elimination of the subject. It is widely supposed that, in his later work, when studying apparatuses of power-knowledge, and when outlining a history of regimes of subjectivation and truth, Foucault had entirely reversed this orientation. The lecture will discuss the enigmatic notion of the ‘outside’ and its relationship to transcendental philosophy, assess the importance of a dialogue with Blanchot in the formation of Foucault’s philosophy, and argue that, contrary to established wisdom, it never ceased to frame the critique of subjectivity in Foucault’s work.

Auto-Immune Narcissism
7 March 2013
Simon Morgan Wortham (LGS)

To what extent does sleep constitute a limit for the philosophical imagination? Why does it recur throughout the text of philosophy as a constant complication for Western thought, despite attempts to downplay its importance as purely physiological, or secondary to the question of dreams and dreaming? How does it change the question of dreams, for instance? This lecture asks such questions by turning to the work of Hegel, Bergson and Freud.

A Critical Theory of Sex
21 March 2013
Stella Sandford (CRMEP)

The sex/gender distinction has been fundamental to Anglophone feminist theory since the 1970s, in various different ways. Many feminists, seeing a direct political advantage in a vocabulary that allowed them to distinguish between what they saw as the biological reality of sex and normative masculinity and femininity, embraced ‘gender’ as a category of analysis. What is the relation of the sex/gender distinction and its theoretical vicissitudes to the social reality of everyday gendered lives? Has the sex/gender distinction ever made waves outside of feminist theory? In this lecture I will argue that the tendency of the popular cultural uses of the words ‘sex’ and ‘gender’ gives a false impression. The popular concept of sex is not the biological concept but its ideological deployment and as such the social reality of the idea of ‘sex’ is more important than its biological reality. Feminist theory requires a theoretically satisfying account of sex that is adequate to this social reality in order to oppose it. This is the role of a critical theory of sex.

The Postconceptual Condition
18 April 2013
Peter Osborne (CRMEP)

Whither Materialism?
2 May 2013
Catherine Malabou (CRMEP)

Duchamp à Calcutta
16 May 2013
Éric Alliez (CRMEP)

Spider Universe: Lars von Trier
23 May 2013
Scott Wilson (LGS)

Vitalism or Voluntarism?
30 May 2013
Peter Hallward (CRMEP)

Categories: Audience, Central Saint Martins, Events, Staff, Student, Talks


Tate Britain
Saturday 24 November 2012, 13.00 – 17.00


Tracey Moberly, Mam
Courtesy Tracey Moberly

You are invited to join us on a spirited quest to explore questions of identity and belonging. Amidst pumping bass lines and crowd mayhem, LABEL will explore the one question that has intrigued mankind for centuries: “Who am I?”

LABEL features live acoustic performances with Q+A sessions from Speech Debelle and Shakka, DJs Stööki Sound, plus installations and workshops with Soulful Creative.
Come and work with leading urban creatives on a giant collaborative piece that will transform the façade of Tate Britain, choose how to represent your super-talented self in a portrait taken by our photographer, join a guerrilla mosaics workshop to re-think emblems of Britishness or create a unique label that reflects who you really are with artist Chloe Cooper.

LABEL is curated by Tate Collective as part of the Great British Art Debate. What does Britishness mean to you? Join this audacious retort to stereotypical ideas about Britishness.

Follow The Great British Art Debate on Twitter @GBArtDebate and on Facebook
Sponsored by the Heritage Lottery Funded & Great British Art Debate
Art and ideas


WWW: World Wild Web

Paula Crutchlow & Helen Varley Jamieson, Andy Deck, Mary Flanagan, Genetic Moo, Dominic Smith, and Sarah Waterson

Aquitaine from the [borders] series by Mary Flanagan
Date:Thursday 18 October – Saturday 1 December

Opening Event: Saturday 13 October 2012, 1-4pm
co-hosted with The Festival of Mint A Celebration of Local Growing – serving mint tea and mojito

Open Thu-Fri 1-5pm, Sat 11-5pm
Contact: info@furtherfield.org


Visiting Information

To be alive is to be wild. And we humans have a will that shapes the world with language, song, lust, labour and play. And for those of us who connect with it, a network of machines now extends our reach, amplifies our urges and quickens our exchanges.

The artists in this exhibition work and play with living organisms and technical things, systems and language, to explore how our relation to the natural world is changing. They introduce us to the unruly life going on in other natural webs of communication, knowledge and feral exchange. Gallery visitors (humans and dogs) are invited to view videos, interact with art installations and social media and undertake walks in the surrounding park with its other animals and edible plants.

Mary Flanagan travels overland and undersea in virtual worlds. Her journeys in the worlds are caught on video. Her avatar scouts the boundary lines of ‘heritage’ landscapes built by “residents”. Her walks are inspired by Thoreau, the great American writer and walker, who knew that ‘all good things are wild and free’.

Aquitaine from the [borders] series by Mary Flanagan
Aquitaine from the [borders] series by Mary Flanagan

Andy Deck calls attention to echoes of the wild in language. Despite the many entertaining digital visions of nature beamed to the flat screen, a wealth of intuitions relating to nature still survive in colorful expressions passed down for centuries. He invites you to help him build a bestiary of animal idioms using social media and a gallery installation.*

Crow_sourcing by Andy DeckCrow_sourcing by Andy Deck

Sarah Waterson has invented a set of cartographic tools for dogs (and their human friends) to develop an interspecies psychogeography. Her electronic mapping system generates sniff data, routes and photographic journals supporting communication, collaboration and knowledge-sharing between companion species.

Laika's Dérive – The dogs de Tour by Sarah Waterson
Laika’s Dérive – The dogs de Tour by Sarah Waterson

Helen Varley Jamieson and Paula Crutchlow dramatise the private actions and global consequences of our domestic lives in a long-running series of networked performances located in peoples’ homes.Dave’s Quiz (part 2) is an interactive extension of their provocation to discuss and appreciate relationships between personal, state and corporate responsibility around issues of consumption and disposal in late-capitalism.

make-shift: Dave’s quiz (part 2) by Helen Varley Jamieson & Paula Crutchlow
make-shift: Dave’s quiz (part 2) by Helen Varley Jamieson & Paula Crutchlow

Artists duo Genetic Moo invite us to discover a dark, interactive sea of wiggling, luminescent creatures that gorge on torch light. They fantasize an evolutionary digression through the lens of human sensuality, drawing on images made by early scientists as they first found micro organisms or Animacules swarming in every sea, pond and pool of saliva.

Animacules by Genetic Moo
Animacules by Genetic Moo

Disquieted by the environmental impact of constant technological upgrades, Dominic Smith works with open knowledge from the DIY mycology movement to create a system that combines the waste products from the tools and fuels of the contemporary coder. Out-of-date software manuals and coffee grounds are shredded to create a compost for fruiting oyster mushrooms to be harvested and consumed by visitors.**

Shredder by Dominic Smith
Shredder by Dominic Smith

This exhibition is dedicated to Jay Griffiths, author of WILD: An Elemental Journey (2006).


* Crow_sourcing is a 2012 Commission of New Radio and Performing Arts, Inc. for its Turbulencewebsite. It was made possible with funding from the Jerome Foundation.http://Turbulence.org/Works/crow_sourcing

** Dominic Smith developed this iteration of the shredder concept, originated by Julian Priest, David Merritt & Adam Hyde, as part of the geekosystem project. It is an experimental transposition of software development methods taking an organic, material form. It’s also worth noting that in his 1998 net art work Shredder 1.0 Mark Napier took the texts and images from pages of the WWW and jumbled them in colourful abstractions to reveal their ‘rawness’ once freed from the strict orthodoxies of web page design.

Exhibited Works
Crow_sourcing by Andy Deck
[borders] by Mary Flanagan
Animacules by Genetic Moo
make-shift: Dave’s quiz (part 2) by Helen Varley Jamieson & Paula Crutchlow
Shredder by Dominic Smith
Laika’s Dérive – The dogs de Tour by Sarah Waterson

About the Artists

Paula Crutchlow
Paula Crutchlow is a performance maker and director who co-authors live events across a variety of forms. As a co-founder and director of Blind Ditch she combines digital media and performance to engage audience and participants in distinct and active ways. Her work often uses a mix of score/script, improvisation and structured interaction to focus on boundaries between the public-private, and issues surrounding the construction of identity and the politics of place. Paula is currently the Creative Advisor for Adverse Camber directing work with some of the UK’s leading storytellers, she was an Associate Lecturer in Theatre at Dartington College of Arts, Devon 2001-10, and teaches Digital Performance Practice at the University of Plymouth.

Andy Deck
Andy Deck specializes in collaborative processes and electronic media. As a Net artist and software culture jammer, Deck combines code, text, and image, demonstrating patterns of participation and control that distinguish online presence and representation from previous artistic practices. In addition to numerous online exhibitions, his work has appeared in exhibitions like net_condition (ZKM), Unleashed Devices (Watermans Art Centre), and Animations (PS1-MoMA). He is also a co-founder of Transnational Temps, a media arts collective concerned with making Earth Art for the 21st Century.TM After showing in EcoMedia, a ground-breaking series of european exhibitions, Transnational Temps mounted the 2010 oil-related exhibition Spill>;>;Forward in New York. In 2011 Deck received first prize in the interactive division of the LÚMEN_EX Digital Art Awards. Deck’s work, currently shown by the Whitney Museum of American Art’s Artport and the Tate Online, has been commissioned by these and other prestigious institutions. Deck lives and works in New York City.

Mary Flanagan
Mary Flanagan is an artist focused on how people create and use technology. Her collection of over 20 major works range from game-inspired systems to computer viruses, embodied interfaces to interactive texts; these works are exhibited internationally at venues including the Laboral Art Center, The Whitney Museum of American Art, SIGGRAPH, Beall Center, The Banff Centre, The Moving Image Center, Steirischer Herbst, Ars Electronica, Artist’s Space, The Guggenheim Museum New York, Incheon Digital Arts Festival South Korea, Writing Machine Collective Hong Kong, Maryland Institute College of Art, and venues in Brazil, France, UK, Canada, Taiwan, New Zealand, and Australia. Her three books in English include Critical Play (2009) with MIT Press. Flanagan founded the Tiltfactor game research laboratory in 2003, where researchers create game interventions for social change.

Genetic Moo
Genetic Moo build living installations in pixels and light. The duo have been creating interactive art since 2008. Virtual creatures are constructed from choreographed video clips, combining elements of the human and the animal. They respond in a variety of life-like ways to audience motion, sound and touch and vary in size from the tiny Animacules to the all encompassing Mother. The works are driven using Open Source and Flash Software utilizing a variety of interactive interfaces. The programming behind the work is just complex enough to make the creatures appear more believable and create rich user driven narratives.

Schauerman and Pickup both gained Masters degrees from the Lansdown Centre of Electronic Arts. Their work has been exhibited extensively including the De La Warr Pavilion (2010); Watermans (2010) The Wellcome Collection (2011) and Glastonbury (2011). One of their works, Starfish, received a John Lansdown Award for Interactive Digital Art at Eurographics (2007) and was nominated for an Erotic Award (2012).

Helen Varley Jamieson
Helen Varley Jamieson is a writer, theatre practitioner and digital artist from New Zealand. In 2008 she completed a Master of Arts (research) at Queensland University of Technology (Australia) investigating her practice of cyberformance – live performance on the internet – which she has been developing for over a decade. She is a founding member of the globally-dispersed cyberformance troupe Avatar Body Collision, and the project manager of UpStage, an open source web-based platform for cyberformance. Using UpStage, she has co-curated online festivals involving artists and audiences around the world. Helen is also the “web queen” of the Magdalena Project, an international network of women in contemporary theatre.

Dominic Smith
Dominic is an artist who engages with project hierarchy, ownership of ideas and heuristic curatorial strategies. Dominic is a founding member of ptechnic.org. He has exhibited and performed at Govett-Brewster Art Gallery in New Zealand, at the ICA in London, CCA Glasgow, AV Festival, Newcastle and Eyebeam NY. He has a doctorate with CRUMB at Sunderland University that examines the relationship between open source production methods, and art/curating methods. Dominic is also the current curator of thepixelpalace.org through which he also developed and runs basic.fm

Sarah Waterson
Sarah has practised as a new media artist for the past twenty years. Her works include electronic installations, collaborations with performers, video and audio work, generative and software based artworks, VR environments and data visualisations and ecologies. Interdisciplinary and collaborative practice informs the development and ultimately the design of these artworks. Her current interests include data mapping, data ecologies and cross species collaboration.

Sarah’s recent interactive installations have included: Laika’s Dérive (Performance Space, Carriageworks 2011), 33ºSouth (collaboration with Juan Francisco Salazar, Casula Powerhouse 2009), a custom made data mapping system that juxtaposes the cities of Sydney (Australia) and Santiago (Chile) trope, a e-literature project developed for the Second Life environment (SWF 08, ongoing),subscapePROOF (collaboration with Kate Richards, Australian Centre for the Moving Image, Melbourne), and subscapeBALTIC (ISEA2004, Helsinki, Finland). Sarah is a senior lecturer in interactive media at the School of Humanities and Communication Arts, University of Western Sydney, Australia.


Furtherfield Gallery
McKenzie Pavilion, Finsbury Park
London N4 2NQ
T: +44 (0)20 8802 2827
E: info@furtherfield.org

Visiting information

Furtherfield Gallery is supported by Haringey Council and Arts Council England




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