- Takeaway Festival 2006
- Takeaway Festival 2007
- Takeaway Festival 2008
- Takeaway Festival 2009
- Mini TKW
Dorkbot is a loose confusion of people doing strange things with electricity. It started as a smallish monthly meeting in new york city, but now spans the globe, with dorkbots existing in over 80 cities. Dorkbotlondon started in has had 60 meetings since late 2001, attracting a diverse group of artists who want to be engineers and engineers who want to be artists.
Alex McLean is one of the many dorkbot organisers, and will try to make some sense of what has happened. http://dorkbot.org/
Since 2004 we have been developing a range of portable instruments that mimic the desirability of handheld gadgets but are more comic in appearance and obscure in functionality. Examples being the iLog Rustle which records up to 20 seconds of sound and reduces it into distorted fragments, the iLog Photosynthesiser which converts light into audio and the m-Log (a wooden gestural computer interface).
We have performed across Europe with these instruments and they have featured in design books,magazines and blogs globally. Shifting between being desirable design objects, musical instruments or simply logs, they raise questions about the use of technology within live performance and their value as objects, their potential for mass-production and our refusal to do so.
Rather than standardise production in the face of working with uneven logs and unusual electronics we prefer to let these objects resist mass-production and thus no two are ever the same. Embracing this limitation we invite participants to join us in making their own variation. Through this social process our customers become developers rather than consumers and our range of instruments continue to evolve, placing an emphasis on cultural and social capital rather than the physical.
Drawing on influences such as woodworking, hobby style electronics and open source software to create music-making machines, we take a craft-based approach to designing our own interfaces and objects. The result is a distinctive range of musical and sculptural instruments that critique human interaction with computer interfaces and our increasing appetite for new and often disposable technologies.
We have performed and exhibited the Log1k nationally and internationally since 2001
We developed the Sound Lathe in 2005. First shown at the Gathering Moss exhibition at Q Arts (Derby, UK). The Sound Lathe has been performed widely, including headlined at the Sonic Arts Network EXPO 2006 and shortlisted & exhibited for the SHARE prize (Torino, IT) 2008.
In 2007 we were commissioned to work with leading green woodworker Mike Abbott (Lovebytes, 2007, Sheffield) to produce a chair using the Sound Lathe. The chair has an embedded MP3 player containing the sounds of its production.
After launching the original iLog in 2005 a new range of iLogs were shown at Futuresonic (Manchester UK) 2006, and then at Digital Wellbeing Labs (London) and performed at "Musikprotokoll" (Graz AU), TEKS trondhiem Norway) & the Serpentine Gallery stage.
In 2008 we were awarded a major Arts Council award to radically develop the iLog & m-Log technology. Working with artists, Leafcutter John, Kaffe Mathews & Thor Magnusson. We exhibited the out comes of this at Ding Dong, FACT, Liverpool, December 2008-February 2009 and at the Owl Project curated evening “Night of the Owl”.
Artists and makers have new consumer and open source devices to play with (e.g. arduino + wii nunchuck/ processing + wiimote for example). The culture of sharing has enabled ideas to rapidly spread. As the tools are getting easier and cheaper, what do we want to build today, collaborate on tomorrow, set free in the future? Transitlab.org is a place where I blog about hybridity, art/science and collaboration. I will talk about light responsive devices, my current project on open biology and how I am opening these projects up.
Dr Brian Degger is an artist/researcher and biotechnologist. His work with Blast Theory on I Like Frank in Adelaide formed the basis of a paper on how artists access cutting edge technology. He is a maker, showing the Arduino-based LightResponsiveDevices at the recent UK Maker Faire in Newcastle. Currently he is a digital fellow at Digital City where he is investigating new opportunities for artists to interact with the life sciences.
Open learning communities inspired by the free culture movement, offer alternatives to the bricks and mortars model of universities as knowledge factories. I will be presenting a sample of these emerging hybrid-flexible online learning models- that are being developed wth the help of social technologies within the academia.
Paula Roush is an artist-educator-researcher. She is a lecturer in digital photography at the London South Bank University where she teaches courses on artists publications and self-publishing practices, performativity and surveillance space. She also teaches the theory module for the MA in Art and Media practice at the University of Westminster. She is the founder of msdm [msdm.org.uk], a platform with a fluctuating body of collaborators exploring mobile strategies of display & mediation. With a focus on performative installation, msdm has developed a a transdisciplinary practice that encompasses online technologies and site-specific approaches to participatory live art.
Through his most recent project Liminal: A Question of Position a large scale digital media project that was concerned with interactions between the city, new media, technologies and cultural diversity the talk will be an exploration of the different kinds of collaborations that take place when building immersive environments in which stories can happen that are determined by peoples agency and intervention. Taking a look at collaborations with other artists and institutions which set out to find different ways of engaging audiences in the process of authorship through the unique opportunities afforded by interactive digital media and thereby contest the notion of artistic specificity.
Gary Stewart has been Head of Multimedia at Iniva, the Institute of International Visual Arts based in the new gallery space Rivington Place, London since 1995 where he curates and implements Iniva’s digital programme – encompassing installations, exhibitions, public and online projects. Working with electronic media as an artist, designer, producer and curator over the last twenty years he has been involved in pioneering initiatives and projects which interrogate the relationship between culture, technology and creativity.
In the space of 3 years 2005 - 2007 the Sony Corporation has gone
from an approach that was tantamount to kicking their audience in the
teeth to instead essentially handing them some of their most valued
assets to use as their own. While this hasn't been a fundamental
company wide transformation there have been some very real instances
of Sony, one of the largest corporations in the world realising that
they are much better off collaborating with their audience than
spying on them. This is a quick snapshot of what they did and the
impact it has had.
Leo has worked in digital media since 1996 in New York, Sydney and
London. He has worked agency-side for brands including Sony CE,
Levi’s, MTV and Diageo. He has also worked client-side establishing
the digital arm of Australian publishing company IPMG, which was sold
in 2001 to News Corporation Ltd. He is a member of the Internet
Advertising Bureau’s (IAB) Social Media Council and sits on the board
of the National Gallery Company. www.linkedin.com/in/leoryan
APG- Socially engaged practice in contemporary art is based on models that for years have pushed the responsibilities of artist out into the world beyond galleries and into the exhibition circuit. With their emphasis on topics such as value, exchange and sharing of knowledge, organisations like APG (Artist Placement Group) provide models and implemented processes from which an open-networked culture can learn. What might be drawn from these examples for new forms of intervention through media, and what can be changed, based on the lessons learned?
Neal White is an artist and Senior Lecturer in Critical Practice, Post-Graduate Department at Ravensbourne College of Design and Communication. He has exhibited widely, most recently with work last year at Henry Moore Institute, Barbican Gallery, ICA/Goldsmiths, International 3 MAnchester. He is currently working in collaboration with N55 on a commission for Arts Catalyst, and with the Max Planck Institute, Berlin. He has recently given talks at Tate and written for 'Contemporary' Magazine. He is an advisor to the board of O+I (formerly APG) and was a co-founder of art/ technology group - Soda.
The College is seeking to move to another site and it's important that we have not just a new building but a new kind of education suitable for the 21st century: we will have a new kind of learner and we need to understand how to respond.
Robin Baker: Royal College of Art - including Professor of Visual Computing; speaks abroad on media subjects. Director of the Ravensbourne College of Design and Communication
A short welcome note and introduction to the festival and it's themes.
Armin Medosch is a writer, curator and media artist. He is associate senior lecturer in digital media at Ravensbourne College's Postgraduate Program. He has written and edited several books on new media and network culture, his latest work including texts on wireless community networking and free and open source culture.
His latest work as a curator includes a contribution to the exhibition OpenNature at NTTICC Tokyo and the forthcoming exhibition Waves, Riga 2006. In his spare time he is conducting research on collaborative and participative art forms, open cartography and mobile and interactive travelogues.
My early performance's and television experiments have also addressed political correctness, participatory culture, freedom of speech and copyright. Conflicts nowadays are in certain areas extinguished and in others alive and intensive as not known before.
The importance of establishing conflicts in design and art processes, in architecture and product design is in my opinion an important skill which should be an integrative part of higher education in the UK. Some questions will be asked: Is terrorism the only alternative to entertain bored consumers? Why the Islam inherited the bad boy game after the collapse of Communist empire? Post Creutzfeldt-Jakob economy, or is the bird flu the only ecological rescue? From skills, to knowledge, who needs wisdom in a consumer oriented society?
Karel Dudesek is co founder of IUPA (Institute of unknown political affairs), Minus Deltat (music and performance group) the Ponton Media Lab in Hamburg, director of Van Gogh TV- Atlanta/Meckelfeld, former director of the New Media department at the University of applied Arts- Vienna and today Course Leader for Postgraduate studies in Ravensbourne.