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WSA and transmediale partnership

December 17, 2012 Leave a comment

Winchester School of Art, and our research centre in Global Futures is happy to announce a new partnership with the transmediale-organisation and festival in Berlin! This coming year’s theme is Back When Pluto Was a Planet (BWPWAP) and we are besides participating with a panel and a range of other talks also already thinking ahead to the future years with the great folks of tm. They have a great track record of working with universities, including Aarhus and now Leuphana. I could not be more excited about this link to Berlin – tm has been one of those festivalstransmediale 2013 countdown in Pluto time/conferences that get my mind actually working. And it’s socially such a good spot to catch up with lots of people. One of the most exciting things happening in our field of critical arts/media/practice/theory at the moment. And Berlin is great.

Below the more official press release.

WSA to collaborate with a leading European festival for art and digital culture

The Winchester School of Art (WSA) has formed a new partnership with the organisers of one of Europe’s most significant festivals for art and digital culture.

The WSA, part of the University of Southampton, will engage academics and students in a wide range of activities with transmediale, the world-renowned festival and year-round project based in Berlin.

From Winchester, the key activities will be co-ordinated through the WSA’s Centre for Global Futures in Art Design & Media which shares a number of areas of mutual interest with transmediale across the fields of media arts, cultural theory and politics, aesthetics and digital culture.

Future activities linking the WSA and transmediale related to these shared interests shared research projects, joint workshops, curatorial developments related to transmediale and its all-year platform “reSource transmedial culture,” various educational platforms and events, and WSA’s participation in the planning activities and events leading towards transmediale festivals and the reSource activities.

Academics and students are already making plans to participate in transmediale from February 2013. WSA and transmediale are also keen to involve students as an active part of the partnership and establish a long-term link that represents the Winchester scholars’ interest in digital culture, media and critical contemporary arts. It also consolidates important high-level links the School has with Europe.

“We’re very excited by the prospects and benefits that working with transmediale will bring to the Winchester School of Art,” said Professor Ryan Bishop, Co-Director of the Winchester Centre for Global Futures in Art Design & Media. “The activities supported by transmediale offer an important interface between academic research, the arts and the general public which creates a perfect fit with the ethos and activities of our own Centre. In return, the WSA is perfectly positioned to facilitate additional collaborative links across partner institutions, providing a dynamic network of researchers working on related and complementary concerns which we believe will benefit everyone involved in organising and participating in transmediale each year.”

The artistic director of transmediale, Kristoffer Gansing reinforced this perspective by saying that “For transmediale, the collaboration with WSA and the Centre for Global Futures represents a great opportunity to develop new activities within a burgeoning international research setting. “ Stressing the transdisciplinary nature of the festival, “the combination of art and research is central to our critical approach to media art and digital culture” Gansing continued, adding that he is “hoping for new creative approaches to joint presentations of artistic and academic research between the two institutions.”

Each year, transmediale presents new positions in the fields of art, culture and technology to an audience of more than 20,000 visitors who experience an extensive range of exhibitions, conferences, screenings, performances and publications. transmediale’s broad cultural appeal and high artistic quality is recognised by the German federal government which supports the festival through its programme for beacons of contemporary culture.

Critically concerned with art and design practices of making, thinking and representation, the WSA engages in education and enterprise, exploring the contribution of media, materials and technologies to the improvement of human societies globally. In addition to producing world class research and engaging in educational possibilities, the WSA’s Centre for Global Futures hosts a wide array of issue-based activities that centre around globally relevant topics such as the environment, society, politics, art and demographics. By involving high profile academics, artists, curators and filmmakers, the Centre is creating a platform for the local and regional communities to engage in these areas.

http://www.southampton.ac.uk/wsa

http://www.southampton.ac.uk/wrc

Don’t call him a media philosopher!

October 18, 2012 Leave a comment

It was one year ago that Friedrich A. Kittler died. The German newspapers reacted, and slowly, The Guardian too, with a couple of writings and a podcast. I think that was it, for the English-speaking mainstream press. Besides some short notes on my blog, I wrote this short piece for The Guardian.

Academic discussions concerning his work have increased even more: such also include  fantastic pieces like the memoir by Geoffrey Winthrop-Young of the Kittler-before-Kittler (i.e. the early 1980s one) ‘”Well What Socks is Pynchon Wearing Today?” A Freiburg Scrapbook in Memory of Friedrich Kittler’ in Cultural Politics Volume 8, Issue 3, and a forthcoming ZKM conference Of Gods and Scripts around the Mediterranean.

Of last year’s obituaries, some are circulating again online. Here is for instance FAZ: Jede Liebe war eine auf den ersten Blick.

Indeed, Kittler got the human (well, actually “spirit”, “the mind”, Geist – Geisteswissenschaften) out of humanities, and inserted the machine. Suddenly, inside the human(ities) we found all kinds of hardware. Typewriters, gramophones, circuit boards, computer chips, probably even a bit of internet cable in there somewhere.

However, don’t inscribe “media philosopher” on his grave stone.

And no, he did not call himself a media archaeologist either.

An Interview with Martin Howse

October 17, 2012 2 comments

This is another interview, and audio recording now available, that I did in Berlin in 2011. It is my chat with Martin Howse, of microresearch, and the project(s) together with Jonathan Kemp and Ryan Jordan: decrystallisation, recrystallisation and the later Crystal Worlds in Berlin and London. We talk of what the crystal project means, ideas related to art methods, and ending up with evil media.

Related readings of The Crystal World exhibition: Howse and Kemp in Mute Magazine, and Matthew Fuller in the same magazine: “The Garden of Earthly Delights.”

Apologies for a bit lousy quality of the sound in my recording.

An Interview with Paul DeMarinis

October 13, 2012 2 comments

I interviewed Paul DeMarinis in July 2011 in Berlin about his media archaeological art practices and methodology.

It was originally in the context of the Creative Technologies Review podcasts we did with Julio D’Escrivan, but the archives of those podcasts are not available so I wanted to share this interview (audio, mp3) for those interested.

Media Archaeology Lab, Colorado/Boulder

October 6, 2012 1 comment

I am honoured to join the Advisory Board of the Media Archaeology Lab (University of Colorado in Boulder). Lori Emerson, the director, has been working hard on this project that I have been following for a while now. It brings its own pedagogical and research mission as part of the discourse of media labs. Go back, slow down, but in order to do something exciting, it seems to be shouting to the digital calculating power boasting jazzy institutions which are a university senior management’s wet dream. Indeed, it is pitched as “is a place for cross-disciplinary experimental research and teaching using the tools, the software and platforms, from the past.”

As a parallel, I want to point to the Media Archaeological Fundus in Berlin, at the Institute of Media Studies, as one significant, already existing example. With a slightly different pitch, it also uses “media archaeology” as the nodal term through which to articulate its research and pedagogical mission. For it’s director, Wolfgang Ernst, this ties to the idea of “epistemic toys” — toys however only in the German meaning of “Spielzeug”, with a nod towards Heideggerian Zeug. What is significant for the objects in the Berlin Fundus is their epistemological value — media objects as epistemological objects that open up specific knowledges that are irreducible to their cultural techniques, as the introductory text to the Fundus states.

As part of the Colorado/Boulder Media Archaeology Lab, their motto “the past must be lived so that the present can be seen” actually corresponds to some of the ideas about processuality of the Berlin Fundus. I argue that one has to take this motto literally. The past (media technologies) must be experienced in operation, in process, so as to understand their epistemological value, so to speak. That way, to refer back to Ernst, they are able to smuggle a bit of the past as living present — an undercutting theme in media archaeology more widely, as Vivian Sobchak argued in the collection Media Archaeology. This is why we need these kinds of labs, as a form of critical education – and engineering – of past media technologies to understand the current electronic culture.

As part of MAL advisory board, I am in great company; other advisory board members include Matthew Kirschenbaum, Lisa Gitelman and Garnet Hertz, among other great folks. Wonderful initiative!

(Images and logo from the MAL lab and their website)

Teufelsberg – The Listening Post

August 16, 2012 Leave a comment

Teufelsberg, Berlin.

After the humans had left, what stayed were the ruins of buildings. Time had passed for the place to reach this silence; the graffiti filled walls, beer cans, glass from broken bottles stayed after as such monuments. There was something else too, in the air. A radio signal lost, a ghost signal. It is completely silent for human ears. Only the buildings echo, concrete walls.

The listening post, a Cold War relic. It had that Soviet science fiction quality about it, even if it exactly tried to listen to signals of communist origin. The ferris wheel in nearby Zehlendorf acted as an amplifier of its signals.

If Cold War started in Potsdam, then it primarily took place  in non-places — like on this hill. Itself a monument, built from the rubble from the bombings during the 1940s War. And yet, non-place is hardly the term when you look at the concrete and now weirdly past-utopian looking listening domes. They stand out. You can imagine this as a setting for a Thomas Pynchon novel.

But it is a non-place because probably nothing much happened. Signal traffic, capture, listening. Procedures of monitoring, reporting, and then it starts again. Signals don’t occupy a place anyway, just a time and a pattern of regularity. And yet this place is one of those iconic, media theoretically significant places: Bletchley Park, Peenemünde, etc.

 

It starts to make sense when you think of it as a network of such posts. ECHELON – characterised by a European Parliament report much later:”If U.K.U.S.A states operate listening stations in the relevant regions of the earth, in principle they can intercept all telephone, fax and data traffic transmitted via such satellites.” There are no borders to national security.

It feels natural to imagine this place without any humans, just like mathematical communication theory works best without them. Only the ghostly shouts and echoes that ensue. Ping, echo request.

Kittler’s last tape

June 28, 2012 3 comments

Friedrich Kittler’s tape recorder – but I have to admit, it’s not his last tape in the machine. I was just too tempted to make the reference to the Beckett play.

Image from the Media Archaeological Fundus, Humboldt University Institute for Media Studies.

What is Media Archaeology? — out now

It’s out, and gradually in book stores — What is Media Archaeology? (Polity),
my new book about media archaeology (what a surprise)!

It picks up where the edited volume Media Archaeology: Approaches, Applications, and Implications (Huhtamo and Parikka) left off; this means the implications bit, and how media archaeology relates to other recent discussions in art, cultural and media theory: software studies, new materialism, archives, and more. In other words, it complements the earlier collection.

So in short,

1) What IS media archaeology?

– depends who you ask. If you ask Erkki Huhtamo or Siegfried Zielinski, you might get a different answer than from asking me. For Huhtamo, it is the recurring topoi/topics of media culture; for Zielinski, a poetic exploration of deep times and variantology; and so forth. For me, it is an exciting theoretical opening to think about material media cultures in a historical perspective. However, it expands into an experimental set of questioning about time, obsolescence, and alternative histories as well. In one way, it is about analyzing the conditions of existence of media cultural objects, processes and phenomena. It picks up on some strands of “German media theory”, but connects that to other debates in cultural theory too.I like what Bernhard Siegert has said about the early ethos of media archaeology being that of Nietzschean gay science — experimental, exploratory, radical. Perhaps in this vein, media archaeology is one answer to the need to think transdiscplinary questions of art, science, philosophy and technology.

2) Isn’t it just media history that tries to rebrand itself?

– No, not really. A lot of the media archaeological work expands to strong theoretical arguments as well as quite different sorts of historical inquiry than one recognizes in media historical work. Having said that, perhaps this is where the interesting connections are emerging; how media archaeology can contribute to media historical inquiry as well as to thinking about archives and cultural memory. There is one chapter on archives in this new book. A lot of media archaeology owes to earlier new cultural histories and new historicism, so the link is there.

3) Isn’t media archaeology only a footnote to Kittler’s work?

– That would be unfair towards a bunch of other theorists, German and non-German. Kittler himself denied being a media archaeologist, even if a lot of the stuff has taken much inspiration from him and the idea of looking at “conditions of existence” of cultural formations through (technical) media. Even Germany is filled with media archaeological work, since 1980s, and a lot of that expands to such new directions as Cultural Techniques (Siegert, Krajewski, Vissman, and others) as well as other media archaeologists — not least Wolfgang Ernst. In addition, the book offers an insight to other media archaeological theories, such as Huhtamo’s, Zielinski’s, new film history (Elsaesser et al) as well as the links to emerging media studies fields such as digital humanities (eg Kirschenbaum’s work).

4) Sounds like the book is all theory, huh?

There is more than just media theory — although I admit, that because of the nature of the book, was not able to work too much of new empirical material there. However, one key thing that pops up in the book is the use of media archaeology as an artistic method. There is a whole chapter dedicated to that. I think one of the most exciting directions is to see how these methodologies can be used in design, arts and other fields of creative practice that anyway are interested in themes of obsolescence, media and technological affordance, the environment and ecology, remix and for instance hardware (even analogue!).

5) What next?

– No more media archaeology for me. Well, I have jokingly promised that I won’t use the term anymore, even if I am interested in seeing where this term might take us. I will come up with a disguise, a theoretical disguise.

6) your chance to ask me a question!

– and I will answer, if I can.

Meanwhile, here is the info about the book:

(From the Publisher’s catalogue and website):

This cutting-edge text offers an introduction to the emerging field of media archaeology and analyses the innovative theoretical and artistic methodology used to excavate current media through its past.

Written with a steampunk attitude, What is Media Archaeology? examines the theoretical challenges of studying digital culture and memory and opens up the sedimented layers of contemporary media culture. The author contextualizes media archaeology in relation to other key media studies debates including software studies, German media theory, imaginary media research, new materialism and digital humanities.

What is Media Archaeology? advances an innovative theoretical position while also presenting an engaging and accessible overview for students of media, film and cultural studies. It will be essential reading for anyone interested in the interdisciplinary ties between art, technology and media.

And the blurbs:

‘Jussi Parikka offers a lucid, concise, and highly readable account of a new and exciting field – media archaeology. He demonstrates that contemporary media forms are rooted to the past by multiple threads – untangling them helps us understand the media frenzy that currently surrounds us.’
Erkki Huhtamo, University of California Los Angeles

‘A fabulous map of media archaeology that, as its subject compels, produces its territory anew.’
Matthew Fuller, Goldsmiths

‘The most comprehensive coverage to date of this fascinating area of study. Parikka’s book offers an excellent overview of connections between the material and social aspects of media technology. He provides a thorough review of the diverse and sometimes contrasting theoretical foundations and provides a host of concrete examples of media-archaeological practice that serve to bridge the gap between heady theoretical trajectories and the concerns of practicing artists, users and other readers who take their technology seriously.’
Paul DeMarinis, Stanford University

 

Table of Contents

Chapter 1
Introduction: Cartographies of the Old and the New
Chapter 2
Media Archaeology of the Senses: Audiovisual, Affective, Algorithmic
Chapter 3
Imaginary Media: Mapping Weird Objects
Chapter 4
Media Theory and New Materialism
Chapter 5
Mapping Noise and Accidents
Chapter 6
Archive Dynamics: Software Culture and Digital Heritage
Chapter 7
Practicing Media Archaeology: Creative Methodologies for Remediation

Conclusions: Media Archaeology in Digital Culture
Note: the book is hitting the bookstores now in the UK (May), and soon in North-America (June) and rest of the world.

 

Exhumation as Artistic Methodology

February 7, 2012 Leave a comment

This is the short intro/intervention, from my second Transmediale 2012-talk on the Search for a Method-panel, organized by Timothy Druckrey, involving in addition to me Inke Arns, Siegfried Zielinski and Wolfgang Ernst. The images are from the Crystal World workshop, also Transmediale 2012.

In order to kick off the panel and discussions, we were asked to pick examples of current media artistic practices, and proceed from there.

My thoughts were soon obviously on some themes and problems that I had been occupied with. More or less, such have included speculative materialities, work often dealing with the various spectra of hearing and seeing, of light and sound, of electromagnetism; works that map the non-solid based materialities that are increasingly important in order to understand how bodies react, and are governed, managed, experienced, in urban and technological settings.

Hence, I might have wanted to address Will Schrimshaw’s Atmospheric Research and Subliminal Frequencies. To me, the project is a mapping of the subconscious affective, embodied states where architectural arrangements are as important as the informational ecology; it maps the events that happen below the threshold of consciousness, for instance through ambient light as a regulator of “hormone secretion, body temperature, sleep and alertness”.  As such, it is a practice based excavation into the physiological and technological constitution of experience, but also the possibilities of producing and governing experience; something related to my earlier talk on the “media archaeology of cognitive capitalism”.

Or then, another possibility would be to have looked at the various projects and the work of Critical Engineer, as expressed by Julian Oliver, in the manifesto co-written with Gordan Savičić and Danja Vasiliev. The notion of the artist-engineer might not be new, having a longer history in terms of media arts, but at the same time the manifesto and works capture something crucial about the methodology of such a practitioner, through an expanded understanding of what the machine is (across devices, bodies, agents, forces and networks, as the Manifesto lists) and how that expanded notion of the machine lends itself to a work of exposing; imbalance and deception become driving forces in a mapping of such relations, often in work that engages with wireless network technologies, rethinking visual and urban media, and more. The various projects at Weise7/Labor8 exhibition downstairs, at Transmediale 2012, are good examples.

Without being just software studies, such Critical Engineering engages with code, but in the manner how it regulates, governs, manages and in the right hands, distorts, perverts, misguides, cheats. This list that sounds a whole lot like from Matthew Fuller’s and Andy Goffey’s evil media theory.

So far, the two themes that emerge show the need to 1) account for such materialities that are not directly, necessarily humanly perceptible but completely real; and 2), the need to account for practices of perversion. Altering and corrupting as more interesting technical methods than just the smooth operationality often mistaken as the essence of technological practices.

Instead, I want to briefly to mention the work of Microresearch Lab/Martin Howse, Jonathan Kemp and Ryan Jordan, and especially the Recrystallization and Decrystallization workshops that took place in London and Berlin last year, and now during Transmediale The Crystal World Open laboratory.

The workshops used various methods to crack open and chemically process information technology in order to expose and address such constitutive processes what referred to as crystallisation. The term was partly adopted from J.G.Ballard, continuing an even earlier style of artistic practice of the Microresearch Lab, where software and hardware practices find a resonance with fiction, paranoid, speculative narratives of writers such as Thomas Pynchon (always dear to anyone interested in the 20th century articulations of power, science and engineering). As for crystallisation, with a nod towards Ballard indeed, the notion of the crystal becomes a conceptual lead in terms of a speculative materialism, described in these words:

recrystallization was convened around the premise that while life itself starts from aperiodic crystals that encode infinite futures within a small number of atoms, the digital crystallization of the flesh by capital limits these futures to the point of exhaustion.

If computers and the minerals from which they are made are considered as equally crystalline, then their recrystallization is only possible through the introduction of vigorous and noisy positive feedback loops. “

In terms of media art histories, dead media and other theoretical and methodological approaches, the work of de- and recrystallization involved such techniques as “earth computing, mineral precipitation, high heat synthetic geology and inductive crystallography, DIY semi-conductor fabrication, water crystal cryptography, anthropocenic fossilizations, kirlian photography, hi-voltage fulgurite construction ”; Listing such, however, one however has to note quite soon that well, it is not exactly media archaeology as we used to think about it. Having said that, the notion of media archaeology in creative computing and related perspectives is taking us increasingly to such techniques as computer forensics, digital archaeology, and other modes of disgorging machines where art practices meet up with DIY and perhaps indeed critical engineering.

Speculative (media) archaeologies work crudely – but crude only in the sense of hacking open, disgorging, salvaging, melting, chemically processing in order to extract the minerals and such that on a material level compose our information technology. With an increasing political economic interest in the long networks of media production and discarded media, we have a better spatial understanding of the grim labour, electronic waste and other neo-colonialist emphasis of digital economy. The workshops tapped into this field directly as well, using such practices that mimicked human labour in extraction of valuable components and material from abandoned technology. What I want to propose is that such projects are emblematic of speculative media archaeologies and such artistic practices that combine a poetic-technological take on deep times, but ones that are such in a material sense too – not just written histories, but archaeologies of soil and history of the earth. Such speculative crypto histories of the earth refer to the concrete sedimentations of minerals and rocks, that act as re-sources for further development.

The Crystal World mineral cabinet

Where such methods fit in terms of media art vocabularies might remain unclear, but it is certain that they extend the practices often discussed in media art (histories) into a resonance with speculative materialism, new materialism, media archaeology but executed in highly original ways. We can talk of crystal materialities; materialities of minerals, information technology, and materialities of dangerous inhuman labour.

Indeed, to briefly elaborate on “exhumation” as a parallel concept to that more often mentioned of autopsy (also voiced by Tim Druckrey in his opening words) I will make a detour through Reza Negarestani. Cyclonopedia – a work of theory-fiction – speculates about the petropolitical deep layer, the living soil of Middle east, and we can point towards the work of Microresearch lab and these workshops as chemical and material deep layers that go two ways: not just the route of media archaeology interested in obsolescence, abandoned tech, and things old; but the other sort of descent too, to adopt Michel Foucault’s idea, perhaps implicitly part of some methodologies of media art histories and media archaeology. I am referring to a descent inside the machine, into the technical infrastructures, layers, city-like scapes of circuits and components. This kind of technical exposes a material, abstract level of connections, affordances and capacities. In such a methodology, the topology extends across materialities –from the fictional narrativisation to the hardware materiality and the long duration of mineral elements that entangle with that of human energy exploited for the excavation.

As a topological figure, and interested in this poetic and speculative materialism, allow me to end through a longer reference to Negarestani. What if such speculative media archaeologies and artistic methodologies are something that share methods with archaeologists but also with “cultists, worms and crawling entities”; not just a sublimated view of technological progress, but an interested in scars and half-lifes, of multiplication of surfaces, and creation of vermiculation; a new hole into solid, contained bodies of consumer technology.

“If archeologists, cultists, worms and crawling entities almost always undertake an act of exhumation (surfaces, tombs, cosmic corners, dreams, etc.), it is because exhumation is equal to ungrounding, incapacitating surfaces ability to operate according to topologies of the whole, or on a mereotopological level. In exhumation, the distribution of surfaces is thoroughly undermined and the movements associated with them are derailed; the edge no longer belongs to the periphery, anterior surfaces come after all other surfaces, layers of strata are displaced and perforated, peripheries and the last protecting  surfaces become the very conductors of invasion. Exhumation is defined as a collapse and trauma introduced to the solid part by vermiculate activities; it is the body of solidity replaced by the full body of trauma. As in disinterment — scarring the hot and cold surfaces of a grave — exhumation proliferates surfaces through each other. Exhumation transmutes architectures into excessive scarring processes, fibroses of tissues, membranes and surfaces of the solid body.”

This transmutation, and distribution of new surfaces is where such familiar notions of art and culture theory vocabulary as trauma are transported into material methodologies in order to excavate the stratification of such as part of mixed materials. The “novel crystal earth geologies” extend the work of material recovery and reuse into “psychophysical distortions and contingencies” in a gesture which elaborates an enthusiasm for multiple ecologies. Media art practices that are not merely to be fitted into media art histories and genres, but themselves create new openings to times and spaces of media objects, components, times.

Out of our heads, in our media

January 30, 2012 1 comment

I am off to Berlin Transmediale 2012-festival soon — excited as always. Giving there two talks; the latter one on Sunday on a panel organized by Tim Druckrey on methods for media art histories — I guess an unofficial media archaeology panel with Siegfried Zielinski, Wolfgang Ernst and Inke Arns!

And something different already on Friday; a performance with Julio D’Escrivan, mixing media theory and live coding… part of the Uncorporated Subversion-panel! Here is a short summary, but for the whole effect…be there on Friday. Should be worth the while, I promise…even though, in terms of the theme of “cognitive capitalism” that the paper touches a bit; I am not at all uncritical towards it, and agree it misses several key points. However, the notion is good, I would say, as a way to continue such investigations as Jonathan Crary has started into the ways in which cognition in a very wide sense, embrasing embodied, affective being, perception, sensation, is constantly articulated “out of our heads” (Alva Noë) — but in our media; a media ecology of production of perceptive, thinking, remembering subject. The collaborative form between me and D’Escrivan has itself been again a great way to work together. Last year we tried out similar things with Garnet Hertz (also with our Transmediale theory prize nominated paper on Zombie Media), and now through the performance.

This presentation can be best approached as an experiment in theory-code-collaboration, through live coding (D’Escrivan) and some speculative media theory (Parikka) concerning techniques of the cognitive. With some minor notes that reflect  live coding as a practice, the focus is more or less on the notion of cognitive capitalism. What the talk/performance presents are some tentative steps towards a media archaeology of cognitive capitalism. In other words, what are the supportive, sustaining and conditioning techniques that contribute to the cerebral? In this context, we propose to step away from a cognitive as understood as immaterial or as inner life, and towards a cognitive that is distributed, supported, relayed and modulated continuously in a complex information ecology. We are interested in investigating forms of collaboration between code and sonic arts, and media theory, and investigate collaboration as a form of (extra-)institutional practice in contemporary arts and education field.