de-leb develops within the matrix
of a collective science fiction as an experimental writing project
through multi-actor/actant input.
It introduces the capacity for an individual to broker their own data, through smart contracts, facilitated via blockchain, and asks what new values, if any, might be attributed as a result.
As such, it introduces the possibility of considering digital citizenship via the blockchain, and the contractual instruments that might accommodate this, with an urgency that attempts to think through these ideas fully enmeshed within the tensions of the libidinal and political economy of today.
de-leb takes it’s name from the situation that a de-Leb (a dead celebrity) - typically enjoys more data choice from beyond the grave - i.e. they have more agency over the deployment of their data: name, image, the very idea of them, and the products that they may be associated with - than those still living.
HereNow art and tech residency: Outcome Exhibition
I’ve been thinking through past works that have focused on the production of online news, it’s distribution, and the complexities that data analysis brings to these productions, since 2013 with my work on the Leveson Enquiry, algorithms ‘curating’ online news with Low Animal Spirits, also looking at the incredible interdependencies between social media and finance in Breaking News Flash Crash, and our twitterbot @LowAnimalSpirit tweeting highly speculative headlines (2014). I found the models of mass behaviour that finance affords useful to unpack the problems revealed of late, with news production as a particularly interesting focus, primarily because we care whether it’s true, or not, and as such are invested in it’s truth value. These works explored, early on, how the dynamics and protocols of platform capitalism contribute to undermine the very process of democracy itself, through psychological profiling, and targeting, at a granular scale. I’ve lectured about these ideas extensively – developed into what I’ve called Publishing as Process - over the last 5 years, in this country and further afield in Mexico, France, Germany, and so on. More recently I’ve been writing these ideas up as a book, developed from an earlier essay published in the Journal of Visual Art, as my research has become a living reality over the last 1.5 years events, to such an extraordinary degree. The exhibition and writing experiment: de-leb at Banner Repeater covers these ideas too, with other wonderful artists thinking through similar ideas, whilst also providing an opportunity to write a collectively authored science fiction based on fact, time-stamped through smart contract on the block - exploring the capacity to broker, and withhold, personal data.
My new work projects the near future developments of data mining companies such as Cambridge Analytica, facilitated by the seamless interface language affords, with Interactive Voice Recog units Alexa, Google Home, et al, as they follow the facebook dialog agents lead, going off-script as AI learns language through negotiation skills, whilst trading in the ultimate data of my biocode. Drawing on my experience as an adolescent at the ‘Tall Girls Clinic’ Great Ormond street children’s hospital, amid new ‘readings’ of my biocode via online DNA analysis: 23andme, the IVR’s discuss historical forms of measure previously used to calculate what degree of agency, if any, the subject might be afforded, amidst future projections of new gradients of measure within the burgeoning techno-capitalist landscape.
Living Currency trailer for ACT III and ACT IV I am not an Islander curated by Florence Qian Yang. Shanghai 2018.
Art, Technology and the Posthuman
Taking heed of current developments in digital technologies, the third medienwerk.nrw conference Cold bodies, warm machines poses the question of the relationship between man and technology anew. Affective computing, networked daily life, utopias of the cybernetisation of the human body, and research trends in artificial intelligence all provide a reason to once again do so. What borders and boundaries are gradually shifting now between the realm of the living and the realm of the artificial? What happens when we develop ever more sensitive machines which are meant to detect and "understand" our affects and emotional responses while at the same time our own biological bodies are increasingly regarded as optimizable and programmable resources?
Some of these phenomena are investigated in lectures, talks, artistic contributions and a film programme. The conference takes an interdisciplinary approach bringing scientists, artists and citizens together, in order to proactively accompany the societal changes that are currently taking place, and to engage in three days of concentrated futurology by means of art and reciprocal exchange.
Keynotes: Erich Hörl, Andreas Broeckmann and Robert Ochshorn amongst others. The conference is accompanied by a film programme curated by Tasja Langenbach (Videonale, Bonn)
AMI CLARKE: ERROR-CORRECTION: AN INTRODUCTION TO FUTURE DIAGRAMS WITH LOW ANIMAL SPIRITS
6 Jul 2016
Elie Ayache, former options trader and writer on the philosophy of contingency and technologies of derivative pricing, and artist Ami Clarke in discussion.
Through the publication of her 'writing' (as a direct copy) Chapter 4 of Ayache's influential book The Blank Swan: The End of Probability, Ami Clarke and Elie Ayache discuss the contingency of writing, as equivalent to pricing in the market. They explore how Jorge Louis Borges' story of Pierre Menard; Author of the Quixote, central to Ayache?s philosophy, differs from previous ideas of copying and appropriation, to repeat the contingency of the text.
Ayache's Blank Swan is a book about writing, pricing and contingent claims. As part of this discussion he will expand on his understanding of the writing process and the pricing process, as two special kinds of processes that do not take place in time or in probability, like traditional stochastic processes. By thinking through the derivative markets with regards to what technology is available to get inside the process of history?to do something that is at once more active than to passively watch history unfold, and altogether different from the conceptual activity consisting in predicting and outguessing history?he claims prediction is not the only room history leaves us.
Elie Ayache was born in Lebanon in 1966. Trained as an engineer at l'École Polytechnique of Paris, he pursued a career of option market-maker on the floor of MATIF (1987-1990) and LIFFE (1990-1995). He then turned to the philosophy of probability (DEA at la Sorbonne) and to the technology of derivative pricing, and co-founded ITO 33, a financial software company, in 1999. Today, ITO 33 is the leading specialist in the pricing of convertible bonds, in the equity-to-credit problem, and more generally in the calibration and recalibration of volatility surfaces. Ayache has published numerous articles on the philosophy of contingent claims. He is the author of the influential book The Blank Swan: The End of Probability (2010), and of The Medium of Contingency: An Inverse View of the Market (2015).
Ami Clarke is an artist whose practice explores the limits of contemporary art within a differential economy as an increasingly general condition. A recent performance brought together two works: Low Animal Spirits by Clarke and Cochrane - an HFT algo trading in world news, and Error-Correction: an introduction to future diagrams'an entirely appropriated and constantly re-edited ongoing script, at the ICA in December. While reading Ayache's Blank Swan she felt it imperative to act in accord with what was demanded by the text, leading to her writing of Chapter 4: Writing and the Market. She is founder of Banner Repeater; a reading room with a public Artists? Publishing Archive and experimental project space. She has recently exhibited/curated works at Wysing Arts Centre, Museo Del Chopo Mexico City, Hayward Gallery, Ithuba Gallery Johannesburg, David Roberts Arts Foundation, Camden Arts Centre and The Container Japan.
Low Animal Spirits by Ami Clarke and Richard Cochrane 2014.
(Low Animal Spirits is processual - i.e. this is a live capture to select from - it is to give a sense of the work operating 'live' (it is not essential to watch all of it) - there is some interesting behavior at around 04:05 and 08:15 where it does what appears to be a kind of swarming activity)
Low Animal Spirits by Ami Clarke and Richard Cochrane 2014.?Installation at Banner Repeater - with support from The Elephant Trust and ACE.
Low Animal Spirits by Ami Clarke and Richard Cochrane is an HFT algorithm driven by real time data, scripted as a live onscreen score and audio work with automated ?readers?. Taking its cue from the oft-mentioned loss of the referent in both language and the economy, it is a live model of high fre- quency trading, dealing in words sourced from global news feeds for virtual ?profit?, whilst speculat- ing on their usage. The analysis produces new phenomena in the form of headlines generated with the help of Natural Language processing algorithms, tweeted @lowanimalspirit.
visualization you see projected (this is always shown v large) is a glimpse
into the HFT algorithms buying and selling activity with volatility at the
centre of these concerns. It accesses
994 English Language global news feeds ?live? and acts upon the data as if it
were trading in the global market place, analysing words in terms of the
potential for a virtual ?profit? to be made.
You are watching what is about to trend, and likewise, the speculative
headline generator is trying quite hard to anticipate the next headline, based
on recent history, and incoming headlines, with the help of a Natural Language
The work address? concerns relating to how algorithms curate big data, daily, and hence are reshaping knowledge production today. It takes these ideas to an intensified degree via a High Frequency Trading algorithm ? applying high speed algorithmic methods to the global production of news, it?s distribution and reception - and raises further concerns relating to the production of new knowledge, as a result.
Please see press here:
Ami Clarke and Richard Cochrane Low Animal Spirits review by Lizzie Homersham. Art Monthly no 382. Dec-Jan 14-15. http://www.bannerrepeater.org/press
Art Project at East London Train Station Tweets Speculative Headlines to Affect Stock Market Algorithms. No, Really. by Phoebe Stubbs. http://www.artslant.com/lon/articles/show/40931
Low Animal Spirits, Banner Repeater, London. Review by Laura Davidson. http://thisistomorrow.info/articles/low-animal-spirits
Low Animal Spirits by Ami Clarke and Richard Cochrane with automated readers.
(Low Animal Spirits is processual - i.e. this is a live capture to select from - it is to give a sense of the work operating 'live' - it is not essential to listen to all of it).
A live capture (recording) of the four automated voices (Prudence, Poppy, Obadiah, and Spike) reading from Low Animal Spirits as a score.
We used: MARY TTS -- an open-source, multilingual text-to-speech synthesis system written in pure java.
Breaking News ? Flash Crash (2014) by Ami Clarke.
Breaking News - Flash Crash - mild steel bar, 894mm
Press twitter hacked - Breaking: Two Explosions in the White House and Barak
Obama is injured. Flash Crash 2013 - 1 percent in 1 minute - ?it?ll happen
again, it?s a matter of when?.
2013 the Associated Press twitter account was hacked and the above tweet was
Reported on 23 Apr 2013 14:04:
?Hackers caused a mini stock market
"flash crash" this afternoon after sending a bogus tweet from a
hacked Associated Press (AP) Twitter account. The tweet, read that there were
explosions at the White House and President Barack Obama had been injured. The
account was quickly shut down, but the damage had been done. U.S. markets,
including the Dow Jones and S&P 500 fell 1 percent in one minute before
rebounding. White House spokesperson Jay Carney quickly dismissed the story by
saying the President was doing just fine. The AP has had all of its Twitter accounts
suspended.? Andrew Yoskowitz ? After Dawn ? News.
Also reported in the Washington Post, AP Twitter Hack Sends Stock Market Spinning and NYMag: Breaking News - Flash Crash, and many others.
Low Animal Spirits produces new phenomena in the form of speculative headlines, with the help of Natural Language Processing algorithms, and tweets these into the twittersphere every 2 minutes via @LowAnimalSpirit twitter account.
is followed on twitter by some humans, but also by a cluster of twitter bots,
who RT words that they pick up on - such as Ebola_news_now.
@LowAnimalSpirit was recently written about in bot weekly ? a blog whose writer specializes in the creative uses of twitter bots.
@LowAnimalSpirit is currently in End User at the Hayward Gallery project space, and A Pixel or Digit? curated by Turf projects at Croydon Art Gallery, and tweets daily.
above shows video footage of the scrolling LED sign currently in the Hayward
- it shows the sign starting up, waiting for the first tweet to come through.
scrolling LED sign displays @LowAnimalSpirit?s speculative headline tweets
live, as they are tweeted.
ticker tape was the earliest digital communications medium, transmitting stock
price information over telegraph lines. As
computers and television took over communications the concept of the ticker
tape remained, to be seen scrolling in electronic form across brokerage walls
and as financial updates on television.
The events in the US on September 11th 2001 brought about the now ubiquitous use of the ticker tape, through the need to display a continuous stream of vital but repetitive emergency information to viewers. They signal the advent of 24-hr rolling news as a phenomena, and speak of the demands on broadcasters to supply a constant supply of updated news.
the Pull of Time by Ami Clarke.
the Pull of Time by Ami Clarke.
Experimental text work - In the Pull of Time by Ami Clarke was commissioned for ?of a final account in formation? by Scott Mason, MK gallery, Sept 2014. Texts by, V. Allen, Harry Burke, Ami Clarke, Chris Fite-Wassilak, John Hill, Elizabeth Holdsworth, Chris Kraus, Martí Manen, Rasmus Nilausen, Lisa Radon, Holly Stevenson. Published by renaro. 2014.
In the Pull of Time draws on writing in the Error-Correction: an introduction to future diagrams series - scripts that reference and include found and appropriated texts, contemporary commentary; news items, as well as anecdotal evidence, culminating in an interrelated convergence of many inter- woven threads. The texts consider ?diagrams? and ?diagramming? as a way of considering the way differing ?frameworks? have historically constructed the notion of subjectivity, from single point and perspectival drawing, to projected geometry and further beyond the human sensorium, via abstrac- tion in mathematics and quantum physics that problematise previously held classic mechanical models of representation, siting an object in space.
Clarke was drawn to the critique of International Art Language by Alix Rule & David Levine ?On?the rise?and the space?of the art-world press release? in terms of what they call an almost por- nographic use of language. She has deliberately employed this as a strategy, that, coupled with extracts from other writers such as William Burroughs push the limits of language, whilst also relating strongly to it?s articulation through the voice; the fleshy vehicle through which it emerges. The scripts often verge on the preposterous, but deadpan their way through the density of prose, with syntax, and rhythm becoming apparent, complicating meaning perhaps, but adding to our understanding in other evocative ways.
@LowAnimalSpirit speculative headlines printed on Financial Times Salmon Pink newspaper, A2.
The speculative headlines generated by @LowAnimalSpirit are printed onto Financial Times Salmon Pink newspaper at a typical A-board advertising size of A2, and displayed with a selection of Banner Repeater publishing, and notable precedents in Artists? Publishing at Generator Projects, Dundee.
Slots (2013) by Ami Clarke. HD video 3.47 mins looped.
footage of gambling adverts, with text taken from Error-Correction: An
introduction to future diagrams, take 2. Focussing on the Addiction Delivery
Device, ref: Addiction by Design: Machine Gambling in Las Vegas by Natasha Dow
work attempts to manufacture an equivalent addictive quality in the saturated
colours, and rapid editing of that of many machine, and online, gambling games,
whose designers deliberately build in a behavioural structure: ?event
scripting? that orchestrate what Schull calls ?addiction delivery device?
conditions, to maintain the players time on the game.
Impossible Structures ?the eye that remains of the me that was I? (Error-Correction: an introduction to future diagrams (take 3)) by Ami Clarke.
A whispered visual/audio work made available through a downloadable app that provides the ideal conditions for the work to be listened to ? one to one, on headphones, kept in your pocket a little like a paperback.
It is one in a series of experimental takes of an on-going enquiry into diagrams, that reference and include appropriated texts, contemporary commentary; news items, as well as anecdotal evidence, culminating in an interrelated convergence of many interwoven threads, whereby the voice, through language, is constituted ?between someone else?s thoughts and the page?, and considers the pro- duction of meaning through inference, association, paradox, and contradiction. Take 3 was com- piled within the Brutalist architecture of the Barbican and the artists tendency to get lost within this structure, and it?s location within the Corporation of London (which has a legal system outside of normal UK legislation) in relation to the new digital storage space/proposed commons of the Cloud.
Data-Pool 3 series - NOT GOT SHOT OFF
NOT GOT SHOT OFF (2 x 30 second looped 16mm film: simultaneous double projection)
A live capture of the projection at Expanded Film, curated by Guy Sherwin, in conjunction with Lucy Reynolds collective work: Anthology, Camden Arts Centre, Jan, 2013. (including: Annabel Frearson, Lizzie Hughes, Gil Lueng, Liliane Lijn, Sharon Kivland, Helene Martine, Annabel Nicolson, Sharon Morris, Sally O Reilly, Clunie Reid, Lis Rhodes, Audrey Reynolds, Cherry Smyth, Erika Tan, Anne Tallentire and Sarah Tripp.)
Experimental text work from the same source as Data Pool 3 (Text reference The Leveson Enquiry, 2012) - continuing the serial work: Data Pool 3 (end-game) as an enquiry reversing the usual technological teleology. The double projection plays the text at odds with any meaning that may be had, as they slip out of synch, until chance brings them to re-align again, briefly, before stuttering on.
The text is taken from Andy Coulson's testimony.
DATA-POOL 3 (2.09 mins HD video, 2012)
A series of experimental works considering an obscured but current text in the public domain (The Leveson Enquiry), that bears witness to the recent and increasingly exposed construction of consensus, arising from a bias in spectacular news reporting: an over-simplified ?victims-and-aggressor? meme, flocking from one focus of this sort to another, (and not unique to the tabloid) that performs a particularly consistent form of reality management, paradoxically by the very enactment of slippage in textual meaning.
The text is taken from Rebekah Brooks testimony.
BANNER REPEATER - curatorial.
?As the sun sets, it?s red light is supplanted by the light of many neon logos emanating from the franchise ghetto that constitutes this U-Stor-It?s natural habitat. This light, known as loglo, fills in the shadowy corners of the unit with seedy, oversaturated colours.
The business is a simple one. Hiro gets information. It may be gossip, videotape, audiotape, a fragment of a computer disk, a xerox of a document. It can even be a joke based on the latest highly publicised disaster.
He uploads it to the CIC database - - the Library, formerly the Library of Congress, but no one calls it that anymore. Most people are not entirely clear on what the word ?congress? means.
And even the word ?library? is getting hazy. It used to be a place full of books, mostly old ones. Then they began to include videotapes, records, and magazines. Then all of the information got converted into machine-readable form, which is to say, ones and zeroes. And as the number of media grew, the material became more up to date, and the methods for searching the Library became more up to date, and as the methods for searching the Library became more and more sophisticated, it approached the point where there was no substantive difference between the Library of Congress and the Central Intelligence Agency. Fortuitously, this happened just as the government was falling apart anyway. So they merged and kicked out a big fat stock offering.? (Neal Stephenson: Snow Crash, 1992.)
In Neal Stephenson?s science fiction of 1992, Snow Crash is a computer virus that can also infect humans; ?crashing their neocortical software and turning them into mechanized entities who have no choice but to run the programs fed into them? and provides the subtext for concerns relating to the erosion of subjectivity and what amounts to free will. Two different types of language are identified by the software: ?the librarian?, one that functions as an operating system for the brain, meta-viral protocols for living, and the other that operates as a counter virus seemingly liberating the people through self-reflection. Writing in 1992 Stephenson is intent on privileging the remnants of the liberal self that constitute the individual that notably is produced by market relations and do not predate this. In the intervening decades it can be seen that increasingly through the application of big data, both surveillance and marketing drives thrive, whilst structural feedback loops ?reify and reinforce certain cultural, racial, gendered assumptions and misconceptions, limiting users to a particular stream and thus perspective?.
Blurring the lines between what we might regard as code where ?saying? coincides with ?doing?, through the problems inherent to computational linguistics where language resists easy processing, artists? works emerge from the tangle of human and multi-media assemblage, leading to ideas of the decentred human subject through their production.
The recursivities that entangle inscription with incorporation, the body with embodiment... invite us to see these polarities not as static concepts but as mutating surfaces that transform into one another,? ...?technology not only as a theme but as an articulation capable of producing new kinds of subjectivities?.
Banner Repeater has been working with Hackney Archives to promote the richness of Artists? publishing across the borough. The project aims to provide a temporary platform to raise the visibility of publishing as an art form, and is part of a broader aim to introduce Artists? Publishing within the network of Hackney Libraries.
Hackney Archives is the recognised repository for the Borough history and its research. This service preserves the Borough?s historic records and makes them accessible for people to research and learn from. Hackney Archives also collects and records information relating to past and current activity in the borough. Activating the Archive has provided Hackney Archives with the opportunity to identify local, contemporary work with a view of adding this work into the archives and to ensure its contribution to the Borough?s creative heritage.
The Activating the Archive exhibition opens on Thursday 5th February at Hackney Archives, with a launch event from 6pm until 8pm. The exhibition features works from local artists. The exhibition is accessible during the public opening hours of Hackney Archives, located on the second floor of CLR James Library, Dalston. Many of the works can be handled to allow the visitor to explore this medium at its best. The works collectively go some way in representing a broad range of artistic practices that engage with the publishing process, including Artists, Artist-led groups, collectives, and independent publishers working with Artists.
A.P.T Gallery, Creekside, Deptford
30 August - 22 September 2013
Reviewed by: Sharon Mangion »
Currently showing at the A.P.T Gallery, Creekside is the second part of three exhibitions that taken together give a triangulated view on the experience of viewing art. Situated between Overt Exchange and Oblique Exchange, Obscured Exchange is an interesting exercise in testing how far the meaning of an artwork can be disarticulated.
There are several strategies at work here: concealment, misdirection, degradation of the image, fragmentation, to name just a few.
The more interesting works for me though were Ami Clarkes Data Pool (II) and (III) films where she plays with the temporal ordering of words and image. If we think about the way our understanding is synthesised in time by linking a series of perceptions to form a somewhat illusory whole image, here word and image interfere with each other in a kind of ontological loop so that the identity of a thing is never fully realised.
Sam Knowles The Rudiments of Adam also, is a wonderful critique on the classical philosophy of Descartes. A needle piercing the plaster cast eye is a linguistic play on the pineal axis where the mind and body are supposed to interact. It is a poke in the eye, so to speak, for dualist analytic philosophy. It reminded me purposively Im sure, of what may be an apocryphal story, about Descartes head and forefinger being removed when his body was interred in France. Important indicators of mind and body as they both are, the mystery is where did they go?
On the other hand the concrete embodied experience of Aristotle is challenged by the use of digital technologies in much of the work. For example, the gestural mark making of abstract expressionism is diluted of any sense of communicated selfhood by the digital process in Liz Eltons Washed 1 Duration 1 Hour and 30 minutes.
The tactile quality of Bill Leslies ceramic sculptures is similarly distanced from the hand in The Allure of the Flesh and Things Being Themselves. Casting them in digital photography and film gives them a virtual reality that is then offset in The Faces of Things. Here we see the scale of the small ceramics in actual space.
Moving between media like this is perhaps meant to heighten the objects opacity or maybe imply that it conceals more than it shows. While other works like Heather Ross Things to Come, where she has embedded drawing inside film and film inside drawing, there is no object as such. She gives us edges and folds that allude to nothing and conceal everything; her images just keep moving forwards in time.
Mia Taylors elliptical sculptures also move in and out of surfaces, twining memories that are historical but could be personal. There is a sense of place and visitation but also of gothic presence in her imagery.
I also liked Nick Baileys electrical circuitry and enclosure No where a simple objection will do why say anything else? His Developing Assumptions, also,eerily anthropomorphic: just a red winking light in a small black box, sitting on top a plinth, with an on/off electrical switch. I was tempted to turn it off.
His works beg a question. Is an art object a cypher for meaning waiting to be decoded? If the answer is no, we might ask where the sense of agency can be located once deconstructive philosophy has done its work?
I am an artist and writer living in London.
Error-Correction: an introduction to future diagrams (IV) 2013, Ami Clarke.
exploring the exchange between artist and viewer, curated by Claire Undy for
the 2013 A.P.T Curatorial Fellowship.
30th August- 22nd September 2013
APT Gallery is open 12-5pm Thurs-Sun.
Artworks that play with the viewer, often alluding to a message, yet the exchange is teasing and the pieces of the puzzle don't quite fit. The miscommunication is deliberate: ambiguity leaves the viewer questioning whether what they are looking at is truth or fiction.
Artists: Sam Austen, Nick Bailey, Ami
Clarke, Liz Elton, Sam Knowles, Bill Leslie, Kate Liston and Dan Wilde, Robert
Luzar, Andrea Medjesi-Jones, Heather Ross, and Mia Taylor.
I have three works in the show, two companion works from what was going to be an ongoing serial work: Data Pool 3, but has come to a timely end due to the (most likely) soon to be exposed affair between Rebecca Brooks, and Andrew Coulson, in the forthcoming trials associated with the Leveson enquiry. They are two text works, one a double projection of two 30 second 16mm films: NOT GOT SHOT OFF (shown in Lucy Reynolds collective work Anthology, for Film in Space: An exhibition of film and expanded cinema selected by Guy Sherwin, Camden Arts in Dec/Feb this year), and a digital text and image video work: Data Pool 3 (II), that explore just some of the absurdities arising from the Leveson enquiry witness transcripts. During the Leveson enquiry, the real can be seen to have come to the surface, for all to see, as such, but, the incredible complexity of inter-related corruption exposed in such an overwhelming volume of data, results in the appearance of no actual affect. The unbelievable absurdity, mixed with the sheer audacity of some of the witness statements, seems to go beyond comprehension, possibly even foregoing satire in this instance or does it?
Error-Correction: an introduction to future diagrams (IV) 2013, wall piece (see above) comprising of a repetitive pattern of prints, wrapped around the architecture of the gallery, slipping from the wall to the floor, from the ongoing work: Error Correction: an introduction to future diagrams, that acts as a framework for an ongoing enquiry into diagramming.
The print was commissioned for COPY in residence at Site Gallery, and is an appropriation of Hogarths Satire on False Perspective and is pertinent in that:
Whilst the hegemony of real experience is better depicted in Hogarth's 'Satire on False Perspective" of 1754, which drew particular attention to not only the conventions of drawing, but also ridiculed the order represented in such drawings by utilising an array of devices, creating an absurdity of perspective and making a mockery of mans conceit to intelligibly impose order on the world, this is complicated somewhat further by inverting the etching, and collapsing perspectival relations further by introducing what might be considered dark matter in the form of ink.
Through repetition and a flattening of the perspectival conundrums present in Hogarths print, the work considers the image mediated through digital reproduction, through a multiple flattening of perspectives, wrapping the gallery; a material manifestation of virtual space.
The exhibition includes a new take on Error-Correction, an experimental audio/text work commissioned by Claire Undy, for Obscured Exchange, two pages of which, including links to the audio on my website, can be found in the publication for the exhibition.
Error-Correction: An Introduction to Future Diagrams.
Through an embodied research methodology working for four years on the train platform, developed from theoretical and historical cross-disciplinary research into diagrams, and diagramming, Ami Clarke produces experimental texts, developed as scripts that form an ongoing audio production:
Error-Correction: An Introduction to Future Diagrams
which accumulate as a series of takes: a method of constant re-adjustment, an error-correction of sorts recorded as live takes on the railway platform at Hackney Downs train station, where Banner Repeater is sited; chapters of a science fiction where paradox is everyday.
The scripts reference and include found and appropriated texts, contemporary commentary; news items, as well as anecdotal evidence, culminating in an interrelated convergence of many interwoven threads, and attempt at a potential articulation with regards to the production of art under current conditions in the world: material, theoretical, and philosophical.
The texts consider diagrams and diagramming as a way of considering the way differing frameworks have historically constructed the notion of subjectivity, from single point and perspectival drawing, to projected geometry and further, beyond the human sensorium, via abstraction in mathematics and quantum physics that problematise previously held classic mechanical models of representation, siting an object in space.
The audio can be found here: https://www.amiclarke.com/Error%20Correction%20take%202%2031.7.13.mp3
more information here: https://www.amiclarke.com/errorcorrectionaudio.htm
Full details of works:
Data Pool 3 (II)
2.10 mins HD video. 2012.
NOT GOT SHOT OFF (Data Pool 3 (III)
2 x 30 second looped 16mm film: simultaneous double projection. 2013.
(produced for Lucy Reynolds collective work: Anthology, Camden Arts Centre, 2013.)
Error-Correction: an introduction to future diagrams (IV) 2013.
(lithographic print on holographic paper, paper, size undetermined.)
This part of the exhibition has already been:
26th July- 25th August 2013
Artworks that convey or communicate: the visceral experience of an action on the body; the weight and materiality of an object; a concept or message; an atmosphere or sensorial understanding. The artist gives and the viewer receives, the exchange is direct.
And this one is yet to come:
27th September- 20th October 2013
Artworks that appear to be silent or unconcerned with communication: the only message within the work is the work itself, the thoughts of the artist are consciously hidden or abstracted. The viewer's experience is incidental; the exchange between the artist and the viewer is private and unique to each.
Error-Correction: an introduction to future diagrams. Chapter 1 (take 3).
Louisa Martin and I are currently in residence at the Barbican for Hack the Barbican (a curious use of the word hack, perhaps, but nonetheless ).
We are busy during the days working on an experimental text/audio work that utilizes the unique audio affects emanating from the Brutalist architecture of the Barbican, in relation to a script accounting a short history of diagrams. We will be considering new configurations with regards perception that throw a whole new light, a curve ball perhaps, beyond representation, utilising the performativity of language whilst taking note of the perceived lack of referentiality, in both language and the economy, to produce a new take, in the ongoing work: Error-Correction: an introduction to future diagrams.
The audio work will be online soon at www.amiclarke.com.
Whilst at the Barbican I contributed to the following two talks/events by Scott Mason on Sunday 25th August 11am 11pm in the Fountain Room at the Barbican, and Piracy Today in Lawrence Leks Hardware Software presents on Wednesday 28th August 8-10pm in the Barbican Foyer:
Sunday 25th August, 2013
12:00pm to 11:00pm (GMT)
The project brings together approximately ten writers/artists/curators to form a fluid collaborative writing group based in the Fountain Room at The Barbican Centre, London.
On the hour, every hour, on Sunday 25th August 2013, the tannoy system would be used to broadcast spoken-word performances that are a result of the writing groups output. Conceptually, the thread for the group would be to consider how resistance to commodification could be possible within an institutional context. However, this thread will shift during the day as the group develops and considers the context.
The performances (over the tannoy) will be documented and uploaded to soundcloud during the day:
I was kindly asked to contribute to Lucy Reynolds 'Anthology' 2012, a collective film work including:
Annabel Frearson, Lizzie Hughes, Gil Lueng, Liliane Lijn, Sharon
Kivland, Helene Martine, Annabel Nicolson, Sharon Morris, Sally O Reilly, Clunie Reid, Lis Rhodes, Audrey Reynolds, Cherry Smyth, Erika Tan, Anne Tallentire and Sarah Tripp.
at Film in Space at Camden Arts Centre. An exhibition of film and expanded cinema selected by Guy Sherwin.
Opening night: 14th December.
Exhibition from 15th December - 24th February 2013.
The two resulting works: 'NOT GOT SHOT OFF' (double projection 16mm film) and 'THESE ARE NOT MY WORDS (Day 68, 10 May 2012)' (print) will be shown throughout the week 27th December - 6th January, alongside other artists from the collective work by Lucy Reynolds. They are part of a serial work: Data-Pool 3 (end-game), that is ongoing, the first part of which: Data-Pool 3, was shown at Wysing Arts Centre for the Space Time arts and music festival in the summer 2012.
We will be having drinks on the evening of Wednesday 2nd January 2013, at Camden Arts Centre which is open until 9pm, with Clunie Reid and Anne Tallentire.
Lucy Reynolds is a writer, artist and independent film programmer, whose doctorate research explores British expanded cinema.
Audio Postcard from Banner Repeater:
'An introduction to future diagrams.'
(Audio work, with visual: postcard. 7.35 minutes, .mp3 file.)
The hegemony of real experience is better depicted here than in the order of the single point perspective.
the flow of information has become a significant feature of our current
lives. Ranging from the personal decision one makes about what
information to post online to the on-going efforts of governments and
agencies to manage and restrict the release or accessibility of certain
information to the public.
Be Seeing You
is an installation consisting of two videos, one a small excerpt from
the other, which explore notions of both the coercion to offer personal
information and late capitalisms embrace of the technology that allows
the mining of such details to facilitate every waking moment as a
financially contracted transaction.
The installed works take inspiration from the 60s cult science-fiction British television programme The Prisoner, and focuses on Rover an animated object, typical of early lo-fi science fiction, used by the authorities to intimidate residents of the village. Treating the collection of appropriated footage in a way more akin to a research project, the film: Be Seeing You explores the multiple perspectives afforded by film technology, and touches on relations between the audience and projected image. The emphasis on an experiential encounter with video that speaks perhaps of an authentic physiological experience, is complicated by the slippage that occurs between audio and visual affects, and the relentlessly hypnotic affect of the pulsing light. The immersive environment creates a visual equivalent of certain kinds of auditory stimulation, an aural world, as M. McLuhan noted the ear favours no particular point of view we are all enveloped by sound.
The humour in the repeated sections of footage, suggests a multitude of possibilities.
as a system of communications and as a problem of our environment of
whats really going on
does not deal in theory, but in immediate
experience, and is often the best guide to changing
..todays humour, ....has no story line no
sequence. It is usually a compressed overlay of stories.
accompanying video, Eye-Technics, 2012 (mini single screen digital
video work with sound, duration: 0.53 min, looped), presented in a
periscope plinth, is a parodic take on the mechanism of the eye itself.
The exhibition at The Container is also launching Clarkes new publication, UN-PUBLISH (2012) which will be available to visitors free-of-charge (distributed by Banner Repeater, London).
The publication, outlining online and SMS conversations between Bradley Manning and Zak Antaloupe, Adrian Lamo,
and an imagined communique with Julian Assange, refers to an interview
by Hans Ulrich Obrist and Assange where the authorities re-management of
information is addressed as un-publishing.
This process of deleting information in an effort to rewrite history is of course not a new notion and recalls of the early 20th
century purges of the Soviet Union where thousands of photographs
were re-appropriated; or more recently the efforts of China, North Korea
or Arab Spring countries to control what people see or post. It is
ironic that the American government, who so adamantly condemned this
activity of the Soviet Union during the cold war, is entangled in the
most publicized effort in history to rewrite the news.
Ami Clarke will be giving also an artist talk, discussing the exhibition and the publication. Details tbc.
Kindly supported by A.R.T. (Tokyo).
Tate Britain, London
14 June 2011 to 4 September 2011
Reviewed by: Ami Clarke.
Library: copies of the Xerox book by Jack Wendler and Seth Siegelaub, 1968.
Banner Repeater Xerox book contributions from: Donald Smith, Adam Smythe, Urs Lehni, Chris Rawcliffe, Tom Mason, Ami Clarke.
A photocopy of the Xerox book is on permanent display, at Banner Repeater, and is exemplifies the attempt to make available an otherwise hard to access item; one invested in the desire at the time to de-commodify art by printing cheaply as a Xerox (but actually realised as a lithograph edition), which integrated seamlessly into the market as a precious object. The copy we first acquired came about by being photocopied to allow people to browse the book for the Jack Wendler exhibition at Chelsea space, eventually achieving its intended status. A small library of these is growing with contributions from Donald Smith at Chelsea Space, Adam Smythe at Eastside Projects, Urs Lehni at Rollo Press, Chris Rawcliffe at Pn4, Tom Mason and Ami Clarke.
Each Xerox book copy details its precedent: as a copy of a copy of a copy, and so on, and maps how it became part of the library, and the photocopier used in the printing of each copy.
SCHIZM MAGAZINE presents an assortment of found, made and contributed material edited and formatted to build and/or re-contextualize various forms of visual and written language.
Keeping in mind a definition of schism as engaging with ideas about discordancy and paradox, fifteen contributors were invited to submit material towards its production.
For issue Three the editor proposed as a working theme; Covert/Overt Crossing the line, Is there a line? who defines it? How does this definition change? What are its limits?
From images that reveal security equipment, to text book illustrations conveying information, the magazine compiles email correspondence, cartoons, photographs, drawings, texts etc, collecting, mixing and balancing these responses to ideas concerning the dichotomy inherent in the proposed theme.
Shahin Afrassiabi (London), Bob Ajar (New York), Mike Andreae (London), Noah Angell (London), Roisin Byrne (London), John Chilver (London), Ami Clarke (London), Neil Fox (New York), Jillian King (New York), Laura Oldfield Ford (London), Waldemar Pranckiewicz (London), Giorgio Sadotti (London), Stephen Setford (London), Matthew Stock (London), Barry Sykes (London).
Schizm Magazine is available at Printed Matter (New York), Koenig Books (Charing Cross Rd. & Serpentine, London), Donlon Books (London), X marks the Bökship (London), Motto Distribution (Berlin) & Banner Repeater (London).
Edited, Designed & Produced by Emma Holmes August 2011, London UK. Schizm Magazine is a bi-annual publication. Issue Three: 1st Edition, 250 Copies.
Issue Three Launch at Banner Repeater, on the 23rd of September 2011, 6-9pm. With a Talk/Performance by Barry Sykes.
Selected by Phyllida Barlow and Dexter Dalwoodhttp://www.creeksideopen.org/
OPEN 2011 Exhibition Selected by Dexter Dalwood, 12 - 29 May 2011
Exhibition opens Thursday 12 May
Prize giving Saturday 14 May
The exhibition will be open Thursday to Sunday from 12noon to 5pm and at other times by appointment
OPEN 2011 Exhibition Selected by Phyllida Barlow, 9 - 26 June 2011
Exhibition opens Thursday 9 June
Prize giving Saturday 11 June
The exhibition will be open Thursday to Sunday from 12noon to 5pm and at other times by appointment
Inside outsider language
A perspective on communication
Ami Clarke, Dave Hanger, Yuri Pattison, Amikam Toren, Matthew Verdon, George Young
Matthew Verdon, Composition Number 1, 2009
Inside outsider language is an exploration into visual and verbal languages. By tying together language and the institution, it attempts to illustrate our dependence on codified references.
Communication in art, whether visual or verbal, uses these
references, which we align with what has happened before.
A liminal state is one before a transition, a zone of ambiguity just outside the peripheries of common thought. Just as art advances beyond this threshold, this exhibition works to show how our current language and ability to read are extended. Through large-scale installations and sculpture, the exhibition navigates recognizable gestures and language.
With a selection of London-based artists, the exhibition gathers site-specific and never-before seen works that explore this liminal state and the language structures we navigate.
The overall composition hints at the artists expanded practices beyond what is immediately tangible.
Exhibition curated by Jack Brindley
* * * * *
2 July 15 August 2010
Private view: Thursday 1 July, 6.30-9.30pm
The gallery is situated between Angel and Old Str, on Wharf Rd, near Victoria Miro Gallery and Parasol Unit.
Waterside Project Space
Unit 8, Waterside
44-48 Wharf Rd
London N1 7UX
Opening times during exhibitions
First Thursdays of every month: 11am-9pm
and by appointment.
020 7193 5440
The Shandy Show
A selection of works from The Shandy Collection
In-Conversation event, 6.30pm, 11 November 2009, at the Arts Gallery. University Curator Medeia Cohan-Petrolino discusses work from the show. Rsvp essential to firstname.lastname@example.org
The Arts Gallery is proud to present the first major gallery exhibition of works from an unorthodox and intriguing private collection. The Shandy Show reveals an eclectic set of artworks amassed by an anonymous London-based collector over the last decade; uniquely, the majority of the works were accrued through an exchange of his skilled labour for art. Opening on 9 October, The Shandy Show will feature over twenty works by artists including Sarah Lucas, Mark Titchner, Andrew Grassie and Lisa Milroy among others, specially selected with a focus on alumni of University of the Arts London.
The Shandy Show presents a snapshot of a collection where the conventional financial requirements for collecting fine art have been subverted, substituting skilled work in exchange for acquisitions. Working as an art installer, art technician and builder, the collector has to date amassed an enviable collection of over 80 pieces.
Assisting an artist friend in 1999 the collector acquired his first
work; a painting given to him by the artist as a gesture of gratitude. Since
its inception, the collection has grown organically through donations,
exchange for labour or by direct purchase. The result is an egalitarian
collection that maps the chance interactions of the collector's life and
stands as a genuine testament to his passion for contemporary art.
The Shandy Collection does not adhere to any strict criteria governing media, content or size; the defining aim has been to acquire works that are representative of each artists practice. If anything unifies the collection it is the collectors own life as he lives and works amongst the artists of East London. Indeed, the collection itself takes its name from the street in which the collector lived. The exhibition will feature over twenty pieces in a variety of media, including: Sarah Lucas Man Marrow, a sculptural piece in concrete and steel, which the artist gifted to the collection in 2004; Mark Titchners 2001 inkjet print Hell is Other People, which the collector requested in exchange for refurbishing the artists gallery; and Lisa Milroys oil on canvas painting Shoes, a recent artwork acquired by the collector, given in exchange for maintenance work at the artists home.
9 October 14 November 2009Arts Gallery
65 Davies Street
Open Monday Friday: 10am 6pm
Saturday: 11am 4pm
Nearest Tube: Bond Street
What is to be made of art writing?
Resonance104.4FM invites antepress to explore the contemporary position of art writing through an ongoing experiment with radio.
Digestives is an assorted collection of new radio works by antepress and their invited collaborators, comprising performance, discussion, storytelling and sound.Programme
Mondays 4.30pm and repeated Fridays 7.30pm
The Empty Gallery Interviews make public the anticipatory dialogue that exists between the exhibitor and the exhibition space. Here Claire Nichols and Altair Roelants interview Ami Clarke at Campbell Works gallery, tracing Clarke's evolving relationship to the space in the lead up to installing her work.
There will be TVs and monitors around the space, amongst the audience, and on stage. The programme will contain two modes of presentation: live works on stage alternating with recorded video works, shown on monitors positioned to offer the audience a closer in viewing distance. Introductions to artworks will be relayed to the monitors. Some works operate as sculptural objects and will run for the duration of the evening.
Featuring works by: Julia Calver, Lee Campbell, Paul Carr, Jenna Collins & Chris Scobie, Ami Clarke, John Clayman, Chloe Cooper, Amy Cunningham, Shaun Doyle & Mally Mallinson, Benedict Drew, Katharine Eastman, Emma Hart, Pierpaulo Inga, Dai Jenkins, Dean Kenning, Bob Levene, Louisa Martin, Jordan McKenzie, Bruce McLean, Rachel Mars, Harun Morrison & Helen Walker, Shane Munro, Erica Nordqvist, Tim Parkinson, Harriet Poole, Clunie Reid, Jack Southern, Corinna Till, Tetsuya Umeda.
Unknown Knowns - Ami Clarke
Friday 1st May 2009 7.00 pm
Ami Clarke, Naomi St. Clair-Clarke, Mikey Cuddihy, Dean Kenning, James R. Ford, Oliver MacDonald, Michael Sinclair, Andro Semeiko, Christopher Stevens, John Workman