Imagined Machines - Exhibition series
- Submitting institution
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The University of Leeds
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- UOA32-4648
- Type
- M - Exhibition
- Venue(s)
- The Tetley, Leeds (The Reversing Machine and Palindrone Jukebox); Angus Hughes Gallery, London (...an angry mob broke in and destroyed the machine...); The Wild Pansy Press Project Space, Leeds (A Cosciuno Il Suo (Words Fail))
- Open access status
- -
- Month of first exhibition
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- Year of first exhibition
- 2014
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Imagined Machines is a series of 3 related artifacts produced, installed and presented to public audiences at six national and international venues, 2014-2020 (A-F). These have been developed through a toolkit of abstract and physical devices to continue my explorations into language, control and the “decentering” of my practice from traditional models of authorship and art production to one that draws on historic roots in the Conceptual Art of the 1970s, as well as a wider historical avant-garde which includes Experimental Theatre and Music. The centrality of collaboration reflects my personal experience working in theatre, but also a long period involved in Socially Engaged Practice – where, as animateur, I helped articulate a collective vision.
I use a range of mechanical and linguistic technologies to explore ways in which complex works can be generated from algorithmic origins. I use the vinyl record as a way of linking the work which explored and used mechanisms and movement to a use of spoken language, instructions and programmes with the voice as the enabling technology. Since 2012 my work has included collaborative or collective elements, whether with another artist or specialist makers, developing new works with diverse groups through engagement with amateur actors and informal study groups, coming together around the investigation of hypnosis as a way of transferring authorship from creator to spectator (see b, c and ix for previous work using hypnosis).
Many of the recent outputs, eg Erik Satie’s “Vexations” for Reversible Record Player (C), has developed through my engagement with the Centre for Audio Visual Experiment at Leeds University (Belinfante) and associated artists and musicians. The sculptural “player” developed for Vexations has been further refined into the RadioGrammaton, two portable, programmable reversing vinyl players designed as an open platform for ongoing collaboration and public dissemination.
- Author contribution statement
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- Non-English
- No
- English abstract
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