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Student Bursary – MA Visual Sociology Exhibtion – 25th – 27th Sept 2014

Through the bursary we have received we are able to put on an exhibition of work by the first ever year of the MA in Visual Sociology at Goldsmiths. It has been a year of experimentation, learning, and making that has definately seen all manner of transmissions and entanglements, with a group of students from diverse backgrounds drawing on their experience in trying to produce inventive sociology!

The exhibition will allow the group to display visual works that have been produced over the summer for their various dissertation projects. We will also produce a publication to go alongside the show and hold a seminar discussion during the induction for next years students. All in all, this will be a fantastic opportunity to create some final transmissions and entanglements and reflect on a year of visual sociological research!

Student Bursary – Marina Da Silva: SÃO PAULO – an unbranded city

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For my upcoming MA Visual Sociology dissertation research I would like to analyse how are we affected by commercial visual communication?

In 2007 São Paulo’s mayor Gilberto Kassab enacted a municipal law called ‘Cidade Limpa’ (‘Clean City’) which requires the removal of visual pollution from the urban landscape. This example is what I will be researching for next year’s MA Visual Sociology dissertation project.

What were the consequences of this radical change?

Using different sensorial tools I hope to be able to represent the data entanglements of this project. Photography could be used as not only data collection but as a way to represent data and capture an atmosphere. Specially as this law hoped to eliminate the “visual pollution” created by advertising as illustrated by Tony de Marco’s photo essay. Video and sound recording will be indispensable methods to exemplify the context of the project and hopefully be able to collect data that will show the different feelings and opinions generated by this law.

Photos by Tony De Marco

Conf #3: Fri 13th June – Exhibition launch

The third and final large event in the Live Transmissions event was the exhibition launch of the project ‘Freedom of Movement: the bike, bloomer and female cyclist in late C19th Britain’ (or Bikes & Bloomers for short!). It was held at Look Mum No Hands, a popular bike cafe, bar and workshop in a fantastically central London location on Friday 13th June, starting at 7pm.

poster on door We had set up the main parts of the exhibition the night before. This included the automaton and display boards, vintage sewing machine and sewn banner. On the day we added to the display with ceiling hung spools of colourful thread, smaller versions of the digitally printed silk linings by Alice and extra costume pieces for the automaton. outside2 The automaton was specifically designed to ensure the clothing was on display on a mobile female body. It was imperative, given the project was about the freedom of movement, that the garments did not just simply hang motionless on a headless ‘mannequin’.

This is because from a Science & Technology Studies (STS) perspective I view clothing as a technology. Clothing is a means through which bodies are made to fit with new technologies and become mobile. Mobility technologies are symbols of modernity. They are also the means through which bodies are made modern. Yet some bodies are more easily made mobile (and modern) than others! Looking at cycle wear as a technology offers a way of seeing how it both enables and also inhibits movement – physical, as as well as ideological. And looking at women’s cycle wear presents new ways of thinking about gendered mobility and citizenship.

So I worked with a architect, model maker/carpenter and two engineers to build a full sized interactive cycling womanequin whose legs were powered by a turn of a hand crank. In addition, the team built a series of display boards and extra semi-automated features such as flying birds. wondow display banner and bikeautomatonautomaton4automaton2

Things started to get busy in the afternoon of the launch – with the arrival of the screen printers who were preparing to live screen print a series of cycling suffragette images onto t-shirts for people throughout the night. This was another way of involving bodies in the research – of literally getting the project onto bodies. (I’ve been doing this throughout the year with bloomer making workshops!)

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The live screen printed shirts proved very popular – apparently the printing people didn’t stop all night. We chose and/or made images that reflected social and cultural ideas about what a woman should be like on a bike, the changing body shapes of women as they shifted into more ‘Rational Dress’ (away from corsets) and other similar period imagery.

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Meanwhile the research team and collaborators were busy preparing for the performance, tinkering on the exhibition or doing some very last minute adjustments. We were picking threads off each other all night  - the garments were hot off the machine!

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All the garments – 24 fully lined hand made pieces not counting accessories in the form of hat bands and scarves  - were on the rail ready to wear.

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We dressed at 7pm, had final rehearsals and mingled with the growing crowd.

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It was amazing to see the costumes finally come together after months of very hard work. There were five in total (from left to right): Annette was wearing a patented costume by Madame Julia Gill, I was in Alice Louisa Bygrave’s convertible skirt, Rachel was wearing Frances Henrietta Muller’s design and Lan-Lan was in the Pease sisters skirt/cape. The fifth ensemble, Mary Ward’s ‘Hyde Park Safety Skirt’ was worn by the automaton in the window. It was fantastic that all the women wearing the costumes were cyclists and involved in the development of the project in some way.

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Food was served.

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Full house!

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The terrific thing about LMNH’s location is how the event brought together not only lots of cycling, sewing and sociologists but also people who just happened to be there on the night or who walked past and thought we looked interesting.

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I talked about changing ideas of women’s mobile bodies in public space at the turn of the last century – about dress reform, suffrage activities, advent of the ‘safety’ bike and the shifting social and cultural conditions that created the conditions for the invention of convertible cycle wear.

I explained a little about why we drew on cycle wear patents lodged by women for women in the 1890s and why we considered them to be  fascinating design objects – ie. they define the problem they then attempt to solve, all the while providing a glimpse into the social/cultural context and step by step instructions for how to re-make the artefacts.

I introduced the five convertible cycle wear garments we had chosen to make from 120 year old patents – garments that represented a particular flashpoint in history when women were carving out new forms of gendered mobile citizenship via an intersection of design, technology, bodies, public space and political activism. Convertible cycle wear gave the appearance of ‘ordinary’ dress off the bike, yet could be converted into safer, more comfortable form when on the bike.

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I was wearing a ‘Bygrave convertible skirt’. Alice Louisa Bygrave lodged the patent in the UK on 1st November 1895 and it was accepted on 6th December 1895. (Yes – quick turn around!). What’s fascinating about Alice is that she lodged the same patent in Canada and Switzerland. It is an unusual story in that we were able to trace her invention from the patent office to a commercial context. In 1896 her invention was picked up and distributed by Jaeger, the British fashion house, under her name – the Bygrave ‘Convertible’ Skirt  - and was advertised in popular periodicals such as ‘The Lady Cyclist’ and ‘The Queen’.

“My invention relates to improvements in ladies’ cycling skirts and the object is to provide a skirt as proper for wear when the wearer is on her cycle as when she has dismounted.”

The patented skirt features a interconnected series of stitched channels, clips, cords, rings, weights and a hidden pulley system enable the wearer to change the skirt height according to need.

I also talked about how in researching Alice’s life we discovered that she came from a family of watch and clock makers, professional cyclists and dressmakers. It is therefore not hard to see why her patent features well considered deliberately concealed technologies that enable it to operate.

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We handed out specially printed series of cards – one for each of the cycling costumes. Each told stories about the inventors, unique characteristics of their patented garment and the influences/contents of its design. They featured a die cut of a woman’s body and the audience was encouraged to hold up the cards and place each of our colourful live dressed bodies into a black and white contextual Victorian photo. There was much jostling and smiling as everyone got into the spirit of the piece!

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Instead of just talking about the patents and the inventors, the performance adopted an interview structure. Drawing on our genealogical and archival research from the past year, we sought to bring to life each of these characters and enable them to speak in their own words, to put real bodies back into patent archives and history.

I started by interviewing Annette in the character of Madame Julia Gill who invented a ‘Cycling Costume for Ladies’ in 1895. Annette/Julia told us about her life as a Court dressmaker, her middle and upper class clientele, what fashionable high society lady cyclists were wearing on their bikes and where they were cycling and also the range of influences (new media, new materials, new technologies etc) that she was drawing on to produce her designs.

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“The skirt is made with an underlayer of the same material or other kind which when turned up is drawn in at the waist with a cord run through, rings, tapes or eyelet holes &c. which then forms a semi-skirt, the under piece forming a frill and giving the appearance of a jacket bodies. When the wearer gets off the cycle the skirt drops into place as n ordinary walking skirt.”

“My invention has for its object to provide a suitable combination costume for lady cyclists, so that they have a safe riding garment combined with an ordinary walking costume for use when dismounted.”

Annette/Julia asked if we wanted to see the inventive qualities of her cycling skirt patent. With an enthusiastic ‘Yes’ from the audience, she demonstrated how the lower skirt flounce cleverly concealed a ribbon threaded through a row of  rings. Gathering the ribbon and lower skirt up and around her waist  formed a double peplum with the jacket and which removed the danger of the skirts being caught in the bicycle wheels.  This action also revealed Alice’s beautiful linings which again told stories of Madame Julia Gill’s life and her patent.

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The patent by Frances Henrietta Müller of Meads, Maidenhead was next. Rachel, in character as Frances, told us how she registered a patent for ‘Improvements in Ladies’ Garments for Cycling and other Purposes’ on 30th May 1896. She was 50 years old. Frances Henrietta Müller was a passionate and prominent women’s rights activist and suffragette. She devoted her life to the advancement of women’s freedom of movement in all spheres; such as agitating for equal pay for equal work in 1883 and promoting contraception to free women from continual child-bearing in 1884. She is also renown for founding and editing ‘The Women’s Penny Paper’ 1888-1893.

“These improvements consist in the form and combination of three separately constructed articles of ladies’ costume, so made as to afford special faculty and convenience when cycling.”

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Although well known as a British suffragette, Frances’s history of patenting convertible cycle wear has not, until now, been linked to her other considerable achievements.

 

 

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Lan-Lan took to the stage as Mary Elizabeth Pease, telling us that her older sister Sarah Ann was out cycling. They are gentlewomen living with their family in Harrogate, Yorkshire. Their patent consisted of a full wrap around skirt that could be converted into a cycling cape. This is the most radical design out of the collection in that the skirt completely comes away from the body. It transforms into a cape with the waistband converting into a high ruché collar. It could also be attached to the bicycle.

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“The rational dress now greatly adopted by lady cyclists has one or two objections inasmuch that when the lady is dismounted her lower garments and figure are too much exposed.”

“This invention thus far is of importance to lady cyclists. It is preferable to make it of light waterproof or rainproof material of reverse colours, say a check and a plain to suit or approach the usual colour of garments generally work, so that on dismounting if the article be in wear as a cape its removal and securing round the waist would be in a few moments convert[ed] it into skirt without making the wearer unlike others in the vicinity”.

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I finished the talk/performance with many thanks to:

Rachel Pimm – Research Assistant

Nadia Constantinou – Pattern Cutter
Alice Angus – Artist - aliceangus.net 
Nikki Pugh – Researcher – npugh.co.uk
Annette-Carina van der Zaag – Researcher and Sewing Assistance
Brit Hatzius – Filmmaker  – brithatzius.co.uk
Charlotte Barnes – Photographer  – charlottebarnes.com
James Fraser – Automaton Display  – Architect, MORA – moraworkshop.com
Rupert Fisher – Automaton Display – Allies and Morrison Architects  – alliesandmorrison.com
Edwin Knight and John Gray – Automaton Display

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The research, exhibition and opening was supported by Goldsmiths, Intel and the Economic and Social Research Council.

It was a brilliant evening and wonderful way to end a project and the four day ‘Live Transmissions‘ event.

Conf #3: Thurs 12th June – Symposium

The full day LIVE Transmissions: Critical conversations in crafting, performing and making symposium was held in 310NX Road as per the sewing workshop the day before. It was an invite-only event that brought together a total of 32 amazing people from last year’s symposium along with some new faces. Everyone was there because they are engaged in complex, challenging, material and often collaborative work in a range of media that pushes at the edges of conventional knowledge production and exchange across disciplines located in and outside academia. (A full list of participants is here).

As per usual the range and quality of work was exciting and eclectic – we watched films on dance, weaving and many forms of craftivism. Some people recited poetry, performed fiction and unrolled storytelling graphs, while others demonstrated environment sensing devices, birdcams and even specially made trousers to enable women to pee standing up. We heard about the use of drones as a sociological method to fly above remote Polish villages, of embroidered letters as a form of political networking, of failed 3D printed objects in London Hacker Spaces and mobile phone repair practices in Kampala. And so much more……

What was really exciting and productive about this event for me (and I’ve heard similar from others) is the opportunity it enabled to talk about shared issues, concerns and ideas across a whole range of disciplinary backgrounds and experience. In no particular order, we had artists, filmmakers, sociologists, anthropologists, craftivists, designers, technologists, poets, writers, computer scientists, curators and, of course, many of us occupied more than one identity.

People travelled from Madrid, Copenhagen, Malmö, Vienna, California, New York, Brussels, Edinburgh, Lancaster, Oxford, Cambridge and across various bits of London. THANKYOU to everyone for their travel, time, attention and ongoing commitment to the project. It was an amazing day!

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The event was held in a small but interesting space for a group of people to get together to talk, present and perform ideas. Although the structure of the day was largely comprised of site specific multi-media knowledge transfer in the form of talk, performance, film, sound and objects, the nature of 310NX Road (the shop structure and its location on a very busy road) meant that the urban context was an active participant as well.

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The event was divided into three main sections.

I tried to reduce the number of presenters from last year so to create more space for networking and discussion. There were two themed sessions of talks  I. POLITICS of MAKING and II. PRACTICES of ENTANGLEMENT. Each was made up of two presenters and a chair. The afternoon session III. MA Visual Sociology featured short sessions from Goldsmiths students who showcased their cutting-edge practice.

Throughout the day, in between sessions, there were short LIVE Transmissions sessions I, II, III. Everyone was invited to bring an example of ‘live transmission’ in their work, to briefly speak about it (<5min) and curate it with other things to create a growing mini-exhibition through the day. This was an important means through which a wide variety of voices could be heard and projects discussed. By the end of the day this meant that we heard about the work and practice of 26 people : )

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transmissions table As per past events we focused on having good food for lunch as well as lots of snacks available throughout the day and the sunny garden provided a nice space to relax and chat between sessions.

The following overview/write-up is an attempt to capture just some of the many ideas shared, generated and discussed during the day while remaining mindful of the ‘liveness’ of the event which cannot be fully captured. As a result I do not attempt to present a coherent polished or finished documentation. Nevertheless it is quite textured for the purpose of enriching our developing network and also keeping with the idea of rendering visible the labour processes through which knowledge is created, the messy material mechanisms of production and modes of circulation.

Feedback, ideas, suggestions, criticisms or thoughts about potential collaborative experiments welcome!

 

LIVE TRANSMISSIONS  I 

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Laura Watts | Associate Professor, ITU 

Transmissions - laura - booksLaura kicked off the session by talking about the art books that she makes as part of her research practice. She is an a feminist STS ethnographer and poet. She brought in two books: ‘Data Stories’ is written in collaboration with Dawn Nafus, an anthropologist at Intel, for the purpose to finding new ways of engaging with software engineers at Intel. It is an inventive format that folds out, with a poster and can be played with.  ‘Orkney Futures’ documents a remote Scottish island that is also a world centre for wave and tide power – so you have a space age industry  developing in a place where there are 20,000 farmers.

Laura has been working in Orkney for seven years doing ethnographic research. Throughout this time she has been searching for a voice for the hard work locals are doing to make futures, because there are many futures. The book is a co-produced collection of the future of Orkney by many different people – artists, school children, locals, farmers etc. It was curated as a poem and Laura finished by reciting the one of the pieces in the book - ‘If’.

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Alex Taylor | Researcher, Microsoft Cambridge 

transmissions - alex objectsAlex showed us an arduino node from a network that senses air quality. It is part of a set of technical network that is distributed along a street in Cambridge called Tennison Road. There are eight of them in location sensing the air quality in the street. It is part of a network for displaying data  - pie charts and graphs on the street will represent the data. There is also a thermal tracker will measure the flow of traffic, number and density of traffic. It is a technical infrastructure but it is motivated by the concerns of street residents. It is evocative of what and how data comes to matter to people and how a group imagines its future.

In many ways this is a technical network that is embedded in a street which tells very little about the street but it is is entirely motivated community have motivated by what concerns that street and like Laura tells us what data might come to matter in a street and how a street might come to image its future. These are some of the people who live on the street. They are a community who have motivated all of these networks and there are many of them – layers upon layers, intertwined and entailed – to the point where it is no longer a technical network. It is a network of people, of things, of senses, of devices and companies… and I work on this street, so I’m not going anywhere. I am part of this network. We are embedded in networks of imagining the future… we might start with simple crude senses that we have all seen before but these are entangled in transmissions of imagining new futures where data might come to matter in different ways.

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Anna Hickey-Moody | Senior Lecturer, Arts Practice and Learning, Goldsmiths

Anna talked about her work on disability, the body and performance. Her work is sourced from dancers experiences and their movement phrases are responses to their lives, lived experiences, and embodied particularities.

The idea is that by making these physical statements are ways of transmitting quite intimate lived experiences of having a disability that stand alongside other tropes of disability that might constitute public discourses especially around disabled bodies. This produces dance text that tell stories about disabilities yet they ‘refuse dominant discourses that offer different style or a particular type of social entanglement that run contrary to other forms of relationships that are invited by public culture.

Anna shared with us a video excerpt of a dance performance to demonstrate these ideas of transmission and entanglement.

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Session I
THE POLITICS OF MAKING

stripesJulia Bryan-Wilson | Associate Professor, Modern and Contemporary Art, History of Art, Berkeley

Julia started her talk with a video clip of Gabriel Craig performing ‘The Gospel according to Craft’ in which he stands on a soap box on a street corner asking the public is they have ‘accepted craft as a road to personal road to salvation’. Julia discussed how the ideals of craft to deliver us from the evils of capitalism and consumption practices intersects with a fervour of the growth of DIY ethos and craft which has brought together artists, makers and activists – forging  craft and activism into craftivism. Yet, craft of course is also big business.

Independent online retailer Etsy which sell mostly handmade items was predicted to bring in $50million in revenue in 2014. Etsy’s tagline is ‘Shopping for Meaning’ – a slogan that brings together consumerism and craft as it implies a search for cultural significance through the creation and acquisition of objects.

 Julia asked – How people are negotiating the promise of salvation, meaning making, anti-capitalist resistance, consumerism and entrepreneurialism? How do craft objects such as the rainbow flag and pottery objects become interwoven with cultural, historical, political and gendered themes? Julia enriched and complicated these questions with an array of fascinating examples. She also brought them to bear on ideas about affective labour in craft and its  strong connections to the domestic context, the politics of bodies and skill.

How do bodies, most critically hands, which in discussions of craft mnemonically stand in for bodies, shape craft?  Crafters often describe the pleasure in engaging directly with their materials, whether wood or scrapbooking supplies. Crafting becomes almost an erotic or sensual encounter with matters as mediated by the hand. A tactile delight in the touches, textures and the sensations that also change the very nature of how we think and process information…. For many converts to the so called church of craft these terms describe the immersive corporeal process of bodily making. But within the context of contemporary culture there is a spectrum of crafting bodies to consider – ones marked by race, region, gender, sexuality, age and class. And not all of them revel in the procedures of making by hand. These bodies have vastly unequal levels of access to capital, to privilege and to power. So that the women hand sewing uniforms onto GI Joe dolls in the Pearl River Region of China on a 16 hour a day work shift might have a very different understanding of the intersection of bodies, production and craft.

 

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Janis Jefferies | Artist, writer and curator | Professor of Visual Arts in the Department of Computing, Goldsmiths

Janis discussed and presented a range of emergent forms of knowledge practice with the aim to take up some of the challenges and opportunities offered  by knowledge production. A core question: How is contemporary art practice being rethought, remade, redone within certain theoretical and practical discourses?  Janis drew on Richard Serra’s ‘Verb List Compilation Actions to Relate to Oneself’, Grant Kester’s 2004 ‘Conversation pieces’,  Jacques Ranciere’s 2007 ‘Emancipation of the spectator’ and Anne Wilson’s 2012 ‘Walking the Warp’ amongst others.

Janis shared a project she was involved in called ‘How to do things with academia‘ which was part of a doctoral training seminar that had been running for several years with people from Goldsmiths, University of Copenhagen and Berlin. In place of a series of conventional papers it provided a practice based intervention.  It became an occasion to practically create new practices, new types of knowledge production that were eventually verbalised and performed in the form of a manual… By utilising the format of the manual as a production drive the outcome of the symposium was a reflection of a process of learning the so called step-by-step that is demanded by the manual and the relationship between the thorny issue of what is practice and what is theory.

The workshop was created from the Richard Serra’s verb list. While the verbal list enabled Sierra to explore freely before committing to what he was going to make, before the thing was made, the premise of the academic project was to explore entwined movement, text, thought, action and practice that could be transferred within and beyond academia.

Janis provided many powerful examples, including Anne’s Wilson’s 2012 weaving work – Walking the Warp - which was performed in Manchester without technology, textiles or thread and using only a gestured vocabulary of weaving in space.

The performers wind invisible bobbins and walk an invisible warp, increasing speed and intensity over the course of the performance with references to the speed to industrial production. Through these movements the act of weaving is performed but without any material evidence of the act of weaving. In Wilson’s performance the body enacts the very absence of the textiles and by extension the textile industry. 

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Session I
QUESTION/ COMMENTS 

session 1 panelJulia, Janis and Nina assembled chairs at the front of the room to discuss the first session on The Politics of Making which had raised a plethora of craft themes related to politics, art, institutions, memory of making, histories, practice, the body, labour gender race and more.

- The labour of making knowledge. How do we hold on the making process as method, output and transmission. Is it possible? Should we?

The transparency of transmitting the process – ie. performances and workshops – are a form of holding onto it. It is also somewhat impossible as it writes itself out in the nature of the materiality itself.  Craft is always getting forgotten and rediscovered. It is perpetual. We should also hold onto the pain and the drudgery. It is not just a story of pure bliss. It is also a story of craft wounds, pin scratches and achey backs. These points are often overlooked  - as if the handmade is some kind of refuge from immaterial labour. The story is more complex than that.

Making memories is an important is part of what we are doing.

- How do we engage with the idea of accumulating knowledge?

Conversations are an important part of the labour of making. These moments don’t translate into funding applications or policy documents. How do we acknowledge the methods that may not stay but matter a lot. There is a strong heritage of commitment to things not staying.

- What are the strengths and weakness of craftivism?

Like anything, craft is process like any other. One of its strengths lies in its unruliness. It is not necessarily a force for good. It is a way of making things. Like all forms of making things it can be used and interpreted for many reasons. One of the reasons people want craft to be this way is as a response to the commercial marketplace.

- There are multiple tensions of craft narrative, not necessarily something intrinsically good or bad.  How do you knit yourself back into your work? How do you want to re-make your work?

Julia responded saying she struggles with this, as she wants to be a great skeptic about craftivism and is also very moved by many of the practices aligned with craftivism. One way that she avoids general sweeping statements is to stay with the material and lead with examples. It is about specificity. This is more detailed and rigorous. She also draws on queer and feminist theory which helps with positionality and specificity.

- What happens if the boundary that is drawn around craft includes digital craft? The academic talk is a craft – it is crafted with our hands – what is the specificity of what is being called craft? How do we place craft in these different realms?

Janis thinks of craft as a verb – to craft – then its always on the move. It is about re-enactments, re-stagings. You can think about crafting in all kinds of disciplinary contexts. There are also many different tools of production that deploy different ways of using the hand to release different kinds of ways of making. An example is the current cult of 3D printing.

Julia argued that one to think of craft not as a refuge but a motor. The online craft world is a means through which people are learning to craft, to knit to do all sorts of things. They are not separate but co-exist, entangle. The sharing of on and off line knowledge is not in opposition.

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LUNCHTIME!

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We spilled into the very urban garden for lunch and relaxed chat.

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LIVE TRANSMISSION  II

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Åsa Ståhl and Kristina Lindström | School of Arts & Communication, Malmö University

 Tranmissions - asa objecttransmissions - asa object 3 transmissions - asa objects2Åsa and Kristina volunteered to do their ‘Live Transmission’ straight after lunch. They presented a project called ‘X Front’ which started with a question – How do grown up women learn to stand up and pee?  It explored the kinds of clothes one might need as a woman to stand up to do this. They ran workshops and re-purposed existing clothing – such as t-shirts and jumpers – and also made garments from scratch.

Åsa and Kristina talked about different types of transmissions of knowledge produced from these making (and wearing) practices such as when you wear different versions of these garments you perform different kinds of work and catalyse different responses – people were asking what is happening here? They brought two of these garments to the symposium and shared a series of photos of women wearing and using them in context.

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Lara Houston | Sociology, University of Lancaster

Tranmissions - lara object Lara presented a live transmission on her work about mobile phone repair in Kampala. She brought a ‘Chinese Phone’ with a universal battery and talked us through the process of making this battery fit different phones. She did this via the use of a series of printed photos from her fieldwork and a version of the phone. She talked about how she felt there were many  ways of transmitting and entangling in her work and is interested in how a study of repair focuses on the possibility of live transmissions and how in embodied work like this can become part of my sociological practice. 

She is interested in acts of repair like this in comparison to other places that are popping up such as the Repair Cafe which are more community group based. These are very different transmissions of repair just as there are multiple versions and ideas of craft. Lara is interested in drawing out the complexities and entangled notions of repair in her work.

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Bernd Kräftner | Principal Investigator, Shared Inc | Senior Lecturer, University of Applied Arts Department of Science and Art, Vienna

transmissions - barnd objectBernd told the group a story about the hare and the hedgehog. He met the hare at home for people in a vegetative state or unresponsive wakefulness syndrome state where he is doing fieldwork. The hare was visiting his friend the hedgehog – and their relationship is  not about a race at all but about a relationship – they loved each other –  but sadly the hedgehog had been involved in a  server accident and he had a brain injury and was in a vegetative state.

The hare visited him daily and would do things to cheer him up and try to help him to recover. But he was concerned that his emotional welbeing might affect the hedgehog. He questioned why the hedgehog’s wellbeing was constantly monitored by the doctors – and asked if perhaps it might have something to do with visitors’s wellbeing too. So he turned it around and he devised a protocol for measuring his mood – to diagnose himself.

The hare measured his emotional and physical wellbeing via a specially designed technical glove device which gathered this data throughout the day. Bernd unrolled a huge complex diagram that documented the hare’s mood throughout one day. Bernd told us that he is exploring the relations between the hare and the hedgehog with the aim of taking all these kinds of things and working on a family album to try to enrich understandings of states and relationships.

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Sarah Corbett | Founder of Craftivist Collective 

Sarah has a background in campaigning and learnt to craft from youtube. She is interested in how craft connects to global issues and can help to create networks and relationships between people, can be a lovely way of getting people excited and thinking it is possible to change the world. She brought a replica of a hand stitched handkerchief which she gave to a local politician whom she said would not communicate with her over key issues that she felt passionate about. Craft helped Sarah connect with this politician in a positive respectful way.

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Session II
THE PRACTICE OF ENTANGLEMENT

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Zoe López Mediero, Azucena Klett and Arroyo | Curator and Researcher, Intermediae  | and Olga Fernandez Lopez | History & Theory of Art Department, Universidad Autónoma de Madrid

Talk - intermediaeZoe, Azucena and Olga collectively presented their transdisciplinary collaborative research work. They have backgrounds in fine art, philosophy and the history of art and work in the contexts of social media, activism, urban context and policy in Madrid.

Intermedia is a city council funded collective chosen to test different institutional hypothesis, enabling what we like to call an open code working dynamics, oriented to a more democratic, horizontal and public production of culture. They way they do this is by aiming to become-others through a process of contact and listening. Instead of an institution that curates, produces or makes, it is an institution that is curated, is produced or is made, enabling the redistribution of agencies and the sharing of responsibilities in the construction of a cultural space.

Intermedia are interested in testing how they might present their work in an academic context and the field of humanities and also how academia might be affected by different kinds of collaborative practices.

We have chosen the neologism de-cast (or de-casting) to suggest an institutional “unmolding”, that is to say to think about the possibility, the one hundred or more methodologies, that can be tested to break the mold that bounds cultural institutions. We would also like to evoke the idea of a theatrical casting taking place in the institutions that could reverse the pre-assigned roles of the agents usually involved in them. From independent agents to a networks of agents - Zoe,

They presented a range of independent initiatives and networked organisations who have changed their practice to work in and on collective participatory projects in public space. They discussed social-artistic movements and how there has been a redefinition of what is a public space. There has also been a redistribution of responsibilities, knowledge and ownership of public space which has resulted in self organising networks drawing on open source models to begin to experimentally ‘run’ urban sites.

Examples of projects include:

Hacenderas  - of a citizen “parliament” that once a month discuss concrete neighbourhood difficulties, that we address through committees.

City kitchen - monthly “co-working tables” in which citizens, professionals and civil servants shared strategies and models of activation of public space.

Core questions that inform their practice:
Are we in a threshold of overcoming certain “modern” ways of understanding cultural institutions, citizen participation and the autonomy of art? What type of citizen parliaments are being tested in these projects? Is this kind of distributed network being operative? What would be the modes in which to include a radical heterogeneity of political subjects and objects? What new forms of governance are being tested? What could be the meaning and function of a public experimental art centre within a model of distributed network?

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Jennifer Gabrys and Nerea Calvillo | Sociology, Goldsmiths

Citizen Sensing is an ERC project at Goldsmiths run by Jennifer that looks at how environmental senses are increasingly appearing in environments as ways of looking at environmental change but also being scaled up to citizen engaged activities who were using easily available technologies to better understand what was happening in their environments.

Practice is a way of researching new technologies, to analyse as well as create new technologies. They set out to ask a lot of questions - what are these environmental sensing engagements in terms of the imaginaries of environmental citizenship? What does it mean to have this technologically led engagement? What are the trajectories of these initiatives in that they imagine may lead to actions? How might having data somehow change the air quality? How do they articulate an environmental relationality? What does it mean to see sites in terms of data gathering?

Part of the project is about looking at existing environmental monitoring practices as well as new technologies. They are also looking at how these technologies are moving into urban settings – imaginaries and implemented sensing networks in situ (ie. London underground senses). A further part of the method involves building kits and holding workshops, trying out the devices and asking – what does it mean to DIY? What kinds of skills, capacities and labour is involved and what kinds of communities do you entangle with as a result of using these devices? Jennifer and her research team are testing claims of these off-the-shelf technologies. In many cases the claims do not match the practical realities.

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Nerea presented one particular sensing device and the linked phone app which she had been using to record the air, sound and heat quality in walks undertaken around local area. She told us how it often captured unintended data - an interesting entanglement – such as when it overheated internally or captured the noise of leaves as higher than local traffic. The design of the kits are also interesting in that sometimes they operate to overheat the device and there are limited nature of instructions available to troubleshoot these issues.

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Session II
QUESTIONS/ COMMENTS 

Alex Taylor joined the speakers at the front of the room to chair the discussion on the practice of entanglements. He talked about being inspired by both projects because they were actively doing many of the entangled things that STS often talks and grapples with.

- A lot of materials today have been urban centric and very particular views related to particular places. This is a question about local expertise – different levels as it relates to tech in each project – and also about how it relates to places and people? Why do some projects come to life in certain places?

Jennifer responded by saying that they try not to work to closely in categories of amateur and professional. Different people work with different levels of kit. Many people fumble around and respond to demands being made on them in different contexts. Other forms of expertise come from people moving into different fields -such as public health – and develop different responses of data and publics and discourse. Its about relationships between kinds of expertise – not a singular response but about taking on different capacities when needed. A shifting landscape of entanglements.

- How do you think about citizen science? And (thinking about how a sociologist might walk with a device) how is data an atmosphere?

The term is problematic, provocative and deliberately chosen as the title of project and this particular practice. It is a project therefore that reviews, analyses, critiques, participates and observes. Part of the investigation is to push at the idea of the narrowly drawn contour of what constitutes a citizen and the practices involved in this. How do technologies become enrolled in this? What are the limitations? How is this potentially problematic?

- How do you think about these devices after their use? – ie. the loop constructed by purchasing a device that senses how badly the world is polluted that will itself become part of the problem.

This  issue relates to Jennifer’s first book ‘Digital Rubbish: a natural history of electronics. For this new project they have been scavenging waste to build their sensing devices and working with recycled materials. They are very aware that everything they build has an environmental footprint, a labour footprint, draws on energy, its past manufacturing history and its future life. She said that they haven’t drawn on much material yet but it is something they will have to grapple more on as the project develops. One response has been a move to more analogue devices as the new digital ones as as problematic as they are empowering. They invite us to rethink what it means to use monitoring as a practice of engaging with environmental change.

- A question of expectation. What is the expectation if people offer this labour? If there is a frustration of things not changing, what is the impact on people? How do they manage expectations – of devices, practices and imaginings?

It is a major issue with fracking for example. There is a double bind: people feel they brought it on themselves from selling the rights to frack their land, yet there is also an expectation that the data might have an impact. Communities work with health experts to address key agendas and policy makers but there is also a lot of bad data out there or data that doesn’t have the impact that people would like it to have. It is about the expectations of data. Many people have tried everything and have discovered that personal accounts are not work much so many hope that data will somehow mean more. We want to challenge the capacity of the data to provide ‘real evidence’.

- Does the focus on data somehow delegitimise the value of personal accounts? Does it reinforce the idea that personal experience is worthless? Is it possible to turn personal experiences into data rather than saying that data is outside of bodies?

No. Jennifer has written on this about how these issues of experience can brought into ideas of what matters or counts as data and this might then have a different relationship to what data is if as a citizen you go into court that instigates different actions. There are no singular ways of thinking about and doing data. This is also a community that is fed up with doing diaries. They want to do something. It is interesting having these conversations. They are also working with health experts and medical doctors and are interested in other ways of mobilising their concerns.

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AFTERNOON TEA

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Again we moved into the back room and outside for coffee, tea, biscuits and fresh air.

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Throughout the day Rachel, Britt and I were busy finishing garments for the exhibition opening the next day. The entailed a lot of hand sewing hems, attaching buttons and the somewhat curious making of leggings ‘festooned’ with ribbons for one of the patented garments. To be sewing and crafting during critical conversations about crafting, making and performing data added another layer to the day. (And some people like Sarah joined in with their own sewing!)

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LIVE TRANSMISSION III

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Li Jönsson | Interaction Design, The Royal Danish Academy of Fine Arts  School of Architecture, Conservation and Design

 Transmissions objectLi discussed a series of devices from her design experiments in her nearly finished PhD called Urban Animals and Us which explores relationships between animals -in this case birds – and senior citizens in a local residential home. There are a number of different devices – a Bird Flute that enabled people to call out to birds in the environment around the home. In this way they became more bird like themselves.

A BirdCam was also designed in the project. It is an interface for birds to photograph the practices of the people inside the home. This is the device that Li showed the group. It is made from off the shelf components, it has a spy camera built into it. The user simply adds food. The birds pick up the Birdcam and the resulting footage provides a completely different perspective on urban life – a bird view of the city.

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Jen Southern | Lancaster Institute for the Contemporary Arts

Jen’s practice combines sociology and fine arts. The object she brought is a speculative app. We thought it would be interesting to GPS map you and your social network at the same time. It was made prior to apps like Four Square etc. Jen and her team were interested to see what people would use it for and gave it to different groups to monitor how they were experiencing different parts of the city.

One group wanted to map noise pollution and GPS mapped each other walking from a central point until they could not longer hear the noise. When they came back together they then speculated on why and where people had stopped at different distances. It triggered conversations about what each meant and experienced as sound pollution. They would project the data onto a wall and people would annotate what they had experienced at different times. This was a form of collaborative analysis.

The app was also available on the app store so people downloaded it all over the world. Jen and her team contacted many of these users to find out what they were using it for and created data portraits.

We think of it as a way of making GPS as a technology that people can play with in an app that is slightly more visible than it is in our everyday life.

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Phil Thomas |  PhD Visual Sociology, Goldsmiths

Phil isa first year Visual Sociology PhD student and her work is on the politics of the claim to realism and discourses about crime and focusing on UK and US realist criminology. She also writes fiction and she is developing participatory writing exchange project. She recently prepared a piece for Goldsmiths event –  The Future of Art is Urban. Today she performed it live – ‘Grand Design’.

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Session III MA VISUAL SOCIOLOGY STUDENT PRESENTATIONS

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Beckie Coleman, the course convenor and lecturer on the MA Visual Sociology at Goldsmiths, introduced the third and final session of the day. The course is in its first year, designed to explore visual methods and ways of engaging with the social world but also to push what we might mean by the visual into thinking about things like atmosphere, how sociology might be performed and performative.

Following on the style Speed Methods talks at the last conference and the Live Transmissions sessions this time, we invited MA Visual Sociology students to show and tell their current work-in-progress and invited comments and feedback from the group. The students who presented had been awarded small bursaries from the Transmissions & Entanglements project to help with their final dissertations and final show and more broadly to further support and encourage experimental and provocative forms of sociology.

Roz Mortimer | MA Visual Sociology 

Roz is developing work she has been doing in Southern Poland for a few years. Focusing on areas of mass graves, she is working with people who either witnessed the massacres or who live with memory of trauma and memory. In particular she has been interested in one particular local story of a woman who refused to die. She has written more about this project here. She plans on exploring haunting through film and has been experimenting with how to represent and translate trauma and collapse time. She has used pin hole cameras and digital cameras, but her frustration has been that the cameras have always been from a human perspective. So she has been thinking about how to visualise a more spectral presence. She is purchasing, with help from the bursary, a drone camera to fly above specific sites.

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Marina Silva | MA Visual Sociology

Marina is using the MA to explore a project on visual culture of everyday urban environments in depth. She is from São Paulo and has a design background. In 2007 a law was passed in the city to remove all ‘visual pollution from the urban landscape’. This meant that it was illegal to advertise in the city. It raises fascinating questions: What is beauty? What is the role of the city? What is and isn’t pollution? Where has the ‘visual pollution’ gone as a result of being ‘cleaned’ from the street’? Marina showed pictures from a local photographer who has documented the structures left from the advertising industry – empty frames, signs etc . She talked about the comments linked to his images that debate the nature of advertising versus communication and express a spectrum of responses from joy at the cleaner, more beautiful city to disgust at the heavy handed nature of state control.

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Katie Knapp | MA Visual Sociology 

Katie is from advertising and communications background and grew up in agriculture and farming cultures. Her project is about how society visualises farming. She is struck by the overlaps, complexity and entanglement with how the media, lobby groups, consumers and farmers often use the same images to represent the production of food and yet put forward conflicting messages. She is interested in how people curate a visual of farming – different scenarios – and curate this into an object as a final piece of work.

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Ali Eisa | MA Visual Sociology 

Ali talked about the end of year MA Visual Sociology show in September which provides an opportunity for students to showcase the work they have been doing to the public, prospective students and also in relation to each other – the bursary is helping to support this event. This is a critically important event because although the course requires students to hand in a written text, the process by which they have made and expressed their work in other forms has greatly informed their processes, methods and understandings of Visual Sociology. It also deepens and enriches their exhibition and curation skills for ways of making their work open to a range of publics. Ali also talked about his own work which ethnographically explores hacker space culture and in particular things that don’t work. He passed around a 3D object that its maker considered a failure and yet talked about how other discussions with people revealed that it could be so many other things – ie. a part for a space ship!

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Session III QUESTIONS/ COMMENTS 

- What exactly is Visual Sociology? How are you imagining the visual in sociology – is it creative, or pertaining to optics?

All the students are from backgrounds – design, communications, advertising, film –  that have the visual deeply embedded within it. Having visual added to sociology is something they have debated throughout the year. The course equips students to interrogate the visual and and how they situate what they are already engaged in, in a sociological contexts. It could be viewed more about inventive approaches to the social than just visual.

- Why do the visual histories of the future look the same? – ie. The fixity of the kinds of shapes in Thingyverse. Why do we imagine the future in specific ways – the similarities and lack of flexibility?

Ali talked about the homogeneity of 3D printed objects and his curiosity to explore the themes that emerge. He is interested in craft, consumption and technology and especially ideas of customisation which is a dominant theme in 3D printing.

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To The Pub!

Annoyingly I didn’t make it to the pub after the event due to having to run about in prep for the next night’s event, but I heard that it was good and networking continued over beer. Thankyou to everyone for making Live Transmissions a terrifically stimulating and memorable event.

Till next time…… : )

Conf #3: Wed 11th June – Public Talk

The full day Bloomer Making Workshop was followed by the second event on the Live Transmissions program – A Public Talk by Jackie Orr, Associate Professor of Sociology at the Maxwell School, Syracuse University.

I was delighted to have Jackie perform her piece Slow Disaster at the Digital Edge as part of the official launch of the conference. Jackie’s work has long been inspiring for me and for many as it is brings together cultural critique, performance, the politics of bodies and the poetics of knowledge. She calls it ‘performance sociology’. What I especially like is the idea that it is a ‘sociology that insists on its own undoing’ and ‘a sociology that sees itself as a social practice, and a form of public culture’.

Slow Disaster at the Digital Edge (with digital artist Dovar Chen) – a live 40 minute digital performance that assembles together the ‘deep time’ of petro-capitalist fossil fuel extraction, with the slow catastrophe of ordinary time and its exhaustion through everyday practices of repetition, accumulation, and disposability.

The performance constructs a series of five digital formats, each attuned differently to the re-distributions of image, body, disaster, time—and performance itself—rendered through the binary plasticities of digital media.

Having Jackie at Goldsmiths as part of the Transmissions and Entanglements project was really exciting for me as her work doesn’t just talk about it but actually explores and plays with re-presenting social knowledge, performance and creative sociology in multi media dimensions.

We booked one of Goldsmith’s cinemas in the Richard Hoggart Building; a low lit atmospheric space that was ideal for a multi-media performance. Rachel worked with Jackie prior to the start to ensure the light and sound levels were just right; the positioning of Jackie’s body, a black music stand, clip on mic and video projection were all synchronous. I mention this setup as I found it fascinating to observe the detailed rehearsal and performance preparation. I too have been extraordinarily focused in the build up towards the exhibition launch of the Bikes & Bloomers project – from specific decisions about buttons, to Victorian hem details, matching thread and trim and specially digitally printed silk twill linings for each garment. Details matter.

I started the event with an overview of the conference program ahead and thankyou to supporters (Intel, ESRC and Goldsmiths). Nina Wakeford followed with a more detailed introduction to Jackie’s work and bio. The event also included Michael Guggenheim who formed part of a response / q&a session. I was delighted to have Michael involved in the event as his work has been very inspiring in its experimental practice in the areas of disaster, interdisciplinary collaboration and sensory methods.

We did not record the performance. Partially this is because it was billed as a LIVE event and also because it would be very difficult to do justice to such a rich, embodied and multi-faceted multi-media event.

After the 40minute five part performance the panel gathered on stage. They generated a terrific discussion. Following are just some of the themes that emerged:

- the pleasure of trauma, the pleasure of terror. The 2010 live unrelenting footage of the BP oil spill was compelling viewing for many. Similarly, here, as viewers of the performers we were seduced by the beauty of the terrible images.

- scale. Nina talked about the pixel as a unit of analysis, how it changes between different forms of media (ie. VHS and digital) and how it operates in relation to privacy. The latter related to the idea that it is becoming increasingly difficult to disappear in this digital age and yet it is still possible to be lost in pixels. The multi-scalability of oil was also discussed – the global scale of oil disaster, the temporal scale of oil as a millennial product, the personal scale of responsibility in sustainability movements.

- the gaze. Jackie watched us during the performance, occasionally catching viewers eyes, as we watched her on screen. This triangulation of the gaze added a rich, live, embodied element to the visuals on screen. We were made to be responsible for our gaze, to be conscious of it and to be dedicated to the screen in front of us. So often we multi-task with digital media – we are able to turn away or close the screen if we don’t want to watch something. Yet here, we were captivated but also made aware of the seduction of terrible images – such as the live underwater footage in 2010 of the gushing oil leak.

- looping. Is the performance a loop or a five part piece? The performance ended with breaking news ticker tape style imagery. Michael related to this to concepts about disaster. The everyday is full of a particular imaginary of pre-formatted disaster – there is no escape from it – which is why it is difficult to enact other kinds and why it is critical to find new ways of doing disaster. Jackie talked about deliberate decisions to loop her language (chanting), to repeat bodily gestures and visual cues.

- improvisation and choreography. Michael asked questions about the use of the term ‘improvisation’ in the performance given the script and impressive choreographic intertwining of bodies, sound and visuals. The panel discussed a reflection of this in BP’s live feed of images. While BP gave the impression it was responding in real time to the disaster, there was undoubtedly a complex choreographed PR performance in play.

- speed. There is a strong morality in slowness – slow food, slow travel etc. What is slow disaster? How does it change our understanding of disaster? Does it give us time to intervene, to respond, to do something about it?

- bodies. There were no bodies in the piece except for Jackie’s (on screen and in the room) and the audience. Yet we were invited to think about the impact of disaster on the body, to be responsible for our response.

- ooze/ the occult. What is the role of non-human elements – ooze, gloop, waste, ghosted shapes? Why are they so compelling?

- the labour of sociological knowledge what kinds of knowledge matter? Is this performance a sociological text? How does it compare to the conventional value of an article? Why don’t these kinds of ‘outputs’ matter in sociology? How do we publish ‘liveness’?

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Many thanks to Jackie, Nina and Michael and also to the terrifically mixed audience who asked some great questions.

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The group dinner was held at nearby New Cross House which proved social and tasty.
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it was also handy to 310NX Road where we were holding the workshop and the symposium and where Rachel, Britt and I continued to work to finish artefacts for Friday’s launch!

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Conf #3: Wed 11th June – Bloomer Making Workshop IV

The first event in the four day LIVE Transmissions program was a Bloomer Making Workshop held at 310 New Cross Road, just around the corner from the main Goldsmiths campus. It is a shop on the high street that is managed by the Centre for Arts and Learning and has two main rooms as well as access to a small yard. It was perfect for our events as we wanted a space that offered a flexible, open context for making, talking and eating than the usual lecture or teaching room. Last time we were in the Centre for Creative collaboration in Kings Cross. This time we wanted a space that we could host a making wokshop and the symposium and yet be close enough to the main campus to enable participants to easily attend the Public Talk by Jackie Orr in one of Goldsmiths’ Cinemas.

The day started at 10 with a brief talk -’What do bloomers have to do with sociology?” – in which introduced the ‘Freedom of Movement’ project (otherwise known as Bikes & Bloomers). I talked about the how I am a trained ethnographer, yet how in doing this archival and very material project I have learned to interview objects in the process of doing a sociological sewing; how I learned to ask different questions, to listen to objects and observe different kinds human non-human interactions and interrogate less visible forms of labour and knowledge making.

We then got stuck into sewing.

There were 6 makers – Li, Julia, Asa, Kristina, Laura and Roberta – plus Rachel, Brit and myself.

I like so many things about these workshops, but particularly striking are the discussions that emerge and entangle in and around bodies, materials and the transforming materials. As we cut and pinned and sewed and changed 2d fabric into 3d sculpture we talked about ethnographies of making, of how we might talk to objects and how they talk back, how we listen to ourselves and learn new skills, how we can travel through the stories of bloomer makers into the past and back again, how we view different assemblies of knowledge, how we might hold on to the messiness of making and invite others into this process.

It was a productive session.

(photos by Brit Hatzius)

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First there was some trying on of bloomers to see which ones to make. As per previous events we had two patterns; the tailored bloomer that would have been worn under skirts and the full bloomer which is a voluminous garment worn on its own and although a bifurcated garment it was designed to conceal as much as possible a woman’s independently moving legs.

Once the choice was made, the pattern was put together from a pattern pack.

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People brought along some great material.

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The cutting started.

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Desks, wall and the floor were put to work

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Sew, sew!

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Rachel was doing an admirable job of guiding and helping everyone sew while I was spending more time finishing garments for our opening on Friday night.

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Student Bursary – Roz Mortimer: Exploring haunting through technology…

For a while now I’ve been engaged with a series of sites in rural Poland where there are unmarked mass graves from WWII. They are the graves of Roma families who were killed at the roadside, in forests and wheat fields. I’ve been using text, moving image and photography to explore ways of animating the narratives of these places, mainly focusing on the disruptive relationship between time and trauma for those that witnessed the events 70 years ago. I plan to take this research further by developing visual methods that will bring these historic narratives in direct collision with contemporary narratives of murder and persecution of the Roma in Central and Eastern Europe.

In one small village the locals talk about a Roma woman who refused to die. Each time she was shot she got back up out of the dirt to curse the soldiers. They say she was still breathing when they buried her and her body never decomposed. She is my narrator and I am interested in using her spectral body to link events from the past and present. She haunts the villagers and now she haunts me. The support of Transmissions and Entanglements will enable me to exploit new technologies in the form of an aerial drone camera to not only visualize her movement between place and time, but to also explore environments that would otherwise be hard to access.
Roz Mortimer, MA Visual Sociology

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Conf #3: LIVE Transmissions program – 11-14th June

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Conf #3: Participants

Julia Bryan-Wilson | Art History, Berkeley | juliabw@berkeley.edu
Nerea Calvillo | Sociology, Goldsmiths | sop01nc@gold.ac.uk
Beckie Coleman | Sociology, Goldsmiths | rebecca.coleman@gold.ac.uk
Sarah Corbett | Founder of Craftivist Collective | craftivist.collective@gmail.com
Jennifer Gabrys | Sociology, Goldsmiths | j.gabrys@gold.ac.uk
Chiara Garanttini | Health Strategy & Solutions Researcher, Intel | chiara.garattini@intel.com
Ali Eisa | MA Visual Sociology, Goldsmiths | va701ae@gold.ac.uk
Olga Fernandez Lopez | History & Theory of Art Department, Universidad Autónoma de Madrid| olga.fernandez.lopez@uam.es
Michael Guggenheim | Sociology, Goldsmiths| m.guggenheim@gold.ac.uk
Britt Hatzius | Artist, Filmmaker | britthat@gmail.com
Anna Hickey-Moody | Arts Practice and Learning, Educational Studies, Goldsmiths | a.hickey-moody@gold.ac.uk
Lara Houston | Sociology, Lancaster | phd@labmeta.net
Janis Jefferies | Visual Arts and Computing, Goldsmiths | J.Jefferies@gold.ac.uk
Li Jönsson | Interaction Design, The Royal Danish Academy of Fine Arts Schools of Design | ljo@kadk.dk
Sarah Kember | Media and Communications, Goldsmiths | s.kember@gold.ac.uk
Clare Killeen | MA Visual Sociology | Sociology Department, Goldsmiths | so301ck@gold.ac.u
Azucena Klett Arroyo | Curator and Researcher, Intermediae | azucena.klett@intermediae.es
Katie Knapp | MA Visual Sociology, Goldsmiths | so301kk@gold.ac.
Bernd Kräftner | Principal Investigator, Shared Inc. | Senior Lecturer, University of Applied Arts | Department of Science and Art, Vienna | b.kraeftner@me.com
Kristina Lindström | School of Arts & Communication, Malmö University | kristina.lindstrom@mah.se
Zoe López Mediero | Curator and Researcher, Intermediae | zoe.mediero@intermediae.es
Roz Mortimer | MA Visual Sociology, Goldsmiths | so302rm@gold.ac.u
Kristina Lindström | School of Arts and Communication, Malmö University | kristina.lindstrom@mah.se
Craig Martin | College of Art, University of Edinburgh | Craig.Martin@ed.ac.uk
Jackie Orr | Sociology, Maxwell School of Syracuse University | jtorr@maxwell.syr.edu
Rachel Pimm | Sociology, Goldsmiths | r.pimm@gold.ac.uk
Marina Silva | MA Visual Sociology, Goldsmiths | so301ms@gold.ac.u
Jen Southern | Lancaster Institute for the Contemporary Arts | j.a.southern@lancaster.ac.uk
Åsa Ståhl | School of Arts & Communication, Malmö University | Asa.Stahl@mah.se
Alex Taylor | Microsoft Research, Cambridge | alex.taylor@microsoft.com
Phil Thomas | PhD Visual Sociology, Goldsmiths | thisphilthomas@gmail.com
Nina Wakeford | Sociology, Goldsmiths | n.wakeford@gold.ac.uk
Laura Watts| ITU University of Copenhagen | lauw@itu.dk

MA Visual Sociology Student Bursaries

I have been pleased to be involved with the MA Visual Sociology at Goldsmiths this year in a variety of capacities. It’s an exciting new course that puts materials, methods and experimentation at the centre of understanding and communicating social worlds.

I have helped to crit student work, run several training events (16mm filmmaking and arduino)  and offer a series of small bursaries from the Transmissions & Entanglements project to assist them with their final work.

I have asked students to provide a brief overview of their projects which will appear on the blog shortly.