Migration and the Digital City
March 30, 2019 by Giles Lane · Comments Off on Migration and the Digital City
I took part in the closing panel of this symposium at the LSE with Deena Dajani and Marcia Chandra, reflecting on the possibilities and challenges of cross-sector collaboration, especially with regard to the City of Refuge project. Joining us were Koen Leurs and Katja Kaufmann who also presented papers on their work with migrants and refugees.
It was a good moment also to reflect on how so much of my work hinged on a meeting I had almost exactly 19 years ago, in the Spring, with Professor Roger Silverstone at the LSE. From that meeting we went on to establish the SoMa (Social Matrices) think tank for culture – a groundbreaking collaboration between the LSE, the RCA (where I was a Research Fellow) and Proboscis. Roger’s support and trust in me and my idea that we could create new research trajectories through transdisciplinary collaborations has borne much fruit over almost two decades; and in this latest collaboration I think he would have been pleased to see another risky project realised with sensitivity, commitment to our participants and partners, and its results beginning to have effect in the wider world.
TKRN Toolkit Tok Pisin
April 28, 2018 by Giles Lane · Comments Off on TKRN Toolkit Tok Pisin
TK Reite Notebooks em i karamapim olgeta samting yumi nidim long rikodim save bilong tumbuna. Em bai halpim yumi long skelim dispela save igo long ol yangpela lain i kam bihain. Dispela kain wok i gat bikpela respek long kastam bilong ol grasrut manmeri, na respek bilong tingting na aidia bilong ol. Ol yet bai rikodim kastam bilong ol long laik bilong ol.
Mipela save kolim dispela kain wok wanpela ‘tulkit’ bilong rikodim na lukautim save. Nem bilong em em i TK Reite Notbuk Tulkit.
Dispela Tulkit em i save yusim pepa wantaim kompyuta.
Em i no save kostim bikpela moni, em i isi tru long yusim, na yumi ken senisim em long laik taim yumi laik wokim wok long narapela tok ples.
TK Reite Notebooks em i kamap long ples Reite, long Raikos, long Madang Province, insait long Papua Niugini. Ol lain bilong ples ol i wokim wok long helpim kamapim dispela tulkit, wantaim sapot long The Christensen Fund.
Versions : English | Tok Pisin | Bislama
Painim olgeta PDF Notbuk hia
Painima sotpela tok save bilong wok hia (PDF fail)
Infomesen bilong ol manmeri long TKRN projek (PDF fail) na Tok Save Long Tulkit (PDF fail)
TKRN Tok Save Bilong Usim Kompyuta (PDF fail)
Tamblo bai yu lukim tripela hap olsem: Wokim; Soimaut; na We Bilong Wokim.
WOKIM |
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Yu bai usim:
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| Wokim wanem? | Bilong wanem? |
| 1. Kamapim bung wantaim ol manmeri igat interes. Mekim wanpela pablik toksave o awenes long dispela projek. Tokaut long projek na askim ol long ol i gat wanem kain tingting. Painim aut tingting bilong ol long wanem samting ol i laik raitim, na bilong wanem ol interes ol i laik wokim dispela wok. |
TK Reite Notebooks em i bilong ol manmeri husait i gat laik o interes long raitim, rikodim, na lukautim save bilong tumbuna long sevim em long ol lain i kam bihain. Ol yet bai painim tingting na wokim wok long laik bilong ol. Sapos yu wok wantaim wanpela ples o komuniti, em i bikpela samting tru long pasim tok wantaim ol long dispela samting: husait bai kam insait long wok, husait bai kisim wanem kain bekim o pe, husait bai bosim ol samting ol wokim na husait bai kamap papa bilong ol liklik buk. |
| 2. Tokaut long kliapela toktok olsem ol man o meri bai kam insait long dispela wok long laik bilong ol tasol. Ol laik lusim, emi orait tasol. Toksave olsem ol yet bai gat pawa long stopim save i go aut long pablik, sapos ol i laik olsem.
Soim ol nambawan pes bilong ol liklik buk na toksave gut long ol olsem wanem ol i ken skelim o pasim wanem samting ol i raitim insait. |
Bilong wokim dispela wok gut, em i bikpela tru ol manmeri i save olsem: a. Nogat man bai pusim ol long kam insait na wokim dispela wok. Wan wan bai wok long laik bilong em tasol. b. Ol yet mas i gat save na tingting long kam insait long dispela wok c. Nogat pe. Ol dispela liklik buk ol i no bilong salim na kisim moni. Ol yet, o yu, bai no inap salim na kisim moni long dispela wok. d. Ol yet bai makim husait bai inap long lukim wanem samting ol i bin raitim long ol liklik buk. Ol laik haitim bilong ol yet, o femili bilong ol, em i orait. Ol laik em i stap long kompyuta bilong taim bihain, em i orait. Ol laik em i go aut long pablik, emi orait tu. Em samting bilong ol. Long nambawan pes, olsem kava bilong notbuk, igat sans bilong ol bai mekim klia dispela laik bilong ol. |
| 3. Painim notbuk yu laik yusim long hia. |
Ol notbuk istap pinis long Tok Pisin, long tok Inglis, na long tok Bislama. I gat kainkain liklik buk bilong narapela narapela wok. Yu inap luksave na mekim wanem kain notbuk yu laik yusim. Yu pelim hat long makim wanpela, usim namabwan long lis. |
| 4. Printim ol notbuk yu bai yusim long en.
Tingim wanem kain hap yu bai wok long en, na sapos i gat sans, em bai gut long yusim pepa we wara bai no inap bagarapim.
Taim pepa i kamaut long printa, yu mas holim stret ol pes long we ol i kamaut. Noken miksim o tanim ol lip.
Sekim – i gat inap sisis? |
Yu bai yusim ol notbuk long wokim wok bilong tulkit. Ol manmeri i ken yusim ol long rikodim save o tingting ol yet i mekim. I gat kain pepa we em bai stap gut long kain ples olsem bus o ples. Sapos yu bai wok long kain hap olsem, traim painim na yusim dispela kain pepa i save stap strong long wara. Nogat, noken wori, pepa nating tu bai orait. Sapos yu o narapela man senisim o miksim o tanim pes bilong liklik buk bai no inap kamap stret. Yu bai hat long stretim em gen. Olsem lukaut gut long dispela. Mas i gat sisis bilong mekim ol notbuk. |
| 5. Bungim ol manmeri na lainim ol long we bilong wokim ol notbuk. Foltim, katim, mekim.
Taim yu bungim ol manmeri, toktok wantaim ol. Askim ol olsem, ol i laik rikodim wanem kain save, o wanem kain samting bilong taim bipo, o bus graun wara, o stori. Gutpela ol i klia olsem i gat sans long wokim kainkain samting, na i gat kainkain we bilong pulumapim ol notbuk. Ol inap rait, o wokim dro, o putim piksa, o pulumapim ol notbuk long laik bilong ol yet.
Sapos yu gat sans, soim ol sampela ol notbuk ol man i bin wokim pinis long en, bilong givim sampela tingting long ol, na mekim ol hamamas long wok. |
Ol manmeri bai wokim ol notbuk (foltim, katim, mekim) bilong ol yet. Em i bikpela samting long wan wan i foltim, katim, na wokim notbuk bilong en. Taim ol lain i bisi long wokim notbuk ol bai gat interes long pinism na ol bai save olsem dispela wok em i wanpela wok ol yet inap long mekim. Taim sampela ol i lainim pinis, inap ol long skulim narapela lain. Ol i ken wokim planti sapos ol igat laik long raitim planti save. Nogut wanpela o tupela man i gat hatwok long stretim olgeta notbuk long bikpela komuniti o ples. Wanem kain samting ol i laik rait insait long ol dispela liklik buk em i samting bilong ol. Ol yet bai painim tingting long wanem samting ol hamamas long rikodim. Kain bung olsem em i wanpela taim we ol manmeri ken bungim tingting bilong ol, o stretim wok ol bai wokim. Taim ol manmeri i wok bung olsem, ol bai gat interes long wok. Wok bung em i save kirapim tingting long wok, na kirapim interes long lukautim save bilong tumbuna. Long bung, ol man i gat sans long autim wari bilong ol, askim ol kainkain askim ol i gat, na painim tingting long wanem samting ol i laik haitim o tambuim long go insait long ol liklik buk. Tingim na askim:
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| 6. Wanwan notbuk mas kisim nem bilong man o meri husait bai wokim em. Kisim poto bilong dispela man o meri (sapos ol i planti, kisim poto bilong olgeta grup) na pasim em long nambawan pes bilong notbuk.
Askim ol long raitim nem bilong ol ananit long ol tok orait. |
Dispela poto i mekim stret husait wokim notbuk na ol bai hamamas long pinisim em. Ol samting ol bai raitim insait em bai stap ananit long nem na pes bilong ol yet na ol man bai luksave husait i raitim dispela stori. |
| 7. Soim ol manmeri na redim gut tok orait i stap long nambawan pes. Askim ol olsem, bai ol hamamas long olgeta tok i stap o nogat? Sapos nogat, karamapim wanem hap ol i no laikim wantaim bairo. Yu mas sekim gut, bilong wanem, ol i mas klia gut long ol dispela samting. |
Dispela tok orait long nambawan pes em i wanpela stretpela rot long ol manmeri bai tingting gut pastaim na wokim samting. Ol mas painim gut tingting bilong ol long wanpela samting: ol i laik husait narapela man i ken lukim ol notbuk bilong ol? Sapos ol i laik tambuim sampela samting, i gat sans nau long pasim, o opim, long laik bilong ol. Em i bikpela samting tru. Ol manmeri mas papa bilong projek bilong ol. I no bilong narapela lain, o bilong wanpela autsait man long bosim ol. Ol i mas tingting gut na wokim samting. Ol bai wokim dispela notbuk bilong ol yet, na ol pikinini na tumbuna bilong ol. I no bilong narapela man. Ol yet i gat rait long kontrolim husait bai inap lukim ol dispela samting long taim bihain. Sampela bai laikim olsem wok bilong ol bai go aut long pablik, sampela bai les. |
| 8. Ol igat inup bairo? Sapos nogat, helpim ol wantaim ol dispela samting. | |
| 9. Toksave long ol manmeri olsem, ol i mas tingim gut stori bilong ol na wokim olgeta hap bilong dispela stori. Skelim gut pastaim na wokim samting. Noken hapim, na noken giaman. Tokim ol long traim pulumapim olgeta spes long liklik buk. Ol i ken raitim stori, wokim piksa, poto, na drow wantaim long laik bilong ol.
Sapos wanpela stori em i longpela tumas, na em bai no inap stap insait long wanpela buk, em i orait, bai yu wokim tupela o tripela buk long en. Givim namba tasol long ol buk bilong wanpela stori, bilong wanem, nogut bihain ol man bai paul. Sapos yu givim namba long buk, ol i bai klia em i planti buk bilong wanpela stori tasol. |
Tingim olsem: sapos nupela man i laik kisim gut save bilong dispela stori, bai yu tok wanem long en? Sapos wanpela pikinini bilong pikinini i stap long taun ful taim, na em i no bin kisim wanpela liklik save long pasin bilong ples o kastam, em bai nidim wanem kain informesen long wokim gut dispela stori, o wok, yu laik rikodim? |
| 10. Mekim de bilong givim bek ol notbuk ol i bin pulumapim bilong skenim long kompyuta (sapos ol laik skenim). |
Givim de long ol em bai strongim tingting long wokim notbuk. Sampela manmeri ol bai hamamas long wok na wokim planti notbuk, sampela, ol i bai sem long wokim. Taim yu givim de long ol, em bai helpim ol long lusim sem. |
| 11. Givim sapot na hamamasim ol taim ol i wokim ol notbuk. Bekim gut olgeta askim, na strongim ol manmeri long yusim tingting na save bilong ol. |
Sapot bai helpim ol manmeri long hamamas long wok, na sapos yu helpim ol gut taim ol i no klia long sampela samting, ol bai no inap pret o sem long wok. Sampela taim ol lain i save sem long raitim kain stori – ol i save ting olsem, em i no impotent, bilong wanem, olgeta i save long dispela kain samting pinis. Tasol tokim ol, ol i mas tingim ol liklik lain bilong ol – sapos ol i nogat sans long kisim dispela kain save, ol i bai paul na i stap. Ol man bai hamamas long wok bung sapos ol i filim em i isi long ol. Em i moabeta olsem i gat planti man wok bung. Ol i kam insait long dispela wok pinis em i nambawan samting, na olsem na noken wori tumas long wanem samting ol i laik rikodim. |
| 12. Taim ol man i pinisim notbuk bilong ol pinis, bai yu stretim gut insait long kompyuta wantaim wanpela masin ol kolim skena (Tok Inglis: ‘scanner’). Pastaim, sekim gen sapos ol man i hamamas long yu putim notbuk bilong ol long kompyuta. Soim ol dispela toksave long nambawan pes bilong notbuk na askim ol gut – ol i gat laik long senisim o nogat?
Sapos ol laikim yu skenim, orait, wok isi isi long kamautim gen na opim ol pes na fletim ol pepa long han. Skenim wanwan pej na sevim long wanpela kompyuta fail ol i kolim ‘PDF’. Bungim ol wanwan PDF pes fail insait long wanpela PDF fail (Tok Inglis: “file”), na sevim wantaim nem bilong man o meri husait i bin wokim em. |
Taim yu skenim ol notbuk pinis, yu save em i kamap wanpela permanen rekod nau. Yu bai inap long lukautim ol longpela taim, printim ol gen, o serim wantaim ol wantok. Wantaim dispela ‘digital rekod’, yu ken bungim na kamapim wanpela haus buk, ol i kolim laibri (‘library’) bilong olgeta save bilong man bilong wanpela ples o eria. |
| 13. Bekim bek dispela notbuk long man o meri husait i bin wokim em. |
Ol man yet bai holim rekod bilong ol, na ol bai hamamas olsem dispela samting em i no lusim ples. Em i stap wantaim ol. |
SOIMAUT, SERIM WANTAIM NARAPELA MANMERI, PUTIM LONG PABLIK |
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| 14. Sapos ol i laik, em i isi long givim ol kompyuta fail bilong ol dispela buk long ol narapela man o meri. Yu ken sevim ol fail long ol liklik midia, olsem SD kat, mini SD kat, USB kat o USB draiv, o yu ken salim ol PDF fail long imel (Tok Inglis: “email”).
15. Sapos yu ken kisim gutpela Internet sevis, em i no hat tumus long wokim wanpela ples klia website (ples internet) bilong putim ol PDF notbuk fail. Yu ken mekim olsem dispela ples internet /website em bai op long olgeta, o yu ken pasim em, na sampela lain tasol em bai inap long luksave long en. Mipela i bin wokim pinis kain website bilong ol notbuk bilong ples Reite, na yu ken luksave long dispela website bilong painim tingting na aidia. 16. Sapos ol laikim, yu ken printim kopi bilong ol notbuk na bungim ol long wanpela hap – olsem long komuniti skul, o kaltsa senta – na kamapim local laibri. |
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OL SAMTING BILONG WOKIM OL NOTBUK |
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Mipela save yusim ol samting we em i isi long painim :
Wokim ol notbuk How to make: Book Portrait Diffusion eBook from Proboscis on Vimeo. Pepa I gat wanpela narapela kain spesel pepa we em bai no inap bagarap hariap sapos wara i kisim em. Dispela pepa em i kain olsem Aquascribe. Tasol sapos yu hat long painin kain pepa olsem, em i orait stret long wokim notbuk long normal A4 pepa. Putim piksa o poto Mipela i bin yusim wanpela kain kamera (Polariod Snap Touch) we em yet i save printim poto long liklik kat I gat glu long baksait. Em i isi tru long stikim dispela poto stret long liklik buk, na em i gutpela tru long putim poto bilong man o meri husait i bin wokim wanpela buk long nambawan pes bilong dispela notbuk. Sapos yu laik putim poto bilong ol narapela samting insait tu, em i isi tasol. Narapela kamera emi kamera bilong mobail o smatfon bilong yu, wantaim kain liklik printa olsem LG Pocket Photo printa. Ol save usim dispela wankain pepa bilong Polaroid Snap Touch. Planti man save wokim piksa wantaim bairo insiat long ol liklik buk bilong mekim klia stori bilong ol. Skenim na printim Mipela i bin traim Epson DS-30 skena bilong wokim wok long bus. Em i orait, tasol hat liklik long wok gut wantaim. Moabeta em i Canon Canoscan LiDE 120 . Tupela wantaim bai pas long kompyuta wantaim USB na kisim pawa long kompyuta (olsem na ol bai no nidim narapela pawa gen). Mipela i bin yusim wanpela liklik bateri printa taim mipela wok long bus bilong printim ol notbuk (Canon Pixma iP110) tasol ol narapela kain printa tu bai inap. Soimaut na putim long pablik Sapos yu laik givim ol liklik buk long narapela, yu ken yusim SD kat o USB draiv. Powa na Lait bilong wok long bus Bilong wok long nait, mipela save laikim: Sun King Pro na Nokero N182 Solar Light Bulb. |
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The toolkit is licensed under Creative Commons.
TKRN Toolkit Bislama
January 22, 2017 by Giles Lane · Comments Off on TKRN Toolkit Bislama
TK Reite Notebooks hemi olsem wan tul we yu save yusum blong raetem o rikodem ol kastom save blong yu mo blong pasem igo long ol fiuja jeneresen. Hemi rispektem desisen blong wan wan man mo woman long wanem hemi wantem raetem. Tul ia hemi usum ol masin blong tedei mo pepa.
Hemi no usum bigfala mani, hemi isi nomo blong usum mo yu save arenjem blong mekem se hemi fitim ol difdifren komuniti mo lanwis. Tul ia oli bin disaenem wetem ol man long vilij blong Reite long Papua Niu kini wetem sapot blong Christensen Fund.
Versions : English | Tok Pisin | Bislama
Yu save kasem ol didifren paten blong Notbuk long PDF fomat long ples ia
Igat tri pat blong hao blong wok wetem Notbuk ia:
Fes wan hemi: Hao blong statem wok; sekon wan hemi: Hao blong givimaot wok blong you long narafala man & mo namba tri hemi ol teknikol skil we yu save yusum blong mekem mo finisim notbuk ia.
BLONG STATEM WOK |
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Ol tul we yu nidim:
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| Wanem blong mekem: | Risen from wanem yu mekem? |
| 1. Selektem ol man o woman we bae yu wok wetem mo tok aroan long ol difdifren kastom save we oli save raetem daon long notbuk ia. Tokabaot wanem oli wantem raetem daon mo wanem nao yus blong hem. | Tulkit ia hemi sapotem olgeta we oli intres blong lukaotem mo kipim gud kastom save blong olgeta blong mekem se fiuja jeneresen i save luk. Hemi blong olgeta blong oli disaed hao oli wantem yusum. Sapose yu stap wok tugeta wetem wan komuniti o wan grup, hemi inpoten blong yufala imas agri long ol basik samting olsem ‘who nao bae i tekem pat, ‘bae who nao i benefit long hem’, ‘Who bae hemi kontrolem mo lukaotem taem ifinis. |
| 2. Mekem i klia long ol pipol se hemi stap long wan wan man blong tekem part and igat ol wei blong blokem ol narafala man blong oli no luk ol infomesen blong yu sapose yu no wandem se bae oli luk. (yu save usum consent model we ol vilij pipol blong Reite oli bin mekemap). | Hemi inpoten se everiwan we oli tekem pat long woksop ia oli andastandem mo oli gat janis blong luk save se:
a. Hemi wan folentia wok |
| 3. Yu save jusum ol sambol blong ol notbuk we oli stap long ples ia o yu save mekem up wab blong yu. | Ol sambol blong ol notbuk ia oli stap long Inglis lanwis, Bislama mo Tok pisin. Ol sambols ia oli stap difren saes mo oli yus blong rikodem eni samting we yu tink se hemi gat valiu. Oli gat ol difren gaed laen tu we oli redi istap blong yu folem.Yu jusum nomo hamas yu nidim blong yusum. Mo yu save usum bookleteer, tu blong mekem ap wan notbuk blong yu wan long ol diferen lanwis blong ol difdifren kaen topik o wetem ol difdifren komuniti. |
| 4. Printim aot namba blong ol notbuk we yu tink se bae yu usum. Yu save usum wotapruv pepa long ples blong standed ofis pepa folem weta mo ol material we hemi avaelebol istap. Kipim ol pepa blong yu long oda olsem taem we hemi kamaot long printa. Mekem sua se igat sesis blong ol patisipen oli yusum blong mekem ol notbuk ia. |
Stampa tinktink hemi hao blong yusum notbuk ia. Ol pipol oli save yusum blong raetem taon eni samting we oli wantem. Wota pruv pepa (olsem Aquascribe) hemi save stap long taem long ol kaen weta olsem istap rain mo sun oltaem. Taem yu sevem wok blong yu igo long komputa, yu sevem long wan fomat oli singaotem PDF. Mo taem yu printimaot, ol pepa istap long stret oda nomo. Sapose yu mixim ol pepa blong yu olbaot bambae yu no save foldem gud notbuk blong yu. sisis hemi yusful taem yu stap putum tugeta ol pepa we yu printim aot blong yu mekem notbuk blong yu. |
| 5. Arenjem ol miting long pablik o yu save holem wan praevet toktok wetem ol pipol we bae oli tekem part blong sowem long olgeta hao blong mekem mo foldem ol notbuk ia. Tokbaot hao nao bae oli save yusum notbuk ia mo ol difren kaen topik we bae oli wantem putum insaed long notbuk ia. Blong mekem se ol pipol oli harem save hao blong yusum notbuk ia blong raetem, drowem ademap sam narafala infomesen igo insaed. Yu save mekem ol pipol oli lukluk ol narafala notbuk we ol narafala man o komuniti oli bin mekem finis. |
Hemi inpoten tumas blong wan wan man i mekem notbuk blong hem wan nomo. Taem yu lanem hao blong mekem ol notbuk ia yu wan bambae intres blong yu bae istap long projek ia mo bae yu filim se yu lanem mo winim wan gudfala samting.olgeta we oli save finis hao blong foldem ol notbuk oli save lanem ol narafala man mo givhan lo taem blong ol woksop. Ol patisipen oli sud jusum ol topik blong olgeta blong putum igo insaed long notbuk. Ol miting bae oli givim janis long ol pipol blong wok tugeta mo jusum wan gudfala topik blong raetem daon long notbuk mo tu blong putum gud plan blong finisim buk blong olgeta. Mo hemi helpem wan wan man blong kontrolem projek blong hem wan. Fasin blong wok tugeta hemi givim janis blong yu save ol narafala man mo ol tinktink blong olgeta long saed blong ol kastom save blong olgeta. Ol miting oli givim janis too blong harem tinktink blong narafala man blong mekem se inogat raorao long wanem blong raetem long notbuk.Ol samting blong tinkbaot se: Notbuk ia oli mekem blong who i luk? Whu bae i luk olgeta taem oli stap mekem? Wanem nao oli luk fowod blong winim? |
| 6. Taem blong mekem notbuk blong yu ikam rili blong yu. Tekem pija blong wan wan patisipen o wan grup we oli bin fulumap notbuk. Printim aot pija ia mo putum long foret blong buk. Askem olgeta blong raetem nem blong olgeta long stret ples. | Pija ia hemi blong sowem se notbuk ia hemi blong whu. Mo whu nao ibin raetem. Mo blong mekem tu se ol patisipen oli glad blong finisim wok blong olgeta. Pija ia tu iblong sowem long ol man se wanem istap insaed long buk ia hemi join wetem pija ia blong mekem se kastom save ia hemi stap wetem man ia. |
| 7. Askem olgeta sapose oli wantem karemaot sam toktok long saed blong who nao oli givim raet long hem blong lukluk not buk blong olgeta. Mekem sua se oli harem save mo glad long ol toktok ia. | Ol toktok blong givim raet long ol man blong lukluk buk blong olgeta hemi wan wei blong mekem olgeta oli tinktink gud long wanem bae oli raetem doan. Toktok ia istap askem ol patisepen blo givim raet long ol man we oli wandem blo oli luk buk blong olgeta. Hemia hemi inpoten from se hemi mekem se yu gat kontrol long wanem bae yu raetem daon, mo whu nao bae i save luk bifo yu putum igo long pablik. Yu mas toktok gud long ol partisipen se oli stap wokem buk ia blong olgeta nomo mo ol fiuja jeneresen blong olgeta we oli wandem pasem ol kastom save blong olgeta igo long ol. Mekem i klia tu se sapose oli no wantem ol man blong luk luk buk blong olgeta, oli save blokem gud from se wanem oli raetem hemi blong olgeta nomo. Be sapose oli wantem oli save givim raet long samfala man blong luk. |
| 8. Mekem sua se ol man we oli patisipet long wokshop oli gat ol tul blong raet mo dro long hem. Givimaot ol tul ia sapose oli nogat. | |
| 9. Toktok gud wetem ol patisipen blong oli fulumap gud ol spes insaed long ol notbuk wetem ol toktok mo ol pija blong sowem gud wanem nao oli stap tokbaot. | Ol man oli save tink nating long ol stampa tinktink long saed blong kastom save blong olgeta. Mo oli stap tink se everi man oli save wanem oli wandem tokbaot. Askem long olgeta wanem oli wandem blong ol fiuja jeneresen blong olgeta oli save sapose oli neva gat janis blong go long aelan o vilij blong olgeta. Sapose wan man hemi neva save wan tri or wan wud mo ol yus blong hem. Yu mas givim plante toktok long saed lo tri o wud ia blong mekem se man ia i harem save mo luk save wanem yu stap talem mo folem gud toktok we yu stap raetem taon. |
| 10.Kam antap wetem wan tinktink long wan deit o taem we bambae ol patisipen oli mas karem bak notbuk blong olgeta taem we oli finisim blong mekem kopi igo long komputa sapose hemi nid. | Hemia istap givim strong tinktink long ol patisipen blong finisim buk blong olgeta. Samfala bae oli intres blong wokem plante notbuk. Samfala bae oli sem long wok blong olgeta mo bae oli nidim longfala taem lelepet blong finisim gud buk blong olgeta. |
| 11. Mekem hemi isi long ol man blong oli save askem ol kwestin mo givim tinktink blong olgeta taem oli stap fulumap ol notbuk. Sapotem ol tinktink blong olgeta long wanem oli wantem rikodem insaed long notbuk blong olgeta. | Taem yu no sapotem gud ol patisipen long taem blong woksop, bambae i save mekem olgeta i lusum intres mo samfala bae oli sem blong tokbaot ol simbol samting. Blong tekem part insaed long projek ia hemi save kam moa inpoten bitim wanem we oli rikodem long buk. |
| 12. Taem yu finisim buk blong yu, yu save putum igo insaed long komputa tru long wan masin oli singaotem skana (Scanner). Be jekem gud sapose man we i raetem notbuk hemi agri blong putum kopi blong wok blong hem igo insaed long komputa. Sapose oli agri, yu save karemaot notbuk ia bagegen blong mekem kopi o skanem wan wan pej mo sevem long komputa long PDF format. Givim wan nem blong yu luk save. |
Taem yu sevem notbuk blong yu long komputa, hemi save stap long taem mo semtaem yu save pasem aot long ol narafala man blong luk mo yu save printim aot wan narafala kopi sapose hemia we yu mekem i lus or inogud. Yu save statem wan laebri blong ol kastom save mo praktis. |
| 13. Putum bak not buk bagegen mo givim igo bak long stret man blong hem. | Taem yu givim notbuk long stret man blong hem, hemi inpoten tumas from se olgeta oli mas kipim gud ol buk blong olgeta mo oli save trastem yu. |
HAO BLONG GIVIMAOT WOK BLONG YU IGO LONG NARAFELA MAN |
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| 14. Yu save yusum ol niufala fasin blong ol waet man blong givim aot ol infomesen blong yu. Hemia oli singaotem ol USB flash drive, mo ol memori kad olsem micro SD card. Mo yu save mekem i smol enaf blong sendem long email.
15. Sapose yu stap gat akses long intanet oltaem, yu save mekem up wan websaet we bae hemi save lukaotem ol wok we yu sevem igo long komputa. Visitim onlaen laebri websaet blong ol vilij pipol blong Reite blong givim yu mo save long hao blong mekem ap wan websaet blong yu wan. 16. Printim aot ol kopi blong ol not buk we yu sevem igo long komputa. Foldemap olgeta blong yu save statem wan laebri wetem ol kopi blong ol not buk ia. Laebri ia i save stap insaed long wan skul, wan komuniti senta or wan sosaeti o oganaesesen. |
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OL TEKNIKOL SKIL WE YU SAVE YUSUM BLONG MEKEM MO FINISIM NOTBUK |
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Projek ia hemi yusum nomo wanem we hemi avaelebol olsem ol masin mo pepa. Ol stamba tul blong yusum hemi ol pen, pepa mo sesis wetem difdifren masin we oli save givhan blong mekem wok i kwik mo luk gud taem i finis:
Blong statem wan niufela notbuk Yu save yusum pen mo pepa nomo blong mekem wan niufala notbuk – Mifala istap wok long hem iet mo bambae mifala i putum aot long intanet ino long taem, taem hemi finis. Blong mekem wan notbuk Ol pepa Blong putum ol pija o foto Blong skanem mo printim ol notbuk Blong givimaot mo pasem kopi blong notbuk blong yu olbaot Wan narafala isi wei blong pasem ol notbuk blong yu hemi blong mekem kopi long ol PDF fael we yu bin skanem mo putum igo long ol flash draev or ol memori kad we oli save storem fulap samting. Poao mo Laet Mifala ibin traem yusum samfala sola laet long vilij mo mifala wantem advaesem yu blong yusum: Sun King Pro All Night mo Nokero N182 sola laet bulb. |
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Translation : Karen Tarisese.
The toolkit is licensed under Creative Commons.
Bookleteering on the Rai Coast of Papua New Guinea
March 22, 2015 by Giles Lane · 12 Comments
Making books, printing photos and solar charging our kit
Today is the last day of our fieldwork in Papua New Guinea. I’ve been here for the past 3 weeks or so with anthropologist James Leach piloting the first stage of a new kind of toolkit designed to help remote indigenous communities document and record – in their own hand and forms of expression – the kinds of traditional cultural, environmental, ecological and social knowledge (“TEK”) that are in danger of gradually fading away as development, resource extraction, industrialisation and the money economy erode their ability to live sustainably in the bush/jungle.
I flew to Perth in late February to spend a week with James preparing for our trip : gathering the gear we’d need to be able to co-design booklets using bookleteer offline in the bush, print them out and scan them back in, as well as documenting all these processes. James is currently on an ARC Future Fellowship at the University of Western Australia, as well as Professor and Director of Research for the French Pacific Research Institute, CREDO in Marseille. He has been working with the people of Reite village on Papua New Guinea’s Rai Coast (Madang Province) since 1993 and his 2003 book, Creative Land (Berghahn Books), is a major anthropological study of their culture and society. James and I have been collaborating on ideas of self-documentation of traditional knowledge and “indigenous science” ever since I introduced him to the Diffusion eBook format and bookleteer back in 2008. When two Reite people, Porer Nombo and Pinbin Sisau, came to the UK in 2009 to take part in a project at the British Museum’s Ethnographic Dept telling stories and giving information about hundreds of objects from PNG in the collection, we first used the notebooks together to create a parallel series of documents about this encounter and what was revealed.
In 2012 I was invited to share my thoughts on how bookleteer and the books format could be used by indigenous people themselves at the Saem Majnep Memorial Symposium on TEK at the University of Goroka in PNG. We followed this up with a trip to Reite village where we spent a week testing out our ideas with people from the village, and developing a simple co-design process for creating notebooks with prompts to help people (whose literacy varies dramatically) record and share things of value to them. The focus was to understand how far this idea could really deliver something of use and value to people who live a largely traditional way of life in the bush, and why they might want to do this. It became clear early on that the enormous enthusiasm was driven by concerns about how all the knowledge that has allowed their society to thrive in the bush for countless generations could easily vanish in the face of money, cash cropping and the speed of communications and change that factors like mobile phones are bringing – leading some young people to turn away from traditional life for the dubious advantages of a precarious life in the shanty towns on the edge of PNG’s growing cities. The notebooks offer a new kind of way to preserve and transmit such knowledge for future generations, especially as they combine the physical and the digital, meaning the loss of a physical copy of a book doesn’t matter when it has been digitised and stored online. The success of this first experiment enabled us to write a proposal for funding a 2 year pilot to the Christensen Fund (a US-based foundation) which awarded us funding in 2014.
After a brief stopover in Canberra to consult and share ideas with Colin Filer and Robin Hide of Australian National University (both PNG experts of longstanding), we headed straight to Madang to meet with James’ friend Pinbin Sisau (at whose home we would be staying in Reite village) and gather all the necessary stores to sustain us in the field for several weeks. After a day in Madang we took a dinghy, skippered by the ever-reliable Alfus, across Astrolabe Bay and South-East 60km or so along the Rai Coast to the black sand beach where we landed and were met by some villagers who’d help portage all our cargo the 10km inland we’d have to walk, up into the foothills of the Finisterre Mountains where Reite village is located (at about 300m above sea level).
James had visited Reite again recently, in October 2014, to discuss the upcoming field work and to gather more feedback on our original experiment so we could plan how, in practice, we could co-design notebook templates with the villagers and what we could prepare in advance to help this. A few small tweaks to prompts used in our 2012 co-designed notebook were made, as well as creating a simple printed version (I had handwritten all the notebooks we used before) on bookleteer and a new book for collective writing. To have the capability to design, generate and print out bookleteer books in the field, I commissioned Joe Flintham (Fathom Point Ltd) – who is bookleteer’s chief consultant programmer – to adapt a version of bookleteer to run offline (i.e. with no need for internet connectivity) on my Apple MacBook Air laptop. Joe created an Ubuntu Virtual Machine image of bookleteer (minus various online services) that runs on Oracle’s Virtual Box application. Combining this with a portable inkjet printer (a Canon Pixma iP110 with battery), a portable scanner (an EPSON DS-30) and the Polaroid PoGo & LG Pocket Photo PD239 Zink printers would give us a fully-fledged ‘bush publishing” capability. For paper we brought with us a supply of Aquascribe waterproof paper (a Tyvek-type product) and pre-printed and shipped some 170 copies of different book templates. The waterproof paper is a highly useful technology to use in the damp and humid environment, where ordinary pulp-based paper becomes fibrous very swiftly and disintegrates in a short time. Books printed and made on this paper (as we used before) have a much longer lifespan – possibly decades.
Our “bush publishing” set up
Reite is made up of several hamlets, being the name applied not just to one village but an administrative district from the colonial period. As such the people who took part in our project come not just from Reite itself, but from Sarangama, Yasing, Marpungae and Serieng. For the next two weeks of our fieldwork we were constantly engaged in discussions with local people about the books, what they might include in them and how they could help reinforce the importance of the knowledge of the land, plants, animals and environment that people here have developed over generations. Once again, James’ long-term collaborator and informant, Porer Nombo, was the hub around which much of the necessary energy to bring people together and discuss the ideas was focused. In addition to the 3 templates we had prepared before coming, we co-designed with Porer, Pinbin and several others with a keen interest (such as Peter Nombo and Katak Pulu) another 4 different styles of notebook for a range of different themes and types of ‘stori’ that people wanted to record. Overall, 63 books were completed by around 42 people during the fortnight we stayed in the village. The major difference in this project was that, rather than taking the books away to scan and return, the portable scanner meant that we could scan everyone’s book in the village itself. Thus we could store a digital copy (and print out another if needed) and leave the original in its author’s hands in the village. This was an important step, partly to underscore that the books were by and for people in the village, not for us, and also to counter ideas that we might be taking knowledge away from the village to profit from selling it. For us, the digitisation of the books is a critical component for transmission to the future as it means that the unique books, which are hand written and drawn in by their authors, can be retrieved and printed again if lost or damaged. We explained this to everyone in several meetings – both smaller ones within the house we stayed in, and a larger public meeting about halfway through the project.
Porer Nombo demonstrating making a traditional stone axe to James Leach
As in our previous experiment, we designed the front cover of each book to include a photograph of the author (which we took using digital cameras and our smartphones and printed out on the sticky-backed photo paper of the PoGo & LG Zink printers). As well as describing the general themes of the prompts inside each book, the cover also includes the simple statement that the author has been told about and understands the project, as well as statements (which they can cross out if they don’t agree to) that the book can be scanned onto computer, and shared online. As it turned out, the excitement that people’s work would appear on the internet was palpable and a significant impetus behind participation. Having something they had made, with their picture on it, on the internet had real value – suggesting that the knowledge they have could both be seen by others around the world and known about across PNG too.
A gathering of people to discuss the books
Public meeting to discuss the project
What became one of the most important aspects of the fieldwork was the way that the local primary school (St Monica’s Reite) adopted the books wholesale and wove them directly into the curriculum around social science and environmental studies. We met up with Mr Jonathan Zorro, the school headmaster, in the first days of our trip (I had met him on my previous trip and James again last October) and he confirmed that he was very keen for the school to become involved. It turned out that the school has a desktop PC with a laser printer and scanner, so it became clear that not only could the school print out copies of the books on standard A4 paper, but they could scan them in and store them locally on the school computer. We agreed to spend a day at the school to introduce the project to all the students and then to do some practical book-making demonstrations and workshops with each class. James also agreed to give each of the Upper school classes (years 5-8) a short lecture on the importance of traditional knowledge and how it relates to environmental studies and preserving the community’s way of life. Mr Zorro organised for 290 books to be printed at the school, with one of the key emphases being that the students should use both the Tok Pisin versions and the English versions to improve their language and descriptive skills. Mr Zorro kindly shared with us the assessment criteria which he also developed for the students’ work : assessing their English language skills, their artwork (drawing), narrative ability, use of social science and environmental studies knowledge. Within a week of our first presentation at the school many of the students had submitted books of their own and we ended up digitising 55 of the best ones.
Scanning in a handwritten & illustrated book
We had planned for a visit by to Reite by Catherine Sparks (who is based in Vanuatu) and Yat Paol (based in PNG) from the Christensen Fund’s Melanesian programme, but Cyclone Pam intervened and our own visit to the village was cut short by a few days (due to some health and security issues) so we have ended up completing our fieldwork from a base in Madang. There we presented the work completed to Yat Paol and were also able to arrange a meeting for him with the school headmaster plus Porer Nombo and Pinbin Sisau who have been our steadfast colleagues in this project. Now we have scanned the 118 books we have been indexing their contents and details of the authors to prepare a specially designed website to act as an online repository of library for Reite, and beginning to analyse and work with Porer and Pinbin on some indigenous classifications for the kinds of knowledge and experience that they contain. As our time here draws to a close we find that we have a wealth of stories to develop new parts of the toolkit from, and a clear sense of direction for the project’s second stage.
Discovering Bikes and Bloomers
June 4, 2014 by aliceangus · 2 Comments
Over the last few weeks I have been drawing and painting a series works to be printed on silk and wool for a set of unique textile linings for Victorian ladies cycling garments; commissioned for the Freedom of Movement research project created by sociologist Katrina Jungnickel who is based at Goldsmiths, University of London. The drawings are inspired by Kats in-depth research and tell some of the stories behind each patent, the woman who invented it and the social, technological, physical and cultural challenges that early women cyclists had to face .
Through much of my work with Proboscis collaborating with communities, geographers, technologists and social scientists I’ve become interested in how drawing in public or amongst researchers can be a catalyst for conversation, observation and new analysis, revealing hidden connections and sparking alternative ways to interpret ideas and research. So, rather than being isolated from Kats research in my studio I decided to take the work to Kat’s space in the Sociology Department at Goldsmiths, and for the conversation this sparked to inform the content and feel of each drawing as it developed. Kat has a keen interest in making, craft and collaboration so at any time there was drawing, sewing, film-making, photography and desk based academic research all going on in the space. The finished linings are the a record of, and result of those intense drawing activities as well as an interpretation of the research.
One of the features of the cycling garments that attracted me to this project is that they convert from one type of garment to another. A long skirt might be folded, gathered or lifted up to above the knee by some mechanism of cords, buttons or hooks, to reveal bloomers worn underneath or perhaps a long coat on top; in another patent a skirt is taken off, to reveal bloomers, and worn as a cycling cape. In previous projects I’ve explored drawing and textiles, creating images that change or are revealed by the movement of the fabric so it was interesting to now do this with such rich research tied to the form of a historical garment and in conversation with the researcher and her team.
I was surprised to find out how controversial it was for women to cycle (particularly wearing bloomers), they were shouted and jeered at, refused entry to cafes, were socially shunned and had dirt thrown at them. The women who invented these garments had to be highly creative and balance the need for modesty with the need for free movement of the limbs and safety from fabric catching in the mechanism of the bicycle. Despite the privileged backgrounds of the very early cyclists (machines were expensive) I think these women must have had to display great courage and strength of purpose to push against convention, adopting and campaigning for women’s freedom to be accepted as cyclists, to race on cycles and wear clothing that allowed them more freedom.
The garments themselves will be worn and used for storytelling and presenting the research. You can see them in an exhibition at Look Mum No Hands from 7pm on the 13 June 2014 find out more at bikesandbloomers.com
details of silk twill linings Alice Angus 2014, photo Kat Jungnickel 2014
Spring Update: what we are up to
May 20, 2014 by Giles Lane · 4 Comments
Over the past six months or so we have been developing some new partnerships and working on several collaborative projects:
Alice is collaborating with Dr Katrina Jungnickel of Goldsmiths College’s Department of Sociology (and a former Proboscis associate from earlier days) on the Bikes and Bloomers project. She has been creating a series of illustrations – inspired by Katrina’s research into early women’s cycling clothes and the “rational dress” movement – which are being digitally printed on fabrics as part of recreations of some of the early designs for freedom of movement in clothing.
Alice has also received an Artist in Residence award to collaborate with the Mixed Reality Lab at the University of Nottingham on their Aestheticodes project, embedding smart codes for visual recognition into drawings and exploring the properties of working with printed fabrics for physical and digital storytelling.
Giles has been continuing to select works from bookleteer for our monthly subscription service, the Periodical – ranging this year from a tactile history of an ancient Scottish kingdom, to works of new poetry and fiction, memoirs of growing up in Soho in the 1920 and 30s, to a republication of John Milton’s 1644 call for unlicensed printing (and a free press), Areopagitica. He is also running a series of Pop Up Publishing workshops in May for the LibraryPress project, introducing new people to bookleteer and self-publishing in public libraries in Hounslow, Islington & Wembley.
Giles has recently been collaborating with the Movement Science Group at Oxford Brookes University who are leading on the development of a Rehabilitation Tool for survivors of traumatic brain injury (TBI), which is being funded by the EU as part of the CENTER-TBI project.
Giles has also been developing a new collaboration with the ExCiteS (Extreme Citizen Science) research group at UCL to bring together the work he has been doing with Professor James Leach and the community of Reite in Papua New Guinea on Traditional Environmental and Cultural Knowledge (TEK), with ExCiteS work with forest-dwelling communities in Congo and elsewhere. We aim to develop a prototype for indigenous people to be able to digitally record and share knowledge using a combination of machine learning software, mobile devices and their own traditional craft and cultural practices. This is being developed alongside our planning for further field work in PNG to expand upon our pilot TEK toolkit experiments using hybrid digital/physical notebooks formats.
Defining Public Goods: Places to Meet and Hang Out
March 29, 2012 by mandytang · Comments Off on Defining Public Goods: Places to Meet and Hang Out
Continuing my exploration into public goods for the Compendium I thought about public spaces; parks, the town square, spaces that doesn’t require a fee to access. In these spaces, we often see people walking around, hanging about, waiting for someone, conversing with each other, and so on; and then it hit me – places to meet and hang out can be considered as a public good. These could be conventional spaces such as the park or places that encourage socialising like a cafe, but there are also informal spaces; ones that are not dictated.
An example of an informal space brings me back to my university days; every weekend when I had to go to the main high street to buy food for my deprived fridge, I would have to walk through the town square where flocks of teenagers would hang out, spreading across the flights of stairs and having to dodge the dangerous skater boys practicing stunts from one side to the other. It was the same every weekend without fail.
Visual mind map about places to meet up and hang out.
In Through A Dark Lens – The Proboscis Effect by Bronac Ferran
April 21, 2011 by admin · Comments Off on In Through A Dark Lens – The Proboscis Effect by Bronac Ferran
IN THROUGH A DARK LENS – THE PROBOSCIS EFFECT
A Critical Text about Proboscis By Bronac Ferran
Creativity and innovation proceed in cycles rather than in some remorselessly forward trajectory. It is only over time that we can see the significance and importance of some projects and initiatives and particularly within the arts and cultural world, there are many different lenses and perspectives which we might take on work which we may wish to call contemporary.
In this text I respond to an invitation by the Proboscis Co-Directors, Alice Angus and Giles Lane to consider their work through the lens of collaboration and partnership. I approached this task aware that often the most critical developments happen below surface, in cyclical and indirect fashion. I was intrigued to explore how far one might consider this conceptually as a counterpoint to the increasingly predominant use of short-term quantitative analysis to assess value within the arts and concerned that such an approach is highly inappropriate for research-led practice (and indeed sometimes also for practice-led research) both of which activities may primarily be focussed on exploring new spaces, opening up dialogues and experimentation in form and media whose value can only become visible over time.
I have long been concerned to argue for value (and in particular symbolic value) of not for profit research-led or research-active creative organisations. John Howkins, a guru of ‘Creative Economy’ thinking, who had indirect influence on the new Labour Government‘s policies in this area from 1997, has recently shifted his focus to the term ‘Creative Ecology’ in which he outlines a more holistic approach to this area. In his book Creative Ecologies – Where Thinking is a Proper Job he argues that “attempts to use ecology to illuminate creativity has hardly begun, beyond using it as a fancy word for context”. In this essay I hope to build some layers onto this observation drawing on the work of Proboscis whose engagement with place, space and locality working with variable types of media provides the context for this text.
Proboscis describes itself as a non-profit artist-led studio “focused on creative innovation and research, socially engaged art practices and transdisciplinary, cross-sector collaboration”. Since its formation in 1994 it has made many ‘journeys through layers’ as is more fully described below. One consistent aspect has been that the work has engaged with numerous different agencies and communities, spanning and bridging private and public domain; always integral to their practice has been the development of publishing and storytelling initiatives using print and networked media processes with a primary concern for combination of image, word and text.
Proboscis was first formed by Giles Lane and Damian Jacques as a partnership to develop COIL journal of the moving image which ran through to issues 9 and 10 launched as a joint issue in December 2000. Alice Angus joined the partnership in 1999 and began leading some significant projects including the seminal Topologies initiative which was formative in terms of what was then known as collaborative arts practice and funded through the Collaborative Arts Unit at Arts Council England where I then worked, interfacing successfully and in a ground-breaking way between contemporary art practice and the Museums, Libraries and Archives services in the UK. The breadth of this project which ran between 1999 and 2000 added many layers to Proboscis and as is noted below, was shaped by an ideology and set of aspirations which were fully admirable and still unfolding now, in a considerably harsher climate in terms of arts and other public funding.
Why Proboscis?
Irish poet Patrick Kavanagh rightly wrote that “naming the thing is the love-act and the pledge”. With the choice of their name the organisation certainly pledged itself to a high degree of engagement with environment and context.
As Wikipedia tells us the word Proboscis was:
First attested in English in 1609 from Latin proboscis, the latinisation of the Greek προβοσκίς (proboskis), [2] which comes from πρό (pro) “forth, forward, before” [3] + βόσκω (bosko), “to feed, to nourish”. [4] [5] The correct Greek plural is proboscides, but in English it is more common to simply add -es, forming proboscises.
& ‘In general it is an elongated appendage from the head of an animal’ and ‘the most common usage is to refer to the tubular feeding and sucking organ of certain invertebrates such as insects (e.g., moths and butterflies) worms (including proboscis worms) and gastropod molluscs.
Seeing Proboscis and its life cycle as a kind of organism is curiously appealing. I am not sure if it is predominantly elephant or butterfly – or even mosquito… perhaps all these things. Or maybe it’s the Proboscis monkey, swinging from tree to tree in the wind.
On initial encounter with their work I had felt immediately the extensive and expansive qualities of the imaginative terrain over which Proboscis sought to roam not least because of the multi-partner/multi-agency nature of the Topologies proposal. Giles himself was making a fascinating bridge between research in academia with strong commercial connections (working as he was part-time developing a publishing imprint in Computer Related Design at the Royal College of Art at time when there was an ongoing research partnership with Paul Allen’s Interval Research) as well as growing Proboscis as an independent arts agency. In terms of how and where and why they proceed in certain directions extending their range of enquiry, engagement and investigation, their presence in various contexts seeming partly intentional, partly collaborative and always based on an underlying agenda that has critical intervention at its core.
It is at perhaps at edges of collision and collusion between public and private spheres, policies and desire, that what I wish to name the Proboscis effect has been most active.
Probing Proboscis
In probing Proboscis over the past twelve months looking closely at their core ethos and expression in various permeations I have sought to do more than simply referencing the collaborations and partnerships with which they have been involved as this narrative is already substantially documented on their very useful website.
What I have sought to do is to try to decipher the underlying systems and motivations that drive the process of development behind the course of Proboscis’s work. In setting out to do this I thought I should also confront and re-evaluate my own set of perceptions and assumptions about their work in order to gain some new understanding from the process of dialogue and interaction that this project has deserved. I have therefore been developing a set of informal ‘dialogues or infusions’ with Giles and with Alice to absorb their current preoccupations and conscious that they work (as I tend to do where possible) in collaborative and reflexive ways. So it has become a critical aspect of doing the text to destabilise my own existing conception of what Proboscis is and, in so doing, I have hopefully begun to understand what they might do next.
It has of course been interesting writing this against a backdrop of Arts Council England’s major review of their regularly funded portfolio. In 2004-05 along with then colleague Tony White we had made a strong and in the end successful pitch for regular funding for the Proboscis team as part of a larger series of arguments relating to the shifting nature of cultural practice, the growth and emergence of interdiscipinarity as an innovation layer and the fact that there were arts development and production agencies (in this case, the Arts Catalyst, onedotzero, Forma Ltd) and some artist-research organisations (like Mongrel… and Proboscis) which were as significant to the emerging arts infrastructure as orchestras and ballet companies were to the established performing arts canon or galleries to local authorities and the defined visual arts. I had felt that it was the right time to make this case to help these often small-scale organisations to get funding for their core costs so that they could avoid having to make countless small project applications which drew on time and energy and also we argued successfully for the benefits of providing a core allocation that would enable these essentially innovation focussed organisations to prepare the ground for their next phase of development through periods of research and development, travel and experimentation that would inevitably result in valuable new work over the course of the following few years. Making this argument in terms of policy criteria of excellence and innovation and in the context of building multiple partnerships with arts investment (as often these agencies were being highly entrepreneurial leveraging many new kinds of partnerships with other sectors nationally and internationally, batting well above their weight) was effective and allowed for growth and adaptation over time.
It was then important we felt to consolidate an emerging sector that was in many ways ahead of the curve in terms of arts policy. One can argue for strategic (and perhaps then) symbolic value by citing the significance of arts organisation x as the key agency for xxx (e.g. disability arts or public art) but at the same time when it comes to interdisciplinary research-based practice it can limit an organisation greatly when it becomes too specifically defined by a primary funder as there to deliver something in particular – ie to be the instrumental infrastructural agency to do something that mirrors a policy… this particularly applies for organisations like Proboscis which exist on opening up challenging and redefining the spaces between categories, fields and form and indeed establishing and activating critical and significant tensions or gaps between arts funded agency and the arts funding agency itself. These significant gaps are often where the best interdisciplinary practice lies – not representing anything but heralding stuff to come, shifts that will eventually mainstream over time.
On the Act of Interpretation and Analysis
My overall sense since being invited in early 2010 to write an essay about their work particularly from the viewpoint of the range and complexity of partnerships they have made and held during the past decade and a half of their existence as an arts organisation, has felt like I have been staring at tracks in the snow, looking at something which is already formed and fully crystallised and not that much needing of further explanation. And in addition to this, in seeking to assemble some kind of overview or extract a narrative that condenses and crystallises anything definitive from their ongoing processes of enquiry I have held a burden of doubt about the ‘realness’ of what I have set out to do – a belief perhaps that ultimately the work that has lain within the Proboscis shadow speaks for itself, that the documentation of their processes has been carried out in an exemplary way that can benefit little from tacked on interpretation, exegesis or explanation.
At the same time, and with a sense of an organisation engaged in an ongoing process of ‘adaptive becoming’, I felt it could be useful to move towards a perspective on Proboscis which allows us to see their work as a whole, holistically I suppose – as opposed to a series of distinct projects, which is how often their work is discussed or perceived. I was hoping to define a pathway or journey through their layers – perhaps move further along the path in the snow. In a text they produced for the Paralelo, Unfolding Narratives in Art, Technology and Environment publication in 2009, they cite Katarina Soukip, writing in the Canadian Journal of Communication:
‘the new Inuktitut term for internet, Ikiaqqivij or ‘travelling through layers’ refers to the concept of the shamen travelling across time and space to find answers’.
For the past decade and a half they have had a central place along with other organisations that may be broadly described as working within the media art or trans-disciplinary circuit in the UK and Europe with a primary role in respect of ‘the ecology of learning’ to use Graham Harwood’s term. In another essay which I wrote in 2010 for LCACE I spoke of their unique and pivotal position in terms of art/technology/academic/commercial networks – one of the reasons they were invited by the Engineering and Physical Science Research Council to become an Independent Research Organisation in 2004 which has been written about in detail – see Sarah Thelwall’s Cultivating Research – where she accounts for how “Proboscis has built its artistic practice around a research approach and in so doing has collaborated with a number of HEIs over the years including the Royal College of Art, London School of Economics, Birkbeck College, Queen Mary University of London and the Institute of Child Health“. Thelwall’s text summarises the range and nature of the Proboscis partnerships inside and outside Higher Education and the economic and other factors influencing their success in gaining Independent Research Organisation status from the EPSRC. She also reflects on the processes of layering I have mentioned above:
‘Proboscis have always developed and maintained a very wide and diverse collection of organisations and individuals they collaborate with. They purposefully bring together organisations as diverse as the Ministry of Justice, Science Museum & Ordnance Survey. This network is built around the delivery of projects but is by no means limited to the parameters and timescales of the projects themselves. It is common to see connections made in one project resurface some years later as what might appear to be a tangential connection to a new piece of work’.
This positioning within an ecosystem of connected and interdependent elements which may combine and recombine over time seems an integral aspect of ‘the Proboscis effect’. This is very much a distinguishing element of their work – a specific way of working, in porous and co-operative ways, engaging with locality and often with habitat.
The advent of Arts Council England funding changes now announced, which have swept through the ecosystem of digital media organisations in this country with desperate disregard for preserving and sustaining knowledge within a still developing sector – reminds us to suggest the importance of finding ways to recycle and re-embed these elements into a broader cultural ecology. In this sense Vilem Flusser’s words about waste come very appropriately to mind:
‘Until quite recently, one was of the opinion that the history of humankind is the process whereby the hand gradually transforms nature into culture. This opinion, this ‘belief in progress’ now has to be abandoned. …the human being is not surrounded by two worlds then, but by three: of nature, of culture and of waste. This waste is becoming ever more interesting…’
Somehow this seems appropriate in many ways to Proboscis preoccupations. They have separated themselves from dependency on ACE life rafts for floating media practices and now have set themselves new agendas, new partnerships and new horizons engaging even more closely with critical social challenges from global technological waste to employment of young people from disadvantaged contexts in London.
The Partnership Domain
As noted above many of the projects which Proboscis have generated and fostered have been formative in terms of exploring and building transformative connections between variable and separate fields, particularly between artistic research, academic research, commercial R&D and the public domain. The projects which they have worked on and generated over the seventeen years of the organisation’s existence have had an exciting range reflecting broader shifts within cultural practice. In addition to conceiving and shaping various projects Proboscis as an arts organisation has defined itself during this time as a vital critical space for understanding the emergent nature of collaborative practices, from research through to the public domain and as an agency through which documentation and discourses around these processes has been facilitated and enabled. What it has also most critically done is to provide a space for documentation and critical reflection on these processes – their significance has partly been to find a way to make the temporal or temporary processes of collaboration stable in terms of existing in accessible documentation over time. As their website now rumbles with tag-clouds and twitter-feeds it continues to grow in an organic fashion, as a responsive and collaborative space enabling expression of differences within an open and common domain.
Why does this matter?
In considering patterns of collaborative arts practices in the past fifteen years, often emergent work has been primarily time-based with documentation of the practices secondary to the event of the work itself. Simultaneously when we speak of interdisciplinarity what is commonly implied is the construction of spaces for dialogue and exchange, for things to be ‘in formation’, contingent, open and process-based.
In viewing the work of Proboscis through the lens of interdisciplinarity and collaboration across different arts and other disciplines over many years and recognising the high level of intention with respect to formation of high profile partnerships which have in a sense redefined ‘the public domain’, one recognises a consistent line of enquiry: the probing of interstices, the construction of new interfaces, the drawing of connecting lines, tracing points of relation through dialogue and through process. The process is never mechanical but somehow organic and collaborative – as traces are made, they may also be erased. Or they may be retained held in the act of publishing, drawing or commissioning critical texts. These traces gain longevity and new emphasis also by means of citation (for example the high degree to which Proboscis’s work has formed part of PhD theses and other types of reports) a fact which may carry little weight in relation to arts funding assessments but may in other important ways (particularly if viewed longitudinally) reveal value, especially intellectual or symbolic value as noted above.
In referencing a latency I am also signalling how in the nature of research based arts practice only by looking at developments over time might one truly realise the value. At times something may be in germination stages lying low in order to succeed but hard if not impossible to measure. These stages are in my mind at least the most important stages and ones most deserving of subsidy.
As noted above and looking now in hindsight at how the life cycle of the organisation we know as Proboscis has evolved we see many layers embedded over time. The projects have moved through moving image, film, locative and other mobile media, software, performance, carnival, workshops in making, storytelling and narrative, diy and open access publishing, photography and psychogeography, art and science, art and health, artists books and libraries, archives and community memory, folk-tales and archaeologies of place, open public data, art-industry, art-ecology and design/co-design and many other things. Within all the projects has been a set of disparate connections – sometimes with other artists, sometimes with scientists,sometimes with companies, sometimes with academia – and often with groups working in similar fields, as part of a set of network connections – producing an identity which is both fixed and process-led.
Somehow in these spaces between specificity and hybridity and tracing and erasing the Proboscis effect adheres.
It is vital to also consider the development of the Proboscis effect or practice within the context of recent intensive shifts with respect to how artists and arts organisations work within the spectrum of a broader creativity often, though not exclusively, technologically related. The most compelling work in this terrain has brought about a fusion of different disciplinary approaches and a combination of themes, fields and metiers into common and uncommon forms. This period of development has brought about also a shift within the nature of culture itself not just towards hybridity but towards open and collaborative works that engage directly with audiences or users transforming their position from user to co-producer, collaborator and joint agent within a process or design.
Proboscis’s work in the early 21st Century radically anticipated this layer which is now fully mainstream – of encouraging social innovation based on participatory processes.
Identity
In terms of how they approach collaborations and partnerships it is perhaps interesting to also consider the internal relationships which inevitably drive and define this kind of organisation. When one considers the identity of Proboscis, we recognise a pattern similar to the other organisations of similar scale and size. Often these organisations are indelibly connected to the personalities of their original founders. At the same time, when it comes to small-scale organisations the intensity of the human relations (the personality and behaviours within the group) often transfers to become the image of the organisation as a whole. Organisations form around and mirror the values and ideas of the people who form them. When people change the organisations inevitably change. But organisations evolve even when they have the same people involved who helped to develop the initial projects. In the case of Proboscis, its work has shifted and developed radically showing the various inputs and influences of the various people who have become involved over the years at project, administrative and consultancy level – yet it has also retained and maintained a consistency that is highly recognisable though perhaps difficult to define. Over many years they have brought in various skilled people to work on diverse projects which has provided an abundant network within which the organisation is situated and which they have in turn helped to generate and facilitate at various points and in various places. The workplace trainees who have been present in the office over the past year have been carrying and bringing a different, more youthful energy into the studio and as their voices grow louder as they are encouraged to express their views online and this has in turn shifted the pattern of perception of how and what Proboscis does. At the very heart though is the deeply creative core relationship of the two Co-Directors whose differing and complementary sensibilities suffuse all aspects of their work.
Garnering the Spaces Between
When it comes to unique organisations that are built on activating and ‘the space between differences’, in exploring commonalities and uncommonalities, in the energies that combine and force apart processes and practices – in other words, interdisciplinarity – it may well be said that change is the only constant and that inherent within the suggested Proboscis effect is the opening up of new relations from investigation of these tensions. I am suggesting this as it seems to me that implicit within any discussion about collaborations and partnerships is a belief system or set of values that informs and entwines with the nature of these connections and that what has partly distinguishes how Proboscis has been working in these interdisciplinary fields has been a set of principles or operating framework which has insisted on autonomy and independence of status within a broader assemblage or set of networks.
‘… But also, the value of dissent needs to be high enough so that dissent is not dismissed. How do you facilitate dissent so that it’s a strong value? Part of the concern in science collaborations is that there is a huge push towards consensus. So the dissent issue becomes very important’.
– Roger Malina
Achieving Effective Process within Asymmetrical Relations
The strength of the process was demonstrated most visibly in the pioneering Urban Tapestries project which Proboscis initiated and ran between 2002 and 2004 and which probably for the first time ever demonstrated the capacity of a small not for profit organisation to draw together a set of large institutional and commercial partners leveraging plural funding routes and most spectacularly to define the terms of engagement. This project not only prefigured the convergence of ubiquitous mobile computing and social media but also resulted in a series of community based activities between 2004 and 2007 – called Social Tapestries – which took R&D aspects from corporate and academic labs fully into the public domain and in turn revealed the significance of public participation in terms of any effective R&D with respect to social media – a kind of liberation strategy which displays eloquently the value sense underlying the Proboscis operation. Here is an extract about the project:
‘Urban Tapestries investigated how, by combining mobile and internet technologies with geographic information systems, people could ‘author’ the environment around them; a kind of Mass Observation for the 21st Century. Like the founders of Mass Observation in the 1930s, we were interested creating opportunities for an “anthropology of ourselves” – adopting and adapting new and emerging technologies for creating and sharing everyday knowledge and experience; building up organic, collective memories that trace and embellish different kinds of relationships across places, time and communities.The Urban Tapestries software platform enabled people to build relationships between places and to associate stories, information, pictures, sounds and videos with them. It provided the basis for a series of engagements with actual communities (in social housing, schools and with users of public spaces) to play with the emerging possibilities of public authoring in real world settings’.
On the Daniel Langlois Foundation website (who provided funding towards the project) the language outlining what happened is different again:
‘What would freedom of expression be without the means to express it ? As fundamental as this concept is, it appears empty and abstract if you don’t complement it with the freedom to choose the means of expression. Today’s wireless communication networks offer novel ways to express ourselves. For the time being, these networks escape government or corporate control, which is why they are being used by many artists and activists to give this concept more concrete meaning’.
No doubt there were different spins to the narrative again on the websites of the different project partners – as clear an illustration as one might wish for of the pluralistic capacity of Proboscis during this 2002-2007 period acting as a broker, connector, and transdisciplinary catalyst. It is interesting that on the current Proboscis website, the ‘history’ section ends at September 2007 and before this that year Alice and Giles had visited Australia, Canada and Japan as well as taking part in numerous UK based events, conferences and discussions – being greatly in demand to un-layer and share tales of the Urban Tapestries and Social Tapestries adventures and outcomes. This work was intensive and significant with respect also to the broader history of collaborative media practices in the early years of this century.
The history of the period between September 2007 and now is also now still waiting to be written – and the turn which is now happening in relation to the direction of their work more explicitly revealed
Between Tactical Extremes
Taking further forward some of the ideological strands initially outlined in the goals for Topologies as well as running through the Urban Tapestries above, Giles writes currently on the Proboscis website about their forward programme for 2011 which will focus around the over-arching theme of Public Goods,
‘In the teeth of a radical onslaught against the tangible public assets we are familiar with (libraries, forests, education etc), Public Goods seeks to celebrate and champion a re-valuation of those public assets which don’t readily fit within the budget lines of an accountant’s spreadsheet’.
Showing this long-term commitment to core ideals, when I first met him in 1998, when commencing their Topologies project, Giles had written:
‘Public libraries are seen by Proboscis to be one of the UK’s most important cultural jewels, long-underfunded and lacking in support from central government. As sites for learning and culture they are unparalleled, offering a unique user-centred experience that is different from the viewer experience of a museum or a gallery’.
It is also ironic now writing this just after one of the biggest public demonstrations that London has known in the context of planned government cuts to the public sector and recalling that whilst the aim Proboscis had thirteen years ago was to add to the experience of visiting libraries by adding artists books into their holdings, the demise of the library system itself is now the battle along with devaluation and depreciation of many aspects of the public domain. Here one has a sense again of the uncannily fore-shadowing nature of many of Proboscis’s themes. Their antennae as sensitive collaborative creatures twitching often too soon?
Sustaining Partnerships
In exploring the way in which Proboscis set out to work in collaborative ways over many years one notes a serious attuning to context, making events and initiatives which often involve deep localised engagement with those with whom they have chosen to partner whether in public or private sector contexts. Often these partnerships are sustained over many years as for example with DodoLab in Canada with whom they have a long-term relationship that manifests in different ways in different places addressing social, urban and environmental challenges through artworks, performances, interventions, events, educational projects and publishing using social media, the Proboscis bookleteer and StoryCube initiatives and others ways of involving and communicating with people.
Other relationships have been related to specific projects; almost all take place over at least two or three years following a series of research questions or over-arching line of enquiry which requires focussed time and many different manifestations. The techniques which Proboscis bring to the table in terms of collaborations have been well-honed in various scenarios – as are well outlined and documented on their capacious website. Connecting these techniques for group interaction and group authorship with technological and industrial change and a corresponding shift in the cultural and social imaginary has been a prevalent element and thread which has emerged throughout a series of interrelated activities.
Re-drawing the Map
I developed a deeper understanding at first hand of the Proboscis effect when 2009 Alice Angus, Giles Lane and Orlagh Woods from the company were among a group of UK based arts technology and design researchers and practitioners who came to an event held in Sao Paulo called Paralelo with which I was closely involved. The event brought together individuals and groups working in three countries – the Netherlands as well as UK and Brazil – on topics and themes relating to Art, Technology and the Environment. Proboscis brought a beautifully honed process of group Social Mapping to the opening session of the event. This created a way of introducing individuals and everyone to everyone else with the plus factor that it gave form to the latent network connections that lay underneath, beside and across the topology composed on paper laid out on the ground. It was in many ways a characteristic Proboscis intervention inflecting the overall event with a collaborative and open-ended fluidity of approach with participants then returning to the map at the close of the event and in a ritual of consolidated iterative expression redrawing earlier lines, shifting to new points of intensity. This effect relies on an appreciation of ritual, of the act of drawing with the hand on paper, of making marks and leaving something that over time becomes a document of something that has now passed…
‘The development of new forms of expression is not something that is bound to happen, but is a matter of the choice and preference of artists. What is possible is the programmed creation of works. The artist is then creating a process, not individual works. In the pure arts this may seem anathema, but art thrives on contradictions, and it can be yet another way of asking what is art?…’
From first page of EVENT ONE, first edition of PAGE journal of Computer Art Society, 1969.
In their contribution to the book Paralelo: Unfolding Narratives in Art, Technology and Environment which emerged after the workshop in 2009, the Proboscis team also brought a singular simplicity (that held much deeper meaning than what was visible on the surface) to the project. Their text, Travelling through Layers, available also as a Diffusion eBook – holds in a small space a series of interleaving observations, images, quotes and commentary – all of which combine to build a narrative that stands alone or as part of the larger whole in this case the wider texts that make up the publication, a small microcosm of the broader Proboscis effect.
In Conclusion – The Latency of Glass?
As we enter into 2011 and shifts in political and arts funding scenarios, it seems to me that Proboscis are once again on the turn. Adapting to constraints that have emerged from socio-environmental contexts, they are taking a slower course. expressed in the lavishly vulnerable depiction of the disappearing markets in Lancaster which Alice has recently produced and the oft expressed commitment to providing tools and resources at low cost for others to access whilst wishing to do this by way of exchange and experiment – allowing social concerns to dominate technologies and allowing the reinstatement of hand and handi-craft into the Proboscis process.
It seems to me that with the usual fore-shadowing the organisation is now pointing towards a need for deep contemplation and reflection on what is currently in danger of being lost and following the ecological theme, seeking to ensure that we devise ways to recycle material back into the system. In some extent they are going out further to those margins and extremes, wanting to fuse together some new points of tension or heightened concerns. No doubt this will slowly and surely emerge.
And most importantly how does one articulate and measure value within these processes? What kinds of measurement can apply when one is talking about ‘effect’? What distinguishes their work from others who have moved into these spaces between the arts and other sectors? What has made them so effective in these spaces? And having moved in, developed systems of exchange and parallel processes with many other agencies, what has Proboscis gained and lost – what (apart from documentation on their website) might remain? Why do they move on? What do we learn from the textures and edges that their processes effect?
Their capacity to retain an integrity and critical edge whilst being involved in processes of exchange with many different types of partner organisation has been admirable; if as outlined in the 2010 Prix Ars Electronica Hybrid Arts text we might see hybrid arts practices as being fundamentally about an ontological instability or insecurity then in many ways the work of Proboscis throughout sixteen-seventeen years may be situated in this terrain.
Throughout the late 1990s and 2000s so far the best projects (and those which become most memorable) at least in relation to the broad field of collaborative and interdisciplinary arts practice seem to me to be those which tend to fuse together layers of different processes, systems and materials to form a new, highly charged synthesis that carries within it the tensions implicit in making something disparate whole. If broken or contracted, new edges will then emerge that redefine the boundaries of the whole.
Over time what is engendered and revealed are certain qualities manifest at both surface and depth – I describe these forms as having something like the latency of glass.
The Proboscis narrative has many of the properties of glass (fused to a point of stillness, yet with inner motion and capable of breaking to form new edges). If I have managed to identify at least one angle on their work using the perspective of the dark lens it is related to something Giles said in conversation in February 2011 about his interest in “exploring extremes and the points of tension between”. The photographic negative awaiting advent of light in the darkroom is another way of seeing this. Perhaps the phantasm of ‘true collaboration’ lurks in the latency of glass.
Colombian Embassy courtyard, Vienna by Giselle Beiguelman 2010
Bronac Ferran, April 2011
Education Research & Outreach for bookleteer
December 14, 2010 by Giles Lane · 1 Comment
At the beginning this year I started planning how we could begin to introduce bookleteer into education and learning contexts and programmes – not just in formal settings such as schools, colleges and universities, but also in other spaces and places where learning takes place : museums, community centres, libraries, archives and grassroots groups.
We began this journey with a Pitch Up & Publish workshop in February co-hosted by former teacher, writer and digital evangelist at TeachersTV, Kati Rynne which was aimed at teachers and creative people who work in education settings. Among the participants who took part was Ruth from Cambridge Curiosity and Imagination who have ended up creating around a dozen eBooks for workshops and projects they’ve been running with people of all age groups. Others have also used bookleteer in their own projects and for creating teaching and learning outcomes – workbooks, notebooks, documentation and course materials – and not just in English, but Hindi and Arabic so far too.
Our own City As Material event series has also outlined a simple model to bring a group of people together to explore an idea, place or theme and then collaboratively produce eBooks (you can follow the development of the series over at diffusion.org.uk). In these events we’ve shared lots of local knowledge and experience within the group of participants, and found creative ways to share and explore themes of common interest with other people. Its very much in the informal/non-formal learning space (one of the participants was Fred Garnett, a former policy advisor at Becta who’s written on and worked extensively in this area) and I think it suggests exciting ways in which hyper-local groups can come together to explore or pool knowledge and experience, capture and share it in a rapid and very easy way not only among themselves but with wider communities too.
More recently we’ve been joined by an Education Assistant on a 6-month placement whose role is to help extend and focus our efforts on working both in formal and informal learning. We’ve begun a collaboration with Soho Parish Primary School, where she’ll be spending 1 day a week from January til Easter – helping both teachers and students use bookleteer to create tangible outcomes from curriculum based projects. We’re also using this project to understand more about the specific needs of schools in using online platforms like bookleteer; potentially to build a separate schools version that suits the context of authoring and sharing by children and the need for oversight by staff around issues such as child protection.
bookleteer is about helping people make and share beautiful publications of their own – whether they handmake the results or choose the PPOD professional printing service. We want to help people find new and dynamic ways to record and share the ideas, stories, knowledge and experiences they have – learning and exchanging things of value as they go. bookleteer has enormous potential to enable people to make and share things of their own, books and storycubes; things which they can share with people all around the world, without the problem of shipping physical objects. Hand-written eBooks can be scanned in and made available online in the same way as ‘born digital’ ones and can also be turned into professionally printed books too.
We’d love to hear from other people in education and learning contexts who see the potential of using bookleteer in their own work and play, want to try it out and share their ideas, experiences and templates with others. We’d like to see bookleteer evolve into more than just a tool – into a community of practitioners creating and sharing across many languages, geographies, interests and outcomes. In the new year we’ll be launching new functionality which will open it up even further. Watch this space.
Alice Angus
July 5, 2010 by aliceangus · 5 Comments
Background
I am an artist and co-director of Proboscis, my work includes works on paper video and textiles. I’m interested in the social, cultural, natural histories and heritage of places, with a particular interest in landscape and environment. I often work in collaboration and create projects in response to a particular location or question. The work ranges from larger curatorial, collaborative frameworks to individual commissions, participation and research.
Current and Recent Projects
Attentive Geographies 2014 – 16, commissioned to create a new textile work in response to, and participate in, the research process for Attentive Geographies. An AHRC funded project by the Geographies of Creativity and Knowledge Research Group at Exeter University. It is exploring “What happens where you are attentive to creative processes in your research?”
The Observatory, Artist in Residence on Lymington Keyhaven Nature Reserve, New Forest National Park, 2 months in 2015, commissioned by SPUD as part of the Lookin Lookout project. Exhibition forthcoming in 2016
Artist in Residence Mixed Reality Lab (2014), Mixed Reality Lab, School of Computing, Nottingham University on the Aestheticodes Project.
Bikes and Bloomers (2013) – a commission to create textiles for the Freedom of Movement project by Katrina Jungnickel and Goldsmiths University of London.
Hidden Families (2012 – current) – an AHRC research collaboration with Royal Holloway, NEPACS and Action for Prisoners Families.
Storyweir (2012 – current) – commissioned by Exlab2012, Bridport Arts Centre and PVA medialab, working with Cultural Geographers from Exeter University and National Trust, public artworks, live video and music events, exhibitions and engagement for Hive Beach, Dorset and Bridport Arts Centre for the 2012 Cultural Olympiad.
Pinning our Hopes (2011) – a series of drawings and fabric designs for garments created with Mrs Jones, for the exhibition Fifties, Fashion and Emerging Feminism.
Pallion Ideas Exchange (2012) – project with researchers at Royal Holloway, University of London’s Information Security Group to co-design an ideas exchange with a local community in Pallion, a former shipbuilding community.
As It Comes (2010) – A project in Lancaster exploring the role of independent shops and traders commissioned by Mid Pennine Arts.
100 Views of Worthing Pier: Tall Tales, Ghosts and Imaginings ( 2010) – commissioned by artistsandmakers.comPublic Spaces:
Local Places (2010) – works on paper commissioned by the Empty Shops Network Tour to respond to Brixton and Coventry Market.
Public Spaces: Local Places (2010) – commissioned by the Empty Shops Network Tour to respond to Granville Arcade, Brixton and Coventry Indoor Market.
In Good Heart (2010) – works on paper from a collaboration with Dodolab on Prince Edward Island, Canada.
Landscapes in Dialogue (2010) – works on paper for reflecting on my residency in Ivvavik National Park in Arctic Canada.
Birmingham Total Place (2010) – Proboscis commissioned by Birmingham City Council in response to conversations with parents and early years workers.
With our Ears to the Ground (2009) – Proboscis commissioned by Green Heart Partnership with Hertfordshire County Council.
At The Waters Edge: Grand River Sketchbook (2008) – video and work on paper commissioned by Render for the atrium of the University of Waterloo School of Architecture, Ontario.
Being in Common (2008/09) – Proboscis was commissioned by Haring Woods Studio for Gunpowder Park, London for the Art of Common Space project.
Sutton Grapevine (2008/09) – Proboscis was commissioned by ADeC (Arts Development in East Cambridgeshire) to research online and offline experiences in a rural community where there is a lack of cultural spaces.
Perception Peterborough (2008) – a creative visioning project to develop solutions to the challenges Peterborough faces in the next 15-20 years. Proboscis was commissioned, with Haring Woods Studio, by Peterborough City Council, Heritage Lottery Fund, Arts Council East, Sport England and East of England Development Agency.
Lattice::Sydney (2008) – Proboscis led, with Information and Cultural Exchange and the British Council in Sydney, a workshop with Western Sydney creative practitioners. Part of the British Councils Creative City project.
Social Tapestries (2004/07) – a major Proboscis research programme exploring the benefits and costs of knowledge mapping and sharing (public authoring) for everyday life.
Topographies and Tales (2004/09) –A film, a two day lab and residencies in Canada and Scotland, with Joyce Majiski.
Artist in Residence (2005) – Klondike Institute for Art and Culture, Dawson City, Yukon, Canada.
Navigating History (2004/05) – Proboscis collaborated with curator Deborah Smith to bring to light local history collections through 11 commissions. Funded by Heritage Lottery Fund, Arts Council England, Creative Partnerships and local authorities.
Artist in the Park (2003) – Parks Canada Residency in Ivvavik National Park, Northern Yukon, Canada.
Urban Tapestries (2003/04) – Urban Tapestries was a major Proboscis project combining mobile and internet technologies with geographic information systems and collaborating across industry, academic research, communities and arts.
Landscape and identity; Language and Territory (2002) a partnership with InIVA (Institute of International Visual Arts, London).
May Newsletter
May 20, 2010 by Giles Lane · Comments Off on May Newsletter
Welcome to our latest newsletter, its been about 6 months since our last one so this is a catch up across a range of projects and activities.
NOW & UPCOMING
New Features & Publish & Print On Demand with bookleteer
We’ve been busy improving http://bookleteer.com over the past few months, adding new features and services :
– New Sizes : create larger eBooks & StoryCubes from A3/Ledger sheets
– New Designs : create your own customised front covers
– Publish & Print On Demand : an affordable service allowing users to order professionally printed and bound versions of their eBooks in short runs (from 50 copies or more). eBooks are digitally printed on high-quality 100% recycled papers as A6 or A5 saddle-stitched books. StoryCubes (min order 250 cubes)
Find out more here: http://bookleteer.com/blog/ppod
more bookleteer test accounts available
We’re making more test accounts available for people who’d like to create their own Diffusion eBooks and StoryCubes, and test out our PPOD service. Email us at bookleteer@proboscis.org.uk to request an invitation.
Pitch Up & Publish Events
Proboscis has been collaborating with Artists & Makers to run PU&P events as part of the Empty Shops Network Tour in Shoreham-by-Sea, Carlisle & Coventry during March. We’ve also run several PU&P events at our studio in London, for illustrators/cartoonists and for teachers/educationalists, with more in the pipeline over the next few months. May sees us begin a new collaboration with The Drawing Shed (tds) to introduce bookleteer to residents in Waltham Forest as part of their Be Creative Be Well project.
Follow us on Twitter for updates: http://twitter.com/bookleteer
or check the bookleteer blog: http://bookleteer.com/blog
bookleteer virtual residencies
James Bridle and Simon Pope are our first two ‘virtual residents’ for bookleteer – exploring the API as a creative way of automatically generating ebooks and StoryCubes from their own projects and sites. James has already created some ‘Bookcubes’ from his Bkkeepr project, whilst Simon is working on a StoryCube walking/cairn building project. We look forward to some more experiments emerging throughout the year.
http://bookleteer.com/blog/tag/residency/
Landscapes in Dialogue on Tour
A set of Alice Angus’ works on paper are off on tour to the northern Canadian arctic towns of Inuvik, Churchill and Yellowknife as part of a touring show during the the 25 year anniversary of Ivvavik National Park.
http://proboscis.org.uk/1551/landscapes-in-dialogue/
In Good Heart on Exhibition
A new series of Alice Angus’ works on paper from her In Good Heart project are being exhibited as part of the group show Dig Up My Heart: Artistic Practice in the Field curated by Shauna McCabe at the Confederation Centre Gallery, Charlottetown, PEI Canada. In Good Heart began during Proboscis’ collaboration with DodoLab in Charlottetown in August 2009, focusing on the Experimental Farm there, and has continued as an ongoing investigation into the perception of ‘farm’ through conversations, interviews, historical and folklore research.
http://proboscis.org.uk/1649/in-good-heart/
Empty Shops Drawing Commission
Alice Angus has been working on commission from http://artistsandmakers.com to draw some the places that the Empty Shops Network is visiting including Granville Arcade in Brixton, Coventry Market and later this year Worthing seafront.
http://proboscis.org.uk/tag/emptyshops/
Professional Development Commissions
Our first two commissions have been completed and the results published on our website. Niharika Hariharan and Holly Clarke were each commissioned to develop small projects that connect with our work and themes. Niharika created an education workshop which she delivered in a secondary school in Delhi, India; Holly researched into ‘neighbourhood radio’ using web streaming and low-power broadcasting.
http://proboscis.org.uk/tag/professional-development-commissions/
RECENT ACTIVITY
Sensory Threads at CHI, Atlanta USA
Proboscis collaborators, Nick Bryan-Kins (Centre for Digital Music, Queen Mary University of London) and Joe Marshall (Mixed Reality Lab, University of Nottingham) demonstrated the latest version of Sensory Threads at the CHI conference in Atlanta, USA in April 2010.
http://proboscis.org.uk/tag/sensory-threads/
Birmingham Total Place
Proboscis was commissioned to create some illustrated storycubes for Birmingham Total Place summit about the Early Intervention Project being undertaken as part of the Total Place Initiative. We made the cubes in response to our conversations with people about the ups and downs of accessing local services and support for their children and families.
http://proboscis.org.uk/tag/total-place/
With Our Ears To The Ground
We have recently completed our publication for With Our Ears to the Ground; a project commissioned by Green Heart Partnership and Hertfordshire County Council to explore peoples’ ideas about community and notions of community cohesion.
http://proboscis.org.uk/1516/with-our-ears-to-the-ground-book/
NEW DIFFUSION EBOOKS & STORYCUBES
A Sort of Autobiography by Warren Craghead http://diffusion.org.uk/?p=1977
Cemetery Litmus Test by Andrew Hunter http://diffusion.org.uk/?p=1999
iPhone App Sketchbook by Proboscis http://diffusion.org.uk/?p=1996
Rijeka Site StoryCubes by Lisa Hirmer http://diffusion.org.uk/?p=1969
Travelling through Layers by Proboscis http://diffusion.org.uk/?p=1962
Coventry Market: public spaces, meeting places by Alice Angus http://diffusion.org.uk/?p=1959
Icons of Rijeka StoryCubes by Andrew Hunter http://diffusion.org.uk/?p=1935
Family eBooks by Karine Dorset http://diffusion.org.uk/?cat=9
Icons of Rijeka by Andrew Hunter http://diffusion.org.uk/?p=1913
Coventry Empty Shop by Dan Thompson http://diffusion.org.uk/?p=1897
eBook Observer by Frederik Lesage http://diffusion.org.uk/?p=1892
Carlisle Empty Shop by Dan Thompson http://diffusion.org.uk/?p=1880
Landscapes In Dialogue: reflections by Alice Angus http://diffusion.org.uk/?p=1865
Cummerbundery Volume 1: The Collected Tweets of Brandon Cummerbund by Russ Bravo http://diffusion.org.uk/?p=1870
Granville Arcade: empty spaces and meeting places by Alice Angus http://diffusion.org.uk/?p=1857
StoryCubes by Karine Dorset http://diffusion.org.uk/?p=1851
Shoreham-by-Sea Empty Shop by Dan Thompson http://diffusion.org.uk/?p=1847
Canto: a collection of wishes Book 1; Whitehorse, Yukon Canada by Joyce Majiski http://diffusion.org.uk/?p=1843
Welcome to the Imagination Age by Rita J. King http://diffusion.org.uk/?p=1830
Empty Shops Workbook by Dan Thompson http://diffusion.org.uk/?p=1825
Birmingham Total Place StoryCubes by Proboscis http://diffusion.org.uk/?p=1798
Modern Romance StoryCube by We Are Words & Pictures http://diffusion.org.uk/?p=1795
A Short Film About War by Lisa LeFeuvre http://diffusion.org.uk/?p=1785
Carnet du Bibliexplorateur par J. Thomas Maillioux http://diffusion.org.uk/?p=1773
With Our Ears to the Ground by Proboscis http://diffusion.org.uk/?p=1758
A History of Municipal Housing by Owen Hatherley http://diffusion.org.uk/?p=1751
8 Ideas for using bookleteer in schools by Kati Rynne http://diffusion.org.uk/?p=1745
I Feel Different by LACE http://diffusion.org.uk/?p=1730
State of the Union by Robert Ransick http://diffusion.org.uk/?p=1722
Waiting For Crisis by William Davies http://diffusion.org.uk/?p=1713
Expeditions in Paper Science + Unguided by Matthew Sheret http://diffusion.org.uk/?p=1700
City As Material Student Project eBooks http://diffusion.org.uk/?p=1693
Creative Methodologies for the Creative Industries by Lorraine Warren & Ted Fuller http://diffusion.org.uk/?p=1679
Articulating Futures Workshop eNotebooks by Niharika Hariharan http://diffusion.org.uk/?p=1668
Trail Song by Julie Myers http://diffusion.org.uk/?p=1642
Blakewalk 3 by Tim Wright http://diffusion.org.uk/?p=1639
From an outer suburban life by Linda Carroli http://diffusion.org.uk/?p=1628
Belo Horizonte Anarchaeology by Giles Lane http://diffusion.org.uk/?p=1615
all made with http://bookleteer.com !
Public spaces, meeting places… and privatisation
April 12, 2010 by aliceangus · 1 Comment
At the end of March I headed up to draw Coventry indoor Market to spend a few days on the next leg of the artistsandmakers.com Empty Shops Network Tour created by artist Dan Thompson (and involving Jan Williams (Caravan Gallery), Steve Bomford Natasha Middleton and podcaster Richard Vobes.) I’ve been commissioned to draw some of the spaces (and their occupants) the tour is visiting and Coventry Market follows from my drawings in Granville Arcade in Brixton.
An ancient city, Coventry’s medieval buildings were almost all destroyed during the second world war blitz that devastated the city. Its rich history is crossed by stories of King Canute and Lady Godiva. Today Coventry now has a maze of traffic free precincts and modern buildings built in the postwar period and it is far from what the medieval city must have been.
These precincts are watched over by many surveillance cameras and again on this project I to the issue of private and public space that has come up so often for Proboscis in the last 2 years as we find ourselves prevented from taking photos in shopping malls and public squares. PD Smith writes about this issue in an interesting blog post about Ground Control: Fear and Happiness in the 21st-century City, Anna Mintons Book looking at control, fear and the city.
Coventry’s indoor market is a circular space in which you can get lost, dizzy and a bit confused about which door you came in but in the process find everything from a cup of tea to 5 kinds of sweet potato, dog biscuits, birthday cards, fake flowers, fresh rolls, loose cake mix, baking tins and graph paper. Its got a real sense or people mingling from different communities and backgrounds and ages using it to meet, chat and hang out, not just shop. They once celebrated it in a musical.
In many of our recent projects people tell us its less regulated more informal spaces that draw their communities together, Watford Market, Coventry Market, Brixton Market…But these more informal spaces are on the decline it seems and everywhere we see what Paul Kingsnorth wrote in In “Cities for Sale” : From parks to pedestrian streets, squares to market places, public spaces are being bought up and closed down, often with little consultation or publicity. In towns and cities all over England, what was once public is now private. It is effectively owned by corporations, which set the standards of behaviour. These standards are the standards that are most congenial to their aim – getting you to buy things. … There will be no busking, and often there will be no sitting either, except in designated areas. You will eat and drink where you are told to. You will not skateboard or cycle or behave “inappropriately”.
The Empty Shops Network is aiming to celebrate the kind of local distinctiveness that gets lost in these developments and it is working with communities to use empty shops for projects in the spaces and times inbetween other uses. The Network’s projects involve public meetings, informal training for local artists, and showcase the tools needed to run empty shops projects. See artistandmakers.com for details.
You can see more images from Coventry here.
Pitch Up & Publish 1 Slideshow
October 21, 2009 by Giles Lane · Comments Off on Pitch Up & Publish 1 Slideshow
The first event was a fun evening and everyone who attended created at least 1 eBook each, with the exception of Matthew who managed to create two lovely examples. Thanks to everyone who came (Christopher, Fred, Kati, Matthew & Sara), and the team (Karen, John & Stefan).
The next Pitch Up & Publish will be on Thursday 5th November 2009 at our studio in Clerkenwell.
Cultural Snapshots
June 5, 2009 by Giles Lane · Comments Off on Cultural Snapshots
A series of essays, polemics and manifestos designed to provoke comment and debate on the contexts in which Proboscis works.
Proboscis accepts proposals for contributions for the series from practitioners and theorists working in fields allied to Proboscis’ areas of activity. Please contact us to propose a submission.
ISSN: 1475-8474 | Free | PDF format
Cultural Snapshots are resourced by Proboscis as part of our core artistic activity – we welcome any donations to help us continue commissioning new titles and providing the texts free of charge to all. To make a secure donation by credit card / Paypal (no account necessary), please click the button below:
No. 16 – Sarah Thelwall : Cultivating Research
No. 15 – Alice Angus : Landscapes in Dialogue
No. 14 – Sarah Thelwall : Capitalising Creativity
No. 13 – Megan Conway : Public Authoring, Education & Learning
No. 12 – Kevin Harris : Common Knowledge
No. 11 – Giles Lane et al : Public Authoring & Feral Robotics
No. 10 – Nick West : The Spatial and Social on your Mobile
No. 9 – Giles Lane : Social Tapestries
No. 8 – Katrina Jungnickel : Sensing the City
No. 7 – Matt Locke : Shaggy Dog Stories
No. 6 – Giles Lane : An Economy of Scarcity
No. 5 – Alice Angus : Near Real Time
No. 4 – Roger Silverstone : Private Reveries and Public Spaces
No. 3 – Giles Lane : Enterprising Culture
No. 2 – Caroline Smith : Fear are easily rationalised in the attic
No. 1 – Giles Lane : A New Cultural Revolution
Urban Tapestries
November 3, 2008 by Giles Lane · Leave a Comment
Urban Tapestries (2002-04) was a ground-breaking project that investigated how the combination of geographic information systems (GIS) and mobile technologies (including ad-hoc WiFi) could enable people to map and share their knowledge and experience, stories and information – public authoring. The transdisciplinary team developing it wove together an action research process bridging programming, ethnography, visual arts, filmmaking, animation, product design, information architecture, concept design, rapid & paper prototyping and creative writing.
The project resulted in numerous events, publications, technologies as well as two public trials of the Urban Tapestries mobile platform for public authoring in December 2003 and June-July 2004.
Team: Alice Angus, Daniel Angus, John Paul Bichard, Katrina Jungnickel, Giles Lane, Rachel Murphy, Roger Silverstone, Zoe Sujon and Nick West.
Partners & Collaborators: London School of Economics, Hewlett-Packard Research Laboratories, Orange, Ordnance Survey, France Telecom R&D UK.
Funded by Department of Trade & Industry, Arts Council England, Fondation Daniel Langlois
Sonic Geographies
November 3, 2008 by Giles Lane · 1 Comment
Sonic Geographies takes sound as the entry point for excavating and mapping urban experience and invisible infrastructures of the city. In 2001-02 Proboscis created a series of maps and journeys that were personal renderings of sonic experience – sounds of the personal world in conversation with sounds of the city.
These mappings attempted to excavate the layers of sound that make up the city and create strata of difference: from the sound of a city’s church bells to the shifting sonic signatures of traffic, music radio and the layers of wireless communications. The excavation was designed to open up a new space of enquiry into the experience of the city, and how sound functions as a kind of infrastructure for understandings of place and geography particular to contemporary conditions in the city.
Team: Alice Angus, Katrina Jungnickel, Brandon LaBelle & Giles Lane
Landscape & Identity, Language & Territory
November 3, 2008 by Giles Lane · Leave a Comment
A series of workshops and artists eBook commissions held in 2002 at Iniva.
LILT resulted in a Diffusion eBook series, Liquid Geography, commissioned and edited by Alice Angus between 2002-06. Contributors included: Mohini Chandra, Gair Dunlop, Roshini Kempadoo, Andy Pratt, Joyce Majiski, Kate Foster & Hayden Lorimer, Loren Chasse, Louise K Wilson, Jim Harold, David Key, Kathryn Yusoff and John Schofield.
Team: Alice Angus & Giles Lane
Partners: Iniva
history
November 1, 2008 by Giles Lane · Leave a Comment
2019
City of Refuge Toolkit published.
City of Refuge: Giles Lane speaks on panel at Migration & the Digital City Symposium, London School of Economics.
Giles Lane appointed “Specialist Researcher in Art-Science” (part time) at Central St Martins, University of the Arts London.
Materialising Data, Embodying Climate Change project begins with 3 years funding from AHRC.
2018
UnBias: Fairness in Pervasive Environments Workshop, Edinburgh
UnBias: publication of the UnBias Fairness Toolkit; public launch at the Victoria & Albert Museum’s Digital Design Weekend
City of Refuge: collaboration with Media@lse, London School of Economics devising & delivering workshops to explore experiences of refugees and local citizen actors in London, Berlin & Athens.
Single Digital Presence: contract with British Library to devise & deliver public workshops
Not-Equal: Proboscis is a founding partner in the EPSRC-funded Social Justice in the Digital Economy Network+
Beyond Engagement: workshop for students
TKRN Legacy Event: workshop & field trip to Reite Papua New Guinea
Practising Creative Securities: publication for Information Security Group, Royal Holloway University of London within the Collective Securities project
2017
UnBias : development of Fairness Toolkits for young people & policymakers
Digital Mattering : collaboration initiated with British Antarctic Survey, Birkbeck UoL & Prof Tom Corby at University of Westminster
Lifestreams: inclusion in group exhibition, The New Observatory, at FACT Liverpool (June-October)
Phantom Tomes published: bookleteer & eBooks presented at British Library Labs annual conference (November)
Attentive Geographies : collaboration with Geography Dept at University of Exeter
2016
TREsPASS Exploring Risk : publication for Information Security Group, Royal Holloway University of London
UnBias begins : collaboration with Human Centred Computing at University of Oxford; Horizon DER, University of Nottingham & Informatics Dept, University of Edinburgh. EPSRC funded.
Christmas with Artcodes : collaboration with Mixed Reality Lab/Horizon
Data Manifestation Talk at Open Data Institute, London
TKRN: field trips to Vanuatu & Papua New Guinea
Data Manifestation presentation at Ethics in Data Science symposium, Alan Turing Institute, London
2015
Peeking Over the Horizon : workshop for Making London event, University of Greenwich
TKRN: field trip to Papua New Guinea
Proboscis closes St Georges Circus studio. Operates ‘virtually’ going forwards.
Magna Carta 800 : 6 bookleteer books celebrating the 800th anniversary of Magna Carta
Artcodes/Aestheticodes: Alice Angus residency with Mixed Reality Lab/Horizon DER exploring artcodes and smart fabrics.
Wearable Superpowers : Snout costumes presented at Science Museum Late event
Soho Memoirs : 3 bookleteer books published for Museum of Soho
Embodying Data : workshop with MA Design students at Edinburgh College of Art
2014
Embodying Data: Giles Lane awarded Creativeworks Entrepreneur-in-Residence at Pervasive Computing Lab, Birkbeck University of London
CENTER-TBI : collaboration with Movement Science Group at Oxford Brookes University to devise patient-centred methods for developing a digital Rehabilitation Tool for survivors of Traumatic Brain Injury
Bikes And Bloomers : collaboration with Kat Jungnickel, University of Goldmsiths
2013
Visualise Making Art in Context: publication by Anglia Ruskin University
Lifestreams : exhibited at Mosaic3DX, Microsoft Research Cambridge
TEK Notebooks published : 3 bookleteer publications documenting the initial work with Reite village, Papua New Guinea in 2012
Neighbourhood Ideas Exchange published : open toolkit for community cohesion and development developed out of Pallion Ideas Exchange project
StoryMaker PlayCubes set published
Lifestreams : exhibited in This New Nostalgia show at London Design Festival
We Are All Food Critics 2 : project with children of Soho Parish Primary School as part of Soho Food Feast
Proboscis moves to new studio in St Georges Circus, Lambeth.
Climate Commons : event at Proboscis studio with Tony White, Hayley Newman & James Marriot
Hidden Families: exhibited at CHI conference, Paris
Hidden Families: exhibited at AHRC Connected Communities Showcase, London
2012
Indigenous Public Authoring : initial field trip to Reite Village, Madang Province, Papua New Guinea to co-design public authoring books using bookleteer/Diffusion eBook notebooks
Sam Majnep Symposium : Giles Lane presentation at symposium on Traditional Knowledge at University of Goroka, Papua New Guinea
StoryWeir installation at Bridport Arts Centre, Devon
the Periodical: launch of bookleteer-based printed book subscription service
bookleteer : public library & other new functionalities launched
Hidden Families : engagement project for families with relatives in prison in collaboration with NEPACS, Action for Prisoners’ Families & Information Security Group, Royal Holloway University of London
StoryWeir: site specific temporary public artwork and engagement programme commissioned for Hive Beach, Devon as pat of ExLab/Cultural Olympiad
We Are All Food Critics : project with children of Soho Parish Primary School as part of Soho Food Feast
Lifestreams: art/industry collaboration with Philips Research UK in Cambridge commissioned by Futurecity as part of Anglia Ruskin’s Visualise public art programme.
Pallion Ideas Exchange: community cohesion and development project with Pallion Action Group in Pallion Ward, Sunderland. in collaboration with Information Security Group, Royal Holloway University of London
City As Material 2: Professor Starling’s Thetford-London-Oxford Expedition: 3 bookleteer books published in collaboration with DodoLab, Canada
2011
Material Conditions : 8 bookleteer commissions by Active Ingredient, desperate optimists, London Fieldworks, Ruth Maclennan, Jane Prophet, Sarah Butler, Karla Brunet, Janet Owen Driggs & Jules Rochielle
Agencies of Engagement : collaborative research project with CARET, University of Cambridge
Fifties Fashion : commission by Day+Gluckman for exhibition at Collyer Bristow Gallery, Bloomsbury
Hot Science, Global Citizens Symposium : Giles Lane presentation, Sydney Australia
Public Goods : launch of new research programme
bookleteer: User API & web bookreader versions launched
Critical Texts : 3 essays commissioned from Bronac Ferran, Fred Garnett & Frederik Lesage
2010
As It Comes : commission by Mid Pennine Arts about independent traders in Lancaster
Broken City Lab: collaboration with DodoLab in Windsor, Ontario
City As Material : collaborative walking/publishing project using bookleteer
Graffito: online collaborative drawing app in collaboration with Big Dog Interactive, Mixed Reality Lab, University of Nottingham & Centre for Digital Music, Queen Mary University of London
100 Views of Worthing Pier : commission for Worthing Pier, Made in Worthing Festival
DodoLab Rijeka : collaboration with DodoLab’s creative intervention in the city of Rijeka, Croatia
Seven Days in Seven Dials : collaboration with partners in the Culture Quarter programme working with young people to make creative interventions in Covent Garden.
Future Jobs Fund : Proboscis supports 7 unemployed 18-25 year olds with 6-month paid placements
In Good Heart : exhibition by Alice Angus for Dig Up My Heart: Artistic Practice in the Field curated by Shauna McCabe at the Confederation Centre Gallery, Charlottetown, PEI Canada
Sensory Threads : workshop & live demonstration at CHI Atlanta, USA
Birmingham Total Place : engagement commission for Early Intervention Programme
2009
With Our Ears to the Ground : community engagement commission across Hertfordshire
bookleteer.com: self publishing platform launched
DodoLab PEI : collaboration with DodoLab in Prince Edward Island, Canada
Being in Common Catalogue of Ideas published : deck of cards bookwork
Being in Common: site specific temporary public artwork and engagement programme commissioned for Art of Common Space public art programme, Gunpowder Park, Waltham Cross.
Sensory Threads : project launches at Dana Centre, Science Museum London
DodoLab Montreal : collaboration with DodoLab at the 5th World Environmental Education Congress in Montreal, Canada
Paralelo : participation in UK/Brasil/Netherlands collaboration workshop in Sao Paulo, Brazil
Social Tapestries A Case of Perspectives published : limited edition artists bookwork
2008
At The Waters Edge: Grand River Sketches : exhibition by Alice Angus at Render, university of Waterloo, Canada
Digital Cities : London’s Future : Snout & Feral Robots exhibited in show curated by Sir Terry Farrell at The Building Centre London
Dislocate : creative workshop of place and sensing in Yokohama Japan at Dislocate Festival
Sensory Threads: participatory wearable/environmental sensor/generative sound art project in collaboration with Pervasive Computing Lab, Birkbeck University of London; Mixed Reality Lab, University of Nottingham; Centre for Digital Music, Queen Mary University of London and School of management, University of Southampton
Perception Peterborough: creative visioning commission for City of Peterborough
Proboscis moves to new studio in Turnmill St, Farringdon
Lattice::Sydney : British Council Creative Cities East Asia community engagement commission with ICE in Western Sydney, Australia
Anarchaeology at Render : collaboration with Render at University of Waterloo, Canada
Art & Cartography : exhibition of work in Kunsthalle Wien, Vienna, Austria
2007
September
RESIDENCY: Giles Lane is resident at Render, University of Waterloo, Canada, for the first stage of our public authoring collaboration (10-21/09/2007).
TALK : Giles Lane gives a talk at University of Western Ontario, London Canada (19/09/2007)
SYMPOSIUM : Alice Angus & Karen Martin present Proboscis’ work at the iDesign Symposium, Royal Festival Hall, London (18/09/2007)
July/August
RESIDENCY : Proboscis Case Study Residency participants Eloise, Georgia, Ayalouwa & Vanda complete a week long residency using the DIFFUSION Generator to create eBooks and StoryCubes (23/07-01/08/2007).
SYMPOSIUM : Alice Angus attends the British Council’s Creative Cities symposium in Yokohama, Japan (23-27/07/2007).
PERFORMANCE : Loren Chasse gives a performance, Footpaths, at Proboscis’ Studio (04/07/2007)
June
WORKSHOP: Experiencing Democracy workshop with Loren Chasse at Jenny Hammond Primary School, London.
May
PUBLICATION : Proboscis published the Conversations & Connections Project Report for the Ministry of Justice (18/05/2007)
TALK : Giles Lane participates in a debate for New Media Scotland’s Poker Club series (22/05/2007)
TALK : Giles Lane presents Snout at the TakeAway Festival, Dana Centre, Science Museum London (10/05/2007).
PANEL DEBATE : Giles Lane participates in the Social Technologies Summit at Futuresonic, Manchester (11/05/2007).
WORKSHOP: Giles Lane participates as a tutor at Mediamatic’s Hybrid World Lab, Amsterdam (7-9/05/2007)
April
CONFERENCE : Proboscis creates a Public Authoring Zone at the Enter Festival, Cambridge (26-27/04/2007).
PERFORMANCE: Snout performance and public forum in Shoreditch, London (10/04/2007).
March
TALK : Giles Lane gives a talk for Design Critical Practice at Goldsmiths College, University of London (20/03/2007)
TALK : Alice Angus gives an Artist’s Talk at Australian Centre for Photography, Sydney Australia (15/03/2007)
RESIDENCY: Proboscis principals Alice Angus & Giles Lane are resident at Campbelltown Arts Centre as part of dLux’s Coding Cultures Concept Labs and Symposium.
February
TALK : Giles Lane gives a talk on Social Tapestries and public authoring at CARTE, University of Westminster (15/02/2007)
TALK : Giles Lane presents ST at Uncharted Territories: The Brave New World of Mapping at the British Library (14/02/2007)
WORKSHOP : Giles Lane gives a design masterclass on storytelling techniques for the Interaction Design Lab at Duncan of Jordanstone College, University of Dundee (7/02/2007).
Proboscis moves to new studio in Rosebery Avenue, Clerkenwell.
January
RESIDENCY: Proboscis principals, Alice Angus & Giles Lane are resident at Render at the University of Waterloo as part of the Winter Lecture series in the School of Architecture.
2006
July
SOCIAL TAPESTRIES: Robotic Feral Public Authoring – demo at Futuresonic Festival, Manchester.
June
SOCIAL TAPESTRIES: policy seminar on
SOCIAL TAPESTRIES: project exhibited at Citymined Exhibition & Conference, South London Gallery (June 16-25).
URBAN TAPESTRIES: project exhibited at Sonar Festival, Barcelona (June 15-17th).
URBAN TAPESTRIES: project exhibited at Digital Hub, Dublin (June 9th).
URBAN TAPESTRIES: launch of beta trial of new Urban Tapestries software platform
May
DIFFUSION GENERATOR: launch of private beta trial of eBook Generator platform
March
SOCIAL TAPESTRIES: Robotic Feral Public Authoring – demo and presentation at the Takeaway Media Festival, Dana Centre London
SOCIAL TAPESTRIES: Robotic Feral Public Authoring – publication of new Cultural Snapshot
DIFFUSION GENERATOR: launch of private alpha trial of eBook Generator platform
SOCIAL TAPESTRIES: Proboscis awarded an innovation grant by the Electoral Policy Division of the Department of Constitutional Affairs.
February
SOCIAL TAPESTRIES: Robotic Feral Public Authoring – Field trial of experimental Feral Robots in London Fields.
2005
November
DIFFUSION eBooks: Proboscis publishes three new DIFFUSION eBooks in the Liquid Geography series by: Hayden Lorimer & Kate Foster, Joyce Majiski & Louise K Wilson.
SOCIAL TAPESTRIES: Community Collaborations: Havelock (HIRO) Open Day.
SOCIAL TAPESTRIES: Education Collaborations: Jenny Hammond Primary School Open Day.
SOCIAL TAPESTRIES: Robotic Feral Public Authoring. Bodystorming Workshop at Space Media Arts for local residents and users of London Fields.
October
SOCIAL TAPESTRIES: presentation at May You Live in Interesting Times Conference Chapter Arts, Cardiff
SOCIAL TAPESTRIES: presentation at Middlesex University (Lansdown Lectures Series)
SOCIAL TAPESTRIES: presentation at Re:Activism Conference Central European University, Budapest, Hungary SOCIAL TAPESTRIES: Keynote at Future Wireless Cybersalon, Dana Centre, London
September
SOCIAL TAPESTRIES: presentation at The Matching Link Symposium Stroom, Den Haag, Holland
JOB OPPORTUNITY: Proboscis is seeking a part-time temporary assistant for the Social Tapestries Project. details here
NAVIGATING HISTORY: Neville Gabie’s project, 10th September 2001…Archive Within An Archive launched.
NAVIGATING HISTORY: Workshop at Worthing Library for Jason Bowman’s project, Untitled (Reading)
August
TOPOGRAPHIES & TALES: work-in progress film by Alice Angus & Joyce Majiski screened in the Picturing the Yukon: Yukon Films on Tour series, Canada
July
SOCIAL TAPESTRIES PUBLIC FORUM: half day event focussing on research and future direction of the programme, hosted by the Stanhope Centre for Communications Policy Research.
TOPOGRAPHIES & TALES: Sound Scavenging Workshop at Jenny Hammond Primary School, in collaboration with Loren Chasse.
June
DIFFUSION eBooks: Proboscis publishes new DIFFUSION eBooks in the Species of Spaces series by: Raoul Bunschoten, Nina Czegledy, Scott delaHunta, & Minna Tarkka.
SOCIAL TAPESTRIES: Community Collaborations. Bodystorming Workshop with St Marks Housing Coop in West London.
March
TOPOGRAPHIES & TALES: Creative Lab & Public Forum at Canada House
URBAN TAPESTRIES: presentation at Whitehead Lecture Series, Goldsmiths College, University of London
Proboscis: presentation at Ruskin School of Drawing & Fine Art, University of Oxford
February
TOPOGRAPHIES & TALES: talk by Alice Angus at Yukon College, Dawson City, Canada
URBAN TAPESTRIES: presentation at University of Cambridge Computer Science Dept
URBAN TAPESTRIES: presentation at PLAN, ICA, London
January
30/1/2005: Proboscis announces a new CULTURAL SNAPSHOT by Nick West.
TOPOGRAPHIES & TALES: Alice Angus & Joyce Majiksi in residence at the Klondike International Arts Centre, Dawson City, Yukon, Canada.
2004
November
URBAN TAPESTRIES: presentation at Devices of Design Colloquia, Canadian Centre for Architecture, Montreal Canada
October
URBAN TAPESTRIES: exhibition at ArchiLab, Lyons, France
URBAN TAPESTRIES: launch of UT web browser & RSS Feeds
4/10/2004: NAVIGATING HISTORY: project launches – website | events calendar
September
SOCIAL TAPESTRIES: 1 day Creative Lab at the London School of Economics
August
Proboscis awarded funding by EPSRC (Engineering & Physical Sciences Research Council) to host a Visiting Fellowship by Natalie Jeremijenko in 2004/05.
July
30/7/2004: Proboscis announces two new CULTURAL SNAPSHOTS by Giles Lane and Katrina Jungnickel.
June
10 Years of Proboscis: we celebrate our tenth anniversary since founding Proboscis in 1994
URBAN TAPESTRIES: field trial of mobile phone prototype, London
May
URBAN TAPESTRIES: Presentation at PsychoGeoConflux, New York
April
29/4/2004: URBAN TAPESTRIES: Presentation at Cybersalon Mobile Futures, Dana Centre at Science Museum London
26-27/4/2004: URBAN TAPESTRIES: Participation in the Crossing Project, Finnish Institute London
21/4/2004: URBAN TAPESTRIES: Presentation at DigiPlay Symposium, University of Surrey
21/4/2004: URBAN TAPESTRIES: Presentation at Critical Platform, HTBA Hull
14/4/2004: Panel Session at Life of Mobile Data Conference, University of Surrey
URBAN TAPESTRIES: Bodystorming Experience at London School of Economics
Proboscis becomes an Arts Council England RFO (Revenue Funded Organisation) 2004-2006
March
URBAN TAPESTRIES: Presentations at Nokia, BBCi, Middlesex University, University of Westminster
SOCIAL TAPESTRIES: Calouste Gulbenkian Foundation awards funding for collaborations with civil society organisations to develop experiments using Urban Tapestries.
NAVIGATING HISTORY: Arts Council England, Creative Partnerships Kent, West Sussex County Council, Mid Kent Arts & Libraries and East Sussex County Council award funding to new series of commissions in archives in South East England.
February
14/2/2002: Proboscis launches new website
URBAN TAPESTRIES: DTI awards funding extension to UT
January
31/1/2002: Proboscis announces new CULTURAL SNAPSHOT
URBAN TAPESTRIES: Presentation at Approaching the City conference, University of Surrey
2003
December
URBAN TAPESTRIES: public trial of prototype system in Bloomsbury, London: details
URBAN TAPESTRIES: Presentation at Intelligent Media Institute Workshop, Imperial College London
November
URBAN TAPESTRIES: Presentation at DMZ Festival, London
URBAN TAPESTRIES: Presentation at CHArt Conference, London
October
URBAN TAPESTRIES: Presentations at Blur03 (New School University), Tisch Interactive Telecommunications Program (NYU), Parsons School of Design and School of the Visual Arts, New York
URBAN TAPESTRIES: Presentation at Department of Trade & Industry Knowledge Transfer Club
September
URBAN TAPESTRIES: Participation at Place Conference, Intel Research Labs Oregon
DIFFUSION eBooks: Presentation at The Digital Hub, Dublin
Presentation at People Inspired Innovation Conference, Adastral Park Suffolk
MAPPING PERCEPTION FILM screening at the British Council Film Festival in Berlin
2/9/2003: URBAN TAPESTRIES: Bodystorming Experience at London School of Economics
August
21/8/2003: URBAN TAPESTRIES: Bodystorming Experience at London School of Economics
July
30/7/2003: Proboscis Privacy Policy updated
18/7/2003: URBAN TAPESTRIES: Presentation at Wireless World Conference, University of Surrey
10/7/2003: DIFFUSION eBooks selected for EXHIBIT3 at The Digital Hub, Dublin (runs until 30/9/2003)
June
20/6/2003: URBAN TAPESTRIES: Bodystorming Experience at Hewlett-Packard Research Labs, Bristol
6/6/2003: P2P CREATIVE LAB 2: Creative Interventions: digital technologies & public libraries
with Lighthouse Media Centre Brighton
4 & 7/6/2003: MAPPING PERCEPTION FILM screening at Cheltenham Festival of Science
4-9/6/2003: MAPPING PERCEPTION FILM screening at International Short Film Festival Hamburg
May
30/5/2003: Proboscis announces 5 new DIFFUSION eBooks in the Species of Spaces series | Press Release
by: Caroline Bassett, John Foot, Melanie Jackson, Simon Pope and Anne Sobotta
1-2/5/2003: P2P CREATIVE LAB 1: Wireless Networks, Public Authoring & Social Knowledge at London School of Economics.
Daniel Langlois Foundation supports URBAN TAPESTRIES
SPECIAL LIMITED EDITION OFFER: MAPPING PERCEPTION BOOK & CD-ROM & PAL VHS VIDEO
PLUS COIL 2, 3, 6, 7, 8, 9/10 AND GHOST STORIES ALL FOR ONLY £25: DETAILS HERE
ONLY 14 SETS REMAINING
April
26/4/2003: MAPPING PERCEPTION FILM screening at European Media Art Festival, Osnabruck, Germany
25/4/2003: MAPPING PERCEPTION FILM screening at LUX Open, Royal College of Art, London
18/4/2003: MAPPING PERCEPTION FILM screening at Singapore International Film Festival
March
18/3/2002: Proboscis announces four new CULTURAL SNAPSHOTS
January
URBAN TAPESTRIES receives approval for DTI funding as part of the City & Buildings Research Centre
(Hewlett Packard Research Labs, Bristol) of the Next Wave Technologies & Markets programme.
Arts Council of England Collaborative Arts supports URBAN TAPESTRIES
MAPPING PERCEPTION FILM screening at the British Film Festival in Israel, January 2003
2002
November
30/11/2002: SONIC GEOGRAPHIES presentation at ULTRASOUND SYMPOSIUM, Huddersfield: details here
23/11/2002: MAPPING PERCEPTION FILM premieres in UK at Brief Encounters Film Festival,Watershed, Bristol
October
8/10/2002: MAPPING PERCEPTION BOOK & CD-ROM Published.
9/10/2002 to 3/11/2002: MAPPING PERCEPTION INSTALLATION exhibited at Cafe Gallery Projects
September
MAPPING PERCEPTION presentation at Sciart Symposium, Liverpool Biennial: 26th September 2002
12/9/2002: Dr Mark Lythgoe to present the prestigious Dorothy Hodgkin Award Lecture for the BA (British Association for the Advancement of Science) on MAPPING PERCEPTION at the University of Leicester.
July
London Arts supports further DIFFUSION eBooks for SPECIES OF SPACES series
June
25/6/2002: Proboscis and MEDIA@LSE host PRIVATE REVERIES, PUBLIC SPACES: PUBLIC FORUM
launch of prototypes and new website | Press Release
14/6/2002: Proboscis and INIVA host Liquid Geography Creative Lab 2
14/6/2002: Proboscis announces new series of DIFFUSION eBooks: Liquid Geography | Press Release
14/6/2002: Proboscis announces new DIFFUSION website
4/6/2002: SoMa presentation at New York University’s Centre for Advanced Technology: details here
Arts Council of England New Media Projects Fund supports PRIVATE REVERIES, PUBLIC SPACES
May
3/5/2002: CELEBRATING GEORGES PEREC, Architectural Association
an evening celebrating Perec and marking the publication of AA Files 45/46 & DIFFUSION eBooks series, SPECIES OF SPACES
Peer2Peer Creative Labs postponed to Autumn 2002
April
24-28/4/2002: INTIMATE TECHNOLOGIES/DANGEROUS ZONES SUMMIT, Banff Centre, Alberta, Canada: Giles Lane panel presentation
March
22/3/2002: Proboscis and INIVA host Liquid Geography Creative Lab 1
3/3/2002: Proboscis announces new series of DIFFUSION eBooks: Species of Spaces
Press Release for Species of Spaces
January
Arts Council of England supports Peer2Peer Creative Labs
2001
December
2/12/2001: SONIC GEOGRAPHIES presentation at the Architecture Foundation as part of Calling London
November
South East Arts supports P2P Creative Labs
October
Proboscis launches new online publishing series: CULTURAL SNAPSHOTS
September
PRIVATE REVERIES PUBLIC SPACES commissions for conceptual prototypes awarded to:
Natalie Jeremijenko/Bureau of Inverse Technology (Feral Robotis Sniffer Dog)
Ben Hooker & Shona Kitchen (Hard Shoulders and Soft Verges) and
Rachel Baker (Platfrom).
August
SoMa – social matrices think tank for culture: new website here.
July
Proboscis launches new website for Peer2Peer: www.peer2peer.org.uk
London Arts supports new DIFFUSION eBook series: SPECIES OF SPACES.
June
New website for MAPPING PERCEPTION launched.
Proboscis receives major award from the Fondation Daniel Langlois, Montreal for PRIVATE REVERIES PUBLIC SPACES
May
Proboscis announces new projects in development for 2001/2002:
PRIVATE REVERIES PUBLIC SPACES, SONIC GEOGRAPHIES, AUDIO HARVEST and a new series of DIFFUSION eBooks: SPECIES OF SPACES
April
Proboscis now undertaking commissions to design and produce DIFFUSION eBooks for clients.
Peer2Peer documentation available: here
SoMa – social matrices think tank for culture inaugural event: Peer2Peer one day seminar held at the Royal College of Art
Arts Council of England adopts DIFFUSION eBook format for CODE conference essays:
Stewart Home | Matt Locke | Steve Beard
March
Arts Council of England (Collaborative Arts Unit) supports SoMa: social matrices think tank
February
Calouste Gulbenkian Foundation supports further research and collaboration of MAPPING PERCEPTION project.
January
SoMa – social matrices think tank for culture: aims and objectives published.
2000
December
1/12/2000: COIL final double issue 9/10 published.
September
19/9/2000: PERFORMANCE NOTATIONS, the first series in the online imprint DIFFUSION eBooks goes online at www.diffusion.org.uk
4/9/2000: Proboscis publishes TOPOLOGIES RESEARCH & FEASIBILITY REPORT
August
Ghost Stories by Pavel Büchler selected for the American Center for Design’s 23rd Design 100 Show: Not Yet the Periphery
The 23d 100 Show was chaired by Allen Hori of Bates Hori and juried by Gaye Chan of the University of Hawai’i,
Siobhan Keaney of London, and Harmine Louwe of The Hague.
July
7/7/2000 at the LUX CINEMA: evening of screenings celebrating forthcoming publication of final issue of COIL journal of the moving image
June
initial research phase for TOPOLOGIES public art for public libraries initiative completed.
Proboscis awarded major funding by National Lottery through the Film Council for MAPPING PERCEPTION film
April
Proboscis wins major Sciart Consortium Production Award for MAPPING PERCEPTION installation
March
Proboscis awarded funding by South East Arts towards MAPPING PERCEPTION film
January
Arts Council of England support initial research phase of TOPOLOGIES public art for public libraries initiative
1999
November
Arts Council of England support DIFFUSION project
September
Proboscis awarded funds by London Production Fund towards MAPPING PERCEPTION film
June
COIL issue 8 published
March
Ghost Stories: stray thoughts on photography and film by Pavel Büchler published
February
Arts Council of England awards grant to publish COIL final double issue 9/10
1998
September
COIL issue 7 published
London Film & Video Development Agency award grant for COIL
June
Channel Four Television awards grant from Cultural Fund for COIL
May
COIL issue 6 published
New associate director appointed to the board: Brandon LaBelle of Errant Bodies Press, Los Angeles
Damian Jaques leaves Proboscis
April
Arts Council of England awards grant to publish Ghost Stories by Pavel Büchler
February
Arts Council of England awards grant to publish COIL issues 7 & 8
1997
November
COIL screening programme at LUX Cinema: films by Brothers Quay, Walerian Borowczyk, Clio Barnard & Jayne Parker
September
COIL issue 5 published
June
Arts Council of England awards grant to publish COIL issue 6
May
Channel Four Television awards grant from Cultural Fund for COIL
February
Arts Council of England awards grant to publish COIL issue 5
January
COIL issue 4 published
1996
November
Proboscis incorporated in England and Wales as a company limited by guarantee (non profit)
Founding Directors: Giles Lane, Damian Jaques & Joan Johnston
October
COIL journal of the moving image featured in Life/Live exhibition at ARC – Musee d’Art Moderne de la Ville de Paris
June
COIL issue 3 published
Proboscis moves into shared office with MUTE Magazine in Curtain Road, Shoreditch
January
Arts Council of England awards grant to publish COIL issues 3 & 4
1995
December
Channel Four Television awards grant from Cultural Fund for COIL
November
COIL issue 2 published & launched at Glasgow Film & Video Workshop
June
Arts Council of England awards grant to publish COIL issue 2
March
COIL issue 1 published & launched at 152c Gallery, Brick Lane, London
1994
December
Arts Council of England awards grant to publish COIL issue 1
June
Proboscis founded by Giles Lane and Damian Jaques as a partnership to publish COIL journal of the moving image
people
October 29, 2008 by Giles Lane · Leave a Comment
CORE TEAM • ASSOCIATES • INTERNS • ALUMNI
| CO-DIRECTORS | Alice Angus & Giles Lane |
| TEAM/KEY ASSOCIATES | Jo Hughes, Joe Flintham & Paul Makepeace |
| SOUNDING BOARD | Bronac Ferran, Dr Myria Georgiou, Angad Kaur, Hannah Redler, Sarah Thelwall, Bill Thompson. |
| BOARD OF DIRECTORS | Alice Angus & Giles Lane |
CORE TEAM
Proboscis was founded by Giles Lane and is directed by Alice Angus and Giles Lane.
ALICE ANGUS
Alice is co-Director of Proboscis since 1998 and an artist, her personal interests and work revolve around; an interest in using artistic practices to rethink perceptions of common space (in urban space, landscape and water) and environmental knowledge, particularly around food and water; and an interest in how artistic practice can intersect with other disciplines suggesting new models of collaboration. Over the recent years she has been creating a body of work exploring concepts of proximity and presence, against the lived experience of a place including: In Good Heart (2010) about perceptions of farming; At the Waters Edge: Grand River Sketchbook (2008) for Render at the University of Waterloo, Ontario and Topographies and Tales (2005 – 09) a collaboration and short film with Joyce Majiski. The role of food markets, independent shopkeepers and the economics of the high street is being explored in 2010 in a series of collaborations and commissions with The Empty Shops Network, with Dodolab, and with Mid Pennine Arts.
GILES LANE
Giles founded and co-directs Proboscis. He leads its research programme (SoMa) as well as directing major projects and initiatives such as bookleteer.com, Social Tapestries, Urban Tapestries and Mapping Perception. Giles founded and edited COIL journal of the moving image as well as conceiving the DIFFUSION eBook and StoryCube formats. Between 1998 and 2002 Giles worked at the Royal College of Art, first in the Computer Related Design Research Studio (1998-2001), and latterly as a Research Fellow in the School of Communications. He was a Research Associate of the Media and Communications department at the London School of Economics (2001-10) and a visiting tutor on the MA Design Course at Goldsmiths College, University of London (2008-10). Giles was elected a Fellow of the Royal Society of Arts in 2008 for his contribution to community development through creative practice.
JO HUGHES
Jo is Proboscis’ finance manager and bookkeeper. Jo runs her own accounts management and bookkeeping business for arts organisations – Blackdot Ltd.
ASSOCIATES
YASIR ASSAM
Yasir is the senior developer of bookleteer.com and runs his own software development company, Endless Void from his base in rural Australia.
JOE FLINTHAM
Joe is a web architect, developer, research and lecturer in Interactive Media at Bournemouth University. He works with Proboscis on interface development for bookleteer – his website is stowaway.net
STEFAN KUEPPERS
Stefan is an educator, designer and technologist with a focus on creating technologies for the built environment, collaboration, knowledge management, visualisation and simulation. He has worked as a researcher at the Bartlett School (UCL) and University of the Arts and most recently has been a Design & Collaboration Technology Specialist for the Bartlett School of Architecture at University College London. He has been a Proboscis Associate since 2007 as a key member of bookleteer’s development team and since Autumn 2011 has been Senior Research Associate developing new R&D capabilities in electronics, 3D fabrication and other technologies.
FREDERIK LESAGE
Frederik is a sociologist and ethnographer who has worked with Proboscis on several projects including Sensory Threads and bookleteer.com. He received his PhD from the London School of Economics and is currently a Teaching Fellow at Kings College, University of London.
PAUL MAKEPEACE
Paul is a programmer and sys admin working for Apple in California. He host and administers Proboscis’ public webserver, lists and mail server. Paul was also a programmer on Urban Tapestries and upgraded the original system for the mobile phone trial in June 2004.
GARY STEWART
Gary is an artist and researcher working between the UK, Brazil and the Caribbean. He is Artist in Residence and Research Associate at People’s Palace Projects a creative NGO established at Queen Mary, University of London whose vision is to extend understanding of the transformative powers of art to progress social justice and human rights issues through individual, collective and institutional change. Gary’s multidisciplinary activities across different countries enables him to forge relationships and dialogues across disciplines that bring together international and UK artists, activists, academics and audiences. Gary works with Proboscis as a Senior Creative Associate on new creative projects combining youth and public engagement with experimental media practices and technologies.
HAZEM TAGIURI
Haz collaborates with Proboscis on new publishing initiatives arising from bookleteer. He originally joined Proboscis in July 2010 on a 6 month placement supported by the Future Jobs Fund through New Deal of the Mind and was employed as a Creative Assistant on publishing and engagement projects until August 2012.
MANDY TANG
Mandy works with Proboscis as an illustrator. She originally joined Proboscis in July 2010 on a 6 month placement supported by the Future Jobs Fund through New Deal of the Mind and was employed as a Creative Assistant using her illustration and drawing skills across a range of projects until August 2012.
SARAH THELWALL
Sarah is a business and strategy consultant whose skills combine blue chip marketing, strategy and business development (B2B and B2C). Sarah was Proboscis’ Consultant in Residence (2004-07) is collaborating with Proboscis on a series of business development and strategy consulting initiatives for the the visual arts sector. Sarah received her MBA from Imperial College London.
INTERNS & PLACEMENTS
ELENA FESTA (June 2011-October 2011)
MOIN AHMED (November 2010-May 2011)
RADHIKA PATEL (November 2010-April 2011)
HAZEM TAGIURI (July 2010-January 2011)
MANDY TANG (July 2010-January 2011)
SHALENE BARNETT (March-September 2010)
KARINE DORSET (March-August 2010)
JOHN MCCARTIN (September-October 2009)
DIA BATAL (January-July 2009)
NIHARIKA HARIHARAN (July-September 2008)
PETER TIMMS (May-June 2008)
CARMEN VELA MALDONADO (January-June 2008)
DIAB AL-KUDARI ( July-September 2003)
ALUMNI
MOIN AHMED
Moin is a Web Development Assistant on a 6 month placement supported by the Future Jobs Fund through Islington Council.
DEMETRIOS AIRANTZIS
Demetrios is an electronics engineer and works with Proboscis on developing sensor platforms for Sensory Threads, Snout and Robotic Feral Public Authoring.
DANIEL ANGUS
Daniel is a programmer based in Ayrshire, Scotland. He specialises in network application design and implementation, and is a senior programmer at the Student Loans Company. He was previously CTO of Autonomous Software and Thought Ltd. Daniel was the original software architect of the original Urban Tapestries platform.
SHALENE BARNETT
Shalene was a Communications and Coordination Assistant on a 6 month placement supported by the Future Jobs Fund through Islington Council. Shalene joined in March 2010 and worked both on projects related to bookleteer and studio coordination.
JOHN PAUL BICHARD
John is a games and web designer. John took part in PRPS as well as designing the project website. John led the software development on Urban Tapestries in 2003/04 and is now developing ‘Neighbourhood Games’, a research project on social gaming and mobile technologies, for Social Tapestries.
CAMILLA BRUETON
Camilla worked for Proboscis from November 2005 to June 2006 as part-time project assistant on Social Tapestries. Camilla is a practising artist and combined her role with Proboscis with that of Training Manager at SPACE Studios.
LOREN CHASSE
Loren is a sound artist and educator based in San Francisco, USA. He collaborated with Proboscis on the Sound Scavenging project as part of Topographies & Tales as well as 3 Social Tapestries workshop projects with Jenny Hammond Primary School from 2005-7 (Sound Scavenging; Everyday Archaeology & Experiencing Democracy)
DIMA DIALL
Dima has recently completed his PhD in Computer Science at University College London. He designed and built a sensor platform for the Robotic Feral Public Authoring project as part of Social Tapestries.
KARINE DORSET
Karine was a Communications Assistant on a 5 month placement supported by the Future Jobs Fund through Islington Council. Karine joined in March 2010 and worked on bookleteer projects.
STEVE EHRLICHER
Steve acted a Proboscis’ finance consultant (2004-06), assisting with bookkeeping, managing of project budgets and reporting to funders. Steve is also a practising artist and performer.
PAUL FARRINGTON
Paul is a designer, sound artist and founder of the design agency Studio Tonne. For Proboscis Paul designed and developed the DIFFUSION eBook format. Proboscis and Studio Tonne teamed up to write, edit, design and produce a book for IDEO London about their innovative design and product development for the Prada Store in New York.
NIMA FALATOORI
Nima is a designer and principal of NMoDesign. He collaborated with Paul Farrington on the design and development of the DIFFUSION eBook format, and designed individual titles. Nima was also responsible for design and implementation of the DIFFUSION website launched in May 2002. Nima designed the CD-ROM for the Mapping Perception project.
MICHAEL GOLEMBEWSKI
Michael is an artist and interaction designer, recently graduated from the Royal College of Art MA Interaction Design programme. Michael designed some Flash animations about Urban Tapestries and created the original Flash Viewer for the UT system.
NIHARIKA HARIHARAN
Niharika is a MA student at Central St Martins College of Art & Design (Creative Practice for Narrative Environments) and received her BA and Professional Diploma from Srishti School of Art, Design and Technology, Bangalore. Niharika was an intern during 2008 and has since worked with Proboscis as an assistant on the project Being in Common.
KEVIN HARRIS
Kevin runs the community development consultancy, Local Level, and collaborated with Proboscis on the Social Tapestries project, Conversations and Connections.
DAMIAN JAQUES
Damian co-founded Proboscis with Giles Lane in 1994 to publish COIL journal. Damian was the graphic designer of the first 6 issues of the journal and a director of the company. Damian left to develop his burgeoning freelance design practice in 1998.
NATALIE JEREMIJENKO
Natalie is a world renowned artist and engineer and a founder member of the bureau of inverse technology. Natalie was an EPSRC Visiting Fellow at Proboscis during 2004/2005 investigating the uses of her Feral Robots with Urban Tapestries. Natalie was previously commissioned by Proboscis for PRPS. Natalie runs the Experimental Design Lab at University of California San Diego (UCSD).
JOAN JOHNSTON
Joan is a freelance arts manager with experience in the independent film and video sector and a director of Supernova*, a new site for Early Childhood in East London. Recent projects include: Location Manager – a guide to East and North London’s filming locations and local services, published through her own company Lightbulb Productions. Most recently Joan has been involved in research and development for the Centre for the Cell for Queen Mary and Westfield College and Barts and the Royal London Hospitals Trust. Joan received her MA in Arts Management from City University, London in 2000.
KATRINA JUNGNICKEL
Kat is a socio-cultural researcher on business, non-profit and academic projects. Her work focuses on new technologies and social behaviour, mobility and place. She was a team member on Urban Tapestries and contributed to other projects such as Mapping Perception and LILT.
ANGAD KAUR
Angad is a curator, editor and art consultant. Her work for Proboscis included co-editing Performance Notations (DIFFUSION eBooks), and research and development on Topologies and, more recently, planning the marketing and promotion strategy for Mapping Perception. She is a Contributing Editor of Portfolio Magazine and was Managing Editor of Afterall Magazine. Angad consults widely for artists and organisations, editing several CD-ROMs for FACT, developing a contemporary commissions programme for the London School of Hygiene & Tropical Medicine (1999-2001) and working as development officer for Blast Theory.
BRANDON LABELLE
Brandon is a writer, editor and sound artist, and the founder of Errant Bodies. Brandon has performed and created installations for art and music venues and festivals in the USA, Japan, UK, France, Switzerland, Italy, Germany, Austria, Holland and Denmark, such as for ISEA 98 and at NTT ICC, Tokyo. Recordings of his work have been released by labels such as: Unique Ancient Tavern , Fringes, Selektion, Ground Fault, meme, digital narcis. Brandon curated the Social Music series of experimental sound works for Kunstradio Vienna, which were broadcast from May to October 2001.
JOYCE MAJISKI
Joyce is an artist and wilderness guide based in the Yukon, Canada. Joyce is collaborating with Proboscis on the Topographies & Tales project.
KAREN MARTIN
Karen has worked for Proboscis in a variety of roles: on interface design for the Robotic Feral Public Authoring and Snout projects, facilitating the Diffusion Case Study Residencies and developing the Diffusion website. Recently Karen has been a team member on bookleteer.com, Sensory Threads, Being in Common and Sutton Grapevine. Karen is an artist and researcher studying for an EngD at the Bartlett School of Architecture, University of London.
RACHEL MURPHY
Rachel is an interaction designer and principal of Rudegirl Designs. She has worked as a Usability Consultant for Motorola and a Conceptual Designer for Lego Futura and Hewlett-Packard Research Labs. Rachel was a team member on Urban Tapestries and is a commissioned artist for Navigating History.
DIKAIOS PAPADOGKONAS
Dikaios is studying for a PhD in Computer Science at Birkbeck College, University of London. Dikaios worked with Proboscis on the development of a Java client for mobile devices for the Urban Tapestries platform.
GEORGE PAPAMARKOS
George is studying for a PhD in Computer Science at Birkbeck College, University of London. George has taken over the role of software architect and system programmer for the Urban Tapestries platform and is led the development of version 2 of the system.
RADHIKA PATEL
Radhika is a Marketing Assistant on a 6 month placement supported by the Future Jobs Fund through New Deal of the Mind. Radhika joined in November 2010 and is working across projects on marketing and promotion.
VICTORIA PECKETT
Victoria recently completed her Masters in Media and Communications at at the London School of Economics. She was a social researcher on Urban Tapestries.
DIAB AL-KUDAIRI
Diab read Computer Science and Management at Kings College, University of London. He was on a STEP Placement with Proboscis during Summer 2003, working on the DIFFUSION eBook Generator proof of concept prototype.
ZOE SUJON
Zoe is a PhD candidate in Media & Communications at the London School of Economics. She is a social researcher on Urban Tapestries and Social Tapestries.
CARMEN VELA MALDONADO
Carmen is a MA student at Central St Martins College of Art & Design and has a postgraduate Diploma in Design for Visual Communication at the University of the Arts, London (London College of Communication), and a BA in Advertising and Public Relations, at the Communication University in Seville, Spain. After completing a 4 month internship with Proboscis in 2008, Carmen has since been commissioned to design several print publications for Proboscis projects as well as contributing template designs and other graphic material for bookleteer.com.
MARCEL WEIHER
Marcel is a programmer and principal of metaobject. Marcel collaborated with Proboscis on the development of the DIFFUSION eBook Generator proof of concept prototype.
NICK WEST
Nick is an information architect and researcher, currently studying for a PhD at Goldsmiths College, University of London. He has managed research projects at New York University (with Bell Atlantic/ Nynex and Viacom), National Museum of Fine Arts, Rio de Janiero as well as posts at Paramount Pictures and Apple. Nick worked on Urban Tapestries and Social Tapestries.
ORLAGH WOODS
Orlagh Woods is an artist whose work explores how diverse people and communities engage with each other and their environment – how they connect, communicate and are perceived both through digital and non-digital means. She worked with Proboscis from 2004 to 2010 on projects such as Social Tapestries, Snout, Everyday Archaeology, Experiencing Democracy, Render, Lattice:Sydney, Perception Peterborough, Being in Common, Sutton Grapevine & With Our Ears to the Ground. Orlagh also curates a professional development programme for British Asian theatre company, Tamasha, in London.
Hydrous, V2 Rotterdam
August 22, 2008 by aliceangus · Comments Off on Hydrous, V2 Rotterdam
Alice Angus presented at Hydrous’08 STS and the ARTS Read Changes in Water Governance” at V2 Institute for Unstable Media in Rotterdam and organised by Katie Vann at the Virtual Knowledge Studio of the Royal Netherlands Academy of Arts and Sciences.
Hydrous brought together scientists, anthropolgists, filmakers and artists to look at issues and initiatives in water management and governance around the world looking across a range of issues and areas of conflict and crisis from how small desert communities manage their water source to the governance of large watersheds. Alice brought the first of her new series of eBooks At The Waters Edge to Hydrous and
discussed how her practice and the work of Proboscis finds itself emerging into dialogues around water.
StoryCubes Workshop – Manchester Beacon
June 20, 2008 by Giles Lane · 1 Comment
Proboscis were commissioned by the Manchester Beacon Project and Just-b Productions to design and facilitate a StoryCubes Workshop as part of developing a brief for commissioning an online ‘public engagement tool’.
Read more about the workshop and view it outcomes here.
Participants:
Katz Kiely, Giles Lane, Karen Martin, Erinma Ochu, Rob Annable, Geoff Laycock, Constance Fleuriot, Lewis Sykes, Maria Stukoff, John Wetheral, Dom Raban, David Fernandez-Dias, Tim Riches, Martyn Amos, Marjahan Begum, Toby Howard, Andrew Wilson, Onno Baudouin and Dwayne Brandy.
Team: Giles Lane and Karen Martin
Sensing the city and other stories
July 15, 2004 by Giles Lane · Comments Off on Sensing the city and other stories
Cultural Snapshots No.8 July 2004
Urban Tapestries: sensing the city and other stories by Katrina Jungnickel
Mapping Perception Book & CD-ROM
October 15, 2002 by Giles Lane · 1 Comment
An 80 page book and CD-ROM accompanying the film and installation, the book contains illustrated texts by Janna Levin, Giles Lane, Mark Lythgoe, Andrew & Eden Kotting and Toby McMillan and contributions from scientists at the Institute of Child Health and the University of Washington.
“An exemplary undertaking of great precision and reach”
Gareth Evans, Artists Newsletter, February 2003
Book edited by Giles Lane & Katrina Jungnickel with Mark Lythgoe
Designed by Allyson Waller
CD-ROM edited by Alice Angus
Designed by Nima Falatoori, NMoDesign
Paperback 80 pages, 180 colour images ISBN: 1 901540 21 9
Published October 2002
Price £12.00 – Buy Online
COIL journal issue 6
May 17, 1998 by Giles Lane · Comments Off on COIL journal issue 6
ARTISTS PROJECTS
- Jaki Irvine
- Pervaiz Khan & Felix de Rooy
- Andrew Stones
- Marcelyn Gow
TEXTS
- Maria Walsh – Beyond the Lighthouse: a Reflection on two films by Tacita Dean
- Kevin Henderson – The Hunters in the Snow
- Francis McKee – Between the Lines: Valerie Mrejen’s words and pictures
- Anna Maris – Pelle Wichmann: Northern Exposure
- Katrina McPherson – Video Dance: sketches on process and structure
- Andrew Poppy – Six Happy Ideas, or Killing the Vision Kid
- Sean Cubitt – Abandoned Projects in the Pursuit of Beauty
edited by Giles Lane
issue designed by Damian Jaques cover image: Katrina McPherson
published May 1998
COIL journal issue 2
November 30, 1995 by Giles Lane · Comments Off on COIL journal issue 2
- Helen Sear
- Rita Keegan
- Andrew Kötting
- Anne Tallentire
TEXTS
- Stuart Morgan – Bill Viola: Video as Meditation
- Kathleen Pirrie Adams – Obscure Objects and Space Oddities: Fetish and Queerness in the Films of Tanya Syed
- Mark Lythgoe – Images of the Mind
- William Firebrace – Treptow
- Gad Hollander – The Preparation: A Writer’s Occupation Before/After Writing
- Marina Grzinic – Identity Re-read, Re-worked, Re-coded by New Media and Technology
- Laura Hudson – Promiscuous 8
- Clement Page – Matthew Barney: Masculinity at the Margins
- Anna Maris – Angry Kids and Body Projections: A Look at the New Generation of Bristol Animation
edited by Giles Lane
issue designed by Damian Jaques cover images: Mark Waller
published November 1995
