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(recorded live at: Day Event | Orgasmic Streaming Organic Gardening Electroculture held at LUX Waterlow Park Centre - the programme as live counterpart of the eponymous exhibition ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE at Chelsea Space, May 2018)
Error-Correction: an introduction to future diagrams
meets
Low Animal Spirits
The scripting of language and code conjoin with a suspect ‘liveness’ of performance in Ami Clarke’s assemblage of two works;
Error-Correction: an introduction to future diagrams (2010 - ongoing)
and
Low Animal Spirits (2014).
Initially, two separate works, they become one performative sound and spoken word work, that included the reading of a constantly updated script, as the software Low Animal Spirits played live over the top of the performer: Ami Clarke.
Error-Correction: an introduction to future diagrams
is a script reflecting on the influence of calculus, in which each articulation is just one of many takes, constantly re-edited, that references and includes openly appropriated texts, contemporary commentary, news items, anecdotal evidence; culminating in an interrelated convergence of many interwoven threads, whereby the voice (through language) is constituted between someone else's thoughts and the page.
Serendipitously, the work conjoined with
Low Animal Spirits (2014) a High Frequency Trading (HFT) algorithm dealing in world news, speculating on what is 'about' to trend, that speaks of the highly volatile production of language within the calculus of a meme economy. Low Animal Spirits emerged from the semiotic 'boom' in which hyper-speculation, via the loss of the referent in both language and the economy, is shared across the trending behaviour of neoliberal/free market dynamics in finance, as well as emerging media ecologies.
Drawing on a critical post-human perspective, any subject to speak of, emerges from this assemblage via an untrustworthy body with faulty equipment, produced in synthesis with it's environment, that feels through prosthesis with a body that matters, without mattering.
Low Animal Spirits and Error-Correction: an introduction to future diagrams performances:
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Liquidity Symposium, ICA, London (Dec 2015)
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Wysing Arts Centre (Feb 2016)
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From Headstone to Hard-drive, Central Saint Martins University of the Arts (May 2016)
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Cold Bodies, Warm Machines - Art, Technology And The Posthuman, NRW-Forum Dusseldorf (Nov 2016)
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Symposium on experiments in Text - Wimbledon University of the Arts (Nov 2016)
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Dec0rative D0rmit0ries f0r Sleep W0rkers - xero, kline and coma, London (May 2017)
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I am not an Islander Act 1 - Brunel Shaft tunnel (July 2017)
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ORGASMIC STREAMING; LUX / Chelsea Space (May 2018)
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ODD catalyst, Bucharest (Sept 2018) - the text of Error-Correction was translated into Romanian and read by Cristina Valescu
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Artists’ publications as instructions, scores and manuals; AWP Symposium, The Tetley, Leeds, (Oct 2018)
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Covfefe: Language in a meme economy, Pumphouse gallery, London (Nov 2018)
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Digital Ecologies conference, Bath Spa University (July 2019)
The nature of the work: 'Error-Correction: an introduction to future diagrams'
was that it was constantly re-written, on each performance
which meant that when it converged with
The nature of the work: 'Low Animal Spirits'
was that it was a 'live' speculation of online news, anticipating what was about to trend
there were many articulations of the same work, that included some of the following:
Orgasmic Streaming Organic Gardening Electroculture at LUX
Day Event | Orgasmic Streaming Organic Gardening Electroculture
held at LUX Waterlow Park Centre.
With a particular focus on live editing and iteration produced in the moment of speaking/performance, this day event highlights practices that emerge between text and performance, the page and the body. With readings, performance and screenings from Anna Barham, Daniela Cascella, Ami Clarke, Tomoko Hojo, Natasha Lall, Aura Satz, Linda Stupart. The programme is a live counterpart of the eponymous exhibition ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE at Chelsea Space, May 2018.
ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE seeks an alternative framework to look at the influence of conceptual procedures as well as experimental writing within contemporary feminist performance practices across visual art, sound and text. The exhibition and event programme highlights these significant trans-historical sensibilities, whilst acknowledging their disjuncts. Each artist brings a particular method, procedure or interrogation to the act of writing or performing text, blurring descriptions such as text, score, work, performance, version and iteration.
This event and the exhibition at Chelsea Space is supported by Arts Council England, LUX, Chelsea College of Arts, and Chelsea Arts Club Trust.
From Headstone to Hard Drive
Headstone to Hard Drive
The contributions collected over this double issue of Journal of Visual Art Practice were presented in three public events organized under the research umbrella Headstone to Hard Drive (H2HD) at Central Saint Martins, London and British School Rome over 2014 and 2015. H2HD aimed to explore the consequence of historical and contemporary technologies for, in this Journal eponymously, the visual arts.
H2HD’s discussion, hinted at in its title, proposed technology as existing prior to the question of progress and in advance of contemporary reflections. It did not aim to talk of technology solely figured through industrial legacies, or long-tails, of either analog or digital time-based media production or of the contemporary character of internet performativity. Though H2HD incorporated some current developments in technology, it did not consider development’s currency existing in a chronological sequence (a progressive isolation of each sequential unit), rather H2HD figured the present as consisting, in part, of retrospective agents; reconstruction, vestiges and anachronism working alongside a vernacular and ubiquitous electronic-digital paradigm. Technology is figured as moving backwards as much as forwards, inclusive of the stone monument as much as the micro-processor or financial trading algorithm. That the question lacked a single historical context or temporal ideology (for art practices the current moniker of ‘the contemporary’ suffices to obscure a political and economic project of temporality)1 opened the forum to both historical and calculative fields.
Cold Bodies, Warm Machines
Cold bodies, warm machines - Art technologiy and the posthuman - 3rd medienwerk.nrw Conference @ NRW-Forum Dusseldorf, 09 -11.09 2016. Concept & Programme Curator: Fabian Saavedra-Lara, Programme & Project Management: Klaas Werner
ODD catalyst, Bucharest (Sept 2018)
- the text of Error-Correction was translated into Romanian and read by Cristina Valescu with an English version read by Ami Clarke
Liquidity: Art & Capital, Symposium - ICA, London - 9th Dec 2015
ERROR-CORRECTION: AN INTRODUCTION TO FUTURE DIAGRAMS with LOW ANIMAL SPIRITS
Ami Clarke reads from her ongoing script: 'Error-Correction: an introduction to future diagrams' with 'Low Animal Spirits' - a live HFT algorithm trading in world news by Ami Clarke and Richard Cochrane.
'Error-Correction: an introduction to future diagrams (take 7)’ is one in a series of experimental takes of an on-going enquiry into diagrams with a persistent re-writing at its core. The script consists entirely of appropriated texts: contemporary commentary, news items, theory, as well as anecdotal evidence, culminating in an interrelated convergence of many interwoven threads, whereby the voice, through language, is constituted “between someone else’s thoughts and the page’. Take 7 focus’ on materiality, algorithms, and an evolving subjectivity, with a (satirical) nod at “Capitalism and Schizophrenia: Contemporary Visual Culture and the Acceleration of Identity Formation/Dissolution” [sic] by Jonah Peretti – founder of Buzz-feed.
