Tesla Talk: Barbara Rauch

Facing Affect and Emotion

barbara rauchFriday 15th June 2012


Garwood Lecture Theatre

UCL, Gower Street, London, WC1E 6BT

(How to get to UCL Garwood Lecture Theatre)

Facing Affect and Emotion is a presentation that addresses the history of Data Visualization within the humanities research. Our research suggests that artists are and have always been concerned with visualization techniques that are now entering other disciplines. We discuss models of research creation and the aspects of “labour”, “craft”, “research” and “practice-led” projects and suggest, that these terminologies and methods are a sign of contemporary practice and its ambivalent nature. Studio and research creation will be challenged with study that comes out of scientific and interdisciplinary research.

The presentation will focus on the analysis of the language used for interdisciplinary research and highlights on the tools that researchers engage with. The presentation demonstrates a study that uses 3D technologies, haptics, sculpting and data analysis. A true collaboration between the arts and sciences.

Tesla Talk: Helen Pynor

Liquid Ground 1 Invite Image cropped 72dpi


Wednesday 25th May 2011

6 - 7pm

University College London

South Wing,

Garwood Lecture Theatre

Gower Street, London



Abstract: In her latest exhibition entitled ‘Breath’ Pynor takes a tour through the chronicles of misfortune surrounding incidents of accidental drowning in the Thames River. Using this historical and forensicarchive as a starting point, Pynor explores the conceptual and metaphoric possibilities of the anatomical structures most intimately linked to breathing, namely the lungs and heart, and their relationships with cultural objects such as boats that, like lungs, are sometimes fallible vessels for the containment of air in water-borne mediums.

More broadly, ‘Breath’ explores an anatomically explicit language for the representation of the interior human body, and the interior body’s entanglements with personal, historical, and cultural narratives. Pynor’s work takes up Susan Oyama’s proposition that ‘the biological is fully historical, and the historical is fully biological’. This is not to suggest that one process can be reduced to the other, but rather to hint at the radical and deeply nuanced ‘interpenetration’ of these processes, which renders the ‘nature-nurture’ distinction defunct.

Pynor’s broader conceptual goal is the reconciliation of materialist understandings of the human body as proposed within the sciences, and the body as a culturally-constructed entity as understood with cultural theory discourses.

Tesla Talk: Amanda Wilson

amanda willsonCubes, Rocks and Clouds: Multistable Perception of Art-Science Imagery

celladurasurroundsound 1


Wednesday 9th May 2012

Garwood Lecture Theatre

UCL (University College London)

18:00 - 19:00


In order to create works that transcend cultural boundaries, artist-scientists need to be verbally and visually literate in two or more disciplines. What bearing does this have on the way they perceive an image, compared to individuals whose research or practice is confined to a single discipline? In this talk, Amanda Wilson explains why she thinks that artist-scientists may exhibit 'cultural multistability', whereby their impressions of an image jump between interpretations routed in different disciplines. Drawing from Gestalt theory, frame analysis and the perception of visual illusions, she describes and interprets the results of her recent survey.


Tesla Talk: Arthur I. Miller

Creative Art, Creative Science: Their connections and what they tell us about the mind


Tuesday, April 12th 2011, 6- 7pm 

Garwood Lecture Theatre
University College London

Artists and scientists alike seek out visual images of worlds both visible and invisible. They attempt to ‘read’ nature in very similar ways: artists make drawings as they work towards the finished canvas while scientists use mathematics as a tool to work towards a scientific theory. I will explore this fascinating realm of highly speculative thought and look into some fundamental questions: Are there similarities in the creative processes of artists and scientists? If so, what are they? And how can cognitive science help us understand the nature of creativity? For more on my work, please see my website – www.arthurimiller.com.

Tesla Talk: Alexa Wright

A View From Inside and other work

liam final roughsm

Friday 9th December 2011


University College London

Garwood Lecture Theatre

Gower Street, London



In the context of some older photographic works such as 'I' (1999) and After Image' (1997), Alexa will talk about 'A View From Inside', a new series of digitally manipulated portraits made in collaboration with people diagnosed with conditions such as Schizophrenia or Bipolar Disorder.  These photographs re-appropriate the pictorial convention of characterizing a person visually through his or her physique, stance and expression as well as by the arrangement of particular symbolic and narrative elements within the image. In each case the external appearance and the internal experiences of the person portrayed are depicted within a single, formally structured portrait. The aim is not to exoticise the ‘unreal’ or bizarre perceptual experiences of the subjects, but to find a visual language that will provoke discussion and add to our understanding of the experience of mental illness and of psychosis in particular. The presentation will explore the construction of reality as an embodied experience and will question the notion of 'madness'.


Tesla Talk: Johannes Birringer

Mixed Reality: The Creation of Moveable WorldsJohannes flyer

Friday 22nd October 2010


Garwood Lecture Theatre

University College London

This film-lecture grounds its inquiry into augmented reality on an artistic research/production developed by DAP-Lab (Center for Contemporary and Digital Performance, Brunel University) during 2008-2010.

The mixed reality installation UKIYO, created with partners in Tokyo and deriving inspiration from Japanese drawings (ukiyo-e) and anime, presents scenographic practices that connect physical space to virtual worlds and explore how performers can move between material and immaterial spaces. The spatial design for UKIYO is inspired by Japanese hanamichi and western fashion runways, emphasizing the production company's cross-over experimentation with different movement languages, retro-futurist wearable design for interactive performance, acoustic and electronic sound processing and digital image objects that have a plastic as well as an immaterial/virtual dimension. The work integrates various forms of making art in order to visualize things that are not in themselves visual, or which connect visual and kinaesthetic/tactile/auditory experiences, while expanding current collaborative convergences between arts and science/engineering. The “Moveable Worlds” of UKIYO are also reflections of the narrative spaces, subtexts and auditory relationships in the mutating matrix of an installation-space inviting the audience to move around and follow their sensorial experiences, drawn near to the bodies of performers and to their avatars.