Hybrids (2010) at the MIC Media and Interdisciplinary Arts Centre, Auckland, New Zealand.

MIC Toi Rerehiko is pleased to present Hybrids, an exhibition featuring nine local and international artists who integrate rapid prototyping processes with other media. Rapid prototyping technology has largely been used by industrial manufacturers and has since been adopted by architects and digital media artists. Considered within an artmaking sphere, the process raises issues over ontology, authenticity and place amongst others. The works in the exhibition seek to address these while still embracing their own materiality, in model making technology and digitalculture. As the title Hybrids suggests, the works comprise a combination of these ideas with a range of media including live performance, social and formal sculpture, video installation and painting. Hybrids articulates itself as an extension of Kosuth’s One and Three Chairs, which plays on the ontological properties of an object. His theory on the unification of concept and realisation has been re-interpreted, taking into account the undefined and evolving limitations of rapid prototyping. Kosuth’s statement that art is to embody an idea that remains constant despite changes to its elements will be tested within a digital framework. Concerns of the exhibition curators include existence and what constitutes the identity of an object, authorship of digitally created work, the fluidity of transformation from data set to three dimensional object, and the relational aspect between prototyping,audiences and real-time. Hybrids investigates the ability of rapid prototyping to blur the interface between manufactured truth and objective reality

3D Glitch Exhibition and Talks. Priestman Gallery Sunderland University. UK October- November 2015 Ny Space Manchester.UK November- December 2015 Washington Art centre. Tyne and Wear.UK September- November 2016 Drugo More. Rijeka, Croatia- January-April 2017

In an age obsessed with digital perfection it seems appropriate to make an exhibition, which explores the anti-perfect. Looking at the difference between idea and execution and the philosophical glitch between the everyday and the imagination. 3dglitch explores the everyday altered, through chance, manipulation, data bending, error, accident, abstraction, distortion, scale, space, speed, humour sadness, space, sound and the uncanny. Artists Eric Bainbridge, Darren Banks, Sophie Beresford, Michael Branthwaite, Ralf Broeg, Keith Brown, Brit Bunkley, Nadine Castleman, Janine Goldsworthy, Paul Higham, James Hutchinson, Christian Lavigne, Simon Martin, Graham Mitchinson, Mary Neubauer, Iain Nicholls, Colin Rennie, Alvin Sher, Dominic Smith, Robert Michael Smith, Susana Sulic, Helena Swatton, David Winslow Van Ness, Patrick Visentin, Mary Visser, Andrew Werby and Laura West

An exploration of hybrid art and design practice using computer-based design and fabrication tools.

The researchers previous experience suggested the use of computer-based design and fabrication tools might enable new models of practice that yield a greater integration between the 3D art and design disciplines. A critical, contextual review was conducted to assess what kinds of objects are being produced by art and design practitioners; what the significant characteristics of these objects might be; and what technological, theoretical and contextual frameworks support their making. A survey of international practitioners was undertaken to establish how practitioners use these tools and engage with other art and design disciplines. From these a formalised system of analysis was developed to derive evaluative criteria for these objects. The researcher developed a curatorial framework for a public exhibition and symposium that explored the direction that art and design practitioners are taking in relation to computer-based tools. These events allowed the researcher to survey existing works, explore future trends, gather audience and peer response and engage the broader community of interest around the field of enquiry. Interviews were conducted with practitioners whose work was included in this exhibition and project stakeholders to reveal patterns and themes relevant to the theoretical framework of this study. A model of the phases that practitioners go through when they integrate computer-based tools into their practice was derived from an existing technology adoption model. Also, a contemporary version of R. Krausss Klein Group was developed that considers developments in the field from the use of digital technologies. This was used to model the context within which the researchers practice is located. The research identifies a form of technologyled- practice and an increased capacity for a transdisciplinary discourse at the intersection of disciplinary domains. This study will be of interest to practitioners from across the 3D art and design disciplines that use computerbased tools

Towards a deep ecology of art, technology and being - an ontological investigation with particular reference to the rock-cut edifices of Ellora, India, and Tadao Ando’s water temple

This practice-based thesis is an interrogation of ‘being’, one not centred on the human being. It concerns a being that manifests through dynamic inter-relation between human and other entities and phenomena in the universe. It considers several interrelated questions, interrogating notions of 'relational being','non-anthropocentric being', 'the being of a space', ‘the space of being’. Ultimately, one is considering the implications of relational being for ‘deep ecology’. With regard ‘relational being’, key inter-related Buddhist ideas drive the thinking and practice: ‘relational origination’ (pratityasamutpada), and ‘emptiness’(shunyata). Furthermore at the heart of this particular history of technology is a discussion of the significance of zero. The Sanskrit term shunya, means both ‘zero’ and ‘empty’, and relates to shunyata. There are several principal objectives. Firstly an analysis of perceived relational dynamics in Ellora’s rock-cut architecture, technology, and ontology. Secondly, scrutiny of apparent correspondence between Ellora’s Edifice Twenty-Nine and a contemporary Tantric shrine: the Water Temple, constructed in 1991. Thirdly, an examination of ideas in contemporary science and technology that engender reconsiderations of notions of ‘relational being’. The primary practical outcomes are two films: relationship-place naka-ma and zero = every day? Both approach the question through phenomenological process, paralleling Ando’s conception of ‘architecture’ as an integrated and inter-acting entity of built edifice, wider landscape, and the spectatorship of persons who frequent it. This research engenders ‘new knowledge’ in terms of: offering pluralistic, trans-national and trans-disciplinary insight on current thinking relating to art, architecture, technology, spectatorship, and ontological practice; evolving knowledge with regard interactions between body, humanly constructed entities, wider environments/ecologies; engendering new perspectives on considerations of cyberspace, Ellora, Ando, and the Water Temple; contributing to a counter thesis vis-à-vis the colonial project of objectification and ossification of the other

Generating Mobility and Power Through Art

This paper explores ideas of mobility and power using the case study Pedalpower for Bybrua, commissioned for ‘Stavanger 2008’ – Capital of Culture. Three pedal powered generators were made available to the community of Pedersgata - during daylight hours these devices were located in a number of public sites and situations - during nighttime, the stored energy was released as part of a pedestrian lighting system installed beneath the City Road Bridge ‘Bybrua’. This paper will focus on the only mobile generator; Bridgit – so called for it’s capacity to offer transit from one side of the bridge to the other. In an oil rich nation what would it mean to introduce more modest forms of energy production? How would the installation of a human powered lighting system change the way people perceived the underpass space? How might ‘human power’ change human behavior? What might the social, economic and environmental benefits be? This project demonstrates a number of practical interventions inspired by the critical writings of Ivan Illich and Henri Lefebvre. These sculptural devices allow the problems of contemporary mobility to be seen as generative opportunities – both in terms of dialogue and energy

3d Glitch catalogue

JANUARY 19 2017 - FEBRUARY 10 2017 Filodrammatica Gallery, Korzo 28/1, 51000 Rijeka, Croatia http://www.drugo-more.hr/wordpress/2017/01/09/3d-glitch/ https://www.facebook.com/events/689222077918591/ Exhibition opening:Thursday, January 19, 2017, @ 20:00 Gallery working hours: Mon – Fri 16:00 – 20:00h, Sat 10:00 – 13:00h In an age obsessed with digital perfection it seems appropriate to make an exhibition, which explores the anti-perfect. Looking at the difference between idea and execution and the philosophical glitch between the everyday and the imagination. 3d Glitch explores the everyday altered, through chance, manipulation, data bending, error, accident, abstraction, distortion, scale, space, speed, humour sadness, space, sound and the uncanny. 3D Glitch Artists: Eric Bainbridge, Darren Banks, Sophie Beresford, Michael Branthwaite, Ruth Brewis, Ralf Broeg, Keith Brown, Brit Bunkley, Nadine Castleman, Anne Mc Cartney, Helen McCartney, Mircea Cirtog, Janine Goldsworthy, Paul Higham, James Hutchinson, Mark Klink, Christian Lavigne, Simon Martin, Graham Mitchinson, Martin Murphy, Mary Neubauer, Iain Nicholls,James Railston,Colin Rennie,Alvin Sher,Dominic Smith,Robert Michael Smith,Susana Sulic,Sumit Sarkar,Helena Swatton,DavidWinslowVan Ness,PatrickVisentin,MaryVisser, Andrew Werby, Laura West and Derrick Woodham. The 3DGlitch exhibition is an experimental investigation/exploration into different aspects of 3D Glitchness and will consist of a mix of new specially created and pre-existing 3D works printed by space/socialspace and the University of Sunderland Glass and Ceramics Department. 3DGlitch includes screen based works and 2D prints. 3d Works have been printed in Sunderland using Ultimaker 2 and Makerbot Printers. 3DGlitch also has Prints made by Keith Brown at Manchester University using 3D Systems ProJet 660 pro and Mcor Technologies IRIS A4 paper printer. A virtual gallery created using Unreal engine will also be available to explore the works. Digital editions will be available through Alistair Robinson at Northern Gallery for Contemporary Art (NGCA Sunderland). 3d Glitch Previously occurred at Arts Centre Washington Biddick Lane, Fat eld,Washington NE38 8AB from SEPTEMBER 17 – NOVEMBER 12 2016 http://www.artscentrewashington.co.uk/production-details.aspx?id=850 Ny Space, Faulkner House, New York Street, Manchester, M1 4DY from NOVEMBER 27-DECEMBER 20th 2015 http://www.nyspace.org/ Priestman Gallery, 1st Floor, Priestman Building, Green Terrace, Sunderland, SR1 3PZ from OCTOBER 15 – NOVEMBER 20 2015 https://goo.gl/fNLpVn https://shaunprojectspace.wordpress.com/2015/10/22/sps-recommends-3dglitch-gallery-talk-5pm-october-29/ Thanks to Arabella Plouviez and The University of Sunderland Alistair, Robinson and the Technical staff at The Northern Gallery for Contemporary art, Matthew Blythe and the staff of the Arts Centre Washington . Davor Mišković at Drugo More. #3DGlitch #3d_glitch #drugomore ExhibitionJANUARY 19 2017 - FEBRUARY 10 2017 Filodrammatica Gallery, Korzo 28/1, 51000 Rijeka, Croatia Exhibition opening: Thursday, January 19, 2017, @ 20:00 Gallery working hours: Mon – Fri 16:00 – 20:00h, Sat 10:00 – 13:00h

3dGlitch

JANUARY 19 2017 - FEBRUARY 10 2017 Filodrammatica Gallery, Korzo 28/1, 51000 Rijeka, Croatia http://www.drugo-more.hr/wordpress/2017/01/09/3d-glitch/ https://www.facebook.com/events/689222077918591/ Exhibition opening:Thursday, January 19, 2017, @ 20:00 Gallery working hours: Mon – Fri 16:00 – 20:00h, Sat 10:00 – 13:00h In an age obsessed with digital perfection it seems appropriate to make an exhibition, which explores the anti-perfect. Looking at the difference between idea and execution and the philosophical glitch between the everyday and the imagination. 3d Glitch explores the everyday altered, through chance, manipulation, data bending, error, accident, abstraction, distortion, scale, space, speed, humour sadness, space, sound and the uncanny. 3D Glitch Artists: Eric Bainbridge, Darren Banks, Sophie Beresford, Michael Branthwaite, Ruth Brewis, Ralf Broeg, Keith Brown, Brit Bunkley, Nadine Castleman, Anne Mc Cartney, Helen McCartney, Mircea Cirtog, Janine Goldsworthy, Paul Higham, James Hutchinson, Mark Klink, Christian Lavigne, Simon Martin, Graham Mitchinson, Martin Murphy, Mary Neubauer, Iain Nicholls,James Railston,Colin Rennie,Alvin Sher,Dominic Smith,Robert Michael Smith,Susana Sulic,Sumit Sarkar,Helena Swatton,DavidWinslowVan Ness,PatrickVisentin,MaryVisser, Andrew Werby, Laura West and Derrick Woodham. The 3DGlitch exhibition is an experimental investigation/exploration into different aspects of 3D Glitchness and will consist of a mix of new specially created and pre-existing 3D works printed by space/socialspace and the University of Sunderland Glass and Ceramics Department. 3DGlitch includes screen based works and 2D prints. 3d Works have been printed in Sunderland using Ultimaker 2 and Makerbot Printers. 3DGlitch also has Prints made by Keith Brown at Manchester University using 3D Systems ProJet 660 pro and Mcor Technologies IRIS A4 paper printer. A virtual gallery created using Unreal engine will also be available to explore the works. Digital editions will be available through Alistair Robinson at Northern Gallery for Contemporary Art (NGCA Sunderland). 3d Glitch Previously occurred at Arts Centre Washington Biddick Lane, Fat eld,Washington NE38 8AB from SEPTEMBER 17 – NOVEMBER 12 2016 http://www.artscentrewashington.co.uk/production-details.aspx?id=850 Ny Space, Faulkner House, New York Street, Manchester, M1 4DY from NOVEMBER 27-DECEMBER 20th 2015 http://www.nyspace.org/ Priestman Gallery, 1st Floor, Priestman Building, Green Terrace, Sunderland, SR1 3PZ from OCTOBER 15 – NOVEMBER 20 2015 https://goo.gl/fNLpVn https://shaunprojectspace.wordpress.com/2015/10/22/sps-recommends-3dglitch-gallery-talk-5pm-october-29/ Thanks to Arabella Plouviez and The University of Sunderland Alistair, Robinson and the Technical staff at The Northern Gallery for Contemporary art, Matthew Blythe and the staff of the Arts Centre Washington . Davor Mišković at Drugo More. #3DGlitch #3d_glitch #drugomore ExhibitionJANUARY 19 2017 - FEBRUARY 10 2017 Filodrammatica Gallery, Korzo 28/1, 51000 Rijeka, Croatia Exhibition opening: Thursday, January 19, 2017, @ 20:00 Gallery working hours: Mon – Fri 16:00 – 20:00h, Sat 10:00 – 13:00h