Call for submissions

NEoN is excited to be supporting Goethe-Institut Glasgow with their newly reframed residency programme. In response to the impact felt by the cultural sector as a result of the Covid-19 global health crisis, their initial residency project has transformed into a digital one.

New Forms of Togetherness
Digital Residency for Artists – November 2020 – December 2021

‘Artificial Intelligence’ often refers to science fiction for many people but AI is actually already part of our everyday life – ranging from digital picture recognition and virtual assistants to autonomous cars. Yet the discourse surrounding AI is still mainly taking place in the technical sector.

The new cultural collaboration between the Goethe-Institut Glasgow and the Alliance Française Glasgow (together with the Institut Français d’Ecosse) aims at uniting technology and art, thus creating a new approach to an increasingly central topic.

In response to the impact felt by the cultural sector as a result of the Covid-19 global health crisis, we have reframed our initial residency project and transformed it into a purely digital one. The French and German cultural centres based in Scotland are inviting three contemporary artists based in France, Scotland and Germany to apply for this digital residency programme taking place between November 2020 and December 2021.

The programme consists of online residencies which will contribute to the interdisciplinary discourse between artists and partners around the topic of Artificial Intelligence. The remote residency will allow the artists to continue to work from their own space with the digital support of our partners: the National Library of Scotland, the Social Brain in Action Lab and NEoN Digital Arts. A dialogue will be created around artificial intelligence, between the artists, the partners and an online audience.

In December 2020, the three selected artists will introduce themselves and their methods to a wider audience on NEoN Digital Arts’ digital platform. They will then develop further ideas while taking part in remotely held input sessions and workshops from our partners and from experts in the field of Artificial Intelligence. Finally, artists will present the outcome of their work on a digital platform or -if possible- in a physical way with the support of NEoN Digital Arts and the Centre for Contemporary Arts in Glasgow.

The residency is directed at contemporary emerging artists whose practice revolves around Artificial Intelligence. The particular interest of the practitioners should be centred on the following:

• AI applications and their impact on our historical and cultural memories that are held in physical archives and libraries.
• AI technology and its impact on our future social relations and behaviour, in regards to developments in robotic engineering.

The aim of the project is to contribute to the discussion around the use of Artificial Intelligence from an interdisciplinary perspective and to make the discourse around AI technology accessible to a wider public. Artists will be working collaboratively and they are asked to deliver their final outcome within the year 2021.

 

For full details please download here – New Forms of Togetherness Information

 

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Given to Chance: Indeterminacy/Share Commission

NEoN Digital Arts is collaborating with the AHRC funded research project The Future of Indeterminacy: Datification, Memory, Bio-Politics, DJCAD, University of Dundee, and Nomas in central Dundee to host an exhibition featuring five commissioned artworks that suggest connections and commonalities between sharing and indeterminacy. We casually use the word ‘share’ to describe distributing images, stories and info across social media networks, sharing suggests ownership, and yet inclusivity, generosity, accessibility, and holding in common. “Indeterminacy” designates the interplay of design and chance, system and impulse, repeatability and is a vibrant dynamic of change. From an international open call for early career media artists, we invited four artists and one artist duo to develop new works to be showcased in the window spaces of Nomas.

Location: Nomas* Projects, 9A Ward Road, Dundee, DD1 1LP
Exhibition Dates: 12-30 November 2020, 24hrs.
About the Artists 

Jennifer Gradecki and Derek Curry  collaboratively present their project Going Viral. Jennifer Gradecki  is an artist-theorist whose work facilitates a practice-based understanding of socio-technical systems that evade public scrutiny. Her investigations have focused on Institutional Review Boards, financial instruments, technologies of mass surveillance, and artificial intelligence. Derek Curry is an artist-researcher whose work addresses spaces for intervention in automated decision-making systems. Recent work has addressed automated decision-making processes used by automated stock trading systems and Open Source Intelligence (OSINT).

Enorê  is an interdisciplinary artist from Rio de Janeiro, Brazil, currently based in London, where they’ve recently completed their MFA in Fine Arts at Goldsmiths. In their work they think about what it means when subjectivity is replicated, dispersed and diluted through digital media. They’re also particularly interested in digital technologies’ role in shaping visibilities and how this relates to the reinforcement of power structures, especially when it comes to identities that have been historically marginalised and their representations.

Dina Kelberman is a multi-media artist based in Los Angeles, CA. Much of her work comes out of a tendency to meticulously collect and organise imagery from the commonplace surroundings of everyday life. In 2018 she was invited to speak at the UbuWeb conference in Athens and the Post-Photography Prototyping Biennial in London. She is currently ranked 5th in the world for Most Lines in Tetris for the Nintendo Entertainment System.

Martin Disley  is an artist and technology researcher based in Edinburgh, Scotland. His work develops out of a practice of counterfoil research into advanced technologies, with a current focus on machine vision technology. He was previously artist-in-residence at the National Library of Scotland where his work sought to re-establish a critique of cartography as a technology, exposing its potential to advance both truth and lies, by training neural networks to produce convincing fake maps in styles of the libraries collections.

Sarah Groff Hennigh-Palermo is a video artist, programmer, and erstwhile data designer. Her work focuses on using the digital in a manner that can transcend its squalid and militaristic roots and reach out towards the sublime. She has created data-obscured art sites, new computer languages, and hybrid nostalgia machines, and has been known to perform at the visualist for livecode collective Codie.

 

Image Credit: Study for Sponge Project Dina Kelberman 

Special thanks to the curatorial team: Joseph DeLappe, Laura Leuzzi, Adam Lockhart, and Natasha Lushetich. And to our installation team: Adam Lockhart and David “Cully” McCulloch.

Logos from left to right The future of Indeterminacy, NEoN, NOMAS* PROJECTS, University of Dundee Duncan of Joardanstone College of Art and Design & UKRI

WHERE ARE THEY NOW? Akinori Oishi

In 2010, Japanese artist Akinori Oishi brought his cute little characters to NEoN Digital Arts Festival, for his first solo show in the UK. We caught up with Aki as part of our ‘Where Are They Now?’ series to discuss the art of happiness, the joy of travel, and what makes someone a ‘drawaholic’. 

Your website homepage says ‘Smile Characters & Tiny Drawings’, which made me smile. Could you tell me a bit more about yourself and your work? 

My name is Akinori Oishi, and I ask people to call me “Aki”. Aki is a common name in Japanese, in fact it’s more often a nickname for women and it means “bright”. It’s a charming name, simple to pronounce and it’s easy for everyone to remember my name. And I don’t mind that it’s usually a name for women. 

Akinori Oishi (2019) in Japan - "Drawing is fun. I just love my job."Akinori Oishi (2019) in Japan – “Drawing is fun. I just love my job.”

It is important to me that my art is innocent and pure of heart, because my art is for all. Kids, adults, men and women… anyone should be able to enjoy it for themselves. I like to share my smile – my “Aki Smile” – and my happy universe with people all round the world. My tiny characters could live anywhere, in any corner of a person’s life.

You took part in NEoN’s second ever festival in 2010. What was the experience like? 

It was my first time visiting Scotland and for my solo exhibition in Dundee city, NEoN gave me the first chance to create my own special character that was related to the local things. Scotland has a lot of fairy tales but I found there’s not much of a character culture compared to Japan and other Asian countries.  So, I am so glad everyone liked my art and it was very, very nice to work on it and be inspired by the city life and surrounding natural areas.

Akinori's first sketch in Scotland (2010) - It is inspired from Dundee and surrounding the city. Akinori’s first sketch in Scotland (2010) – It is inspired from Dundee and surrounding the city.  

The first prototype of toy figure of Aki’s LAWHILL – 3D design by Creo Design from Dundee city (2010)The first prototype of toy figure of Aki’s LAWHILL – 3D design by Creo Design from Dundee city (2010)

Where are you based now? 

I am based Osaka in Japan, which is my hometown. However, that is not so important to me and I prefer to say that I work and am based in the universe of the internet. My work partners are from various countries, and I personally want to travel more. Working abroad has been a lifelong dream of mine. After I studied media design in Japan, I found a job in France and lived there for some years.  I had a lot of influences for my art concepts during my time living in France. I had to go back to Japan eventually, for family reasons, but my heart remained in France. If I could have a chance to live in Europe again, I would like to go back. Lately I’ve been working with more Asian countries, like Taiwan, China, Korea, Thailand, Singapore and Malaysia. Despite all being in Asia they are quite different, all so unique in their own way. I love to learn about their life and culture, in a way it helps me better understand myself and what it means to be Japanese!

These plush dolls are my “travel character fellows”These plush dolls are my “travel character fellows”

Phoenix at the airport in Shanghai (2019)Phoenix at the airport in Shanghai (2019)

How did you get into drawing and when did you develop your signature style? 

My tiny characters are kind of like letters with no meaning, instead they communicate the idea of happiness. This idea is originally inspired by my study of typographic design. For example, A-Z are just letters of the English or Latin alphabet, but different feeling are expressed by using different fonts, which is part of the purpose of their design. I came to really respect the way typography works. As I am an artist, I would like to create a unique typography, a new style of illustration. Since my childhood, I have been captivated by the world around me and outside of Japan. I would always be looking at my world atlas, so my tiny people originally lived within the pages of those types of books.

My tiny characters look like letters – sketchbook (2020)My tiny characters look like letters – sketchbook (2020)

Aki alphabet letters (2015)Aki alphabet letters (2015)

Do you consider any of your characters to be self-portraits? 

I’m not sure self-portrait is the right term, but I believe my characters are all parts of myself. Every character has a smile, an “Aki Smile”, which connects them to me. It’s so important to smile, smiling allows us to be more positive and happy and to bring happiness and positivity to others. 

I am not the priority in my work, the artwork itself is more important. The former is limited but the latter is unlimited. My artwork will still exist in the world long after I’m gone, but to ensure that happens I am keen to work on a huge project, a dream collaboration with the world of architecture to create the biggest artwork of my life. In a sense, that would be a portrait of my smile.

You describe yourself as a ‘drawaholic’, what do you mean by that? 

What is the ‘drawaholic’? Well, I love to draw my small people again and again. It’s like the copy-and-paste function in word processors. I take my time.  No two figures are exactly the same. I am happy only when I fill the big white canvas.  I am proud to call myself a drawaholic.

I am a drawholic (2007)I am a drawholic (2007)

You have kids, right? Do they enjoy your work? Do they ever help you with your art? 

I have two kids; one is a teenage boy and other is a small daughter. My son is not interested in my artwork at this moment unfortunately, because he’s a teenager. He prefers playing games with his friends. Maybe he’ll understand more about me and my artwork when he grows up a bit more. Despite this, I am still very inspired by him and our family life and have been since he was born. It’s such an ordinary life but you can always find new small things with a baby, it gives you a different perspective. My daughter is still small.  She like to draw with me.  Whenever she finds a character of mine she says, “It is a Papa”. That makes me smile.

Lunchbox  (2011)Lunchbox  (2011)

Who is the little black cat on your Instagram? It’s adorable. 

My little black cat is called “Home Cat”. It’s my design and I asked my mother to sew the plush dolls. The inspiration is from the cat who lives at the small bookstore in the town Tamsui (which means Fresh Water) in the north of Taiwan, where I lived for a month. During my last visit in Taiwan, I made a mural drawing on the beautiful balcony of this small bookstore. The town is famous for its beautiful river and mountain. I love Tamsui very much.   

Coming back to Tamsui the north town in Taiwan (2020)Coming back to Tamsui the north town in Taiwan (2020)

I have one of your Lawhill vinyl toys on my desk, and it always makes me smile. Do you intend on making any more? 

Yes, I really would like to create more! Lawhill needs friends.  It’s like a mountain series from Europe and Japan. I’ve also made ones based on the Alps like the Matterhorn (Swiss) and Triglav (Slovenia) and the Japanese Mt Fuji!!

Lawhill vinyl figure in Tokyo (2012) photo by issekinicho.frLawhill vinyl figure in Tokyo (2012) photo by issekinicho.fr

Can we ever persuade you to come back to Dundee? 

I can’t believe 10 years have already passed! When I stayed in Dundee in 2010, the architectural design by Mr Kengo Kuma has just selected for V&A Dundee.  I am very honoured that I am also from the same country, Japan. My next mission (my dream) is to hold an exhibition of my character designs at the V&A. Hopefully my dream could come true soon!

What do you think of our theme this year; Share, Share Alike? 

 Who imagined we would have such a difficult time this year? We just have to be positive. If we make an effort together, the virus will go away, and we can get back to a safe life in all the world. Let’s “share” something, happiness, and look forward to a time when our lives will be back the way they were.  So, I’d like to share my happiness with all the people in the world. An Aki Smile, shared for everyone.

I just keep on drawing … and I was confident to share my happiness under the grey economy  … 

Aki’s characters, including “Home Cat” and original merchandise like temporary tattoos and vinyl figurines, can be found on his website.

“Home Cat” handmade plush doll (2020)“Home Cat” handmade plush doll (2020)

 

 

A message from NEoN 

There is no irony in saying that 2020 has brought real clarity of vision about what kind of world we want to live in – about who and what matters, about how we can work together  and what we can do, and how that change can and must be made. With this in mind NEoN is pressing pause on this year’s Digital Arts Festival in November; instead we will look to programme a number of pop-up projects to be delivered over the winter/spring months and will look for new and inclusive ways of working to better support the local and wider creative sector.

For the remainder of 2020 we will be focusing on NEoN’s pop up programme, with the aim of reconsidering our place and purpose as an organisation; a time to take positive, meaningful action. We will redesign our programme, policies and framework and rethink ways in which communities and people with diverse lived-experiences can meaningfully engage in the governance and programming of NEoN. Our aim is for NEoN to be more responsive to, and supportive of, diverse grassroots artists, groups and communities.

Working in partnership with artists and other appropriate stakeholders, we will interrogate our normative operations and make any necessary changes. In particular we will make changes to better define and reflect our equality, diversity and inclusion goals.

NEoN is very excited to embark upon a new chapter and find creative solutions in this period of transition. We will embrace artistic practice and continue to use our organisation and its platforms to explore and commission new and exciting digital and technology driven art forms.

Best Wishes from the NEoN Staff and trustees

Talking About Walking The #UndesiredLine

As part of Ars Electronica 2020: Festival for Art, Technology, & Society, NEoN is hosting a live screening of two new films by artist B.D. Owens and Q&A with NEoN Director, Donna Holford-Lovell, exploring the complexities of living near the Faslane nuclear submarine base.  

Over the course of 50 days in 2018, B.D. Owens undertook a daily preformative pilgrimage from his house to the main gate of the naval base – in total covering 224 miles. During the daily walks he drew an ‘Undesired Line’, with his body, along the ground next to the perimeter fence – with the fence, the surveillance operations and the ecosystem surrounding the Base all becoming part of the artwork. He continues to expand this artwork using video, sound and writing – of which the two films are the latest iteration – and previously presented his work at Nomas* Projects.

The viewer can follow, and engage with, the interactive element of this work on Twitter at the hashtag #UndesiredLine. We caught up with B.D. Owens ahead of the live screening to talk to him about the project.

 

Why did you decide to do the walk?

I walk every day. Walking is part of my art practice in terms of a place and time to think, write and develop ideas. I had previously only walked away from the Base because it is a hostile and intimidating place. But, my family members and I began to notice the increased military surveillance that had ramped up during 2017. That year we all had some scary encounters with the MoD Police, whether on the beach, on the street or in our garden. I decided it was time to claim back some territory. It felt appropriate to make a performance-sculpture and claim part of the fence, the land next to the fence and all of the interactions on the journey as part of the work.

I also wanted to have a reason to be close to the fence to figure out consciously what it meant to me, how it shaped my life. It was a kind of exploration of emotion, as well as an exercise in pushing boundaries, observation and listening. I made the line right in plain view of the surveillance cameras, and I was upfront with the MoD Police (in the many stop & questions sessions) that I was a local artist making a durational artwork. This opened up some unexpected conversation. As 2018 was also the 50th year of the nuclear submarine base on the Gare Loch, I had an additional reason (and excuse) for making my pilgrimage in that time period.

When did you move to Shandon and why did you decide to live there? Was the Faslane nuclear submarine base a factor? 

The Faslane nuclear submarine base was not a factor in my reasons for living on the Gare Loch. My family have lived in Shandon for around 19 years, and previous to that within a 16 mile radius of Faslane since 1978. Even though I lived in Canada for a number of years, and also Dundee, I always return to Shandon. It is where my family is, it is my home. I am also better suited to rural living.

Were you at all influenced by other land art/environmental performance pieces, such as Richard Long’s A Line Made By Walking (1967) or Francis Alÿs’s The Leak (2004)?

Yes, Richard Long’s work has definitely had an impact on my approach. A couple of months before I began the pilgrimage, I had been reading Tim Ingold’s book Lines, and I was reminded about A Line Made By Walking (1967). Ingold places this work within the context of drawing lines, mark making and making a temporary impression in/on the landscape. While I was walking the 50-day, daily pilgrimage I actually tweeted about Long’s line and process. Long made that work one year before the Faslane Base was officially opened. And yes, certainly Francis Alÿs will have had some influence on me, his work is immensely powerful in poetic gesture. But at the forefront of my mind was Yoav Admoni’s performance Plant Migration 2014.

Yoav Admoni was the curator of the betOnest artist residency in Germany when I was a resident there in October 2017. In his performance-sculpture Plant Migration 2014, Admoni had the brass neck and stamina to disguise himself as part of a reed bed, then wade along the bed of the Tijuana River in Mexico, in order to briefly cross the USA border and encounter US border enforcement. If he could do this, then I could drag my feet for 50 days, drawing an ‘Undesired Line’ with my body over time, under the eye of the surveillance cameras in my own neighbourhood.

In the photographs, the #UndesiredLine is a literal line in the grass alongside the fence. How did you make the path? Was it just created by your shoes walking the route so many times or did you use additional tools? 

Initially I was just walking, but it was the height of the growing season and I wasn’t making much headway with developing the path. I then worked out a slip and slide technique dragging my feet, almost like cross country skiing. After about 18 days I had made a beautiful line that contoured the undulating land, but the Ministry of Defence greens keeper vandals with lawn mowers erased it before I could sneak a photo. After that, I then developed a more intense and challenging technique of gouging the double line. I wore short-toothed urban crampons on my boots, and the small metal teeth on my soles clawed at the ground and made parallel shallow grooves. Still the slip and slide manoeuvre, but with much greater resistance, and because it was harder to balance it was a much slower movement. I received so much more scrutiny from the MoD Police when I was moving slowly, and that was really quite stressful. Eventually I got some walking poles to steady myself, and I was able to move more quickly. The parallel line grooves that I made were just deep enough to prevent the lawn mowers from erasing the line the next time they tried. I do not recommend that anyone try this groove gouging technique because I totally trashed my knees and it took a while for them to recover.

What relationship – if any – do you have with the guards and personnel at the Base, or with the protesters at the peace camp?

One of my neighbour’s son’s is one of the MoD Police officers that patrols the fence. Thankfully, I did not see him while I was walking the Undesired Line. It would have been awkward for both of us. I do not have any connection with the current incarnation of the Peace Camp residents. I know people who were involved in the Peace Camp in the 1980s and 90s, including some international queer punks, and some Church of Scotland elders from a nearby village. Also, several of my school friends’ fathers were submariners. My friends spent some of their childhood living on the Base or nearby military housing. I also know a few retired British Naval personnel and a couple of naval engineers who worked on the Base (most of them are now against nuclear weapons). If you live in the Gare Loch & Loch Long area, you’re going to have personal connections to people who work for the military and civilian operations at Faslane & Coulport, and you’re going to have connections with people that have lived at the Peace Camp at some point or another. Life here is complicated.

What would you like to see happen with the Faslane naval base?

I would like the nuclear military occupation in Scotland to end. I would like all of the nuclear weapons to be removed and the Trident Weapons system to be scrapped. I want Scotland and the rest of the UK to be free of all nuclear weapons. And, I would like all of the British Armed forces to leave the Gare Loch & Loch Long (and any other part of Scotland for that matter). Scotland has been a playground for the British Armed forces for too many decades. They have been careless, thoughtless and utterly disrespectful to the pre-existing inhabitants of Scotland’s fragile ecosystem. They have left their military trash, radioactive materials and toxic waste (cobalt-60 and tritium) littered across the landscape and waters, poisoning and terrifying both human and non-humans alike.

Whatever happens to the Faslane & Coulport Base, the fact that it is sitting on the Highland fault line must be taken into account. Earthquakes do happen. Yes, the entire cache of the UK’s nuclear weapons is stored in a hillside on an active fault line. If the ground and water in and around Faslane Base & Coulport can be cleaned up then perhaps the Base could become a nautical college campus for merchant (non-military) navy. It would also make a great location for a movie studio with a water soundstage. Perhaps the military housing could be turned into low cost cooperative housing, and the site turned into an eco-village or some kind of renewable energy experimental facility. But even if Faslane Bay was to remain a military headquarters (that is after the nuclear weapons of Mutually Assured Destruction and nuclear reactor submarines were removed) there would not be the need for such obnoxious, invasive levels of surveillance. There would not be the same stressful tensions causing disruption and unease within our community. At this point, this last option might be the compromise that people are willing to agree upon.

Why did you decide to use Twitter to document the walk? 

On the first day of my pilgrimage, I was told by the MoD Police that it is technically prohibited to take photos, shoot video or even make drawings near the Base. I had already decided to keep a journal log of what happened daily on each walk, and some of what I was writing made natural tweets. I had used Twitter in a previous artwork to enable viewer interaction with the work in the gallery space, but at that time I had used an existing hashtag. When I was considering my options, it occurred to me that it was unlikely that anyone had used the hashtag #UndesiredLine on Twitter. Therefore, I could make a durational text artwork using this hashtag and it could be somewhat contained in that online space. In addition, tweeting is ideal for a gradual reveal, and the Twitter platform allows an immediate option for the viewer to participate if they wish.

A tweet, by B.D. Owens, reads, "The beast is leaving the loch, its belly swollen with grief, mass murder-in-waiting." with the hashtags undesired line and nuclear weapons. It was posted at 11:12 AM on August 28, 2019.

Do you tweet while you’re walking or once you get home? 

Generally, I don’t carry my mobile phone when I go walking. But more importantly, while I was performing the 50-day pilgrimage next to the fence of the Base, I was concerned that my phone would get confiscated by the police. The only thing that I carried in my pocket was my driver’s licence, to prove I was a local. So I tweeted when I got home, after I made a journal entry.

What has the response been like on Twitter? 

The Twitter analytics show that there has been high-ish viewer traffic on some of the tweets. So far there have been really specific people engaging with the tweets and some of these people live near the Base. I am not concerned with the numbers of people that engage on the Twitter #UndesiredLine. It is quality rather than quantity that is important. I am more interested in who is engaging and why, why it matters to them to follow the tweets, like, comment and retweet. It matters to me that the people who live near the Base have an opportunity to interact with this work, and hopefully it will resonate with them.

How have you incorporated photography and video into your documentation, if at all?

In terms of the 224-mile pilgrimage, I have only gathered limited visual documentation, because of the legal restrictions. I resorted to writing and field recordings as the way to get around that rule. I did however sneak a few photos of the line, but most of them are a bit blurry because I had to hide the fact that I was taking a photo. In 2019, I decided to reactivate the Twitter hashtag and also to broaden the focus of the work to highlight the ‘Gare Loch Duality’I have been making videos, stills and sound recordings of the naval traffic on the loch from the vantage view from my garden.

What was it like having a show at Nomas* Projects during the lockdown? What did the show entail and did you have to make any adjustments due to quarantine? 

It was all very strange. In the first few days of the lock down, it became illegal for viewers to stop and look at the show. In a sense the viewers were being surveilled by the police. A show that examined surveillance was for a time being surveilled. The show consisted of a video piece on a monitor, three backlit window texts, a sculpture and four frosted vinyl surveillance camera icons pointing down at the viewers. But a few days into lockdown, the video monitor had to be turned off in case it overheated and went on fire. There was of course nobody who could check in on it. So it was just the text and the sculpture that was up for the most part of lockdown. I was very disappointed that I didn’t have the chance to present my artists talk at Generator Projects. Most of my friends from other parts of Scotland had planned on seeing the exhibition on the day of my talk, so only my friends based in Dundee and Fife actually saw the show. The curator, David McCulloch, switched the video and lights back on for the first two weeks in July, so there were some more people who got a chance to see it.

How are you presenting the work during Ars Electronica and how can people get involved?

NEoN is presenting my two videos and a live stream Q&A on YouTube on Thursday 11 September. The videos will be available to view on the NEoN landing page in the Ars Electronica online Festival from the 11-13 of September. In the live event chat, and on the Twitter #UndesiredLine, I will be sharing some links to satellite maps and Google Street View locations that relate to the field recording segments and the dialogue in my video. Also, look out for the map links on the landing page in a downloadable document. You don’t need a Twitter account to view the #UndesiredLine tweets, but if people do have a Twitter account I’d encourage them to engage with the tweets. All of the Twitter interactions on #UndesiredLine will become part of the artwork.

The live screening of Gare Loch Duality and the #UndesiredLine can be watched on YouTube here on Fri 11 Sept 2020 10.30AM-12PM (BST) 11.30AM-13.00PM (CEST).

NEoN at Ars Electronica

In collaboration with Regional STARTS Centers, NEoN is excited to present the work of artist B.D. Owens within the Kepler Gardens – Ars Electronica’s new hybrid festival venue for 2020.

 

GARE LOCH DUALITY AND THE #UNDESIREDLINE 

NEoN will present two new films by B.D. Owens, exploring the complexities of living near the faslane nuclear submarine base. This will be followed by a live Q&A with the artist and NEoN Director, Donna Holford-Lovell.

Live event: Friday 11th September 2020, 10.30am-12.00pm (BST), 11.30am-13.00pm (CET) then available online until 13 September. 

Where: YouTube live  

10:30am Gare Loch Duality and the #UndesiredLine. Duration 30 mins. (English)

11:00am Psychological Impacts of Surveillance: within the context of Gare Loch Duality and the #UndesiredLine. Duration 30 mins. (English)

11:30am Live discussion and Q&A with B. D. Owens and NEoN Director Donna Holford-Lovell. (English)

Full information about the artist and the project can be found here.

Image Credit: Dawn Chorus:Reflections Upon Surveillance (2019) by B.D. Owens