{"id":249,"date":"2013-03-10T17:23:33","date_gmt":"2013-03-10T17:23:33","guid":{"rendered":"http:\/\/reframe.sussex.ac.uk\/mediamorphosis\/?page_id=249"},"modified":"2013-05-08T12:30:23","modified_gmt":"2013-05-08T12:30:23","slug":"participants","status":"publish","type":"page","link":"https:\/\/reframe.sussex.ac.uk\/mediamorphosis\/mediamorphosis\/participants\/","title":{"rendered":"SPEAKERS"},"content":{"rendered":"

CAMILLE BAKER_<\/b>
\nDevising Open-source Techno-Sensual Performance_<\/b><\/p>\n

Camille Baker<\/a> is a media artist-performer\/researcher\/curator within various art forms: mobile media, participatory performance, electronic and e-fashion, interactive installation, live cinema, responsive environments, telematics, video art, and music performance.
\nBaker has recently completed a PhD project called MINDtouch through the SMARTlab Digital Media Institute, involving social collaborative ‘VJing’ within mobile performance media contexts with wearable sensors and smart fashion. Her other research interests include: soft circuits and sensing, visual coding, participatory performance, live cinema, responsive environments, telematics, media curating and networked communities.
\nCamille has presented at the Digital Workshop at the Victoria and Albert Museum, London November 27th, 2012; Handmade Everything Faire for the FutureEverything Festival, Victoria Baths, Manchester, May19th, 2012; Art &ICT 2-day workshop at EU headquarters Brussels, Belgium April 26th & 27th, 2012; Future Fashion Panel part of the Better Fashion Week on Sustainability in Fashion, Dublin, Ireland, April 27, 2012; MINA\u00a0Mobile Media\u00a0Conference, New Zealand, November 2011;\u00a0Opera Conference\/ Yo! Opera Festival, Utrecht, November 2011, International Symposium of Electronic Art (ISEA) 2011 Istanbul, Turkey, Low Lives 3, online performance event Salt Lake City, Utah, USA April 29, 2011; Digital Stages Performance Festival 2011, London; DHRA Conference 2010, Brunel University, London; EVA Conference 2010 London; TEXTURES, SLSAe 6th Annual Conference, Riga, Latvia, 2010; ISEA 2009 Belfast, Northern Ireland, UK; Performing Presence Conference, Exeter 2009; Kinetica and London Science Museum’s: Man and Machine Series 2008; MobileFest in Sao Paulo, Brazil, November 2008 and many more.<\/p>\n

\"Camille<\/a><\/b><\/p>\n

 <\/p>\n

 <\/p>\n

EVREN EKEN_
\nThe Un-Scene Effect of War through Manned Images_<\/b><\/p>\n

Evren Eken is a PhD Candidate in International Relations at the University of Sussex. Prior to this Evren Eken graduated from Public Administration in 2005 and subsequent to this graduation he conducted MA studies in Sociology, International Relations and History of Art at Hacettepe University, Turkey, Middle East Technical University, Turkey and Chemnitz Technology University, Germany respectively. Following this he continued his studies at Sussex for another MA degree in Geopolitics & Grand Strategy and received the International Security Award of the University of Sussex 2010. M. Evren Eken\u2019s main academic interests lies at the intersections of Contemporary Social Theory, Social Change, Visuality and Geopolitics.
\n\"evren\"<\/a><\/p>\n

\u00a0<\/b><\/p>\n

\u00a0<\/b><\/p>\n

MARLENE HARING_
\nShow Me Yours, I\u2019ll Show You Mine_<\/b><\/p>\n

In her performances, interventions and installations, Marlene Haring<\/a> (b. 1978) deals with the social construction of places and events. She reflects and intervenes on the site-specific regulations and conventions which govern relationships and behaviours. Some recent exhibitions include: Fourth Wall, performance at Tenderpixel, London (2013); Show Me Yours, I\u2019ll Show You Mine, performance at Casino Luxembourg Forum d\u2019Art Contemporain (2012); Beziehungsarbeit: Kunst und Institution (Relationship Work: Art and Institution), K\u00fcnstlerhaus, Vienna (2011); Night and Day, Modern Art Oxford (2010); Berlin Biennale (2010); Where Do We Go From Here, Secession, Vienna (2010); Wegen Schaambehaarung Geschlossen (Closed Because of Pubic Hair): solo show in lieu of a lecture at the Secession, Vienna (2009).<\/p>\n

\"Marlene<\/a><\/p>\n

 <\/p>\n

DANIEL ALEXANDER HIGNELL_
\nRelocating Meaning – Authenticity in Dialogue after the Fact_<\/b><\/p>\n

Daniel studied BA in Contemporary Composition at the now defunct
\nDartington College of the Arts, specialising in issues of cultural
\ncommunication in sound and visual media. After completing his BA, he
\nattended Sussex for an MA in music, and has since begun his PHD in the same
\ndepartment. His wider practise consists in the relocating of arts place in
\nwider social dialogue, and more specifically, a focus on \u201cart as work\u201d as
\nopposed to \u201cworks of art\u201d. He has written works for short films,
\nchoreographers, installations, small ensembles and rock bands, as well as
\nrunning art and film workshops for children and adults. He has won numerous
\nawards as a short film-maker, and released three albums on unfathomably
\nsmall record labels.
\n\"daniel\"<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

BIRGITTA HOSEA_
\nThe Medium is the Messenger_<\/b><\/p>\n

Dr Birgitta Hosea<\/a> is Course Director of the MA in Character Animation and Research Leader for the Centre for Performance where she recently completed her practice-based PhD in animation as performance. As well as exhibiting films, installations and live art, she has published articles on software, drawing, digital materiality, animation as performance and animation as post-medium practice. Her current research explores the creation of moving images as a performative process, in her video installation and performance works Birgitta Hosea combines a range of media – animation, manipulated video, paper sculpture, performance drawing, live video feeds and interactive technology – with the corporeal body. This has taken many forms including dressing up as a cartoon character, performing through online avatars, projecting animation onto herself or becoming a holographic projection. She describes her own practice as \u2018post-animation\u2019 (a term she has coined), because although she uses industrial animation techniques in conjunction with ideas from animation history and theory, she does not create animation as it is conventionally understood, but rather seeks to interrogate and de-construct conventional notions of what animation is. Her practice is informed by research into the archaeology of animation with a specific interest in Victorian stage illusions.
\nIn addition to her personal research, she works with museums and cultural organisations to develop student animation projects that engage with their collections. These include the National Gallery, the Royal Shakespeare Company, the V&A, the National Theatre Archive and London Transport Museum.
\n\"Birgitta<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

AYSENUR KARABULUT_
\nScreen portrayals and Human Reactions_<\/b>
\n<\/b><\/p>\n

Aysenur Karabulut is a Practice PhD candidate in Film & Media Studies at the University of Sussex. <\/b>She studied BA in Pre-school Teaching at Dokuz Eylul University in Izmir, Turkey. During her BA degree, she became interested in art education in early years. After having completed a variety of courses on drama and theatre, she started to teach drama to children aged between 3 and 11. At that very early stage of her academic life, she clearly saw the positive impact of performing arts on children\u2019s well-being. This led her to a new interest in psychology. After completing BA, she started doing MA in Family Counselling and Education at the same university. Working enjoyable on both psychological theory and analysis, she completed her dissertation project which is about emotional intelligence theory and conducted the adaptation of Bar-On\u2019s Emotional Quotient Inventory from English to Turkish. After being awarded scholarship by the Turkey Ministry of Education, she came to the UK in order to study Art and Education. Pursuing her academic carrier at the University of Warwick, she submitted her second dissertation on the topic of \u201cThe Impact of Story-Drama on Pre-Schoolers\u2019 Social and Emotional Competencies\u201d. After receiving further scholarship funded by the Turkish Government for continuing her PhD, she leaned to conduct an interdisciplinary study among psychology, art and digital culture.
\nShe wrote and directed several child plays, designed and implemented two art programmes in public schools and conducted a vast number of seminars in schools and art centres. Now, she has been working on her PhD project which is about \u201cBuilding Bridges between Digital Practices and Performing Arts to Improve Children\u2019s Self Concept\u201d at the University of Sussex.<\/p>\n

\"AYSE<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

SIMON MORSE_
\nUnthinking the Thinkable (and Correcting Its Spelling)_<\/b><\/p>\n

Simon Morse<\/a> is an artist who creates, appropriates and distorts verbal and visual systems in order to examine the state and nature of interpersonal communications in the contemporary world. His key method is to take apparently innocuous interplays of people and situations and extend and iterate them until the ensuing mess reveals fundamental hairline cracks in the everyday.
\nAfter studying Fine Art at BA (Liverpool Polytechnic) and MA (Chelsea College of Art & Design) levels, Morse has made a career exhibiting widely, both in the UK and abroad. His most recent solo shows include \u2018The Evaporating Office\u2019 at Meter Room in Coventry, \u2018The Butler\u2019s Cough\u2019 at Grey Area in Brighton, and \u2018I Cannot See The Trees But I Can Hear the Mountain\u2019 at Gooden Gallery in London (who also represent him).
\nMorse has also pursued a parallel career in television. His work as a designer of interactive TV games garnered a BAFTA nomination. He has subsequently worked extensively as a question writer for a range of TV quiz shows, from \u2018Who Wants to Be A Millionaire?\u2019 to \u2018Eggheads\u2019. His work in this area, with its very particular forms of address and its creation of hierarchies of knowledge, has informed his art practice greatly.<\/p>\n

\"Simon<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

GASCIA OUZOUNIAN_
\nMusic as a State of Being: On Music for Sleeping & Waking Minds_<\/b><\/p>\n

Gascia Ouzounian<\/a> is a violinist, musicologist, and composer based at the School of Creative Arts at Queen’s University Belfast, where she directs the performance studies programme. She has performed extensively in North America and Europe, appearing with such ensembles as Yo-Yo Ma and the Silk Road Ensemble, Sinfonia Toronto, Theater of Eternal Music Strings Ensemble, and Biomuse Trio, an ensemble that creates music using physiological sensors. Gascia’s writings on experimental music and sonic art appear in numerous academic journals\u00a0and the collected volumes\u00a0Buried in Noise\u00a0(Kehrer Verlag)\u00a0and Music,\u00a0Sound & Space (Cambridge).
\nHer\u00a0recent projects include two large-scale compositions that are experienced overnight:\u00a0EDEN EDEN EDEN with filmmaker Chlo\u00e9 Griffin, and\u00a0Music for Sleeping & Waking Minds\u00a0with the Biomuse Trio and R. Luke DuBois. In the latter, four participants who wear EEG sensors generate an audiovisual environment through their brainwave activity over the course of one night. These works\u00a0explore the experience and creation of music within and between different states of awareness and attention that include deep sleep and awakening.\u00a0To view excerpts of these works, please visit:\u00a0http:\/\/vimeo.com\/gascia<\/a><\/p>\n

\"GASCIA<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

JOE STEPHENSON_tbc
\nInteractives, Experimental Interactive \u2018Toys\u2019 & Museum Installations_<\/b><\/p>\n

Joe Stephenson<\/a> was a founder and co-director of Rom and Son, he is an artist, maker and commissioner of interactive work, recently creating forty interactive exhibits for the “Who Am I?” gallery at the London Science Museum.
\nJoe combines skills in technical project management and digital art. He has more than ten years experience successfully delivering complex interactive projects both for Rom and son and as a consultant project manager.
\nAs a founder and director of Rom and Son ltd, an interaction design practice which traded for over a decade, Joe delivered both online and physical interactive experiences for brands like Nike and Benetton and museums like the National Maritime Museums in Greenwich and Falmouth and the Horniman in London.
\nHe also produces illustration and animation work for various media including internet, print and video games.
\nIn the previous millennium, Joe contributed to Antirom, an influential collection of experimental interactive \u2018toys\u2019, and was a member of the Antirom collective exhibiting and performing internationally as well as producing commercial work for clients including Levi Strauss, Guinness and the BBC.
\nJoe has lectured in interactivity and animation on degree courses at the University of Westminster, and at Hyper Island in Sweden.<\/p>\n

\"JS\"<\/a><\/p>\n

 <\/p>\n

 <\/p>\n

JAMES STEVENSON_
\n3D COFORM project and animating puppets from the theater collections_<\/b><\/p>\n

James Stevenson<\/a> is presently the head of the Photographic Studio at the V&A, including the departments of Object Photography, Multimedia and Social Documentary Photography and Digital Management. The Photographic Studio is a service department within the Collections Services Division in the Museum. Its role is to make images of the museums collection, archives, buildings and activities to support; collections management, conservation and research and public access to the collections. Though for most of its history it has done this as traditional two-dimensional photography it is increasingly using many multi-media techniques such as video and 3D imaging. James has recently worked on the innovative 3D Coform initiative, advancing the state-of-the-art in 3D-digitisation and \u00a03D-documentation an everyday practical choice for digital documentation campaigns in the cultural heritage sector.<\/p>\n

\"JS\"<\/a><\/p>\n

\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

CAMILLE BAKER_ Devising Open-source Techno-Sensual Performance_ Camille Baker is a media artist-performer\/researcher\/curator within various art forms: mobile media, participatory performance,…<\/p>\n","protected":false},"author":12,"featured_media":0,"parent":30,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"page-template-bookmarks.php","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-249","page","type-page","status-publish","hentry"],"jetpack_shortlink":"https:\/\/wp.me\/P3fAHJ-41","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediamorphosis\/wp-json\/wp\/v2\/pages\/249","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediamorphosis\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediamorphosis\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediamorphosis\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediamorphosis\/wp-json\/wp\/v2\/comments?post=249"}],"version-history":[{"count":14,"href":"https:\/\/reframe.sussex.ac.uk\/mediamorphosis\/wp-json\/wp\/v2\/pages\/249\/revisions"}],"predecessor-version":[{"id":309,"href":"https:\/\/reframe.sussex.ac.uk\/mediamorphosis\/wp-json\/wp\/v2\/pages\/249\/revisions\/309"}],"up":[{"embeddable":true,"href":"https:\/\/reframe.sussex.ac.uk\/mediamorphosis\/wp-json\/wp\/v2\/pages\/30"}],"wp:attachment":[{"href":"https:\/\/reframe.sussex.ac.uk\/mediamorphosis\/wp-json\/wp\/v2\/media?parent=249"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}