tracking is an anticipatory form of seeing
This blog serves as an online deposit for images and interesting bits/ideas for t s Beall, an artist based in Glasgow.
tracking is an anticipatory form of seeing
Occupy Museums
"

As the commercial art world in America rides a boom unlike any it has ever experienced, another kind of art world growing rapidly in its shadows is beginning to assert itself. And art institutions around the country are grappling with how to bring it within museum walls and make the case that it can be appreciated along with paintings, sculpture and other more tangible works.

Known primarily as social practice, its practitioners freely blur the lines among object making, performance, political activism, community organizing, environmentalism and investigative journalism, creating a deeply participatory art that often flourishes outside the gallery and museum system. And in so doing, they push an old question — “Why is it art?” — as close to the breaking point as contemporary art ever has.

"
Outside the Citadel, Social Practice Art Is Intended to Nurture - NYTimes.com
ZoomInfo
momatalks:

Can art be a form of research? Can research be a type of art? 
By merging these two seemingly incongruous fields, the practice known as artistic research raises these key questions. However, while this approach is increasingly prevalent in contemporary art, its parameters are largely undefined. In contrast to forms of academic or scientific research—which encompass a clear thesis, a precise method for collecting data or supporting evidence, and detailed results—the pursuit of artistic research allows for open-ended aims and processes.
To open up a conversation on the creative potential of sustained investigation, MoMA Talks is holding an “Artistic Research Science Fair” on Thursday, April 18 from 12:30-2:00 p.m. This lunchtime program, hosted by historian and Cabinet magazine editor D. Graham Burnett, features four practicing research-artists—Sal Randolph, Steve Rowell, Brooke Singer, and Alexandra P. Spaudling. The artists will take on the challenge of sharing their own creative practices in the classic form of a science fair; each of them will set up a presentation board outlining their questions, methods, and findings. These boards will serve as a launching point not only to learn about the artists’ projects, but also to consider the potential incongruity between the artistic content and the uniform frameworks of traditional research practices.
Reserve your free ticket today and join us on April 18 to meet and interact with artists and explore the intersection of precise knowledge and infinite possibility! If you can’t attend the program in person, be sure to tune in to the live Tweeting on @MoMATalks.
momatalks:

Can art be a form of research? Can research be a type of art? 
By merging these two seemingly incongruous fields, the practice known as artistic research raises these key questions. However, while this approach is increasingly prevalent in contemporary art, its parameters are largely undefined. In contrast to forms of academic or scientific research—which encompass a clear thesis, a precise method for collecting data or supporting evidence, and detailed results—the pursuit of artistic research allows for open-ended aims and processes.
To open up a conversation on the creative potential of sustained investigation, MoMA Talks is holding an “Artistic Research Science Fair” on Thursday, April 18 from 12:30-2:00 p.m. This lunchtime program, hosted by historian and Cabinet magazine editor D. Graham Burnett, features four practicing research-artists—Sal Randolph, Steve Rowell, Brooke Singer, and Alexandra P. Spaudling. The artists will take on the challenge of sharing their own creative practices in the classic form of a science fair; each of them will set up a presentation board outlining their questions, methods, and findings. These boards will serve as a launching point not only to learn about the artists’ projects, but also to consider the potential incongruity between the artistic content and the uniform frameworks of traditional research practices.
Reserve your free ticket today and join us on April 18 to meet and interact with artists and explore the intersection of precise knowledge and infinite possibility! If you can’t attend the program in person, be sure to tune in to the live Tweeting on @MoMATalks.
momatalks:

Can art be a form of research? Can research be a type of art? 
By merging these two seemingly incongruous fields, the practice known as artistic research raises these key questions. However, while this approach is increasingly prevalent in contemporary art, its parameters are largely undefined. In contrast to forms of academic or scientific research—which encompass a clear thesis, a precise method for collecting data or supporting evidence, and detailed results—the pursuit of artistic research allows for open-ended aims and processes.
To open up a conversation on the creative potential of sustained investigation, MoMA Talks is holding an “Artistic Research Science Fair” on Thursday, April 18 from 12:30-2:00 p.m. This lunchtime program, hosted by historian and Cabinet magazine editor D. Graham Burnett, features four practicing research-artists—Sal Randolph, Steve Rowell, Brooke Singer, and Alexandra P. Spaudling. The artists will take on the challenge of sharing their own creative practices in the classic form of a science fair; each of them will set up a presentation board outlining their questions, methods, and findings. These boards will serve as a launching point not only to learn about the artists’ projects, but also to consider the potential incongruity between the artistic content and the uniform frameworks of traditional research practices.
Reserve your free ticket today and join us on April 18 to meet and interact with artists and explore the intersection of precise knowledge and infinite possibility! If you can’t attend the program in person, be sure to tune in to the live Tweeting on @MoMATalks.
momatalks:

Can art be a form of research? Can research be a type of art? 
By merging these two seemingly incongruous fields, the practice known as artistic research raises these key questions. However, while this approach is increasingly prevalent in contemporary art, its parameters are largely undefined. In contrast to forms of academic or scientific research—which encompass a clear thesis, a precise method for collecting data or supporting evidence, and detailed results—the pursuit of artistic research allows for open-ended aims and processes.
To open up a conversation on the creative potential of sustained investigation, MoMA Talks is holding an “Artistic Research Science Fair” on Thursday, April 18 from 12:30-2:00 p.m. This lunchtime program, hosted by historian and Cabinet magazine editor D. Graham Burnett, features four practicing research-artists—Sal Randolph, Steve Rowell, Brooke Singer, and Alexandra P. Spaudling. The artists will take on the challenge of sharing their own creative practices in the classic form of a science fair; each of them will set up a presentation board outlining their questions, methods, and findings. These boards will serve as a launching point not only to learn about the artists’ projects, but also to consider the potential incongruity between the artistic content and the uniform frameworks of traditional research practices.
Reserve your free ticket today and join us on April 18 to meet and interact with artists and explore the intersection of precise knowledge and infinite possibility! If you can’t attend the program in person, be sure to tune in to the live Tweeting on @MoMATalks.
yep.
alexpaik:

Michael Scoggins @ Freight and Volume
"Dazzle camouflage (also known as Razzle Dazzle or Dazzle painting) was a military camouflage paint scheme used on ships, extensively during World War I and to a lesser extent in World War II. The idea is credited to the artist Norman Wilkinson who was serving in the Royal Naval Volunteer Reserve when he had the idea in 1917. After the Allied Navies failed to develop effective means to disguise ships in all weathers, the dazzle technique was employed, not in order to conceal the ship, but rather to make it difficult for the enemy to estimate its type, size, speed and direction of travel. After seeing a canon painted in dazzle camouflage trundling through the streets of Paris, Picasso is reported to have taken credit for the innovation which seemed to him a quintessentially Cubist technique."
Dazzle Ships | The Public Domain Review
Inspiring me not to give up on academic publishing:
“We welcome papers which are challenging, which exhibit a will to not only interpret but also transform the world. Antipode papers are rigorous and intellectually substantive, they wrestle with debates in geography and take them forward. But they also go well beyond geography, trespassing and disrupting disciplinary borders. They are original, but not just original: they want to be significant to theory and practice. They are argumentative, scholarly and clear, able to withstand the trials and tribulations of peer review; but they are also alive, animated, and compelling to read. In many instances they ooze political fervour, but they may do this in different ways, not just through angry rhetoric or savage polemic (although these are forms of radical writing which we also acknowledge and cherish). Antipode papers can be – perhaps even should be – collaborative and cooperative. They are not despairing. They are hopeful but not naively so. They are often normative, probing ‘what ought to be’ rather than just ‘what is’: in this sense, they may be explanatory-diagnostic but also anticipatory-utopian. They may interrogate wider structural logics but also be based in lived experiences. And – did we already say this? – they are passionate! Like many who opt for academia, we are driven and motivated; have a fastidiousness for detail; love of language and a clearly delivered thesis; and ardor for the unexpected. Antipode is for us, above all, about passion: passionate writing informed by a passion for justice, in the service of liberation rather than salvation. The quest is not for transcendent Truth but for historical truths that we can confront or enact (as the case may be). Antipode papers are timely, they resonate, speak to, or in some way help us understand – in order to change – existing forms of domination. They generate new, practical ideas for radical politics, broadly defined.” (via A Radical Journal of Geography | AntipodeFoundation.org)
Nights in this City - Forced Entertainment...
The earliest map on which the farmhouse appears (as part of a complex of buildings) is the Govan Parish Map of 1852 where it is entitled Fairfield Farm Steading. The northern, riverside section of the Fairfield Estate was bought in 1864 by Randolph, Elder & Co., while the southern Elderpark side, which still contains the farm, was bought by Elder’s widow in 1883 as a gift to the people of Govan. It remains so to this day. (via citystrolls.com)
"We need to encourage a community that helps itself. There are no special formulas, if there were we would be using them. What we do know is that there are enough people and skills around Govan, that, with some encouragement, backup and solidarity – could build what we want."
Ethos Fairfield Farmhouse Community Trust (via Citystrolls.com)
Here is the photograph that I was talking to Carolinda about. It was taken at the side of the church at Binsted in Hampshire. On the left hand side is my Mum holding me in her arms just behind her is my Aunt Mickey standing just in front of her and next to my Mum is Rosie Plumridge then my Uncle Bill and my Nan. Uncle Bill’s lorry is in the background. Taken in 1965.
via To Gypsyland By Delaine Le Bas co - Curated By Barby Asante
Mic Check! (& Human Megaphones....)
Largest’ Scottish ancient artworks revealed
A RETIRED silversmith has ­uncovered the largest collection of ancient rock art ever found in the Highlands on a remote hill overlooking the Cromarty Firth.



The carved rocks – some ­almost 10ft across – have been discovered scattered across a hillside near Evanton, in ­Ross-shire.
Douglas Scott, the amateur archaeologist who has recorded the remarkable find, believes the “cup-marked” rocks – dating from up to 5,000 years ago to the Neolithic or Bronze Age – form part of a “ritual centre of some significance” where ancient people worshipped the sun and performed rites connected to the ­underworld.

Mr Scott, 64, from Tain, has found and recorded a total of 28 carved rocks on Swordale Hill – Druim Mor in Gaelic – and lodged his remarkable discovery with the Highland Historic Environment Record and the Royal Commission on Ancient ­Monuments.
http://www.scotsman.com/the-scotsman/scotland/largest-scottish-ancient-artworks-revealed-1-2780498