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CRITICAL GPS: PUBLIC INTERVENTIONS IN VIRTUAL SPACE, 2018 (29.10 — 1.11).

IMMANENCE, PANTHEISM.

Jordan Edge, Carolin Schnurrer. 

A place of immanence. Confessions only to be heard by a religious space. Within the Church, Sins are opened and withheld, how does this cross over to a virtual space? Could a virtual church be a place of worship for any practice of religion or belief? An abstraction of a pantheistic God or pantheism is the belief that the universe (or nature as the totality of everything) is identical with divinity, or that everything composes an all-encompassing, immanent God. Pantheists thus do not believe in a distinct personal or anthropomorphic god. This is a space in which to be fulfilled by your idea of higher being, more so to discover your own beliefs and confession system. Does the virtual world have any belief system where you can confess and confide in? This Virtual Church is an articulation of the physical attendance of church. Can your digital sins be kept within it? The objects placed in the virtual space are suggesting a place of worship, does this mean you can be safe to practice your religious views here? The fluidity of our scene represents a culturally diverse community, sharing our lives and growing in faith together.

CRITICAL GPS invited participants to explore the latent potential of public interventions in virtual 'space'. Calling upon the heritage of 60s site-specific art and analyses of so-called virtual ‘spaces’ and their already established networks present on the internet participants attempted to address the mixed-reality resulting from the overlay of digital dimensions upon the world, challenging the convergence of digital experiences of a space and its physical location. What does it mean when something which is more commonly regarded in abstract, ethereal terms becomes intrinsically linked to a specific physical space?

In the first part of the workshop participants were briefed to reflect and comment on the White City campus building where the workshop took place, using the Google Street View app photosphere feature to record their manifestations within their chosen space. They then published these to the Street View platform as a means of publicly available reflection.

The second part of the workshop, of which the outcomes are archived on this platform, invited participants to comment and react to a specific location of their choice within the White City district. These interventions aggregate multiple layers of engagement with the chosen locations; from data extracted from the Google Street View app (360 degrees photos and GPS coordinates), primary research such as the gathering of field materials, textures and objects and secondary research such as investigation into historical backgrounds or contexts. All of these layers were re-configured and assembled within 3d software.

The method of display in the online exhibition alludes to the aforementioned photo spheres, a feature available on Google Street View. If you are near a chosen location and viewing upon a mobile device you will see only the associated artwork while if this site is visited from anywhere else a flawed attempt to contextualise the reactions is made by layering them upon linked Street View scenes.

Website Development:
Max Ryan

Fort Process

Fort Process is a one day sound art and music event that utilises the extraordinary resonant spaces of Newhaven Fort. This third edition of the festival will feature performances, installations, talks, workshops and live art, and is part of an extended season that runs from July to October with events at De La Warr Pavilion, Cafe Oto and ACCA.

22nd Sept 2018

Sound Installation:

Singing Polymers represents unconventional materials such as developed metal & latex coinciding with the natural environment, heightening the methodology of causal listening. This Aeolian Sculpture highlights the subtle physicalities within the weather, amplifying the fluctuations in environmental change to develop an understanding of sound in the here and now.

This work invites you to heighten your listening, hearing the details captured in wind movement, rainfall and your already existing soundscape.

Performance:

Red Hook Grain Terminal is the work of UK-based Sound Artist & Experimental Composer Jordan Edge.

Jordan Edge is a Contemporary sound artist from the UK. Edge experiments with industrial objects, raw materials and spaces to manipulate the medium through which sound travels, creating sound environments that explore the physical and psychological effects of noise on the human body and mind. Utilising self-built instrumentation, developed latex, industrial fans, metal housings and processed vocals, he assaults the audience with crushing rhythmic noise pierced with sublime composed sequences.

R.H.G.T presents an expression of environmental industrialism communicated through a body bound.

Singing Sculpture Exhibition, Cobalt Studios.

8 Sound Artists with varied backgrounds each presented an existing or site specific out door Sound Installation work alongside a talk and / or a performance relating to the topics below at Cobalt Studios.

Artists: Jordan Edge, Joshua Legallienne, Guoda Dirzyte, Maja Mihalik, Ingrid Munk, Thomas Tyler, Rob Blazey, Robbie Crace, Tim Shaw & John Bowers.

This exhibition represents Sound Art, Acoustic Ecology, Heightened Soundscapes & Sound Awareness. Aeolian art is a sound sculpture or object that reacts to the natural environment, wind, temperature, anything that can naturally generate or amplify sound without using any electronics or using its own power source (Solar etc.)

Interview: Jordan Edge