Zone is a new commission for FACT (Liverpool) supported by Mersey Forest. The work will develop upon the film Stalker (1979) by Andrei Tarkovsky, leading to a series of journeys into ‘the Zone’ located at Bidston Moss in the Wirral. This is a Close and Remote project with Sophie Mellor.
I have been developing artist media labs since 1997, the first one being at Dartington College. Since then I have worked with over 300 artists on a variety of projects. Labs have been developed with mac (Birmingham), Eden Project, Roundhouse, SubStation (Singapore), Deptford Lounge, Pacitti Company, Writers’ Centre (Norwich), Watershed, Lighthouse (Brighton), Vivid, ArtSway, Metal and CCA (Glasgow).
Over ten years I worked with PVA MediaLab in Bridport devising labs and artist professional development. More recently, I have developed and refined specific media labs for Metal and mac – in these cases focussing on particular areas of practice such as projection, sound, open source electronics, locative media and indeterminacy. The process is high impact, peer-to-peer in form and designed to facilitate changes in artistic practice.
“For me finding time to focus on my personal practice, among the work of the company I run, or facilitating work of other artists is really difficult. The lab afforded me time to think, focus and talk about my work. This was wonderful, I started a new piece of work, and have a plan for other pieces.It felt like a guilty luxury…” (artist participant).
Curated by Helen Kaplinsky
The show incorporates works from UK Ltd (1995/6) and Counter Marketing (1997), commissioned by Hull Time Based Arts.
Damn braces: Bless relaxes
Whitechapel Gallery, Gallery 7
10 December 2013- 9 March 2014
11 April – 27 June 2014
I have established a consultancy practice focussed on artist professional development, organisational development and direct programming. A particular skill that I bring to this work is ‘visual’ business planning, working with clients to design legible structures, missions and programmes.
As an established practitioner I am able to work with clients on delivery connected to initial consulting. Consequently, I often work alongside staff to develop new projects. I have particular experience of digital media, software design and digital publishing (apps).
Recent clients include:
Knowle West Media Centre
References are available on request.
commissioned by UP Projects
Here Comes Everybody is a Close and Remote project commissioned by UP Projects as part of their Secret Garden Project Lewisham programme working in partnership with London Borough of Lewisham and supported by Arts Council England.
Close and Remote are Sophie Mellor and Simon Poulter, artists based in London. Working together on a range of locative, site-specific and digitally inspired projects that seek to create openings and actions that engage people in understanding the world around them. Their combined practice is playful, probing and most often concerned with investigating ways of “making history obvious”. Recent projects include ‘Digital Citizen’, looking at how we produce and consume data in a smart city, and ‘Urban Retreat’ investigating the margins between the urban and the rural.
Commissioned by NOW Festival, Nottingham (2006)
Broxtowe 2006 is a 38 minute documentary shot in Broxtowe, Nottingham in 2006. The film features a Subaru Impreza WRX STi used as a means of interviewing a series of guests and residents of the Broxtowe estate. The premiere screening of this work was held on 8 December, 2006 at the University of Nottingham.
Graham Allen MP
Curated on behalf of Watershed.
In the 1960s Herbert Marshall McLuhan formed many of the enduring ideas and theories that to this day serve to contextualise how we see and use electronic media. For McLuhan, the light bulb marks the shift towards binary systems, code and the modern age. Extending the effects of the light bulb on ‘man’, we can extrapolate our whole ’24/7′ culture, its systems and aids. As we celebrate the 100th anniversary of McLuhan’s birth, it is an appropriate time to revisit his ideas, aphorisms and life. His seminal text Understanding Media continues to hold value and provides a useful discourse on the technological age; where binary systems become ordinary, fetishised and pervasive all at the same time.
I curated a programme of work for Watershed in 2011
Collaboration with University of West of England
“In a performance involving a variety of social media, a video produced in transit to the conference, and members of the audience, Simon Poulter directly questioned the various ways in which the apparent mundanity of everyday life demands our attention. The mix of familiar media, the physical presence of the performer and the ongoing stream of content from the social network Twitter places both demands on the attention of the audience and of the performer, which challenged the conventions of the conference space, apparently acceptable behaviour and the way in which such work can or should be documented.” (Sam Kinsley.)
The videos below introduce the idea of the ‘society of no spectacle’ as everything is recorded and tagged. Stiegler frames the idea of the attention economy; another way of saying the same thing. Competition for attention in the age of no spectacle is the thing in itself. The notes were prepared as a list of concerns that were apparent in the society of no spectacle.
Google as a new political system
Technological determinism and human agency, leading to techno-impotence and emasculation
China as a third way ecomony
The power of information control and the ‘platform’
Technological tools are not neutral, although the way in which they are represented to the market is.
Where are the information centres of the future?
In what place is the world’s knowledge kept?
Technological determinism and lust – techno-lust
The fetishisation of the market-place
Memory allocation (human) how we no longer need to remember
How travel in terms of space and time is compressed
Data-visualisation as porn
The beauty and destruction of propaganda
Where is nature in the cloud?
Narcosis of the online experience (servitude/technarcosis)
Attention deficit disorder!
Creating a profile – FACEBOOK etc
Funded by Arts Council England – 2005
What is the Index of Deprivation?
The British Government currently gathers statistical information from all areas of England and Wales, which enables it to target regeneration funds. Electoral wards are divided up into smaller ‘Super Output Areas’ comprising of around 1500 people. From this the so called ‘Index of Deprivation’ has been published, listing the least and most deprived areas of the country. I collected cultural information from the 10 most deprived cities in England. Presently, cultural information is not included in the indices, whereas crime, health and unemployment are.This project was funded by the Arts Council of England and co-commissioned in Nottingham by the NOW Festival and Metal in Liverpool.