Title: Knowledge Futures
Date & time: Friday October 16th (2 - 5.30 and 7-10pm) and Saturday 17th October 2009 (9.30-13.30)
Venue: The Great Hall and Ian Gulland Lecture Theatre, Goldsmiths, New Cross.
Cost: 2 day conference £50 (£25 cons) Friday evening only £10 (£5 cons).
With evening live sound event curated by Alex McLean, co founder of Slub and Dorkbot, London supported by Sound and Music (Sonic Arts) and Sound Practice Research centre.
For further information on the Friday night lineup, please visit the Transfer website http://slab.org/transfer/
Knowledge transfer describes how knowledge and ideas move between the knowledge sources to the potential users of that knowledge. Currently, the UK Research Councils encourage knowledge transfer by supporting schemes and activities to transfer good ideas, research results and skills between, for example, universities and other research organisations, business, the third sector, public sector and/or the wider community. Partnership and collaboration are seen as essential to this process and impact on current creative practices across the arts and humanities. The conference is interested in how institutional frameworks create and participate in the conditions for soft knowledge transfer and supportive environments in which people and their practices, knowledge’s and values can be shared and disseminated
The conference will be addressed by Professor Geoffrey Crossick, Warden, Goldsmiths who will provide a provocative update to his Knowledge transfer without widgets: the challenge of the creative economy, delivered at RSA, Leeds in 2006.
Confirmed presentations and speakers also include, Andrew Shoben (Greyworld), Mick Grierson (Performing and Creative Arts Fellowship, AHRC), Julie Freeman (resident artist at Microsystems and Nanotechnology Centre, Cranfield University and Welcome Trust), Tim Eastop (Director
of Creative Campus Initiative and Co-Director of Method, the Artists
Leadership scheme on behalf of the Cultural Leadership Programme), Sally Taylor (Director, LCACE), Professor Frank Bond (Head of Department of Psychology, Goldsmiths), Adnan Hadzi (PhD Goldsmiths), Alexandra Hodby (AHRC CDA Goldsmiths & Manchester University), Janis Jefferies (Professor of Visual Arts and Artistic Director
of
Partners include LCACE, Goldsmiths Digital Studios, Greyworld, Sound and Music, iShed.
Frank Bond
Professor Frank Bond is Head of the Department of Psychology
at Goldsmiths, University of London. He trained as both an occupational and a
clinical psychologist, and his research and practice reflects these dual
interests. His theoretically driven research explores both psychological and
organisational processes that underpin innovation, effective performance, and
psychological health. To those ends, he has examined the effectiveness of both
organisational change programmes and psychological interventions. He has
conducted this research in a wide-range of public and private organisations,
especially in the creative and media, government, and financial services
sectors. Professor Bond has published his research in a variety of academic and
professional journals, including Journal of Applied Psychology, Behaviour
Research and Therapy, and Journal of Organizational Behavior Management. A
common theme that emerges from his research is the importance of psychological
flexibility, or psychological acceptance; this is defined as the ability fully
to contact the present moment and the thoughts and feelings it contains without
needless defence, and, depending upon what the situation affords, persisting or
changing in behaviour in the pursuit of goals and values. Professor Bond’s
research shows that psychological flexibility is an important determinant of
not only mental health but job performance, as well.
Professor Geoffrey Crossick, Warden of Goldsmiths, University of London
Professor Crossick has been Warden of Goldsmiths, University of London since May 2005. He joined Goldsmiths after nearly three years as Chief Executive of the Arts and Humanities Research Board, where he was responsible for seeing it through to full research council status alongside the seven existing research councils on 1 April 2005.
He was previously Professor of History at
the University of Essex, where he served as Pro-Vice-Chancellor (Academic
Development) between 1997 and 2002. He has extensive academic experience in
France, and spent a year as visiting professor at the University of Lyon 2. A
historian specialising in the social history of Britain and continental Europe
in the 19th and early 20th centuries, Professor Crossick’s research and
publications have focused particularly on the petite bourgeoisie of shopkeepers
and master artisans, and on urban history.
He has played a
significant role in debates about the importance and impact of the arts and
humanities, and also about the relationship between universities and the
creative economy. He is a member of the HEFCE Enterprise and Skills Committee.
He also chairs the sector-wide Financial Sustainability Strategy Group, for
which he was responsible for a recent influential report on the sustainability
of learning and teaching. A member of the Board of Universities UK, he
chairs its Longer-Term Strategy Group. He is a member of the Chair's Advisory
Group of the 1994 Group. He is also on the British Library Advisory Council,
the Council of the Royal College of Music and the Governing Board of the
Courtauld Institute. He is an Honorary Fellow of Emmanuel College, Cambridge.
Tim Eastop
Tim Eastop is an experienced contemporary arts professional
working in the UK and internationally across the arts with artists, curators,
venues, academic institutions and the art market. Since leaving Arts Council
England in 2007, he has worked independently, specialising in artists’
development, international research placements and installation events in
politically charged situations, www.grain244.com
Tim is currently working as Director of the Creative Campus
Initiative, a major cultural response to the Olympics by a consortium of
thirteen universities in the South East. He co-established Difference Exchange,
a new partnership which uses difference as a driver, working with artists who
thrive in interstitial spaces between art, industry and academia,
www.differenceexchange.com In 2009, Tim co-led Method, an Artists Leadership
Development programme for the Cultural Leadership Programme,
www.solarassociates.net/method.
In 2002, Tim directed Arts Council England’s International Artists
Julie Freeman
Freeman’s work spans visual, audio and digital art forms and explores
the relationship between science, nature
and how humans interact with it. For the past 12 years her work has
focused on questioning the use of electronic technologies to ‘translate nature’
– whether it is through the sound of torrential rain dripping on a giant
rhubarb leaf; a pair of mobile concrete speakers who lurk in galleries spewing
sonic samples or by providing an interactive platform from which to view the
flap, twitch and prick of dogs’ ears. In
2005 she launched a pioneering artwork The Lake, which used hydrophones, custom
software and advanced technology to track electronically tagged fish and
translate their movement into an audio- visual experience. The work was
developed over three years and supported by a fellowship from the National Endowment for Science, Technology
and the Arts (NESTA). She is currently resident artist at the
Microsystems and Nanotechnology Centre at Cranfield University where she is creating works that aim to increase
public understanding of the nanoscale and its potential social impacts and consequences.
A graduate of the MA in Digital Arts at the Centre for Electronic Arts,
Middlesex University, London, she is steering group chair of FreqOUT! a London
based community arts programme, enabling young people to work with wireless
technologies, a executive board member of Node.London – a media arts not for
profit organisation, and on the creative advisory board for MeshMinds – an arts
networking organisation.
Mick Grierson
Dr. Mick Grierson
specialises in the area of real-time audiovisual composition and performance.
In addition to working as an artist and researcher, he has extensive experience
in the creative industries as an editor, composer, cameraman, sound designer,
and consultant and computer programmer. He is currently working on cognitive
and structural approaches to contemporary computer aided audiovisual
composition as part of the three year Performing and Creative Arts Fellowship,
AHRC which has led to several high
profile commissions, including title design and digital audiovisual
installations for the hit T.V. show Derren Brown: Trick of the Mind. In January 2008, he collaborated with the
Sonic Arts Network to create a freely available interactive audiovisual
interface for use by the deaf and hard of hearing . In addition he is lead
developer on the Mabuse Audiovisual Composition Software Environment. He works
across the Departments of Music and Computing at Goldsmiths.
Adnan Hadzi
Adnan Hadzi is undertaking a practice-based PhD, 'the author
vs. the collective', that focuses on the influence of digitalisation and the
new forms of (documentary-) film production, as well as the author's rights in
relation to collective authorship. This interdisciplinary research combines
sources and expertise from the fields of media and communication, computer
studies and architecture. The practical outcome is Deptford.TV an online
database drawing on the current regeneration process in Deptford, South/East
London. The database serves as a platform for artists and filmmakers to
store and share the documentation of the urban change of S/E London.
http://www.deptford.tv; http://www.bitnik.org; http://www.archive.org/details/ImagesOfEbb
Alexandra Hodby
Alexandra Hodby is based in Manchester and a part-time
doctoral award holder (AHRC CDA) at Goldsmiths (Dept. of Politics) and Tate
Modern. Specifically looking at the idea of ‘new institutionalism’, the focus
is on the expanded practice of Tate Modern’s programme, and I work directly
with the Public Programmes team.
Also working as an independent curator and consultant, my
work includes developing artists projects, and negotiating ideas about
collaboration and creativity through curatorial practice. Until December 2008,
I directed the creative studio practice platform projects with artist Alec
Finlay, making art and landscape projects, publications and collaborative
works. Before this, I was a curator at Yorkshire Sculpture Park (2000-06). http://www.tate.org.uk/research/tateresearch/researchposts/#hodby
Janis Jefferies
Janis Jefferies is Professor of Visual Arts and Artistic Director
of
Andrew Shoben
Andrew Shoben founded
art group Greyworld in Paris in 1993 and is Professor Public Art, Department of
Computing at Goldsmiths. Greyworld’s goal is to create works that articulate
public spaces, allowing some form of self-expression in areas of the city that
people can see every day but would normally exclude and ignore. Greyworld are
now based in London, with permanent works in many major cities around the
world. The aim is aim is to establish special intimacies through the unexpected
articulation of objects installed in these spaces – to ‘short circuit’ both the
environmental and social expectations supplied by the surrounding urban
environment. spaces are created that offer the passer by an opportunity to join
an unexpected ‘community of presence’, initiating an intimate communication
which often leads to a personalization of the environment and a challenge to
the notion of private and public space, collaboration and what makes a work
interactive.
Currently one the UK’s
most innovative creative companies, Greyworld is perhaps best known for its
work ‘The Source’ at London’s Stock Exchange and ‘Monument to the Unknown
Artist’, outside the Tate Modern gallery in London unveiled in November
2007. www.greyworld.org
Julie Taylor
Julie Taylor is Strategic Business Development Manager at Goldsmiths where she is responsible for promoting and facilitating collaboration and strategic partnerships between the full breadth of Goldsmiths’ research and learning activities and a diverse range of external organisations in the private, public and third sectors.
Prior to joining Goldsmiths in September 2008, Julie was Head of Knowledge Transfer at the Arts and Humanities Research Council (AHRC). In this capacity she developed and delivered the UK’s first Knowledge Transfer strategy and resultant funding programmes for this research community. Whilst at AHRC Julie also brokered co-funded research and development projects with organisations such as the BBC and BT Research and Venturing and worked closely with government departments to shape UK innovation policy.
Before taking up a full-time position in higher education, Julie worked for over fifteen years in the private sector as a freelance television producer and director.
Sally Taylor
Sally Taylor is Director of the London Centre for Arts and Cultural Exchange (LCACE) prior to which she was working as Special Adviser to Sir Michael Bichard, the Rector of the University of the Arts, London for two years, working on partnerships for the University, with key arts organisations in London
Sally’s previous roles include the London Director of Arts & Business, encouraging businesses to partner the arts in innovative ways, she raised funding from both the DCMS and SRB 6 for this work, Senior Touring Officer for Arts Council England with particular responsibility for opera and contemporary music, General Manager of Pimlico Opera, an award winning touring opera company renowned for its prison work, working for Kallaway Sponsorship Consultants and advertising agency J. Walter Thompson, as well as running her own company.
A Fellow of the RSA, she is Chair of the PRS( Performing Right Society) Foundation which distributes £1.5million to support new music each year, and on the Boards of Oxford Contemporary Music and Streetwise Opera.
Evelyn Welch
Evelyn Welch is an art historian with a special interest in visual and material culture in Europe between 1300 and 1700. She is the author of Art and Authority in Renaissance Milan (Yale, 1995), Art in Renaissance Italy, 1350-1500 (OUP, 2000) and Shopping in the Renaissance: Consumer Cultures in Italy 1400-1600 (Yale, 2005) which was awarded the Wolfson Prize for History, 2005. She is co-editor of The Material Renaissance (Manchester University Press, 2007) and has recently completed a Wellcome Trust-funded study of a pharmacy in late fifteenth-century Florence with Dr James Shaw (University of Sheffield). Her current work focuses on dress and material culture; Professor Welch has recently completed an Arts and Humanities Research Council funded network exploring Early Modern Dress and Textiles.
www.earlymoderndressandtextiles.ac.uk. She is the director of the 5.5 million pound Arts and Humanities Research Council strategic programme, Beyond Text:
Performances, Sounds, Images, Objects which runs until 2012, www.beyondtext.ac.uk
