ADAPT Live at the Being Human Festival
Thursday 23rd and Friday 24th November 2017
National Science and Media Museum, Bradford
Pioneering ex-BBC television crews responsible for bringing colour into our homes in the late 1960s will bring TV history to life in the foyer of the National Science and Media Museum in Bradford later this month (November 23-24).
ADAPT LIVE, part of the Being Human festival, will reunite veteran TV crews to demonstrate the skills that brought us some of Britain’s earliest colour TV shows.
The veteran crews and kit were reunited and filmed for ADAPT ( www.adaptTVhistory.org.uk), a research project funded by the European Research Council and based at Royal Holloway, University of London. The project aims to research and document the history of British broadcast television technology between 1960 and the near-present.
During ADAPT LIVE, participants – all of them former television producers and technicians who worked on BBC outside broadcasts during the 1960s and 1970s – will share stories, host live demonstrations and screen footage to share how television used to be made.
The event will include a rare opportunity to see working demonstrations of historic television camera, including the iconic Pye PC80 and EMI 2001, which were among the earliest colour cameras regularly used in the UK.
The exhibition includes:
- Live outside broadcast with original kit from late 1960s/early 1970s.
- ADAPT footage screening and live Q&A with experienced directors, cameramen, sound and lighting engineers.
- Memory Booth – Your opportunity to tell us about your memories of 1970s TV and your thoughts about the ADAPT project.
The exhibition is FREE but booking is required for the Q&A via the Being Human Website https://beinghumanfestival.org/event/adapt-live-2/
To find out more about the ADAPT project visit: www.adaptTVhistory.org.uk
For further information about ADAPT Live, please contact Producer Amanda Murphy Amanda.firstname.lastname@example.org or Research Assistant Stephanie Janes Stephanie.Janes@rhul.ac.uk
Public Lecture / All Welcome
Anna Munster (University of New South Wales)
Royal Holloway University of London
11 Bedford Square, WC1B 3RA
Date: Wednesday, 18 October 2017
‘DeepAesthetics’ explores a new kind of formalism accompanying the artificial intelligence (AI) that has emerged in the wake of deep neural networking. The massive deployment of images as, for example, training datasets, as attribute sources and as discriminators to solve ‘problems’ of classification and recognition has resulted in a shift in where and how ‘value’ and ‘judgement’ are aesthetically located and construed. ‘Aestheticians’ and an ‘autopoeitic’ visual aesthetics are now issuing forth from the research and development arms of upcoming corporate players in the AI domain such as NVidia.
‘DeepAesthetics’, then, names this emerging machinic assemblage of aesthetics, computation and (graphics) market share. Such an assemblage must be understood transversally as the relationality of technical, political and cultural claims to the production of automated forms of judgement and value. Here I want to ask: how have formalist aesthetic paradigms been subsumed and reconfigured by manufacturers of, for example, GPUs such as Nividia, and what are the consequences of this for our contemporary aesthesia? But the paper will also consider what other aesthetic practices – both immanent and ‘allopoeitic’ – might be possible in this context; ones that allow AIs themselves to become experimental. Here a minor ‘deep aesthetics’ operates deliberately out of the acknowledgement – widespread within deep neural network research – that we, humans, just do not know what is going on in the black box of deep neural networking. We might speculatively propose that the largely impenetrable operativity of such vast neural networking could become the site of a radical unknowability and affectivity for machine aesthetics.
Anna Munster is Professor in Art and Design, University of New South Wales, Sydney Australia. Her book, An Aesthesia of Networks (MIT Press, 2013) explores expressions of networks beyond the ‘link-node’ image and new understandings of experience that account for relationality in contemporary assemblages of human and nonhuman technics. She is also the author of Materializing New Media: Embodiment in Information Aesthetics (2006), which won a ‘highly commended’ in the 2008 Prix Ars Electronica Media Research category. She is a founding member of the online peer-reviewed journal The Fibreculture Journal and has published with journals such as Inflexions, CTheory, Culture Machine and Theory, Culture and Society. She is a co-editor of the two-volume anthology Immediations, (with Erin Manning and Bodil Marie Stavning Thomsen, OHP forthcoming 2017) that explores novel speculative and radical empiricist concepts of the event. Munster is also a practicing media artist who regularly collaborates with Michele Barker. Their media environments explore animal, human and more-than-human movement and perception with a newly commissioned work, pull in the Experimenta Triennale of Media Arts ( http://experimenta.org/experimenta-make-sense/)
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