SCANZ 2013: 3rd nature residency and Wānanga-Symposium

Artists at Parihaka

3rd nature residency artists and Parihaka hosts outside Te Raanui, the whare kai (house for eating). The visit to Parihaka set the residency off to an excellent beginning.

SCANZ 2013 artists at Owae Marae

This photo by Jo Tito shows the wananga- symposium attendees after the final session and clearing up. They are outside the whare kai Ko Tama Wahine at Owae Marae. The group had a wonderful spirit at this time.

SCANZ 2013: 3rd nature residency, wānanga-symposium, exhibitions and publication.

Themes

3rd nature involved creativity and innovation at the intersection of three critical interfaces:

*Acknowledging the environmental crisis; *Engaging with Maori and indigenous peoples; *Engaging with Sciences and the Hybrid Arts

These three intersecting dialogues provided space for a Third Nature, a fresh space for engaging with new knowledge and approaches vital to a sustainable civilisation.

Project Components

Residency; Wānanga-Symposium; Exhibitions – Museum, Botanic Garden; Publication

The SCANZ 2013 3rd nature residency is the basis for the entire project.

1. Residency

The residency commences with a visit to Parihaka on day one and two. Over the two week period of the residency, there will be a series of open labs in the WITT Art Space, where local people have been invited to take part in, and conduct sessions based on themed days. Interested people are welcome to attend and contribute.

The residency artists are:
Darko Fritz — darkofritz.net
Ilka Nelson — thelasttree.net
Sonja van Kerkhoff and Sen McGlinn — sonjavank.com/sensonja/index.html
Kate Genevieve and David C Montgomery — kategenevieve.com and silvefishcloset.com
Jo Tito — jotito-artist.com and handpaintedrocks.com
Pierre Proske and Damian Stewart — digitalstar.net, damianstewart.com
Jayce Salloum (screening) — tinyurl.com/jaycesalloum
Vicki Smith — sailingforsustainability.org
Dr Tracey M Benson — byte-time.com
Rulan Tangen — Dancing Earth
Nigel Helyer — Dr Sonique
Cecelia Cmielewski — Profile
Nina Czegledy — ninaczegledy.net
Trudy Lane and Halsey Burgund — thehouseofwonder.org, halseyburgund.com
Kura Puke — Profile
Brooke Sturtevant-Sealover — brookesturtevant-sealover.com
Deborah Lawler-Dormer — Academia.edu Profile
Josh Wodak — Project proposal
Terri Crawford — Profile
Guy van Belle — Profile
Shannon Novak — shannonnovak.com

Some of the project proposals accepted for the residency – see here»

2.Wānanga-Symposium

The list of accepted abstracts is found here. Below is the list and grouping of presenters.

Author
Presenter grouping and paper title
Mātauranga Māori, Science and Art
Dr Te Huirangi Waikerepuru Keynote 1
Alex Kmoch, Sheena Mannering-Tawera, Diane Bradshaw, Paul White and Hermann Klug A groundwater resources portal for New Zealand
Ian Clothier From second to third nature: building cultural bridges between Mātauranga Māori and Western science
Environment
Te Kipa Kepa Brian Morgan, Tumanako N. Fa’Aui and Robyn Desma Manuel Decision making at the Interface: Mauri and its contribution to the Rena Recovery
Margaret Smith & Fiona Clark Sustaining Waitara Waterways
Josh Wodak Comprehending Complexity: Art in the Anthropocene
Ricardo Dal Farra & Leah Barclay Balance-Unbalance: Arts + Science x Technology = Environment / Responsibility
Society and nature
Te Matahiapo Māori Society
Lesley Pitt A Pakeha social work view: liberation starts right here
Donna Willard-Moore An integral theory analysis of barriers to an ecologically sustainable civilization
Maja Kuzmanovich; Verena Kuni; Lorena Lozano; Reni Hofmuller; Annemie Maes; and Lenka Dolanova with Michal Kindernay Skype bridge – live presentations from Europe
Nina Czegledy Keynote – reFraming Nature
Nigel Helyer and Mary-Ann Lea Under the icecap
Cecelia Cmielewski Remote interventions
Mark Harvey, Dermott McMeel, Becca Wood, Mark Jackson, Maria O’Connor Body Imperfect
Indigenous cultures
Kura Puke and Stuart Foster The substance of experience
Gabriel Vanegas Logics of nature-driven technologies in a place Called America
Leah Barclay SONIC ECOLOGIES: Practice-led intersections of sound art, science and technology in global communities
Ana Terry & Don Hunter Un Litro de Agua
Deborah Lawler-Dormer He Poi, pattern, collaboration and electronic art installation
Melanie Cheung The Brilliant Brain Cell Show: Using Art for Neuroscience Education
Data, art and ecology
Vicki Sowry Echology: Making Sense of Data
Pinar Yoldas The very loud chamber orchestra of endangered species
Brian Degger Make, Do, Mend and Hack (MDMH) the biotechnologies of the 3rd Nature
Elise Smith and Anne Scott Technology meets Ecology – Where have all the little blue penguins gone?
Futures
Jock McQueenie The Art of Engagement
Christine Fenton, Tengaruru Wineera, Nina Czegledy, Mike Fenton Policy recommendations from the SCANZ residency session on working across boundaries of culture and discipline
Haritina Mogosanu Martian Diaspora – a discussion on what culture can mean to a spacefaring civilization

 

3. Exhibitions at Puke Ariki Integrated Museum and Library, Pukekura Park and Environs

The exhibition in Puke Ariki and Pukekura Park opened on February 2nd at dawn. Click the exhibition link above or this link for images of the works.

4. Publication

The exhibition and symposium will be presented in the form of a special edition of Leonardo Electronic Almanac with a limited edition print run. We are also in discussion with Cambridge Scholars Publishing for publishing proceedings.

Important dates and places

Wānanga-symposium dates: February 1-3 2013. Day one was at Owae Marae, day two at WITT, day three was at WITT and in Pukekura Park.

Residency dates: Friday 18 January to Monday 4 February 2013. Day one was at Parihaka, with the remainder at WITT. Several people arrived a day early so they could attend two days at Parihaka, which is world renowned as a site of peaceful resistance, under the leadership of Te Whiti and Tohu.

Exhibition opening: Dawn (6.28am) February 2 2013 at Puke Ariki. Pukekura Park projects were viewed on February 3rd. The exhibition closed on April 2nd 2013.

Thematic framework

Integrating indigenous perspectives with creative, environmental, scientific and academic views on reality is essential to a sustainable future. At the same time, computing and digital media are changing our relationship to culture and the environment.

On the one hand digital technology allows us to analyse and display data in new ways, as when anthropologists use language databases to shed light on the movement of culture.

On the other hand digital technology adds to our senses, and extends them beyond the body to the forests and the land. Scientists, artists and others are transforming the environment into an organism, as Maori and indigenous peoples have always known it to be.

SCANZ 2013: 3rd nature will bring together diverse people to discuss how to approach working together across culture, discipline and media. We must work together to resolve the issues emerging at the boundary between fresh knowledge and deep knowledge, beginning with sharing knowledge and projects.

Presentations and projects which highlight cross cultural interchange and/or computing and electronics projects and/or the hybrid arts were sought. The ensuing discussion and presentations will be shared in a special edition of Leonardo Electronic Almanac, the online publication of Leonardo – the leading Massachusetts Institute of Technology journal.

Background

The concept of a third space – a zone of hybridity – traverses the cultural landscape from the writing of Homi Bhabha in the mid 1990s, to Sony advertising (see hypertext.rmit.edu.au/dac/papers/mcguire.pdf). Hybridity is now embedded in creative and cultural production and consumption.

A space of hybridity can assimilate potentially any set of concepts. SCANZ 2013 3rd nature sought to develop a fresh space, carrying memes from previous SCANZ events (which have all had an emphasis on environment) and other Intercreate projects that have involved scientists, indigenous peoples and artists working together. We are aiming to build new knowledge and establish legacies around this work, unencumbered by old perspectives and now distant categories.

We ignore the environmental crisis at our peril. Integrating the indigenous perspective, creative, environmental and scientific views on the environment is essential for continued human habitation of the planet. From these trajectories, it is possible to conceive of a fresh hybrid space, composed of overlapping elements.

We asked tangata whenua, artists, technologists, teachers, environmentalists, scientists, philosophers, educationalists, indigenous peoples, technologists and lecturers to contact us with ideas for talks, discussions, presentations, residency projects, exhibition ideas for gallery space and a botanic garden.

SCANZ graphicArts Council logoGeon logoian clothier logo

 

Uncontainable-second-nature

Uncontainable-second-nature (Te Kore-Rongo-Hungaora)is curated by Ian Clothier with an advisory panel of Nina Czegledy, Trudy Lane and Tengaruru Wineera, for ISEA 2011 Istanbul. The exhibition crosses cultural and discipline boundaries.  A cultural bridge has been constructed, providing a framework of both Maori and European knowledge. Five themes from within European and Maori world views were located.

Given the intercultural bridge, works from art and science are recontextualised as cultural texts symbolic of belief systems. Discipline is not fixed, but fluid in a transformational environment. In the exhibition, digital and post-digital exist in a state of hybridity.

Included are works by Julian Oliver, recipient of the Golden Nica at Prix Ars Electronica in 2011, Lisa Reihana, Julian Priest, Sonja van Kerkhoff, Sophie Jerram and Dugal McKinnon, Rachel Rakena, Jo Tito, Associate Professor Mike Paulin (Zoology), Paul Moss and Te Huirangi Waikerepuru.

The show opened at Dawn on September 14th at Cumhuriyet Art Gallery Taksim Square Istanbul and ran to October 12th as part of ISEA 2011 Istanbul.

Below are a few photos of some of the works, to remind people of the show. These are just some quick point and shoot images, further formal documentation will be added later.

 


Te Huirangi Waikerepuru stands before his chart of Te Taiao Maori – the backbone of the project


The psworld computer by Julian Oliver


Jo Tito’s kohatu (stone) Mauri Wai Mauri Ora between speakers playing breathing audio by Sophie Jerram and Dugal McKinnon


An image from Whanaunga by Lisa Reihana


Paul Moss’s Photo Astronomy images were embedded into star shapes, and the stars placed on the floor in the formation of the Southern Cross


Looking through to the second space, with part of Julian Priest’s Information comes from the sun on the cylindrical plinth and the exterior of Kāinga a roto Home within by Sonja van Kerkhoff, Sen McGlinn and Toroa Pohatu in the background.


Mike Paulin’s Computational Visualization of the Electromagnetic Sensory World of Sharks.


Julian Priest’s Information comes from the sun


One man is an island by Rachel Rakena


Looking from beside Kāinga a roto Home within toward works by Julian Priest (right) Mike Paulin and Rachel Rakena

Curatorial statement for Te Kore Rongo Hungaora – Second Nature

 

Curated by Ian Clothier with an advisory panel of Nina Czegledy, Tengaruru Wineera and Trudy Lane, a bridge between Maori and European cultures of Aotearoa New Zealand has been constructed. The cultural bridge interconnects both Maori and European knowledge at the level of summary. Five themes from within European and Maori world views were located.

Given the intercultural bridge, works from art and science are recontextualised as cultural texts symbolic of belief systems. Discipline is not viewed as fixed, but fluid in a transformational environment. In the exhibition, digital and post-digital exist in a state of hybridity.

The project began with the selection of concepts shared across ideological borders. The topics were loosely connected and include cosmological context, all is energy, life emerged from water, anthropic principle and integrated systems. All the selected works address more than one of these thematic regions.

Discipline boundaries were breached, following a course charted at SCANZ 2011: Eco sapiens where artists, scientists, environmentalists, activists, educationalists, philosophers and tangata whenua came together to collectively re-imagine our narratives on nature. In this way the event sought to encourage cultural shifts in response to the environmental crisis facing earth and humanity.

Breaching boundaries of culture and discipline, generating cultural hybridity and interdisciplinarity has consequences. There are gains and losses in the approach, but what might be won is a way forward that is sustainable, affirmative and interconnected. One sense of the term ‘culture’ refers to customary practice or a way of thinking, while one sense of ‘discipline’ is method – in these senses of those words, the works here arise from a culture of sharing and a discipline of openness.

 

Curator – Ian Clothier CV and bio

Ian Clothier is Director of Intercreate Research Centre (intercreate.org) and Founder and Co-director of SCANZ residency, symposium and exhibition. As an artist his projects intersect art, technology, science and culture. Recent creative projects include the integrated systems The Park Speaks and Haiku robots; and the hybrid cultural Making History a project of his internet micronation The District of Leistavia. He has had thirteen solo shows and been selected for exhibition at institutions in twelve countries including three ISEA exhibitions: ISEA 2009 Belfast exhibition; Taranaki culture at Puke Ariki, New Zealand; ISEA 2008 Singapore symposium; net.NET at The JavaMuseum; for Finger Lakes Environmental Film Festival in the USA (upstate New York); ISEA 2006 San Jose exhibition; Graphite at the University of Otago NZ; the First International Festival of Electronic Art in Rio de Janeiro; Fair Assembly at ZKM; New Forms Festival in Vancouver; ISEA 2004 Tallinn/Helsinki exhibition; ReJoyce in Dublin and Wild 2002 in the Tasmanian Museum.  He was awarded a Converge Artist Fellowship at the University of Canterbury in 2005 for an augmented reality project. Written work has been published in respected journals, Leonardo, Convergence and Digital Creativity and he has delivered papers to conferences and symposia worldwide.

Curatorial experience includes being selection panel member for Solar Circuit Aotearoa New Zealand 2006; SCANZ 2009: Raranga Tangata; SCANZ 2011: Eco sapiens; Inter:place at Puke Ariki 2010; WITT-wide an exhibition covering work by staff of all departments of Taranaki’s polytechnic in 2009; Interactive City selection panel for ISEA 2006; Exhibitions, Policy and Education Officer, The Gallery Akaroa 1990 – 1992; Co-director of Summer Entertainment in Akaroa 1986; and Exhibition Officer 1984-86 at the Gallery Akaroa.

As well as curatorial panel membership he also produced and creatively directed the SCANZ events with Trudy Lane. Previously he had been Special Projects Manager at the University of Auckland Business School (managing world class teaching technology installations 1997-2002), and Survey Manager for Halcrow Fox Associates in the UK 1988-1990). In 2002 he was awarded and MA (Hons) from AUT, and has a Diploma of Art in Visual Arts from Monash University Gippsland Campus.

Research Publications

Clothier, I (2009). The Collaborative Landscape: some insights into current practice in the visual arts ITPQ refereed conference proceedings.

Clothier, I (2008). Leonardo, nonlinearity and integrated systems in Leonardo Volume 41 Number 1 pp. 49-55.

Clothier, I. & Lane, T. (2008). Solar Circuit Aotearoa New Zealand in S. Brennan & S. Ballard (Eds.) The Aotearoa Digital Arts Reader. Auckland: Clouds.

Clothier, I. & Lane, T. (2008). SCANZ. New Plymouth: Intercreate Press. ISBN 978-0-473-13388-7.

Clothier, I. (2007). Formen der Reprasentation: Hybride Kulturen, Nonlinearitat und creative Verfahren (Forms of Representation: Hybrid Culture, Nonlinearity and Creative Practice). In Kroncke, M; Mey, K & Spielmann, Y. (Eds.) Kultureller Umbau: Räume, Identitäten, Re/Präsentationen (Cultural Reconstruction: Spaces, Identities, Re/Presentations). Bielefeld: Transcript. ISBN 978-3-89942-556-7.

Clothier, I (2007). Created identities: hybrid cultures and the internet (revised with images) at http://www.hz-journal.org/n11/clothier.html

Clothier, I. (2007). Art.data/branching. New Plymouth: Intercreate Press. ISBN 978-0-473-11915-7.

Clothier, I. (2005). Created identities: hybrid cultures and the internet in Convergence  Volume 11 Number 4 p 44-59; London, Thousand Oaks and New Delhi:Sage Publications

Clothier, I. (2003). Hybrid cultures: what, where and how about us? Nga Waka, Aotearoa NZ Association of Art Educators Conference published in Nga Waka, ANZAAE refereed conference proceedings, Vol. One (1),2003

Clothier, I. (2001). From chaos and cosmology: a new space for the visual arts in Digital Creativity Volume 12 no. 1, p 31-44.

Te Taiao Māori – Dr Te Huirangi Waikerepuru


 

 

 

Te Taiao Māori, 2011, Dr Te Huirangi Waikerepuru, (Iwi – Tribes: Taranaki, Whānui, Nga Puhi, Taitokerau), Mātauranga Maori



 

Mauri Wai Mauri Ora – Jo Tito

Mauri Wai Mauri Ora, 2011, Jo Tito (Iwi – Tribes: Taranaki, Ngāti Pikiao, Tūhourangi-Ngāti Wāhiao), Taranaki stone & acrylic paint

Jo Tito Is a Māori artist, passionate about sharing the importance of connection and helping people reconnect to who they are.

A self-taught photographer, she is also a multi-media artist who combines storytelling, nature and technology to share her messages. Working at the grass roots level of community through health and education initiatives, has enabled her to use art as a tool for change and to see the positive affects that connection and storytelling can have on a community.

The work for ISEA presents a “mauri” stone and explores a Māori concept of “energy” or “mauri” bringing the physical stone as an art work into the space. The stone carries the energy of the land from which it comes, and the many stories and energies that have been gathered prior to it’s journey to ISEA. The stone also incorporates all the works that are presented in this exhibition.

The rock has been formed by water and shares stories of connection to who we are; wai being the Māori word for water and also used when one asks,  “ko wai au – who am I?” With the understanding of water as being part of who we are, we can perhaps better understand our connection to the environment and the importance of water as an essential element to the survival of our planet and people.

 

Jo Tito CV and bio

Jo Is a 37 year old creative entrepreneur and artist who is passionate about art and bringing about change in the world. An innate connection to the land and environment inspires her creativity and the stories she tells through her work. She has been a photographer for the past 16 years and is also a multi-media artist working in painting, sculpture and digital storytelling. She also has a background in health and education and has worked at the grass roots level of community using art as a tool for change.

Connections and relationships are important to her and are at the heart of everything she does. Over the past 10 years, she has have had the privilege of working with some of the most talented artists from around the world through overseas travel, exhibitions, festivals and gatherings.

 

RECENT EXHIBITIONS

2011 Floating Land and Dreaming Festival – Artist in residence with international artists – Brisbane, Australia

Documentary of stories for Puke Ariki Museum exhibition – What If?, Taranaki

He Iwi Karioi exhibition currently showing at Tairawhiti museum – moving image installation, Gisborne

SCANZ 2011: Eco sapiens art residency, Taranaki

2010 Nga Manukura Maori midwives photographic project – photography and creation of digital stories for Auckland District Health Board

Co-director, Photographer & Editor for A Fire Burning a feature documentary by Flair Films

2009 Director of documentary – Iwirakau at the Tairawhiti Museum, Gisborne

Dreaming Festival, Brisbane Australia – indigenous artists research

2008 Aotearoa delegation to the 10th International Festival of Pacific Arts, Pagopago- America Samoa for digital storytelling & photography

Creation of digital stories for Nga Rama e Whitu exhibition, Gisborne

Travel to the Dreaming festival, Brisbane Australia – indigenous artists research

Sponsored trip to Indonesia by EngageMedia Australia for a gathering of software developers and video activists conference

2007 Author, researcher and editor of Matarakau – healing stories of Taranaki

Solo exhibition at the Thinkspace Gallery in Downtown Phoenix, Arizona USA

Digital storytelling workshop at Scotsdale Community College Arizona USA

Invited artist to the Gisborne Garden Artfest 2007, Gisborne

2006 Curator, storyteller & photographer of Wahine exhibition a b & w photographic exhibition by eight Maori women living in Taranaki at Nga Manu Korero – Opunake, Taranaki; Patea, Taranaki; and Hauiti marae Tolaga Bay, East Coast

Parihaka International Peace festival – exhibitor

Invited artist to the Gisborne Garden Artfest 2006

Ono Pacific Arts festival – invited artist for an exhibition of paper works with Sheynne Tuffery, Christchurch art section

Sept Selected artist for Rotorua artists exhibition at the Rotorua Museum

July Nga Manukura exhibition, Rotorua – exhibitor

July “He Puna Korero” Taranaki arts festival – emerging Maori artists exhibition

 

Computational Visualization of the Electromagnetic Sensory World of Sharks – Mike Paulin


                                                                                                     

 

Computational Visualization of the Electromagnetic Sensory World of Sharks, 2008, Michael G. Paulin, Computational physics simulation with 3D visualization

One strand of my current research is about how the shark’s electrosensory system evolved, from simple(r) creatures that drifted with the ocean currents, gathering small amounts of information that enabled them to alter the probability of where they ended up, to sophisticated creatures extracting every bit of information from every available channel in the environment and picking a path through it. Seems to me there’s a story there, about art and science and storytelling as ways of seeing and navigating.


One Man is an Island – Rachael Rakena



One Man is an Island, 2009, Rachael Rakena (Iwi – Ngai Tahu, Nga Puhi), High definition video, courtesy of Bartley and Company Art, Wellington

Kāinga a roto Home within – Sonja van Kerkhoff*Sen McGlinn*Toroa Pohatu

 

Kāinga a roto Home within, 2010 Sonja van Kerkhoff, Sen McGlinn and Toroa Pohatu, Installation with five monitors, video and audio

Artist statement

A system, even an integrated system, is not a seamless continuum: what makes it a system is that it consists of distinct interrelated parts. A culture – a symbol system – is one integrated system. The human person too is an integrated system (memory, hopes, relationships, reason and spirituality), and so is an individual biography. A person, seen as a system, is the microcosm to the natural world’s macrocosm, which contains elemental systems – of water, wind and earth, and of the biosphere.

Kāinga a roto (Home Within) is an art-system, consisting of five distinct videos, soundscapes, music, lighting and shadows, and a physical space where visitors sit or lie close to the ground. This art-system is used to represent the complex system of a particular biography influenced by New Zealand Colonial and Māori cultural values.

psworld – Julian Oliver

 

psworld 2010/11, Julian Oliver, Software and hardware

psworld is work of ‘philosoftware’. It began as a modification of the utility, ‘ps’, found on all UNIX and UNIX-like operating systems. ps is used by people and programs to quickly sort and print a table of processes that are running on a computer. psworld maps these processes onto visual features in the world, creating a perceptual dependence between a computer and the world around it. As the computer’s visible surroundings change, the instability of the operating system increases.

An example: a computer running psworld is in a park watching a bird in a tree. If the process ‘Firefox’ is attached to the bird’s head and the bird suddenly flies away, Firefox will be terminated on the computer. Similarly, a breakfast scene may include many processes attached to various edibles on the table. As breakfast is eaten, dependent processes on the computer will be terminated.


Please see the artist’s site for the full description of this project.

 

Julian Oliver CV and bio

Julian Oliver is a New Zealand artist based in Berlin. He has been active in the critical intersection of art and technology since 1998. His projects and the occassional paper have been presented at many museums, international electronic-art events and conferences, including the Tate Modern, Transmediale, Ars Electronica and the Japan Media Arts Festival. His work has received several awards, ranging from technical excellence to artistic invention and interaction design.

Julian has given numerous workshops and master classes in software art, augmented reality, creative hacking, data forensics, object-oriented programming for artists, virtual architecture, artistic game-development, information visualisation, UNIX/Linux and open source development practices worldwide. He is a long-time advocate of the use of free software in artistic production, distribution and education.

 

Recent Awards

2011                   Excellence Prize (Art category), Japan Media Art Festival

2010                  Award of Distinction (Hybrid Arts category), Prix Ars Electronica

Third Prize, Fundacion Telefonica, VIDA 13.0 Art and Artifical Life awards.

First Prize, Jeux Vidéo et Attractions, Laval Virtual.

2008                  Technical Innovation award, Indiecade

The New Zealand Open Source Award

Honorary Mention (Interactive Arts category), Prix Ars Electronica

Jury Reccommended Work (Entertainment Division), Japan Media Arts Festival

2004                  Honorary Mention, Transmediale

 

Recent exhibitions, talks, workshops

2010                  Improved Reality lecture, Stedelijk Museum, Amsterdam.

psworld at ‘moddr_*’, iMAL, Brussels (curated by moddr_).

ioq3aPaint at ‘Virtual Rebellion’, KOP, Breda, Netherlands.

The Artvertiser, Beeldfestival (augmented street exhibition and talk), Rotterdam

Improved Reality lecture, Migrating Art Academies conference, C.H.B, Berlin.

The Artvertiser, Media Facades Festival Europe 2010 (workshop and augmented

street exhibition), Brussels

The Artvertiser, ‘Stadt am Rande’, Goethe Institut, Beijing

levelHead at The Lighthouse, Brighton

levelHead at Space Invaders, Netherlands Institut voor Mediakunst, Amsterdam

M.I.G at Worm Space, MuseumsQuartier, Vienna

‘Improved Reality’ paper and presentation, TEDx, Rotterdam

‘The Great Augmented Goldrush’: a Reality-check for Artists’. Presentation, V2, Rotterdam

ioq3aPaint at 26th edition of ‘Art Amsterdam’, Amsterdam

Six Composite Acts, MMX Gallery, Berlin

The Artvertiser (at the Murcia stand), ARCO, Madrid

The New Arena Paintings (solo show), Hannah Maclure Centre, Dundee, Scotland

The Artvertiser at Transmediale 2010, Berlin

‘The Not So Brief History of Sound Based Games’, artist talk, A-MAZE Festival, Berlin

2009                  levelHead at Space Invaders, FACT, Liverpool, U.K

levelHead at Over The Game, Zemos98, Seville, Spain

The Atocha 24 Insertions, HAMBRE (group show) Madrid

levelHead at TWEAKFEST, Zurich, Switzerland

levelHead, Award and exhibition, LAVAL VIRTUAL, Laval, France.

levelHead at Art Rock festival, St Brieuc, France

The Artvertiser workshop, Cartagena, Spain

Composite City, Paper presentation, See Festival, Wiesbaden, Germany

levelHead at Mois Multi, Quebec City, Canada.

levelHead at the Japan Media Art Festival, National Art Center, Tokyo, Japan

levelHead at the Ars Electronica Center, Linz, Austria (opening exhibition ofnew center).