Making your performance accessible

Developing your organisation and people

Marketing and developing audiences

Artist's fees (17×200) 3400

Artist's travel: andy/mariko 250, m/kati 200, will 60, r/jk/ 60, danja 100, wilfried 100, harwood 60 = £830

Accommodation:

house for 8-12 approx - eg. http://www.orwellviewbarns.co.uk/tariff.html 3 cottages = 865+749+540 -10%=1900

Subsistence and catering 17 ppl x £15/day = £255

Overheads: phone bill, printing, server bills £200

Contingency £600

vehicle hire minibus hire for 1 week Thrifty 17 seater for dates £ 734.40

equipment hire (PA, microphones) in kind CSV ??

Workshop materials £200

Expenditure total: 8119

(income is 800 above)

Support in kind

Description CSV room hires, 2 portable audio recorders (with microphones if they don't have in built ones) and 2 video cameras.

Confirmed CSV £1980 + AV equipment

MUTE banner advertising expected 250?

Your proposal should be no more than: 2000 words for applications between £1000 and £10,000; and 8000 words for applications £10,001 and over

For each section listed below (under 'Description') we provide a link to more guidance about what information we need. For more advice on our assessment and overview criteria please read our Understanding the assessment criteria and overview information sheet.

The Suffolk Psychogeophysics Summit proposes an intense week-long series of interventions, field trips, open workshops and evening discussions led by international artists and researchers exploring the Suffolk countryside through the interdisciplinary lens of psychogeophysics, defined as the combining of psychogeographic techniques (methods of wandering) with the study of geophysical traces (geophysical archaeology, the revealing of place).

Psychogeophysics is an artistic investigation of how geophysics (for example, the earth's magnetic field, all radio communications and signals) effects the human psyche; how the electromagnetic environment impacts on ourselves and other living systems. The biological effects of natural fields and the proliferation of man-made signals have been explored to some degree by scientists, yet the effects on the psyche remain largely unknown. A few scientific studies have hinted at potential links between geophysical phenomena and mystical experience, including proposed UFO sightings. Psychogeophysics actively elaborates and extends these studies in a highly playful manner.

The summit will thus practically elaborate new ways of artistically exploring the countryside, and of making sense of charged locations relating to the cold war (Orford Ness), to UFO research (Rendlesham) and to contemporary, local folklore.

The week's workshops, research and walks would enrich and inform accessible, public events including an introductory evening lecture at the CSV Media Clubhouse in Ipswich, and the final presentation and performance event at the same location.

Open events within the week include practical workshops in building simple geophysical measurement devices from recycled materials, the construction of “ghost” detectors to be tested on the streets of Ipswich and experiments within high voltage photography of rocks and minerals. Fieldtrips will build on discussions and techniques established during these workshops, undertaking studies at specific Suffolk location of interest; the measurement and mapping of qualitative psychic, physical and geophysical data.

The final day/evening event would further introduce psychogeophysics to a lay audience through lectures, performances and basic workshops. Documentation and demonstrations of artist's projects and research from the week would be explained and exhibited within an informal, celebratory setting.

A POD (print on demand) publication (in collaboration with openmute.org) will be produced shortly after the event including contributions from all participants alongside contextual material and current research to widely disseminate the event and explorations. A collective online presence would be established before the event and continuing throughout and after, with high quality video and audio content alongside HOWTOs and background material.

A detailed plan of the Summit schedule (summit_schedule.pdf) and its relevance to my artistic development is attached as a supporting document.

The Summit is intended for a non-specialised audience excited by new ways of exploring the countryside informed by basic geophysics, archaeological technique, local history and contemporary folklore. No technical knowledge is inferred or required for any of the workshops, walks or discussion events.

Public interventions will promote and encourage the involvement of a wider, interested and intrigued public. Volunteers and trainees from the CSV would form part of the core summit group, opening up the event to a wider constituency. Radio broadcast of summit components (field recordings, interviews, studies) would further widen the event audience, and a valuable legacy will also be established through video documentation of key events.

Lectures and further public events such as the final one-day event would obviously be well advertised and promoted to attract a wide audience, and the introductory, explanatory nature of these events will engage these audiences. All walks, field trips and lectures will also be widely advertised and announced as open. Each walk and workshop would involve around 20 participants selected from an open call.

The core artists and researchers involved include Andy Bolus, John Bowers, Mike Challis, Stephen Fortune, Kathrin Guenter, Graham Harwood, Willfried Hou Je Bek, Martin Howse, Ryan Jordan, Petr Kazil, Jonathan Kemp, Mariko Ogawa, Eleonora Orreggia, Will Schrimshaw, Cad Taylor, Suzanne Treister, and Danja Vasiliev.

They are all highly experienced artists, theorists and researchers who have exhibited, performed, published and lectured worldwide. Many of them have been involved in previous events successfully organised by myself and others closely linked in the UK, Germany and Norway.

The mix of practical, discursive and theoretical skills presented by the group well suits this hands-on, DIY-oriented project. They have experience working collaboratively and span several disciplines and media, maintaining a well established and suitably diverse audience for their work.

The activity aims to establish a practical foundation for a new interdisciplinary current within contemporary visual and new media arts (and research) exploring recent methodologies of working together, of the DIY scene, of radical field research and psychogeographic practice. Key within this practice is the notion of revealing; revealing another, spectral landscape, revealing new modes of communication and transmission (hidden networks and narratives). Such a revealing, inherent in the notion of code, places the proposed research within the extensive radical heritage of psychogeography, particularly within a literary context surrounding England and the English countryside.

Another primary aim is the interdisciplinary exchange with artists, researchers and scientists engaging practically with location and ideas of revealing and with a wider public. The summit is thus conceived as an open, collective meeting point and place of active research and discussion. The format of the event is designed very much to achieve these aims.

The summit marks an important culmination of my own previous work, in collaboration with others, investigating signal ecologies and electromagnetic phenomena with close connection to environmental explorations. My own artistic development can be summarised as taking place within the exchange of ideas, the establishing of a solid foundation for my own future psychogeophysical research with particular reference to the countryside as a key site in this research, within shared practical experiments developments (sharing working environments and techniques) and within the development of new artistic works produced within the Summit event.

The Suffolk Psychogeophysics Summit is situated within the context of an emerging mobile research laboratory and network devoted to the use of free software and open hardware within the field of psychogeophysics.

The London Psychogeophysics Summit took place in London in August 2010 and was supported by SPACE Media Arts, Mute magazine and HTTP gallery/Furtherfield. The week long series of workshops, interventions, walks and presentations was well received by around thirty participants and large public audiences. Full documentation is online at:

http://www.psychogeophysics.org/wiki/doku.php?id=summit:desc

with media reviews at:

http://www.metamute.org/en/content/politics_here_is_death

and: http://dataisnature.com/?p=580

Further context is established with links to collective projects such as Detektors with Shintaro Miyazaki of the Institute for Algorhythmics (Berlin).

The activity proposes a high level of engagement with and by the people experiencing the activity; the artists taking part, those in closer active participation through the open call and in workshops, and the wider engaged audience. The notion of revealing in relation to both signals and landscape implies strong effects on the people experiencing the various events comprising the Summit. Those working more closely with the invited researchers will no doubt be heavily influenced within their own lives and work, as evidenced by previous experience. This will have important effects within a wider artistic and interdisciplinary context. This is also one major aim of the event in establishing a clear foundation within the arts for psychogeophysical practice.

In practically engaging with both a specialist and new audience we have worked with CSV Ipswich to propose a series of interdisciplinary events where it is expected that the project will reach a diverse audience of scientific and artistic practitioners, whilst motivating and interesting a more general public in engaging with selected Suffolk town/landscapes and histories in novel and ingenious ways.

At the same time the performative elements implicit within the project and an active engagement with the Suffolk countryside at a grass-roots level imply a larger ad-hoc audience who are not normally reached by new media work. This wider, non-specialised audience will be directed towards specific introductory lectures, a local/CSV radio broadcast and the final, closing event.

The project workshops and platform will target the audience described, building upon successful previous workshops and events, performances and lectures and my own growing network of international contacts.

this bit martin - ryan to jig about with

Over the last four years in connection with collective publications, theory and situational work I have established contacts with a wide range of press, artists, performers, curators, institutions (Goldsmiths' College, Culture Lab Newcastle, Mongrel/Mediashed, DRUH, Fact, E:vent, goto10, Transmediale, RIXC, HMKV, Piet Zwart Institute, Electrohype, v2-labs, BEK, Piksel, SFAI, and Atelier Nord amongst many others), academics, programmers, and free software activists.

Throughout these experiences I have gathered a broad audience constituency and an audience base has equally been established from the sound art community. I have a very large mailing list collected from interested participants across many events, workshops and activities as well as a growing, devoted public mailing list for discussion. Marketing will make use of this mailing list and electronic communications infrastructure which will be set up as an integral part of the project.

The event will also leverage the success of the Web site……………….. which attracts more than …………. unique visitors on a daily basis, and the profile raised by previous projects across mailing lists such as nettime, rhizome, spectre, dorkbot-blabber, and arc.hive and networked review sites such as neural.it, we-make-money, and turbulence with which I have a good reputation.

Banner adverts and editorial content on partner sites such as SPACE, metamute.org and furtherfield.org will also reach a wider audience, alongside press releases to large and small media. Very cheaply produced black and white posters will be produced and distributed across suitable venues and key locations addressed by the summit.

I am currently in close contact with all key partner organizations, participants and venues. The event is well formed and conceived at this stage of planning, with a clear planning and publicity strategy and outline of main stages chronologically as follows:

1] full confirmation of all participants, venues and partner institutions DONE

2] collaborative planning of the event through IRC, mailing lists and web platform IN PROGRESS

3] practical/technical planning and production - all travel and accommodation arranged and dates fixed, all technical needs for each venue addressed IN PROGRESS

4] open call and marketing (mailing lists, posters) TO DO

5] pre-event organisation

6] event

(Without funding this event can not take place)

ryan to rejig eg. include A10 etc Over the last 12 years I have performed, workshopped, exhibited and lectured in numerous events and festivals worldwide. In 2005, I co-organised Crash seminars and performances in London, and one year later xxxxx, a series of nine events as part of Node.London. Both of these events were funded by ACL and successfully managed.

These events were important within the development of my own interdisciplinary practice, and also refined a discipline of collaboration and clear organisation. Further events curated in Norway (Piksel 2007,8), and Germany (Breakthrough 2009) defined this focus and way of working, involving contact with many collaborators and institutions.

For the last three years I have been organising weekly workshops, events and micro-residencies mostly in Berlin (state funded), and curating and presenting key events as part of large new media festivals.

The figures are based on quotations from contacts and firms, and on previous experience in organising such events in London.

Through my Suffolk contacts I have been able to secure institutional support in-kind from CSV Ipswich who are very willing to provide us space, technical equipment and technical assistance.

The budget has also been kept within realistic bounds and with excellent in kind technical and venue support. The budget is viable, yet presents very good value for this intense and wide reaching activity.

Budgets, cash flow and accounts will be available each day during planning on the organisational wiki and all receipts will be kept and available for audit as required.

Evaluation is an essential part of a project involving a large number of collaborators. As part of planning and organisation both a mailing list and content management platform have been implemented and will be used by all participants and partners to plan, monitor and evaluate progress. The ongoing development of the project can thus readily be tracked by all using the online infrastructure.

Evaluation will address the marketing and publicity campaign, providing clearly quantifiable statistics for online presence, and audience attendance for key public events. Evaluation will equally examine the planning of the project at all stages with strict attention to expected outcomes.

Evaluation will take the form of monitoring three identifiable staging posts within the projects development:

a) that the projects marketing and publicity campaign is widespread and effective

Criteria: significant project presence registered in online listings and to maintain statistical monitoring of unique visits to host site and associated partner sites (eg. participating artists sites) throughout period of project.

b) that the project's planning, as detailed on the organisational wiki, is successfully completed, with all its components executed.

Criteria: that the projects described aims and their means of production are in place, the event is executed successfully and delivers all described outcomes, including a well attended closing event

c) that completion and distribution of publication takes place within 4-6 weeks of the event's completion

Criteria: that publication quality, design and layout are determined and publication goes to print for distribution via online and UK/Europe outlets.

change to ryans

http://www.1010.co.uk/org/ martinhreviews.pdf summit_schedule.pdf

CV.pdf