Allen, Jamie
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Allen, Jamie
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- PublikationThe Impossibility of a Planet(Haus der Kulturen der Welt, 2022) Bolen, Jeremy; D'Aguiar, Adrian; Allen, Jamie; Rossee, Carlina [in: Collaborative Practice on a Changing Planet]The Impossibility of a Planet is a collaborative, multichannel documentary, produced with artist and researcher Jeremy Bolen. Motion graphics by Adriano D'Aguiar. The project touches on the practices of people whose work, research, practice and thought default to 'planetary magnitudes'. The project canvases international contacts in communities of geoscience, geopolitics, anthropology and journalism, whose practices are necessarily and often in different ways ‘global’ in scope, asking, also through the experience of a pandemic, where and how do we continue this work? What motivates planetary-scale projects and work, as technologies increasingly mediate our relations to one another and the planet? How do we undertake and understand new lines of communication, trust and intimacy with our collaborators and peers? How do ‘empirical research’ and fieldwork change when access to the field, lab and locales of this research change often and in important ways? A write up of the project is included in The Whole Life: An Archive Project'sUn-/Learning Archives in the Age of the Sixth Extinction. A set of six video vignettes conjoin to form a contiguous film, to be screened online and in an offline exhibition installation. Initial presentations include an evening screening as part of the Collaborative Practice on a Changing Planet public events at HKW Haus der Kulturen der Welt The Impossibility of a Planet tells a story of how global science and knowledge are composed, and sometimes decompose. Interviews with 'planetary practitioners' are continually added to the work through multiple versions and public exhibitions. Current discussion partners include Tina Sikka, Jim Igoe, Will Steffen, Allison Stegner, Jan Zalasiewicz, Gabriela Barreto Lemos, Tim Lenton, Michael Mazarr, Jinnah Zubar, Peter Haff, Ron Milo, Ana Mizher, Manfred Laubichler, Simon Turner, Mark Williams, Friederike Otto and Cymene Howe, amongst many others.14 - Ausstellungsbeitrag
- PublikationThese Flows Shall Not be Contained(Marebox, 2021) Carver, Louise; Odunlami, Abbey; Allen, Jamie; Bien, Cecilia; Diaw, Binta [in: Emergent Strategies from the Deep]These Flows Shall Not Be Contained is a three-channel video installation that conveys the continuous relationships between human beings, territories, seas, oceans, and maritime regions, linked through migration, governance, and food practices. It is a triptych, syncopated conversation about Nigerian migration, ecological policy, metabolism and food cultures between Africa and Southern Europe. It addresses how national and supra-national policies abstract and attempt to govern mobilities, borders, trade, movement, and commerce. The work features the voices of La Rivoluzione delle Seppie of Calabria, Italy: Rita Elvira Adamo, Precious Ehigie, Igbineweka Henry and Riccardo Calandro. It is a collaboration with Abbéy Odunlami and Louse Emily Carver, part of the Emergent Strategies from the Deep exhibition, in the framework of the Marebox EU Research programme. Many thanks for audio production help from La Rivoluzione delle Seppie's Riccardo Calandro, Elio Fortu and Vito Meola.14 - Ausstellungsbeitrag
- PublikationThe Lie Machine(LUMA Arles, 2019) Allen, Jamie; Boelen, Jan [in: A School of Schools: Design as Learning]A School of Schools: Design as Learning is an educational web of design strategies for learning and learning strategies for design. The answers needed to address the world’s constant sense of crisis are not being delivered by the tried-and-tested education models. With the age-old logic of material abundance and information scarcity inverted, new ideas and knowledge to address previously unimaginable complexities are needed. We need to liberate our minds from the preconceived outcomes with which we have been schooled. Not knowing is the first step to learning something new. The Lie Machine project forms part of A School of Schools: Design as Learning as project and publication, curated by Jan Boelen, co-founding artistic director of the research program Atelier Luma, with Nadine Botha and Vera Sacchetti. The exhibition features the work of multidisciplinary practitioners from around the world and is presented in a custom-made ensemble in Arles. Throughout the course of four weeks in Arles, the exhibition becomes a temporary laboratory and observation display of a 2030 horizon. It explores the learning environment as a context of empowerment, reflection, sharing and engagement, providing speculative responses to recent global preoccupations.14 - Ausstellungsbeitrag
- PublikationTeaching Lies(Istanbul Foundation for Culture and Arts, 2018) Ricci, Donato; Artut, Selcuk; Young, Michael Edward; Kiesewetter, Rebekka; Verjat, Benoit; Patelli, Paolo; Allen, Jamie; Boelen, Jan [in: 4th Istanbul Design Biennial]Teaching Lies is a public School of Schools, a workshop about illusory deceptions at work in the designed modern world. Its scope is to identify, expose, discuss and make public these modes, through the collaborative writing of a syllabus for a spurious studio-based class. the workshop is aimed at participative production and play, modulations and dissimulations of designed deceptions in pedagogy and beyond. Over multiple days, a workshop and exhibition elements develop around several thematics addressing different fabulative tropes, such as concealing (secret origins, hiding, shadowing, masks); camouflage (adversarial, being unmappable, decoys, hiding in plain sight); fabulation (fictionalization, re-narration, imaginaries); reduction (simplification, rules of thumb, common practice, ‘just enough’); misappropriation (metaphors, anecdotes, projection); misdirection (look over here! fakes, hoaxes, sleight-of-hand, puppets, apocrypha, data derives). For the 4th Istanbul Design Biennial, Donato Ricci, Selçuk Artut, Michael Edward Young, Rebekka Kiesewetter, Benoît Verjat, Paolo Patelli and Jamie Allen seek to analyze, explore and re-compose the rhetorical figures and material strategies behind communication, design, media, technology and art, as part of our pronounced post-factual condition; in a context where terms of art and artifice — like ‘fabulation’ — have become main means of doing art, design and by extension, communication, politics and life. A further instantiation of the project is exhibited as part of the 26th Biennial of Design in Ljubljana, Slovenia.14 - Ausstellungsbeitrag
- PublikationThey Learn It From Us(L'Automatica, 2018) Garnicnig, Bernhard; Allen, Jamie; Jäger, Nina; Boshears, Paul; Fattouh, Mayssa; Duque, Ricardo14 - Ausstellungsbeitrag
- PublikationThrowing three balls in the air(2017) Garnicnig, Bernhard; Allen, Jamie; Greiner-Petter, Moritz14 - Ausstellungsbeitrag
- PublikationExtending The Dialogue(Haus der Kulturen der Welt, 2017) Garnicnig, Bernhard; Jäger, Nina; Allen, Jamie; Thomann, Maximilian; Khaikin, Lital; Boshears, Paul; Klingan, Katrin; Rosol, Christoph; Houde, Nick; Schindler, Johanna14 - Ausstellungsbeitrag
- PublikationReset Modernity(ZKM | Zentrum für Kunst und Medientechnologie, 04.04.2016) Mareis, Claudia; Bruder, Johannes; Greiner-Petter, Moritz; Allen, Jamie; Caviezel, Flavia; Latour, BrunoDesign research and concept development for the exhibition Reset Modernity!14 - Ausstellungsbeitrag
- PublikationKonzeptuelle und gestalterische Mitarbeit des Critical Media Lab an der Ausstellung ›Reset Modernity‹(ZKM | Zentrum für Kunst und Medientechnologie, 2016) Allen, Jamie; Bruder, Johannes; Greiner-Petter, Moritz; Mareis, Claudia; Caviezel, Flavia; Allen, Jamie; Bruder, Johannes; Greiner-Petter, Moritz; Mareis, Claudia; Caviezel, Flavia14 - Ausstellungsbeitrag
- PublikationRefractive Index(FutureEverything, 2012) Allen, Jamie; Papadimitriou, Irini [in: FutureEverything 2012]Refractive Index is a visual media essay and compositional about the environmental and ecological impacts of large scale media. Site-specific software creates a digital camera obscura, and in a series of late night screenings a programmed sequence of flashes, strobes and streaks, emit bursts of light and colour across the hue spectrum of large scale public displays. Outward facing CCTV cameras, part of each screen’s infrastructure, captures images throughout. Programmed algorithms examine the footage for slippages and incongruities of the screen-camera feedback system. Every pixel we light up, in turn illuminates the environment surrounding it. The light energies that impact city and lived spaces, highlights the ways that media infrastructures effect nonhuman and human movement and behaviour in these spaces, as well as their luminous and aesthetic interactions with quotidian environments. Refractive Index inverts lines of synoptic-panoptic vision, showing us what our screens "see" when they peer out the night sky. The screens 'speak' with their own machine voices, in the language of technological, digital light. The work is shown as a collection of research media (photographs, site-specific films, interactive software, printed renders, screen-based video and projection), and has featured test-patterns screened overnight 9 cities in the UK as part of the 2012 Cultural Olympiad leadup to the 2012 London Olympics. Refractive Index was presented as part of Future Everything 2012 in Manchester, and as solo-exhibition at PH. Gallery, Newcastle, UK. The project was initiated through a commissioned by BBC Big Screens and the Olympic Cultural Foundation, UK. Dynamic, visual digital moving imagery increasingly blankets our public space and architecture. Their history can be traced to the late 19th C adaptation of magic lanterns to project “advertisements and election results on public buildings” (Huhtamo 2001). We still think of this media, these dynamic rectangles-of-light, as vehicles for transmitting messages — as ways of telling stories, delivering messaging, engaging people in linear or interactive content-rich experiences. At their best, these are valuable, creative and communicative platforms, and occasions for communities to meet and celebrate. The physicality, energetics, or thermodynamics, of these non-trivial systems is seldom discussed. Notable and inspiring exceptions include Blake Gordon's 2009 Cloud Projection project about uplightingfrom buildings casting light into overhead clouds, and Terraswarm's 2007 Color Shift project which took over a single large scale display in Brooklyn, bathing the burrough in coloured light. What is curiously elided from the critical picture of public digital screens is their massive architectural, ecological and infrastructural presence — the Olympic Big Screens used are at least 25 square metres in light-area, and necessitate a nearby server and control room the screens have significant, critical architectural impact. Where once there was shadow, glaring reflections appear, interrupting movement and traffic patterns, exposing once hidden places. Cladding, materials and paints turn into multicolored surfaces, glowing, reflecting and flickering with the energy of outdoor screens, their potency multiplied into the 3-dimensions around them. Turning 180 degrees from these screens, we see that the architectures of a city are continuously reshaped and remolded by the presence of media, in direct and immediate way. As important as the content on the screen, these are the effects of the screen on content of the city, architecture, space, human and nonhuman beings. Refractive Index was created with the grateful support of the wonderul Tom Schofield and David Gauthier, exhibited and supported by the Future Everything festival, Ph Space Gallery in Newcaslte, 2012 Cultural Olympiad in the UK, the BBC Big Screens engineers and programme, Culture Lab Newcastle University.14 - Ausstellungsbeitrag