Ghislaine Boddington

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Ghislaine Boddington
NationalityBritish
Known forCreative director of body>data>space, curator and presenter worldwide on her research 'The Internet of Bodies'.
Website bodydataspace.net

Ghislaine Boddington (born 11 October 1962) is a British artist, curator, presenter and director specialising in body responsive technologies, immersive experiences and collective embodiment, pioneering it as 'hyper-enhancement of the senses' and 'hyper-embodiment' since the late 80s. [1]

Contents

Career

Coming from a performing arts background, she has focused on the blending of the virtual and physical body through converging telepresence, sensors, motion capture, wearables, gesture interfaces, biofeedback, robotics, virtual worlds and mixed realities into experiential environments.

Boddington is a creative director and co-founder of body>data>space, [2] an interactive design collective emerging from shinkansen , [3] and Women Shift Digital. [4] She coined the term 'The Internet of Bodies' as part of her research which she keynotes internationally, she is a reader in digital immersion at the University of Greenwich, [5] a Fellow of the Royal Society of Arts, and Artist Research Fellow at ResCen, [6] Middlesex University. She sits on the advisory board of AI & Society journal by Springer and consults for the creative industries sector, particularly working with Nesta as a co-curator of FutureFest (2015-2018). [7]

Boddington is co-presenting tri-weekly for BBC Digital Planet (formerly Click), the BBC World Service radio technology programme, and was in 2017 awarded the IX Immersion Experience Visionary Pioneer Award [8] by the Society for Arts and Technology (SAT).

Curations

Directed Works

Related Research Articles

Telepresence refers to a set of technologies which allow a person to feel as if they were present, to give the appearance or effect of being present via telerobotics, at a place other than their true location.

<span class="mw-page-title-main">Telerobotics</span>

Telerobotics is the area of robotics concerned with the control of semi-autonomous robots from a distance, chiefly using television, wireless networks or tethered connections. It is a combination of two major subfields, which are teleoperation and telepresence.

transmediale

Transmediale, stylised as transmediale, is an annual festival for art and digital culture in Berlin, usually held over five days at the end of January and the beginning of February. Transmediale takes the form of a conference, an exhibition, and a film and video program that often contain or support performances and workshops. Throughout the year, transmediale is also involved in a number of long- and short-term cooperative projects via transmediale/resource. From its initial focus on video culture, it came to cultivate an artistic and critical dialogue with television and multimedia, emerging as the leading international platform for media art.

<span class="mw-page-title-main">Scott Fisher (technologist)</span>

Scott Fisher is the Professor and Founding Chair of the Interactive Media Division in the USC School of Cinematic Arts at the University of Southern California, and Director of the Mobile and Environmental Media Lab there. He is an artist and technologist who has worked extensively on virtual reality, including pioneering work at NASA, Atari Research Labs, MIT's Architecture Machine Group and Keio University.

<span class="mw-page-title-main">Virtual museum</span> Museum in a digital format

A virtual museum is a digital entity that draws on the characteristics of a museum, in order to complement, enhance, or augment the museum experience through personalization, interactivity, and richness of content. Virtual museums can perform as the digital footprint of a physical museum, or can act independently, while maintaining the authoritative status as bestowed by the International Council of Museums (ICOM) in its definition of a museum. In tandem with the ICOM mission of a physical museum, the virtual museum is also committed to public access; to both the knowledge systems imbedded in the collections and the systematic, and coherent organization of their display, as well as to their long-term preservation.

The conservation and restoration of new media art is the study and practice of techniques for sustaining new media art created using from materials such as digital, biological, performative, and other variable media.

Digital curation is the selection, preservation, maintenance, collection and archiving of digital assets. Digital curation establishes, maintains and adds value to repositories of digital data for present and future use. This is often accomplished by archivists, librarians, scientists, historians, and scholars. Enterprises are starting to use digital curation to improve the quality of information and data within their operational and strategic processes. Successful digital curation will mitigate digital obsolescence, keeping the information accessible to users indefinitely. Digital curation includes digital asset management, data curation, digital preservation, and electronic records management.

Ana Sánchez-Colberg is a Puerto Rican multidisciplinary artist working internationally. She has been awarded Fellowships by the Swedish Research Council, Arts Council of England, British Council amongst others. She has also been a recipient of a National Endowment for the Arts Award in 2016 and the recipient of the highly coveted MAP Funding (USA) award in 2019, among other awards and recognitions.

<span class="mw-page-title-main">Paulo Henrique (choreographer)</span>

Paulo Henrique is a Portuguese choreographer and multimedia performance artist. As a choreographer, he has created a number of performance and installation works, integrating different media such as video, sound, text, voice, and plastic arts. Since 2009 Paulo Henrique is based in Paris, France.

Berwick Film & Media Arts Festival (BFMAF) is an annual festival with a focus on new cinema and artists' moving image. The festival programme takes place across Berwick-upon-Tweed in the North East of England, UK and includes exhibitions, film screenings, live events, school screenings and family activities.

<span class="mw-page-title-main">Impakt Festival</span>

The Impakt Festival is a yearly manifestation on media art, founded in 1988 in the city of Utrecht, Netherlands.

Wendy McMurdo specialises in photography and digital media. In 2018 she was named as one of the Hundred Heroines, an award created by the Royal Photographic Society to showcase the best of global contemporary female photographic practice.

Robots and Avatars was a programme of events and educational activities which explores how young people will work and play with new representational forms of virtual and physical life in 10–15 years time. It was produced by body>data>space with support from NESTA. between 2009 and 2012.

<span class="mw-page-title-main">New media art</span> Artworks designed and produced by means of electronic media technologies

New media art includes artworks designed and produced by means of electronic media technologies, comprising virtual art, computer graphics, computer animation, digital art, interactive art, sound art, Internet art, video games, robotics, 3D printing, and cyborg art. The term defines itself by the thereby created artwork, which differentiates itself from that deriving from conventional visual arts. New Media art has origins in the worlds of science, art, and performance. Some common themes found in new media art include databases, political and social activism, Afrofuturism, feminism, and identity, a ubiquitous theme found throughout is the incorporation of new technology into the work. The emphasis on medium is a defining feature of much contemporary art and many art schools and major universities now offer majors in "New Genres" or "New Media" and a growing number of graduate programs have emerged internationally. New media art may involve degrees of interaction between artwork and observer or between the artist and the public, as is the case in performance art. Yet, as several theorists and curators have noted, such forms of interaction, social exchange, participation, and transformation do not distinguish new media art but rather serve as a common ground that has parallels in other strands of contemporary art practice. Such insights emphasize the forms of cultural practice that arise concurrently with emerging technological platforms, and question the focus on technological media per se. New Media art involves complex curation and preservation practices that make collecting, installing, and exhibiting the works harder than most other mediums. Many cultural centers and museums have been established to cater to the advanced needs of new media art.

<span class="mw-page-title-main">Mike Stubbs</span>

Mike Stubbs is a curator/director and filmmaker based in the UK, currently, the Creative Producer at Doncaster Creates. For 11 years he was the Director/CEO of FACT, the Foundation for Art and Creative Technology, a leading arts organisation for the commissioning and presentation of new media art forms. He has been a key contributor to the development of culture and cultural policy in Liverpool, UK. Stubbs was jointly appointed in May 2007 by Liverpool John Moores University, where he is Professor of Art, Media and Curating. He is father to two daughters Saskia and Lola Czarnecki-stubbs.

<span class="mw-page-title-main">Annie Abrahams</span>

Annie Abrahams is a Dutch performance artist specialising in video installations and internet based performances, often deriving from collective writings and collective interaction. Born and raised in Hilvarenbeek in the Netherlands, she migrated to and settled in France in 1987. Her performance work challenges and questions the limitations and possibilities of online communication and collaboration. Abrahams describes her body of work as "an aesthetics of trust and attention." Studying biology became an inspiration for her future line of work. "When studying biology I had to observe a colony of monkeys in a zoo. I found this very interesting because I learned something about human communities by watching the apes. In a certain way I watch the internet with the same appetite and interest. I consider it to be a universe where I can observe some aspects of human attitudes and behaviour without interfering."

Julianne Pierce is an Australian new media artist, curator, art critic, writer, and arts administrator. She was a member of the groundbreaking group VNS Matrix. She went on to become a founding member of the Old Boys Network, another important cyberfeminist organisation. She has served as executive director of the Australian Dance Theatre and is Chair of the Emerging and Experimental Arts Strategy Panel for the Australia Council. Pierce was executive director of the Australian Network for Art and Technology (ANAT) from 2000 to 2005, based in Adelaide, and was Executive Producer of Blast Theory from 2007 to 2012, based in Brighton in the UK.

Kathy Rae Huffman is an American curator, writer, producer, researcher, lecturer and expert for video and media art. Since the early 1980s, Huffman is said to have helped establish video and new media art, online and interactive art, installation and performance art in the visual arts world. She has curated, written about, and coordinated events for numerous international art institutes, consulted and juried for festivals and alternative arts organisations. Huffman not only introduced video and digital computer art to museum exhibitions, she also pioneered tirelessly to bring television channels and video artists together, in order to show video artworks on TV. From the early 1990s until 2014, Huffman was based in Europe, and embraced early net art and interactive online environments, a curatorial practice that continues. In 1997, she co-founded the Faces mailing list and online community for women working with art, gender and technology. Till today, Huffman is working in the US, in Canada and in Europe.

<span class="mw-page-title-main">Cell Project Space</span> Non-profit art gallery in Cambridge Heath Road, London

Cell Project Space is a not-for-profit gallery space and workspace provider based in Cambridge Heath, East London. Cell Project Space presents up to 5 exhibitions and 3-4 events per year and supports the dissemination of artists’ knowledge to the local community through workshops.

shinkansen (1989-2004) was an East London sound and movement research, development and production unit focusing on body technology integration by facilitating connectivity between dance, performance, music, video and digital technologies.

References

  1. ↑ "Ep. 69 Ghislaine Boddington "Full Immersion"". Team Human. Retrieved 6 May 2018.
  2. ↑ "Ghislaine Boddington". body>data>space. Retrieved 6 May 2018.
  3. ↑ "shinkansen" . Retrieved 6 May 2018.
  4. ↑ "About". Women Shift Digital. Retrieved 6 May 2018.
  5. ↑ "Staff Profiles". University of Greenwich. Retrieved 6 May 2018.
  6. ↑ "Ghislaine Boddington". ResCen. Retrieved 6 May 2018.
  7. ↑ "FutureFest 2016" . Retrieved 6 May 2018.
  8. ↑ "Visionary Pionneer Award". Société des arts technologiques. Retrieved 6 May 2018.
  9. ↑ "About FutureFest". FutureFest. Retrieved 17 October 2018.
  10. ↑ "FutureFest Forward". Nesta. Retrieved 17 October 2018.
  11. ↑ "The Games Europe Plays". EUNIC London. Retrieved 17 October 2018.
  12. ↑ "About Us". Women Shift Digital. Retrieved 17 October 2018.
  13. ↑ "E-Motional". body>data>space. Retrieved 17 October 2018.
  14. ↑ "MADE". body>data>space. Retrieved 17 October 2018.
  15. ↑ "Robots and Avatars" . Retrieved 17 October 2018.
  16. ↑ "Robots and Avatars Forum". body>data>space. Retrieved 17 October 2018.
  17. ↑ "Virtual Physical Bodies". body>data>space. Retrieved 17 October 2018.
  18. ↑ "About Post Me_New ID". Post Me_New ID. Retrieved 17 October 2018.
  19. ↑ "Post Me_New ID". Kibla. Retrieved 17 October 2018.
  20. ↑ "Future Physical" . Retrieved 17 October 2018.
  21. ↑ "Commissions". Future Physical. Retrieved 17 October 2018.
  22. ↑ "Virtual Incarnations". LondonDance. Retrieved 17 October 2018.
  23. ↑ "Virtual Physical Bodies". ResCen. Retrieved 17 October 2018.
  24. ↑ "Connectivity". shinkansen. Retrieved 17 October 2018.
  25. ↑ "The Sound Works Exchange". shinkansen. Retrieved 17 October 2018.
  26. ↑ "Key Achievements". shinkansen. Retrieved 17 October 2018.
  27. ↑ "Key Achievements". shinkansen.
  28. ↑ "Collective Reality". body>data>space. Retrieved 17 October 2018.
  29. ↑ "me and my shadow". body>data>space. Retrieved 17 October 2018.
  30. ↑ "Dare We Do It Real Time?". body>data>space. Retrieved 17 October 2018.
  31. ↑ "Ideasphere". body>data>space. Retrieved 17 October 2018.
  32. ↑ "Ghislaine Boddington". ResCen. Retrieved 17 October 2018.
  33. ↑ "Performances". ResCen. Retrieved 17 October 2018.
  34. ↑ "Cellbytes2000". ResCen. Retrieved 17 October 2018.
  35. ↑ "CellBytes01". ResCen. Retrieved 17 October 2018.
  36. ↑ "Corpos Online". ResCen. Retrieved 17 October 2018.
  37. ↑ "Club Research". shinkansen. Retrieved 17 October 2018.
  38. ↑ "Butterfly Effect Network". shinkansen. Retrieved 17 October 2018.
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