笔谤辞蹿别蝉蝉辞谤听骋补产谤颈别濒听骋别别听(Franklin University, TETI Group), with the听Center for the Art and Architectural History of Port Cities 鈥淟a Capraia鈥澨齝urated a digital series of seminars entitled听Artists and Maritime Technology.
Going out to sea was long a perilous affair. Whether to secure access to fishing grounds and trade routes, to satisfy curiosity about the distant and the unknown, or simply to enjoy a day out on the deck in choppy waters, maritime spaces required specialized skills and technologies. Cultured craftsmanship gave communities the means to travel through the uncertain undulating expanses. Through increasing political and cultural connections, and with the development of commerce across the globe, the ingenuity that informed modes of transportation was further applied to the design of ports, which served as coastal interfaces between land and sea. In this vein, maritime technologies have introduced new forms in land-based societies, ranging from communication methods to transportation of goods; on the other hand, maritime technologies have 听channeled new mechanical inventions designed for land purposes 鈥 for example, the steam engine 鈥 which are then applied to specific maritime necessities.
In relation to such technological activities, artists have occupied varied positions over time. Considered as visual and material producers and innovators, artists could take part in the development of maritime technology; as such our line of enquiry can focus on the role and understanding of craftsmanship, as well as the relation between art and science, in particular that of the mechanical arts 鈥 as known and 听theorized in Western culture, but more generally approached through physics and engineering in different geographical contexts. As providers of visual materials, artists were also mediators of technological progress, representing the changing nature of material maritime forms. Representation, though, must not be seen as mere passive duplication. The depictions of maritime infrastructure contributed first to its understanding, second to its critical discursive appropriation, which can in turn inform material processes. As agents of 鈥渋magination,鈥 artists partake in a cognitive capture of the world, which can lead to its renewed invention. This research seminar on 鈥渁rtists and maritime technology鈥 aims to bring together art historians and artists to consider past and present relations between artistic practices and maritime technology, which we see as a strategic nexus of historical and contemporary cultural transformation.听
7 April 2023
To measure听听
Nicola Foster (Southampton, Solent University),听Artists, visual technology and navigation听
Chih Chung Chang (Kaohsiung, Van Eyck Academy),听Catastrophic coastlines shaped by others: relocation, war and shipwreck听
14 April 2023听
To propel听听
Mona Annette Shieren (Bremen, University of the Arts),听Draft for a proposition for a cargo sail ship cooperative (AT)听
Alan Dunn (Leeds Beckett University),听鈥淗ear Us O Lord鈥听
21 April 2023听
To store and carry听
Antje Kempe (University of Greifswald),听The Wardian case听
Illias Marmaras and Anna Lascari (Athens),听听Cargonauts: a game in progress听
Cora Piantoni (Zurich),听PORT! WORKERS! STRIKE!听
28 April 2023听
To communicate听
Cliona Harmey (Dublin, National College of Art and Design),听The Lighthouse, the radio, the AIS,听听
David Jacques (Liverpool),听Drillship walkthrough听
5 May 2023听
To fasten听
Charlotte Gould (University Paris X),听Made in Scotland from girders: shipbuilding, waterfront revitalization, and public art in Glasgow听
Andr茅 Tavares (University of Porto),听To what extent can fish produce architecture?听听
All seminars begin at 10am US Central / 11am US Eastern / 4pm UK / 5pm Central European
INFO
The series takes place on Zoom:
Meeting ID 听895 0056 3290
Password 听 听Maritime
For questions, write to听lacapraia@gmail.com