Kate Southworth
Since the beginning
Works in Cornwall United Kingdom of Great Britain and Northern Ireland

glorious ninth (http://www.gloriousninth.net) is a collaboration between artists Kate Southworth and Patrick Simons. They make artworks and DIY installations for galleries, online and other places. Recent works have started to explore the use of protocol as a medium. Kate Southworth is research leader of the iRes research cluster in Network Art at University College Falmouth (http://www.ires.org.uk).
Discussions (51) Opportunities (1) Events (5) Jobs (0)

love_potion from glorious ninth

Join our invisible network of tactical gardeners by preparing your own love_potion made from borage, an herb that reputedly drives away sorrow, uplifts the spirits and when shared with others nurtures compassion and peace. Follow the potion recipe, find out how to grow your own borage, download the glorious ninth sound and visuals (or make your own) and put together a love_potion DIY installation.

love_potion is a distributed artwork that uses borage plants, seeds, scents, magic spells and networked technologies. All of its elements are featured on the glorious ninth website http://www.gloriousninth.net/?q=love_potion and can be woven together by us or by you, inside a gallery space or as DIY installations in our homes, gardens or public spaces.

best wishes
glorious ninth


Research Fellow: Interactive Art & Design

Thu Oct 06, 2005 02:57

University College Falmouth
Cornwall, UK

Research Fellow (Interactive Art and Design Research Cluster)

Two Year Fixed Term Contract

18,777 - 28,360 per annum (Researcher B scale)

Interactive Research at University College Falmouth critically investigates the relationship between art, design and the Information Society. Our research is informed by a radical engagement with interactive aesthetics and ethics underpinned by an historical materialist understanding of current social, cultural and technological change.

We are seeking a highly motivated interactive artist/designer with a track record of research in this area, to develop and deliver projects that extend the parameters of interaction within an art/design context. Innovation through the application of interactive and networked technologies in a professional art/design context is central to your practice, together with a history of exhibiting and publishing at an international level and/or commercial application.

With an MA level education in any area of interactive art/design and ideally a practice based PhD in the area of Design, you will have a clear understanding of practice based research methodologies that enable project development, delivery and the communication of research outcomes. It is essential that you able to work independently and meet tight deadlines. Finally, you will have previous experience of writing successful research bids and have excellent interpersonal and written communication skills to facilitate this activity.

To request an application pack, please telephone our Vacancy line on +44 (0)1326 213717 or visit www.falmouth.ac.uk where full application packs are available online.

Closing date for applications: Tuesday 18th October 2005


Re: Thinking of art, transparency and social technology [was : they must not be very bright]

Dear Liza and Rhizomers
At the beginning of August, 'fuorange', one of the outputs from a collaborative project by Christina McPhee, Patrick Simons and myself in which we explored ideas of pre-natal space of encounters, was accepted into the Rhizome artbase (http://rhizome.org/object.rhiz?27525).

I have just finished writing the first draft of a paper on this part of our collaboration, which I will be delivering at a conference on Sensuous Knowledge in Norway in a few weeks time. Because the work is process, dialogue and the articulation of intimate shared spaces, I thought it might be appropriate to post the URL of the paper as part of this debate (http://www.netart.tv/fuo_process.htm). We will be uploading more elements from the project as they are ready.

I'd love to try this experiment with more people. Be part of real-life conversations started by artworks, but mediated through the blogs. See what opportunities are opened up with this "new" socialization. Find out what happens when an artist's site goes from portfolio to notebook to salon, all in one swoop of technology.

> Any takers? This blogmother is ready to reproduce :)
Liza, this is exactly the sort of space we are exploring in our work, although possibly from a slightly different perspective, so if you find anything that interests you in fuorange and the accompanying paper we would really love to work with you on it.


Kate Southworth

Interactive Art & Design Research Cluster
Falmouth College of Arts
Cornwall, TR11 4RH

T. 44 (0)1326 370733
e. kate.southworth@falmouth.ac.uk

> ----------
> From: owner-list@rhizome.org on behalf of Liza Sabater
> Reply To: Liza Sabater
> Sent: Tuesday, October 5, 2004 8:11 AM
> To: Plasma Studii - uospn


Re: Re: Re: Re: Re: Rhizome needs to drop its membership fee and

Hi ryan and TWhid

Why not start a new text header..called

"free linking needed to rhizome"?

And then we can have two conversations,
just not at the same time.


> Hi all,
> below:
> On May 24, 2004, at 3:11 PM, ryan griffis wrote:
> >> I undestand the push for removing the $5 but I dont think it would
> >> solve the underlying questions, if the choice is an org which is
> >> dependent on unaccountable trust funds or membership based, the
> >> latter is so much more what this whole community is about.
> >
> > certainly, i don't think t.whid's initial question was about "to
> pay
> > or not to pay." i think the idea is that for those of us who
> consider
> > ourselves invested in Rhizome as an activity/forum, it would be
> great
> > if it could be expanded for temporary publics that may not be
> > interested in Rhizome as a long term community or as a participant,
> > but may have short term interests (research, curiosity, etc.).
> Ryan is correct. I don't think the fee is evil or bad, in fact, i
> think
> everyone should all donate by a factor of 5x the current fee (at
> least).
> What is bad is that it locks down the free-flow of info. By all means
> have a fee with features attached that don't interfere with free
> linkage.
> But, as Curt pointed out, you *can* link to individual articles. I
> tested this and it seems to be true (Francis please confirm). If you
> go
> here http://x-arn.org/artnode/ you can see a list of fresh texts
> (click
> Rhizome Fresh Texts) and you can also link to an RSS feed of these
> fresh texts.
> If you click on the links from the web site you go directly to the
> Rhiz
> article whether you're logged in or not. (For some reason when
> following links from my news reader I can't go directly to the
> article
> :( i go to the log-in screen )
> I was wrong, it seems anyone can link to any article and anyone can
> follow those links to the articles as long as the referrer isn't
> Rhizome or if the referrer doesn't exist. Is that how it works?
> The problem then, isn't IF you can link to Rhiz articles, it's that
> Rhiz doesn't seem to want non-members to link to Rhiz articles
> because
> they make it hard to do so by not providing the tools (RSS feeds with
> subjects/descriptions of articles).
> For example, if I'm a non-member of Rhizome, how do I decide I would
> like to link to an article on the home page? I see the headline, I
> see
> a short description, but I can't read the entire thing to decide..
> unless someone (other than Rhiz) provides me with a link.. or I make
> it
> myself..
> This is just kinda nutty functionality (i understand it was a
> compromise): only people other than Rhiz can provide access to
> non-members.
> +++
> or perhaps this is me just whining because I want a fully functioning
> Rhizome Raw in my news reader so I can clear out my email box ;-)
> > This is not a matter of whether members would/should pay for
> > supporting something they are part of, but is rather about WHAT
> > members are paying for. hence t.whid's concern about linking and
> the
> > future posterity of Rhizome as an active resource. Anyway, many
> > arguments about logistics and needs/desires could be made, and i'm
> not
> > making any at the moment (though those desiring feeds have my ear),
> > but i think it's important to not take the discussion back to the
> $5
> > argument, as i don't think anyone is wanting to financially desert
> > Rhizome.
> > best,
> > ryan
> >
> ===
> <twhid>http://www.mteww.com</twhid>
> ===


Re: Re: new work: gloriousninth flaming

Dear Christina

5/21/04 20:30Christina McPheechristina112@earthlink.net

>>>> http://www.gloriousninth.com/flaming.html
>>>> Glorious Ninth
>>>> Flaming (our/your/their rage) 2004
>Re the complex concept of beautiful...

I'm sorry that its taken a while to respond to your post, but I am largely
unfamiliar with Bracha Ettinger's work, and its taken me a few days of
reading and re-reading these excerpts to get a sense of her ideas. I'm a
bit blown away by them actually. It feels like I've found what I didn't
know I was missing. They've provoked in me an extraordinarily strong
intuitive and emotional response, and I just want to go and read more.

kindest regards,


> Bracha Ettinger recently wrote several posts on trauma, beauty, war and
> artistic practice for the <underfire> project hosted by Jordan Crandall.
> I would like to quote her here because I think this issue of what beauty is
> and does in a time of war is fascinating and certainly points to your work
> at gloriousninth.
>> War is not this instant event that creates just instant reactions of instant
>> feeling that of necessity will produce art. War is always
>> shockingly instant but also traumatizing in the long run and for the
>> generations to come.
>>It creates vagues and vibrations on many levels and art
>> is involved with its chords on so many different levels. Instant reactions
>> are
>> important, but they are not necessarily art, even when they are translated
>> into images made by artists and signed as art.

>>Paul Celan's poetry was not
>> born in the same day, nor in the day after the event. So perhaps when you
>> look
>> in the day after for poetry you see nothing of this order. There, where art
>> becomes, layer of layers of traces, conscious and unconscious, are working
>> through.

> .......
>> We are carrying in this second half of the twentieth century enormous
>> traumatic weight, and wit(h)nessing in/by art brings it to culture