Nigel Ayers
Since 2005
Works in Lostwithiel, Colorado United Kingdom of Great Britain and Northern Ireland

Nigel Ayers is dedicated to expanding the possibilities of Interactive Art through a combination of art installation, activism, text, online activity and physical objects. His work manifests in the form of books, sculpture, t-shirts as well as in performance experiences.

Having been long involved in experimental music he has recently concentrated on the possibilities of the sound art installation, integrated within the poetic qualities of material objects.

His work examines boundaries between the exotic and the infra-ordinary. Since 2006 he has been involved in an in-depth exploration of the geography, folklore and cultural resonance of place; notably in a series of documented ritual walks on Bodmin Moor.
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FIELDCLUB Late at Tate St Ives

Fri Nov 25, 2011 18:00 - Fri Nov 25, 2011

St Ives, United Kingdom of Great Britain and Northern Ireland

Late at Tate St Ives


25 November 2011

18.00 – 21.30

Free entry

Tate St Ives presents ‘FIELDCLUB & Friends’, an evening of art, film and live music organised by the Cornwall-based collective FIELDCLUB. This event is realised within the framework of Late at Tate, an experimental programme taking place the last Friday of each month. ‘FIELDCLUB & Friends’ features a series of projects that occupy different spaces across the gallery.

The event includes an introduction to FIELDCLUB’s practice and premieres the work FieldMachine 1.0 (Interactive Meaty Master: Self-Sufficiency Calculator Table). This project is an interactive webtool that enables visitors to design their desired diet in a self-sufficient UK and discover the effects this scheme could have on the land across St Ives. They also showcase 24hr FIELDCLUB Wildlife Museum, an ongoing collection of archaeological artefacts found during farming activities at FIELDCLUB.

The event also features themed contributions by other artists.

Multimedia artist Nigel Ayers, will perform a live psycho-acoustic set to accompany his new work 'Compost' – a forty minute digital animation that visually isolates biotic elements of a compost heap and subjects them to crypto-zoological distortion.

There will be screenings of recent films by Adi Gelbart, James Kelly, and Pil and Galia Kollectiv. These works explore a sinister future where the earth is overrun with mutant alien vegetables, the absurdity and insignificance of human interaction with land, and the futility of the modernist utopian project. In addition, musical collective The Busk Stop Crew plays a lively session of traditional tunes at a barn party in the Café.

Led by artist Paul Chaney, FIELDCLUB develops collaborative projects that address issues relating to off-grid living and self-sufficiency. Often involving other artists, scientists and philosophers, these initiatives take the form of artistic research and the organisation of seminars and events. At the core of FIELDCLUB’s practice is a system of low-impact provision that creates autonomous ‘units’ intended to satisfy the basic needs of individuals in a UK without imports. Over the last few years, FIELDCLUB has put this theory into practice by establishing an experimental ‘unit’ in Cornwall.

For further information on this Late at Tate event or The Indiscipline of Painting exhibition, please contact Arwen Fitch: 01736 792185


War Criminal

Wed Sep 15, 2010 00:00 - Wed Sep 15, 2010

United Kingdom of Great Britain and Northern Ireland

War Criminal - a viral art project by Nigel Ayers. Featuring George W Bush, Tony Blair, Diego Maradona and a cast of thousands.



This is what happens when the matrix breaks down.


On Spatial Detournement

Sat Mar 06, 2010 00:00 - Sat Mar 06, 2010

United Kingdom of Great Britain and Northern Ireland

On Spatial Detournement

Since the 1950s, guerrilla sign ontologists, situationists and psychogeographers have delighted in using the power of the map to decode the urban landscape. They have explored Manchester using a map of Milan , wandered Newcastle guided by a map of the Berlin U-Bahn, and explored Hackney with a map of the moon. This re-use of maps may at first sight seem to be a simple economy measure, but these were in fact experiments aimed at creating spatial détournements, subverting the commodified image of the city. By the intentional misreading of city space, the city would “be experienced not as a thing at all, but as possibilities”. Our ritual walks are in contrast to the concept of the dérive meaning an aimless walk that follows the whim of the moment, sometimes translated as a drift.

French philosopher Guy Debord used the dérive idea to encourage readers to revisit the way they looked at urban spaces. Rather than being prisoners to their daily routines, living in a complex city but treading the same path every day, he urged people to follow their emotions and to look at urban situations in a radical new way. The notion was that most of our cities are so thoroughly unpleasant because they were designed in a way that either ignored their emotional impact on people, or indeed tried to control people through their very design. The basic premise of the dérive is for people to explore their environment without preconceptions, to understand their location, and therefore their existence. The flaw in Debord’s notion is that town and rural planners now use very sophisticated methods of emotional route-manipulation to move consumers through a series of consumables. The radical way to counter this manufactured routing is not to rely on emotion to guide us, but instead to devise more precise and radical methods of rambling. A better way to explore space is instead to adapt another of Debord’s concepts, that of the détournement, where an artist reuses elements of existing media to create a new work with a different meaning, often one opposed to the original. Détournement is similar to satirical parody, but often employs more direct reuse or mimicry of the original works rather than constructing a new work, which merely alludes strongly to the original. Another technique we suggest is to adapt the cut-up or fold-in technique to design walking routes. William Burroughs and Brion Gysin applied this to printed media and audio recordings in an effort to decode the material’s implicit content, hypothesising that such a technique could be used to discover the true meaning of a given text. Burroughs also suggested cut-ups may be effective as a form of divination saying, “When you cut into the present the future leaks out”. Burroughs also further developed the fold-in technique as a method for altering reality. Burroughs’ explanation was that everything that could be recorded could be edited. Later the CrimethInc Ex-Workers Collective developed behavioural cut-ups as a method of changing one’s life by performing activities which are created by cutting up two socially acceptable, routine behaviours and recombining them to form an new more amusing activity. The intention is that you perform a series of cut-ups for a long period until it becomes second nature and your behaviour is altered significantly. Détournements, fold-ins and cut-ups may all be contrasted with recuperation, in which originally subversive works and ideas are themselves appropriated by mainstream media.

In spatial détournement, a rambler reuses elements of a known territory to explore a new psychic space with a different meaning, often one beyond the boundaries of the “original”. In this case maps of outer space are folded into maps of terrestrial space. So our ritual walks are spatial détournements based on precise plans to overturn external temporal/spatial manipulation of our rambling. We have created our own walking system instead of being enslaved by another man’s. We do not advise others to follow these routes, but instead to create their own pathways of exploration. Looking at the patterns drawn on a landscape allows us to analyse their origins in the communication between human and animal life, technology and landscape. A detailed study gives us insight into how we remember our travels. Using GPS, a follow-up analysis of a created map provides a different perspective on how the Bodmin Moor Zodiac was organised. By looking at various data from above, below and within, moving through both time and space, we are able to make additional observations, analysis and conclusions regarding our rambles that might not be possible from ground level.



It sounds great. It reminds me a bit of