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DTSTART;TZID=Europe/London:20250620T083000
DTEND;TZID=Europe/London:20250620T183000
DTSTAMP:20260415T151754
CREATED:20250512T084003Z
LAST-MODIFIED:20250512T090210Z
UID:10000265-1750408200-1750444200@efi.ed.ac.uk
SUMMARY:CreativeTech Scotland Gathering 2025
DESCRIPTION:Join us on the 20th of June for CreativeTech Scotland Gathering for an exciting day of cutting edge creative tech keynotes\, demos and panels with workshops and a closing reception with live improvised electronic music from Boardgame. \n\n\n\nOur aim is to bring people together from across the creative and cultural sector in every discipline to meet\, connect\, share know-how\, be inspired by new innovations and be amazed by how we each use creative technology to deliver our services\, products and audience experiences. \n\n\n\nView the outline programme to give you a flavour of the day\, from our keynote with Tupac Martir\, Satore Studios to a range of industry spotlights\, hands-on workshops\, and a showcase of creative tech demonstrations and lightening talks\, with a closing reception and performance with networking\, refreshments and snacks. \n\n\n\nThe event will be hosted on The University of Edinburgh campus across the Informatics Forum\, Inspace Gallery and the Student Enterprise Hub. \n\n\n\nAccess – Please let us know if you have any access or dietary requirements that would help you to feel more comfortable and able to join this event. This could include things like seating close to the front for visibility\, a information on parking or access to a quiet space. Please email engagement.efi@ed.ac.uk with any comments or questions. \n\n\n\nWe also have care vouchers available for those who would like this help to enable attendance please email engagement.efi@ed.ac.uk with your request or for more information \n\n\n\nDietary – We will provide catering for a range of dietary requirements. Please answer the questions at the booking stage to help us order appropriately and email engagement.efi@ed.ac.uk with any comments or questions. \n\n\n\nVenues\n\n\n\nInformatics Forum\, The University of Edinburgh10 Crichton Street Edinburgh EH8 9AB \n\n\n\nBayes Centre\, The University of Edinburgh47 PotterrowEdinburgh\, EH8 9BT \n\n\n\nInspace\, The University of Edinburgh1 Crichton Street Edinburgh EH8 9AB
URL:https://efi.ed.ac.uk/event/creativetech-scotland-gathering-2025/
LOCATION:Edinburgh
CATEGORIES:Conference,Forum,Performance,Talk/Discussion
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DTSTART;TZID=Europe/London:20250522T180000
DTEND;TZID=Europe/London:20250522T203000
DTSTAMP:20260415T151754
CREATED:20250516T091425Z
LAST-MODIFIED:20250516T091427Z
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SUMMARY:Speaking Towards One Another Opening Performance
DESCRIPTION:Speaking Towards One Another project is created and performed by Stephanie Lamprea (soprano)\, Yuki Neoh (performer)\, Megan McArthur (performer)\, Oana Stanciu (video art)\, Jen McGregor (dramaturg)\, Anne Kjær (video dramaturg and performer)\, and Tim Cooper & Alistair MacDonald (live electronics). \n\n\n\nSpeaking Towards One Another is a series of interdisciplinary staged performances for voice\, live electronics\, video\, wearable performance technology\, and British Sign Language. The first full performance will be premiered in Inspace in May 2025 as part of a video and sound installation. \n\n\n\nThis unique opening performance will use live electronics to transform and digitise the singing and speaking voice\, and wearable digital technologies to transform British Sign Language into live sounds and visuals. The concert will be accessible to hearing and D/deaf audience members via visual interpretations of the music\, a live BSL translator\, and printed programmes with all texts spoken\, sung\, and signed in the performance. \n\n\n\nExhibition Details\n\n\n\nSpeaking Towards One Another installation is co-created by Oana Stanciu\, Anne Kjær\, Stephanie Lamprea\, and Yuki Neoh. It features multi-screen projections of ‘moving portraits’ and a music composition by Wende Bartley\, performed by Stephanie Lamprea. By exploring images of public identity\, gender performativity\, female presence\, expression\, and testimony\, the moving images seek to subvert the male gaze and become figures of power in the public space. \n\n\n\nDates: 23-28 May 2025Times: 10:00-17:00 daily  | Free/Drop-inLocation: Inspace\, 1 Crichton St\, Newington\, Edinburgh EH8 9AB \n\n\n\nAbout the Project\n\n\n\nThis project will feature two newly commissioned musical works by composers Laura Bowler and Amble Skuse\, and recent works by composers Rebecca Saunders\, Stuart Macrae\, and Tom W. Green\, setting texts by writers and artists Alwynne Pritchard\, Carol Ann Duffy\, Gertrude Stein\, Adah Isaacs Menken\, and Hannah Siddiqui. These works create a theatrical narrative addressing topics of women’s testimony\, language and the body\, gender representation\, and resilience within disability. \n\n\n\nThis unique opening performance will use live electronics to transform and digitise the singing and speaking voice\, and wearable digital technologies to transform British Sign Language into live sounds and visuals. The concert will be accessible to hearing and D/deaf audience members via visual interpretations of the music\, a live BSL translator\, and printed programmes with all texts spoken\, sung\, and signed in the performance.
URL:https://efi.ed.ac.uk/event/speaking-towards-one-another-opening-performance/
LOCATION:Inspace\, 1 Crichton Street\, Edinburgh\, Edinburgh\, EH8 9LE\, United Kingdom
CATEGORIES:Performance
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250417T180000
DTEND;TZID=Europe/London:20250417T193000
DTSTAMP:20260415T151754
CREATED:20250205T120000Z
LAST-MODIFIED:20250623T104406Z
UID:10000228-1744912800-1744918200@efi.ed.ac.uk
SUMMARY:A&I (Beta): Orange Grove Dance’s Embodied Performance with AI
DESCRIPTION:An international premiere performance by dance\, design\, and film company\, Orange Grove Dance (USA)\, A&I is a new dance and multimedia live production between five performers and a solitary AI interface (Luna) that uses smart home technology on a theatrical scale. The work questions how we see and care for the technologies we have created\, which hold up the fragile ecosystems of modern society.  \n\n\n\nA&I PERFORMANCE TRAILER CAN BE FOUND HERE ** \n\n\n\nA&I is a first-of-its-kind production\, integrating AI technology to respond to performers’ actions in real-time while controlling technical elements of the performance. The work explores how we perceive and care for the technologies rapidly shaping the modern world. Engaged in embodied conversations of their hopes and dreams\, the performers and Luna (AI) are led into situations where they must see each other ‘face-to-face’— together creating emotionally driven digital and sonic landscapes that reference the nostalgia of what it means to be a 21st century human.   \n\n\n\n**Performances at The Voxel in April 2024 marked the Beta debut of the work. Performances of A&I will continue to change and develop as the technology for the work continues to evolve.  \n\n\n\nAbout Orange Grove Dance\n\n\n\nOrange Grove Dance (OGD) continually redefines creative ingenuity through its interdisciplinary approach to dance and art-making. Known for innovative performances that blend movement\, design\, film\, and technology\, the company consistently expands the boundaries of contemporary dance. The imagistic gravity of the work compels audiences beyond the confines of traditional stage venues and reflects the extraordinary influence of dance in everyday life. Under the direction of Artistic Directors Colette Krogol and Matt Reeves\, OGD’s acclaimed canon of works is recognised for its powerful imagery and choreography\, which engages audiences in a world that is relevant\, mysterious\, and absorbing.  \n\n\n\nOGD enacts its mission (to bring dance\, design\, and film to all communities) through the artistic vehicle of its presentation\, research\, and educational programming through films\, performances\, classes and workshops and – a hallmark of its programming – the OGD Summer Intensive. The Intensive serves as a unique embodiment of the company’s priorities and mission to embolden interdisciplinary artists and designers through an affordable weeklong incubation with the company. The OGD Intensive allows artists to get inside of OGD’s creative processes while continuing the development and exploration of their own artistic voice.  \n\n\n\nOver the past decade OGD has been presented by The Voxel\, The Kennedy Center\, Dance Place\, Maryland Theater for the Performing Arts\, U.S. Botanic Garden\, Museum of Zhang Zhidong\, City of Alexandria’s Waterfront Park\, CulturalDC\, Dupont Underground\, Joe’s Movement Emporium\, and The Clarice Smith Performing Arts Center.  \n\n\n\nBiographies\n\n\n\n\n\nColette Krogol and Matt Reeves || Artistic Directors\n\n\n\n\n\n\n\n\n\n\n\n\nColette Krogol and Matt Reeves are acclaimed directors\, choreographers\, filmmakers\, and mixed media designers. As a collaborative duo they have been creating dances together for over fifteen years through their founding and directing of Orange Grove Dance. Their award-winning works are noted for bringing virtuosic athleticism\, mesmerizing design landscapes\, and powerful imagery to their audiences.   \n\n\n\nKrogol and Reeves are Helen Hayes Award winners for “Outstanding Choreography in a Play” for their work in Round House Theatre’s production of The Curious Incident of the Dog in the Night-Time (2020). Additional honors and commissions include: 2023 Rubys Artist Grantees through the Deutsch Foundation\, The Carla Fund for Choreography and Performance (Howard and Geraldine Polinger Family Foundation)\, Maryland State Arts Council’s Artist Awards\, the Baker Artist Awards (2024\, 2023\, and 2021)\, and The Voxel’s 2024 Artists-in-Residence program– where they continued developing their newest stage work\, A&I.   \n\n\n\nAs faculty\, they have served at Johns Hopkins University’s Peabody Institute\, Towson University\, George Washington University\, University of Florida\, University of Maryland\, and the Wuhan Institute of Design and Sciences in China. They have also directed residencies at American University\, Dickinson College\, Sweet Briar College\, Hillsborough Community College\, and the Jerusalem Academy of Music and Dance in Israel.   \n\n\n\n\n\n\n\n\n\n\nLondon Brison || Performer\n\n\n\n\n\n\n\n\n\n\n\n\nLondon Brison\, a South Tennessee native\, is an East Coast-based performing artist. Holding a BFA in Dance from Troy University in Alabama\, he has trained under mentors like Dominic Angel and Dante Puleio\, while showcasing his talent in works by choreographers including Kyle Abraham\, Kile Hotchkiss\, Tucker Knox\, and Trey Coates-Mitchell. Brison’s professional credits include Dendy/Donovan Projects\, Orange Grove Dance\, Dafi Alteba\, Chris Bell Dances\, and The Dash Ensemble with notable performances at the American Dance Festival\, Jacob’s Pillow\, the U.S. Botanic Garden\, The Kennedy Center\, New York Live Arts\, and Dance Place DC.  \n\n\n\n\n\n\n\n\n\n\nRobin Neveu Brown || Performer\n\n\n\n\n\n\n\n\n\n\n\n\nRobin Neveu Brown is a Baltimore/DC-based dance teaching artist\, performer\, choreographer\, writer\, and mover/lover/mother. Her passion is working with people as a creativity amplifier\, uncovering the connections between body\, mind\, heart\, and community. To that end\, she works as an early childhood teaching artist with the Wolf Trap Institute and Arts for Learning Maryland\, spreading the gospel of embodied learning. She holds an MFA and BFA in Dance from the University of Maryland and the University of Florida\, respectively. Additionally\, Robin is a trained birth doula\, helping people transition into parenthood through the meaningful movement of pregnancy\, labor\, and birth. Robin has had the continually soul-feeding experience of working with Orange Grove Dance since 2015.   \n\n\n\n\n\n\n\n\n\n\nLevi Coy || Performer\n\n\n\n\n\n\n\n\n\n\n\n\nLevi Coy (they/he) is a queer artist\, choreographer\, educator\, filmmaker\, and mover based in Baltimore\, MD. Levi’s artistry has been showcased through captivating performances with The Collective\, Kinetics Dance Company\, GRIDLOCK Dance\, Extreme Lengths Productions\, and Orange Grove Dance. With a BFA in Dance from Ball State University\, Coy also serves as faculty at Howard Community College training students at all levels of modern/contemporary technique.   \n\n\n\n\n\n\n\n\n\n\nJuliana Pongutá Forero || Performer\n\n\n\n\n\n\n\n\n\n\n\n\nJuliana Pongutá Forero is an artist\, choreographer and educator born in Colombia. Her works and practices explore the relationship between imagination\, creativity and community. She is passionate about creating and exploring experiences that foster individual curiosities while developing capacities for collaboration and reflection. Her original work has been presented in several Latin American countries and the United States\, and she has collaborated with various companies such as Orange Grove Dance\, S.J. Ewing & Dancers\, and Dance Exchange in the DC area. Currently\, she is studying social work as a way to interconnect dance and community work.  \n\n\n\n\n\n\n\n\n\n\nDylan Glatthorn || Composer\n\n\n\n\n\n\n\n\n\n\n\n\nDylan Glatthorn is a Brooklyn-based composer and sound designer. Dylan has written music for eleven feature films\, numerous shorts\, documentaries\, and commercials for clients such as Lindt\, Nickelodeon\, Oakley\, Red Bull\, Alessi\, PBS\, and the Tokyo Metro. As a long-time collaborator with Orange Grove Dance\, he has composed numerous original musical scores for their works including REMNANTS (Premiere: Kennedy Center in Washington\, D.C.) and Leaning Toward the Sky (commissioned by the US Botanic Garden in Washington\, D.C.). His original full-length musicals include The Pelican (MTW New Works Fest ’24\, NAMT Festival ’22\, Frank Young Fund Grant ’20-’21)\, Pottersfield (NFMT Grant ’24) and Edison. Original one-act musicals include Bittersweet Lullaby\, Starshine\, and Peach Melba. Other awards and honors include: RaumArs Artist Residency (Finland)\, New Hampshire Theatre Award for Best Sound Design\, Clive Davis Award for Excellence in Music in Film\, Best Original Score at First Run Film Festival\, and two-time recipient of the Alan Menken Award. Member: TNNY Musical Writers Lab\, ASCAP\, and The Dramatists Guild of America\, Inc. www.dylanglatthorn.com  \n\n\n\n\n\n\n\n\n\n\nPeter Leibold VI || Systems & Design \n\n\n\n\n\n\n\n\n\n\n\n\nPeter Leibold VI is a lighting and projection designer based in New York City. His work includes shows at The Kennedy Center\, Signature Theatre\, Synetic Theatre\, Sierra Repertory Theatre\, Andy’s Summer Playhouse\, The Spoleto Festival\, The Geffen Stayhouse\, Annapolis Opera Company\, and many more. Some of the work Peter is most proud of is many shows with Orange Grove Dance. See more of his work at www.peterleibold.com  \n\n\n\n\n\n\n\n\n\n\nShanice Mason || Performer\n\n\n\n\n\n\n\n\n\n\n\n\nShanice Mason (she/her) is a Washington\, DC-based dance artist\, consultant\, and educator. She is an adjunct professor in the School of Dance at George Mason University and a faculty member at both the VIVA School of Dance and the Madeira School. As a performer\, Shanice has worked with esteemed companies\, and her choreographic work has been showcased at Dance Place\, The Clarice Performing Arts Center\, The Madeira School\, and the VIVA School of Dance. Most recently\, Shanice has been focused on her artistic collaboration with Jamison Curcio and their commitment to durational experiences\, experimental usages of space\, and community care. They are currently the 2024-25 Local Dance Commissioning Project grantees at the Kennedy Center and have a new work premiering at the Smithsonian National Portrait Gallery in February 2025.  \n\n\n\nShanice brings extensive expertise as a digital media consultant\, collaborating with organizations such as the Association of Performing Arts Professionals (APAP)\, BlackLight Summit\, Callahan Consulting for the Arts\, the Center for Culturally Responsive Evaluation and Assessment (CREA)\, CityDance Productions\, Inc.\, and Dance/USA.   \n\n\n\n\n\n\n\n\n\n\nLuna || Performer\n\n\n\n\n\n\n\n\n\n\n\n\nLuna is a new AI currently in its second stage of development that was created specifically for this work\, A&I. Seen as a sixth performer in the space\, Luna orchestrates the sensory landscape for A&I by processing verbal prompts given by the other five on-stage performers. As the always-listening conductor\, Luna then responds by transforming the dynamic canvas of the stage in real-time—marking a paradigm shift in the collaborative relationship possible between art and technology.  \n\n\n\n\n\n\n\n\n\n\nHeather Rikic || Event Chair\n\n\n\n\n\n\n\n\n\n\n\n\nHeather Rikic is the programme director of the University’s MSc Dance Science and Education programme and a teaching fellow on postgraduate and undergraduate courses at Moray House School of Education and Sport. Before moving to Edinburgh\, Heather performed for various independent contemporary choreographers in New York City\, USA and Belgrade\, Serbia; taught learners of various ages and abilities including as a teaching artist for Alonzo King LINES Dance Center (San Francisco\, USA)\, New York City Ballet’s education department\, KC Magacin (Belgrade\, Serbia)\, Dance Base (Edinburgh) and currently teaches Cunningham Technique® at the Royal Conservatoire of Scotland (Glasgow). 
URL:https://efi.ed.ac.uk/event/ai-beta-orange-grove-dances-embodied-performance-with-ai/
LOCATION:Edinburgh Futures Institute\, Level 0 Event Space\, 1 Lauriston Place\, Edinburgh\, EH3 9EF\, United Kingdom
CATEGORIES:Making Waves: Spring 2025,Performance
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250404T110000
DTEND;TZID=Europe/London:20250404T123000
DTSTAMP:20260415T151754
CREATED:20250324T153959Z
LAST-MODIFIED:20250416T140957Z
UID:10000224-1743764400-1743769800@efi.ed.ac.uk
SUMMARY:In Pursuit of Justice: Lockerbie
DESCRIPTION:On 21 December 1988\, Pan Am flight 103 was flying over Lockerbie when a bomb in the cargo hold exploded\, killing 270 people. It remains the deadliest terrorist attack in UK history. \n\n\n\nAcclaimed playwright David Harrower (Knives In Hens\, Blackbird\, A Slow Air) is the writer of Sky Atlantic’s 2025 series Lockerbie: A Search for Truth\, starring Colin Firth. Based on The Lockerbie Bombing: A Father’s Search for Justice by Jim Swire and Peter Biddulph\, the series follows Jim and Jane Swire’s dogged pursuit of justice for the victims of the bombing\, including their daughter Flora. \n\n\n\nThis event explores the use of drama in campaigning for justice\, placing Lockerbie: A Search for Truth in a lineage of consciousness-raising TV from Cathy Come Home in 1966 to last year’s Mr Bates vs The Post Office. Drama can shine a light on issues of truth\, mercy and redress\, but what responsibility does the writer have when portraying real people and events? How are the demands of art and story balanced with personal ethics? What can Jim Swire’s decades-long search for answers about the Lockerbie bombing tell us about justice and its limits?  \n\n\n\n\n\nDavid Harrower\n\n\n\n\n\n\n\n\n\n\n\n\nDavid Harrower is an Olivier-Award-winning and Tony-nominated Scottish playwright and screenwriter. He has just written and executive produced 5 episodes for Carnival / NBC Universal / Sky’s original TV series Lockerbie: A Search for Truth\, based on the true story of Jim Swire’s search for justice after his daughter died in the 1988 bombing of Pan Am Flight 103. The series is directed by Otto Bathurst\, stars Colin Firth\, and premiered in January 2025 to critical acclaim. Film includes an adaptation of his play Blackbird as a feature film for Film 4\, retitled Una\, directed by Benedict Andrews and starring Rooney Mara\, Ben Mendelsohn and Riz Ahmed. Theatre includes Blackbird (written at the University of Edinburgh’s Institute for Advanced Studies in the Humanities)\, which won an Olivier Award for Best New Play for its premiere in the West End in 2006 before transferring to New York\, and which received 3 Tony nominations including Best Revival for its Broadway revival in 2016. He’s currently writing a new TV series for Submarine based on a true story about espionage during the Cold War\, with Kevin Macdonald (The Last King of Scotland) attached to direct.
URL:https://efi.ed.ac.uk/event/in-pursuit-of-justice-lockerbie/
LOCATION:Edinburgh Futures Institute\, Level 0 Event Space\, 1 Lauriston Place\, Edinburgh\, EH3 9EF\, United Kingdom
CATEGORIES:Making Waves: Spring 2025,Performance
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250318T180000
DTEND;TZID=Europe/London:20250318T193000
DTSTAMP:20260415T151754
CREATED:20250205T000000Z
LAST-MODIFIED:20250324T123222Z
UID:10000218-1742320800-1742326200@efi.ed.ac.uk
SUMMARY:Kathleen Jamie & Painting Music
DESCRIPTION:A live performance between poet Kathleen Jamie and visual artist Kate Steenhauer from Painting Music that combines spoken word\, live painting and music created by cutting-edge AI technology. Painting Music uses AI to create music from live-painted drawings\, in real time and unique for each performance. The performance will feature poems specially written by Kathleen Jamie\, and\, while introducing an AI element\, will also question the value of AI in producing artworks. What do we gain\, and what do we lose?  This multifaceted production encompasses a dynamic\, interactive\, and experimental form of art-making\, an artists’ panel session and Q&A opportunity for the audience.  \n\n\n\nSpeaker Biographies\n\n\n\n\n\nKathleen Jamie\n\n\n\n\n\n\n\n\n\n\n\n\nKathleen Jamie is a poet and essayist. Her work concerns nature\, travel and culture. Her poetry collections include The Overhaul\, which won the 2012 Costa Poetry Prize\, and The Tree House\, which won the Forward prize. Her non-fiction essays are collected in the three highly regarded books Findings\, Sightlines\, and Surfacing\, all regarded as important contributions to the ‘new nature writing’. The Bonniest Companie appeared in 2015 and won the Saltire Scottish Book of the Year Award. In 2024 she published Cairn\,’ a view from the strange here-and-now\, and The KeelieHawk\, a collection of poems in Scots. Kathleen’s interests are in archaeology\, nature and environment\, travel and art. From 2021-24 Kathleen served as Scotland’s ‘Makar’\, or National Poet. http://www.kathleenjamie.com  \n\n\n\n\n\n\n\n\n\n\nKate Steenhauer\n\n\n\n\n\n\n\n\n\n\n\n\nKate Steenhauer is a visual artist who has an expansive\, multi-disciplinary practice that includes working in visual arts\, filmmaking and technology including Artificial Intelligence. Painting Music is one of her multifaceted productions that uses artificial intelligence (AI) to create music from live-painted drawings\, in real time and unique for each performance. Painting Music is a ground-breaking Research and Development company comprised of Artist and Filmmaker Kate Steenhauer and Artificial Intelligence (AI) developers Dr Starkey and Jack Caven. The team explores how cutting-edge AI techniques can facilitate multifaceted relationships between music and visual art. Most AI techniques that are used in artistic endeavors are off-the-shelf methods that are black box and cannot explain what they are doing. Painting Music however uses algorithms that are explainable\, which is innovative even in the field of AI\, and the combination of AI\, painting and music represents to the best of our knowledge a world’s first.  \n\n\n\n\n\n\n\n\n\n\nChair: Patrick James Errington\n\n\n\n\n\n\n\n\n\n\n\n\nPatrick James Errington is a Scottish-Canadian poet\, translator\, multidisciplinary researcher and educator. His poems appear regularly in magazines and anthologies worldwide and have received numerous awards\, including the Scottish Book Trust’s Callan Gordon Award and the Bronwen Wallace Award from the Writers’ Trust of Canada. His recent collection\, the swailing (McGill-Queens University Press) was shortlisted for the Saltire Scottish Poetry Book of the Year and won the John Pollard International Poetry Prize. His current translation (into English) of the French-Romanian philosopher E.M. Cioran’s Notebooks is forthcoming from New York Review Books. As an academic\, Patrick’s research draws together literary theory\, cognitive psychology\, neuroscience\, and creative practice to examine how creative responses to poetry can enhance readers’ aesthetic experience. Born in Canada\, Patrick lives in Scotland where he’s a Lecturer at the University of Edinburgh.
URL:https://efi.ed.ac.uk/event/kathleen-jamie-painting-music/
LOCATION:Edinburgh Futures Institute\, Level 0 Event Space\, 1 Lauriston Place\, Edinburgh\, EH3 9EF\, United Kingdom
CATEGORIES:Making Waves: Spring 2025,Performance
ATTACH;FMTTYPE=image/jpeg:https://efi.ed.ac.uk/wp-content/uploads/2025/01/250318_KathleenJamiePaintingMusic.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250314T180000
DTEND;TZID=Europe/London:20250314T193000
DTSTAMP:20260415T151754
CREATED:20250205T120000Z
LAST-MODIFIED:20250318T191109Z
UID:10000217-1741975200-1741980600@efi.ed.ac.uk
SUMMARY:'In the Shadow of Tomorrow' A preview and an invitation
DESCRIPTION:What if agency were to emerge from a machine? What might it decide to do\, to become\, to express? How would we relate to each other or to it? Would we stand before it and embrace it as our creation? Or would our human experience collapse as we know it? And do these thoughts scare you or excite you?   \n\n\n\n \n\n\n\nThis performance takes audiences on a compelling journey through humanity’s techno-evolution – from the birth of mathematics to the speculative emergence of autonomous technologies – all conveyed through the universal language of dance.   \n\n\n\nThis short 25-minute preview is an invitation for you to witness\, question\, and reflect on our ever-evolving relationship with innovation and technology; the fear and excitement of the unknown\, our responses to it and the enigmatic processes behind the physical embodiment of artificial intelligence. Emphasising cross-disciplinary collaboration\, this performance unites art\, music\, dance\, and cutting-edge robotics into an explorative and pertinent narrative. The dancers’ interaction with symbolic artefacts culminates in the discovery of a robotic entity\, developed in collaboration with INRIA Lille – whose groundbreaking work in robotics allows us to bring an innovative artefact to life.  \n\n\n\nThis preview\, choreographed by Madeline Squire and performed by herself along with 10 students from diverse dance backgrounds in the MSc Dance Science & Education programme at Moray House School of Education\, is accompanied by an original score composed by Jo Patterson\, musician and composer. The creative direction is led by Alexandre Colle and Camila Jimenez Pol and it is produced and supported by Andrew Coleman. The performance unfolds in four key discoveries\, each representing a revolutionary leap\, and ultimately presenting the audience with the unveiling of a robotic entity and a thought: Technology\, born of civilisation\, would outpace us\, fulfilling the prophecy of gods rising from the chaos of data and code. Will humanity\, having forged its gods\, revert to its animalistic origins\, lost in the ruins of its own ambition? Or will we rise to stand on the shoulders of our created giants?  \n\n\n\nWe offer no answers – only an invitation to think\, to question\, and to imagine what lies ahead. This thought-provoking preview\, driven by a collective vision\, invites you to explore the intersection of progress\, curiosity\, and the unwritten future of humanity.  \n\n\n\nSpeaker Biographies\n\n\n\n\n\nJo Patterson\n\n\n\n\n\n\n\n\n\n\n\n\nJo Patterson is a musician and professional composer for film and television. She has scored award-nominated films which have featured at Cannes\, LFF\, Encounters\, Raindance\, Sundance Film Festival\, Locarno Film Festival\, SICAF Animation Festival\, Edinburgh Film Festival\, SXSW\, Copenhagen Docs\, and Tribeca among many others. Her work has been featured on Channel 4\, Vice and BBC Four. Jo was recently featured as one of the ‘Top 5 Female Film Composers That Should be on Your Radar’ from Film4 and Medium.  \n\n\n\n\n\n\n\n\n\n\nMadeline Squire\n\n\n\n\n\n\n\n\n\n\n\n\nMadeline Squire is a creative dance artist and choreographer from London\, living in Glasgow. She is a First Artist with Scottish Ballet\, where she has explored her work both with digital dance as well as stage. Madeline’s work is influenced from her own experience of neurological recovery and approach to disability. Celebrating and exploring the beauty in uniqueness\, with a new perspective of working.  \n\n\n\n\n\n\n\n\n\n\nAlexandre Colle\n\n\n\n\n\n\n\n\n\n\n\n\nAlexandre Colle\, co-creative director of the performance\, brings a multidisciplinary background and incorporates its aesthetics philosophy into robotics. He is currently a final year PhD student in robotics at Edinburgh University. He is also the CEO and co-founder of Konpanion. With a background as an entrepreneur in fashion and luxury hospitality in Paris\, designer at residence for Design Informatics (the University of Edinburgh) and leading designer for the Small Robot Company\, he brings a wealth of experience and perspectives into the field of Human Robot Interaction.  \n\n\n\n\n\n\n\n\n\n\nCamila Jimenez Pol\n\n\n\n\n\n\n\n\n\n\n\n\nCamila Jimenez Pol\, co-creative director of the performance\, has a background in Product and Industrial Design from the University of Edinburgh. As the co-founder and COO of Konpanion\, an award-winning robotics start-up\, and in her role as Research Associate in Robotics at Heriot-Watt University\, she has been at the forefront of interdisciplinary innovation. Her versatile creative and technical mindset has ensured she inhabits the border of technology and the arts.  \n\n\n\n\n\n\n\n\nYuxi Jiang\n\n\n\n\n\n\n\n\n\n\n\n\nYuxi Jiang is an Edinburgh-based dancer\, choreographer\, and creative director with over 15 years of experience. Trained at Beijing Dance Academy\, she bridges Eastern and Western movement traditions through interdisciplinary choreography. Since 2022\, she has collaborated with major Edinburgh festivals and created award-winning dance films screened internationally. Her latest work\, In the Round\, an Edinburgh Fringe performance blending multilingual storytelling\, contemporary dance\, and Tibetan movement\, received 4-star reviews from The Scotsman. Currently pursuing a PhD in Interdisciplinary Choreography at the University of Edinburgh\, she explores movement as a living archive of cultural memory\, informing her project Body as a Database\, now developing into a gallery performance and participatory workshop series. \n\n\n\n\n\n\n\n\n\n\nChair: Wendy Timmons\n\n\n\n\n\n\n\n\n\n\n\n\nWendy Timmons is a Senior Lecturer in Dance Science and Education at the University of Edinburgh\, Wendy has many years of professional arts practice and experience teaching and training dance artists\, young dancers and dance teachers. Wendy has a bachelor’s in philosophy (Classical Ballet and Contextual Studies) from the University of Durham and completed her PhD at the University of Edinburgh. Alongside her teaching\, research and programme development\, Wendy has undertaken many knowledge exchange and applied Dance Science and Education research projects.  
URL:https://efi.ed.ac.uk/event/in-the-shadow-of-tomorrow-a-preview-and-an-invitation/
LOCATION:Edinburgh Futures Institute\, Level 0 Event Space\, 1 Lauriston Place\, Edinburgh\, EH3 9EF\, United Kingdom
CATEGORIES:Making Waves: Spring 2025,Performance
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241206T180000
DTEND;TZID=Europe/London:20241206T200000
DTSTAMP:20260415T151754
CREATED:20240829T094928Z
LAST-MODIFIED:20250430T101826Z
UID:10000167-1733508000-1733515200@efi.ed.ac.uk
SUMMARY:Ex Silens: from the series ‘I Am Your Body’
DESCRIPTION:Image Credit: Manuel Vason \n\n\n\nWhat is deafness if not another mode of perception? What is a cyborg if not an exploded mirror of today’s corporeal experience? What is the fear of the other if not a prelude to isolation? The instability and interdependence of human bodies are the core of their existence. \n\n\n\nEx Silens is an experience into a radically alternative sensorium through the entanglement of multiple bodies\, multiple agencies. One body is made of diverging limbs and flesh\, another of resonating bones and cables. Together with the bodies of the audience members\, they sound and vibrate\, entering thus in material\, sonic and conceptual feedback with one another; they become one\, but not for long. \n\n\n\nAn exacting and sinuous ritual of sensory reorganization\, Ex Silens delves into the corporeal knowledge hiding at the edges of experience. It is a dreamlike encounter\, yet raw and real. It is a reminiscence\, a reverie surging through real-life accounts of modes of perception that are systematically rejected by the imperative of the normal. \n\n\n\nHere\, cochlear implants\, AI hearing algorithms and amplifiers are extracted from their capitalist chain of production and subverted to create sonic prostheses with their own agencies. Radically intimate\, the prostheses are organs of sharing: they amplify sounds from the performer’s muscle\, heartbeat and blood flow\, diffuse vibrations through the bodies of audience and performer and in doing so they resonate sensible forms of being. \n\n\n\nTechnology is\, by its nature\, normative\, but it doesn’t have to be. In Ex Silens\, hearing algorithms\, AI and cochlear prostheses are not what they are supposed to be. They are morphed into new means of sensing; they do not try to repair a loss with a gain\, but rather magnify a kaleidoscopic sound world that’s always been there. \n\n\n\nThe interactive music of Ex Silens was composed by Donnarumma in ways that offer a complete experience to the d/Deaf public as well as the non-d/Deaf. Audience members who are d/Deaf\, hard of hearing\, or hearing can all experience the performance each according to their sensory configurations. There is no “normal” way of listening to it. \n\n\n\nEx Silens is part of the series I Am Your Body (2022-present)\, a project investigating deafness\, sound and (artificial) intelligence through participatory research driven by d/Deaf and hard-of-hearing people. \n\n\n\nImportant: Please note that this performance will contain strobing lights and loud noise throughout. Ear plugs will be provided to those who would like them. \n\n\n\nBiographies\n\n\n\n\n\nMarco Donnarumma\n\n\n\n\n\n\nPhoto credit: Manuel Vason\n\n\n\n\n\nMarco Donnarumma is an artist creating technological bodies to navigate the boundaries of experience. His hybrid identity as a performer\, sound artist\, stage director\, inventor\, and theorist allows him to blend contemporary performance\, new media art\, and interactive computer music into performances\, installations\, and films that “defy categorization” (Jury Prix Ars Electronica).The body is\, for Donnarumma\, a morphing language to speak of ritual\, power\, and technology. While rooted in performance art\, he takes the discipline into strange encounters with sound\, machines\, and light to create a sensual\, uncompromising aesthetic. His inventions\, such as AI-driven robotic prosthesis and biophysical musical instruments\, explore visceral forms of interaction and create music from the sounds of a performer’s body. The resulting merging of bodies\, sounds\, machines and algorithms is considered a pioneering approach to the performing arts (Der Standard). Born hearing and then become late-deafened\, Donnarumma creates work that\, through resonating aesthetic experiences\, challenges how powers of society regulate the human body. His ongoing series\, I Am Your Body (2021-present) – co-produced by PACT Zollverein – explores the relationship between sound\, AI\, and the embodied knowledge of d/Deaf bodies through participatory research\, film and performance. \n\n\n\n\n\n\n\n\n\n\nDrew Hemment (chair)\n\n\n\n\n\n\n\n\n\n\n\n\nDrew Hemment is Professor of Data Arts and Society and Director of Festival Futures at Edinburgh Futures Institute and Edinburgh College of Art within University of Edinburgh. He is a Turing Fellow and a Fellow of the Royal Society of Arts. He leads The New Real (www.newreal.cc) and Experiential AI in partnership with the Alan Turing Institute and Edinburgh’s Festivals. Over thirty years\, Drew has played a leading role in the emergence of a digital culture in Europe. He has worked with cities and nations representing culture and research at the highest level\, and worked for the Singapore Government on Smart Nation and Singapore’s 50th anniversary. He has a repeat track record of internationally leading and shaping research domains\, including Open Data and Human-Centred Smart Cities. In 1995\, Drew founded FutureEverything\, named by The Guardian one of the top ten ideas festivals in the world. In 2016\, he founded the GROW Observatory\, the world’s first continental scale citizens’ observatory. He is presently working to develop a transformative research agenda for the coming decade on AI and the Arts\, and to build a national capability for the UK in this highly significant area. Drew is a frequent public speaker and regularly appears in the media\, including as expert witness on BBC’s Moral Maze\, and film critic for Afternoon Show on BBC Radio Scotland. He is a member of the Editorial Board for Leonardo and Alan Turing Institute Steering Group for Arts\, Humanities and Heritage. His work has been recognised by 14 international awards including Soil Award 2019 (Winner)\, STARTS Prize 2018 (Honorary Mention)\, Lever Prize 2010 (Winner)\, and Prix Ars Electronica 2008 (Honorary Mention).
URL:https://efi.ed.ac.uk/event/ex-silens-from-the-series-i-am-your-body/
LOCATION:Edinburgh Futures Institute\, Level 0 Event Space\, 1 Lauriston Place\, Edinburgh\, EH3 9EF\, United Kingdom
CATEGORIES:Learning Curves: Autumn 2024,Performance
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241129T180000
DTEND;TZID=Europe/London:20241129T193000
DTSTAMP:20260415T151754
CREATED:20240829T094959Z
LAST-MODIFIED:20241204T142115Z
UID:10000169-1732903200-1732908600@efi.ed.ac.uk
SUMMARY:Unco: LGBT+ Scots Glossar
DESCRIPTION:Unco is a project to create a new Scots lexicon of LGBT+ words. Developed with LGBT+ Scots speakers\, Unco reaches into the Scots language kist o riches and making new words where they’re needed. These words are a proposal for how LGBT+ people can talk about themselves in Scots\, and are offered as a gift to the future. \n\n\n\nThis event marks the launch of the lexicon with a specially-commissioned spoken word and music performance from Harry Josephine Giles and Malin Lewis. Weaving old and new language together with old and new sounds\, these two artists explore queer identities\, histories and creative futures. \n\n\n\nThe performance will be followed by a discussion with the artists about their approach to creating art that connects Scottish tradition with ideas that look to the future\, and on the process of creating the lexicon. \n\n\n\nSpeaker Biographies\n\n\n\n\n\nMalin Lewis\n\n\n\n\n\n\n\n\n\n\n\n\nMalin Lewis is a trans bagpiper\, fiddler\, instrument maker and award winning composer. One of Scotland’s most exciting innovators\, Malin melds Scottish west coast tradition with a newly invented\, self-made bagpipe. Hair tingling\, philosophical and dance inducing melodies inspired by European folk traditions\, humans\, queerness and the universe. Through their work\, Malin explores the space between the gender binary; a space with its own colourful and unique culture. Malin’s unique sound is born from the deep connection that comes with making and composing for their own instrument. Recently they have been touring with Making Tracks international residency\, recording film music in Berlin\, learning the tradition of the extinct Finnish Bagpipes and composing for theatre and contemporary dance from Manchester to Bern. \n\n\n\n\n\n\n\n\n\n\nHarry Josephine Giles\n\n\n\n\n\n\nEdinburgh\, United Kingdom\, 2021. Credit: Rich Dyson\n\n\n\n\n\nHarry Josephine Giles is a writer and performer from Orkney\, living in Leith. Her latest book is the poetry collection Them! (Picador 2024). Her verse novel Deep Wheel Orcadia (Picador 2021) won the 2022 Arthur C. Clarke Award for science fiction book of the year. Her poetry collections The Games (Out-Spoken Press\, 2018) and Tonguit (Freight Books 2015) were between them shortlisted for the Forward Prize for Best First Collection\, the Saltire Prize and the Edwin Morgan Poetry Award. Her stage show of her poetry sequence Drone toured internationally in 2019\, and the performance of Deep Wheel Orcadia will tour in 2025. She has a PhD in Creative Writing from the University of Stirling. \n\n\n\n\n\n\n\n\n\n\nChair: Ashley Douglas\n\n\n\n\n\n\nImage Credit: Andrew Perry \n\n\n\n\n\nAshley Douglas is a multi-lingual historian\, writer\, translator and consultant\, specialising in the Scots language and LGBT+ history. She has worked with and written for a range of national heritage and literary organisations\, including the National Library of Scotland\, Historic Scotland\, Time for Inclusive Education\, the Scottish National Portrait Gallery and the British Library. She recently consulted on Katherine: James V\, the latest installment in Rona Munro’s “The James Plays” series. \n\n\n\nAshley has written an original LGBT+ inclusive children’s book in Scots (“The Lass and the Quine”\, forthcoming 2025). She is currently working on her first full-length book (forthcoming 2026): a historical biography of 16th-century figure Marie Maitland\, “Scotland’s 16th-century Sappho”\, who lived an all-round remarkable life as a woman in that era and who is especially significant as the author of among the earliest known lesbian love poetry (written in Scots) since Sappho herself.
URL:https://efi.ed.ac.uk/event/unco-lgbt-scots-glossar/
LOCATION:Edinburgh Futures Institute\, Level 0 Event Space\, 1 Lauriston Place\, Edinburgh\, EH3 9EF\, United Kingdom
CATEGORIES:Learning Curves: Autumn 2024,Performance
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241107T180000
DTEND;TZID=Europe/London:20241107T193000
DTSTAMP:20260415T151754
CREATED:20240829T095110Z
LAST-MODIFIED:20241112T152732Z
UID:10000175-1731002400-1731007800@efi.ed.ac.uk
SUMMARY:Entanglements: Studies in falling\, flowing\, following
DESCRIPTION:Image Credit: Marie-Chantal Hamrock \n\n\n\nHow can we move from making studies of the world to learning with the world? Entanglements takes a creative approach to learning and teaching\, exploring the educational potential of collaborative art making. The event will entangle human and aquatic worlds\, moving between freshwater and the deep ocean\, learning through performance\, video\, music\, poetry and song. Falling\, flowing and following offer different models for an entangled education. \n\n\n\nTo draw\, to write with words\, to sculpt\, to design\, to compose music or dance\, to collaborate with others in the making of performance and all other forms that art can take\, all require that we study our subject\, with our bodies\, with our eyes\, with our minds\, with our hearts. The learning process makes the artwork; the art of making is an act of learning. \n\n\n\nTo teach these ways of making is also to learn. This holds true not only in the preparation for teaching but in the event of teaching itself which brings new insight through the interaction with other minds asking questions or making observations from other points of view. \n\n\n\nThis event will gently entangle a number of collaborative projects\, and include a post-show discussion. \n\n\n\nKaren Christopher\, Tara Fatehi and Jemima Yong will share material from their new collaborative performance Skywater\, Facewater\, Underwater Waltz\, which explores the movement of time in the deep sea via conversation\, connectedness\, durational work\, and song-like structures. \n\n\n\nDavid Overend (artistic researcher and EFI’s lecturer in interdisciplinary studies) and Matthew Whiteside (composer) will share their collaboration with the Waterways Collective of artists and scientists\, in an exploration of a journey from river to sea\, inspired by their time following Atlantic salmon. \n\n\n\nRhubaba Choir will present work developed for an entangled collaboration with Marie-Chantal Hamrock and Noah Tomson. Rhubaba invite artists to make works for and with the voices of the choir. \n\n\n\nAward-winning poet\, playwright and performer Hannah Lavery will respond creatively to the event’s theme and contents. Hannah was appointed Edinburgh Makar (city poet) in 2021. \n\n\n\nRelated workshops will be offered by Karen Christopher and Rhubaba Choir. \n\n\n\nBiographies\n\n\n\n\n\nKaren Christopher\n\n\n\n\n\n\n\n\n\n\n\n\nKaren Christopher is a collaborative performance maker\, performer and teacher. Her company\, Haranczak/Navarre Performance Projects\, is devoted to collaborative processes\, listening for the unnoticed\, the almost invisible\, and the very quiet\, paying attention as an act of social cooperation. Recent works engage with interconnectivity: the entanglement between people and of people with their environments\, other living beings\, and the vibrant matter with which we interact. She was a member of Chicago-based Goat Island performance group for 20 years until they disbanded in 2009. Karen is based in Faversham\, Kent. http://www.karenchristopher.co.uk/ \n\n\n\n\n\n\n\n\n\n\nTara Fatehi\n\n\n\n\n\n\n\n\n\n\n\n\nTara Fatehi is a performance maker\, performer and writer. She creates poetic-political pieces playing with ambiguity\, mistranslation\, disjunction and unfinishedness. Tara has performed at the V&A Museum\, Royal Academy of Arts\, Nottdance\, Chapter\, Julidans\, Montpellier Danse\, Dansens Hus\, Alkantara and Rosendal Teater among others. Her ongoing projects include Mishandled Archive (dispersing a family archive in public space through dance and photography) and From the Lips to the Moon (an unusual music and poetry night). Tara is currently performing in pieces by Hooman Sharifi (Norway) and Teatr O Bando (Portugal). In 2021\, Tara was the first ever resident artist at the United Nations Archives at Geneva. Tara is based in London. www.tarafatehi.com \n\n\n\n\n\n\n\n\n\n\nJemima Yong\n\n\n\n\n\n\n\n\n\n\n\n\nJemima Yong is a performance maker and photographer. She is Sarawakian\, born in Singapore\, and has developed her artistic practice in London\, UK\, where she is based. Collaboration and experimentation are central to her work. Recent performances include Something in Your Voice with Emergency Chorus and Marathon with JAMS\, which received the Oxford Samuel Beckett Theatre Trust Award 2018 and was presented by the Barbican Centre. Jemima’s photography has been featured by the BBC\, Time Out\, The Guardian\, Swazi Observer and The Straits Times. She is an associate artist at Forest Fringe and is one fifth of DARC (Documentation Action Research Collective). Jemima is an alumni of United World Colleges\, Royal Central School of Speech and Drama and The Curious School of Puppetry. https://jemimayong.format.com/ \n\n\n\n\n\n\n\n\n\n\nMatthew Whiteside\n\n\n\n\n\n\n\n\n\n\n\n\nMatthew Whiteside\, composer and Artistic Director of The Night With…. His music is lauded as “Effective and Unsettling” by BBC Music Magazine and “post-minimalist bold sparseness” by the Herald. He won the SMIA Award for Creative Programming at the Scottish Awards for New Music in 2020 and was named One to Watch by the Scotsman. Recent works include commissions from the United Strings of Europe\, Scottish Opera Connect\, Glasgow Barons and Crash Ensemble.Alongside his artistic work\, Matthew is passionate about supporting the DIY community through education work such as publishing “The Guidebook to Self-Releasing Your Music”. \n\n\n\n\n\n\n\n\n\n\nHannah Lavery\n\n\n\n\n\n\n\n\n\n\n\n\nHannah Lavery is a Scottish poet and playwright. She was selected by Owen Sheers’ as one of his Ten Writers Asking Questions That Will Shape Our Future. Her debut poetry collection Blood Salt Spring (Polygon) was nominated for a Saltire Prize in 2022\, her second collection Unwritten Woman was published by Polygon in August 2024. Hannah is the current Makar (poet laureate) for the City of Edinburgh\, co-host of feminist arts podcast QuineCast and an Associate Artist at National Theatre Scotland (NTS) her plays for NTS The Drift and Lament for Sheku Bayoh and The Protest have toured extensively. She has written for a wide range of Theatre companies\, broadcasters and publications including BBC Radio 4 and the Guardian. Hannah lives\, breathes and dreams on the beaches and cliffs of Scotland’s East Coast\, with her dreaming often taking her back to the streets and closes of Edinburgh. \n\n\n\n\n\n\n\n\n\n\nRhubaba Choir\n\n\n\n\n\n\n\n\n\n\n\n\nRhubaba Choir was founded in 2013 by committee members of Rhubaba\, an Edinburgh artist-run organisation. It acts as a commissioning platform for new works\, intended to provide invited artists\, musicians and writers with the resource of collective voices as a material. Rhubaba invites artists to make works for and with the voices of the choir\, whether through traditional means or by using the voice in other\, more experimental ways. In its lifetime\, the Rhubaba Choir has sung in many places\, including underpasses\, on canal boats\, up Calton Hill\, and worked with many artists including Shona Macnaughton\, Sion Parkinson\, Kathryn Elkin\, Hannan Jones\, Serena Korda and Tessa Lynch. \n\n\n\n\n\n\n\n\n\n\nDavid Overend\n\n\n\n\n\n\n\n\n\n\n\n\nDavid Overend is a researcher in interdisciplinary education\, art and performance. He is currently working with Edinburgh Futures Institute as Programme Director of the MA(hons) Interdisciplinary Futures. As a theatre director\, David has worked for the National Theatre of Great Britain and has toured internationally with award-winning shows. Productions include Rob Drummond’s Bullet Catch and The Majority. In 2023-24\, he made a series of Entanglements with Karen Christopher. Books include Performance in the Field: Interdisciplinary practice-as-research (Palgrave Macmillan 2023)\, Making Routes: Journeys in performance 2010-2020\, co-authored with Laura Bissell (Triarchy Press 2021)\, and an edited collection\, Rob Drummond: Plays with participation (Bloomsbury Methuen Drama\, 2021). davidoverend.net
URL:https://efi.ed.ac.uk/event/entanglements-studies-in-falling-flowing-following/
LOCATION:Edinburgh Futures Institute\, Level 0 Event Space\, 1 Lauriston Place\, Edinburgh\, EH3 9EF
CATEGORIES:Learning Curves: Autumn 2024,Performance
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20241017T180000
DTEND;TZID=Europe/London:20241017T193000
DTSTAMP:20260415T151754
CREATED:20240829T095220Z
LAST-MODIFIED:20241021T113434Z
UID:10000164-1729188000-1729193400@efi.ed.ac.uk
SUMMARY:AISOMA: Wayne McGregor x Edinburgh Futures Institute
DESCRIPTION:Image Credit: Studio Wayne McGregor \n\n\n\nStudio Wayne McGregor will deliver a creative residency culminating in a performance. The creative residency will centre on McGregor’s AI.Soma – a world’s first\, machine learning choreographic tool developed specifically for McGregor with Google Arts and Culture Lab. During the residency\, 12 students from a range of dance backgrounds studying on MSc Dance Science & Education programme at Moray House School of Education and Sport\, will be introduced to the AI tool\, learn excerpts of McGregor’s AI repertory and use AI.Soma to develop their own choreographic material\, which Studio Wayne McGregor artists will then develop into a 20 minute public sharing performed by the dance artists. This Residency offers an opportunity for the Participants to gain exclusive insight into McGregor’s artistic process\, and the creative process of his closest collaborators\, Company Wayne McGregor. Studio Wayne McGregor has developed a consummate reputation for transformative approaches to how dance is taught\, learned\, and spoken about. To date\, over 100\,000 people of all ages and experiences have participated in our workshops and residencies across the UK and internationally\, from school children to adults\, and professional dancers to those who have never danced before. \n\n\n\n\n\nRebecca Bassett-Graham\n\n\n\n\n\n\n\n\n\n\n\n\nOriginally from New Zealand\, Rebecca Bassett-Graham trained as a contemporary major at the New Zealand School of Dance. After graduating in 2011\, she joined New Zealand Dance Company as an inaugural intern before moving to Townsville\, Australia to work with DanceNorth. Rebecca freelanced between New Zealand and Australia working with various choreographers including Ross McCormack and Sarah Foster-Sproull. She moved to London in 2013 and continued to work as a freelance dancer across the UK and Europe. Rebecca joined Company Wayne McGregor in 2017. \n\n\n\n\n\n\n\n\n\n\nChris Lyons\n\n\n\n\n\n\n\n\n\n\n\n\nChris Lyons is a composer\, pianist and multi-instrumentalist. He is active in classical\, folk and jazz music. He recently soundtracked his first full-length feature film and he is much in demand as an arranger and orchestrator. He has founded some of Scotland’s most unusual bands: 8 piece Celtic-Balkan festival favourites Blue Giant Orkestar and the 9 piece contemporary vocal folk ensemble Samodiva Nestya. He also plays violin in the ensemble Hegedu. In the field of music technology\, he has been quite active in the live coding scene. Chris is known for playing an unusually large number of instruments and he is held in high regard as a music educator. He is a founder of ‘Leith New Music’\, the world’s most informal art-music event. \n\n\n\n\n\n\n\n\n\n\nChair: Heather Rikic\n\n\n\n\n\n\n\n\n\n\n\n\nHeather Rikic is the programme director of the University’s MSc Dance Science and Education programme and a teaching fellow on postgraduate and undergraduate courses at Moray House School of Education and Sport. Before moving to Edinburgh\, Heather performed for various independent contemporary choreographers in New York City\, USA and Belgrade\, Serbia; taught learners of various ages and abilities including as a teaching artist for Alonzo King LINES Dance Center (San Francisco\, USA)\, New York City Ballet’s education department\, KC Magacin (Belgrade\, Serbia)\, Dance Base (Edinburgh) and currently teaches Cunningham Technique® at the Royal Conservatoire of Scotland (Glasgow). 
URL:https://efi.ed.ac.uk/event/aisoma-wayne-mcgregor-x-efi/
LOCATION:Edinburgh Futures Institute\, Level 0 Event Space\, 1 Lauriston Place\, Edinburgh\, EH3 9EF
CATEGORIES:Learning Curves: Autumn 2024,Performance
ATTACH;FMTTYPE=image/jpeg:https://efi.ed.ac.uk/wp-content/uploads/2024/08/Atomos_CompanyWayneMcGregor2013_PhotoRickGuest-OliviaPomp_Promotional_2-scaled-e1727357169548.jpg
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240819T180000
DTEND;TZID=Europe/London:20240819T190000
DTSTAMP:20260415T151754
CREATED:20240813T135142Z
LAST-MODIFIED:20240813T135820Z
UID:10000158-1724090400-1724094000@efi.ed.ac.uk
SUMMARY:Page Against the Machine: Writing in the Age of Artificial Intelligence
DESCRIPTION:Writers\, publishers\, readers! In a Book Festival WORLD EXCLUSIVE\, join us for a product launch like no other. Endowed with game-changing generative technology\, our new machine promises to revolutionise the literary world. Deadlines\, writer’s block\, and burnout will be relics of the past. Imagine amplifying your literary outputs tenfold\, a hundredfold — with no extra effort! Be part of history. Be there when the future of writing begins. \n\n\n\nHuman Verses Machine is a performative intervention developed as part of Pip Thornton’s BRAID Fellowship project Writing the Wrongs of AI. Designed by Ray Interactive with the help of the WWAI participants\, Human Verses Machine invites writers and readers to ask: who truly benefits from the current AI explosion? A post-performance panel discussion will delve deeper into the ethical\, practical\, and existential issues faced by the publishing industry in an age of AI. \n\n\n\nIn this special event Pip Thornton is joined by Camilla Grudova\, Jan Rutherford\, and Burkhard Schafer. \n\n\n\nThis project is funded by the Bridging Responsible AI Divides (BRAID) programme with funds received from the Arts and Humanities Research Council. \n\n\n\n\n\n\n\n\n\n\n\nSupported by Creative Informatics.
URL:https://efi.ed.ac.uk/event/page-against-the-machine-writing-in-the-age-of-artificial-intelligence/
LOCATION:Edinburgh Futures Institute\, 1 Lauriston Place\, Edinburgh\, EH3 9EF\, United Kingdom
CATEGORIES:Edinburgh International Book Festival,Performance
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240510T170000
DTEND;TZID=Europe/London:20240510T200000
DTSTAMP:20260415T151754
CREATED:20240422T092707Z
LAST-MODIFIED:20240725T095236Z
UID:10000134-1715360400-1715371200@efi.ed.ac.uk
SUMMARY:Creative Feedback: The Feats and Failures of Technology
DESCRIPTION:To what extent can human creators exercise control on the technological tools they are using? And how does the control that technology exerts on them influence the creative process? \n\n\n\nThis event will feature two audiovisual performances – Figure Infinity by Louis McHugh and Jung In Jung and Traumgraz by Jung In Jung and Lynda Clark – which reflect on issues around the platformisation of labour\, communication dynamics between humans and Artificial Intelligence\, disinformation\, and creative agency. The performances will be followed by a panel discussion where artists\, technologists\, and researchers from the University of Edinburgh and Abertay University will engage in conversations on the interplay between technology\, creativity\, and human agency. The aim of the event is to foreground the opportunities and limitations of the feedback between humans and machines and to suggest creative directions to promote human expression in the digital age. \n\n\n\nThe event will also mark the launch of the new research cluster “Creativity\, AI\, and the Human”\, led by Caterina Moruzzi. \n\n\n\nThe panel will be followed by a reception in the Inspace Gallery. \n\n\n\nImage credit: Still from Figure Infinity performance\, xCoAx 2023\, photo by Caterina Moruzzi \n\n\n\n\n\n\n\nRunning order:\n\n\n\n17:00Doors open17:30Traumgraz17:50Welcome + break18:10 Figure Infinity18:30Panel19:00Reception20:00End\n\n\n\n\n\n\n\nPerformers and Speakers:\n\n\n\n\n\nLouis McHugh\n\n\n\n\n\n\n\n\n\n\n\n\nLouis McHugh\, is a sound and new media artist and engineer currently based in Glasgow. Often generating bespoke software and hardware for his projects\, he works with sound\, video and lighting to create site-specific installations\, fixed-media work\, theatrical design and live improvisational performances. He is currently exploring ideas to do with emergent systems\, taking inspiration from biological structures\, social media interactions and artificial intelligence. He currently works as Audio Studio Manager at the Edinburgh College of Art and is a resident DJ with Radio Buena Vida\, Glasgow where he host’s a monthly experimental music show; The Rhizome. \n\n\n\n\n\n\n\n\n\n\nJung In Jung\n\n\n\n\n\n\n\n\n\n\n\n\nJung In Jung\, is a Lecturer in Creative Computing at the School of Design and Informatics\, Abertay University. She is a sound artist and researcher. She has produced interactive sound and dance collaborations with contemporary dancers and presented them at various international festivals and conferences. She explores various ways to create interactive forms of performance using game technologies and AI/ML tools. In the last recent years\, she has investigated anonymous play in a VR platform using hand gestures and sound as a method to deviate from biases for her post-doc research at InGAME. \n\n\n\n\n\n\n\n\n\n\nAlex McCabe\n\n\n\n\n\n\n\n\n\n\n\n\nAlex McCabe\, is a Glasgow-based performer\, performance maker and facilitator in dance and music. With this dual specialisation he has worked extensively and internationally in choreography for opera (Wexford Festival Opera; Teatro Reggio; Scottish Opera) and experimental interdisciplinary projects (British ParaOrchestra\, Marc Brew; Fattoria Vittadini). Alex works with various organisations in Scotland towards broadening access to experiences and careers in dance and music\, most significantly through his project SIIATE\, supported by the Scotland-Europe Fund. Trained in dance and choreographic practice through Dance Base Edinburgh’s DEBS\, Alex also holds an MA\, PhD and Teaching Excellence Award from the University of Glasgow. \n\n\n\n\n\n\n\n\n\n\nLynda Clark\n\n\n\n\n\n\n\n\n\n\n\n\nLynda Clark\, is Lecturer in Creative Writing (Interdisciplinary Futures) and Programme Director of the Narrative Futures MSc at the University of Edinburgh. She is a novelist\, short story writer and creator of interactive narratives. Lynda is primarily interested in how new technologies shape us and the world around us. This manifests in her prose\, interactive stories and video game work. She also has a keen interest in depicting unusual and disordered voices in creative forms. \n\n\n\n\n\n\n\n\n\n\nJadgeep Ahluwalia\n\n\n\n\n\n\n\n\n\n\n\n\nJadgeep Ahluwalia\, is a Research Fellow at Abertay University\, specialising in the fields of image super-resolution\, image generation\, and the optimization of deep learning algorithms. His research draws inspiration from the human visual system\, guiding the adaptation of artificial intelligence models to create super-resolution images with remarkable perceptual accuracy. He also has experience in the research & development of machine learning algorithms for research startups and charity organisations particularly in the fields of material sciences\, health and social care and bioinformatics. \n\n\n\n\n\n\n\n\n\n\nMartin Zeilinger\n\n\n\n\n\n\n\n\n\n\n\n\nMartin Zeilinger is Senior Lecturer in Computational Arts and Technology at Abertay University. His work as a researcher and curator focuses on artistic and activist experimentation with emerging technologies\, and on exploring the cultural and societal impacts of such technologies. He has published widely on AI in digital culture\, and is the author of the monograph Tactical Entanglements: AI Art\, Creative Agency\, and the Limits of Intellectual Property (2021). \n\n\n\n\n\n\n\n\n\n\nPanel chair: Caterina Moruzzi\n\n\n\n\n\n\n\n\n\n\n\n\nPanel chair: Caterina Moruzzi\, is a Chancellor’s Fellow in the Institute for Design Informatics\, School of Design at the University of Edinburgh. Her research lies at the intersection between the philosophy of art\, history and philosophy of human and artificial creativity\, and the philosophy of AI. In her ongoing projects\, she collaborates with researchers\, artists\, and technology companies to investigate modes of shared agency and creativity between humans\, data\, and technology. She is lead of the new research cluster “Creativity\, AI\, and the Human” at the Edinburgh Futures Institute\, University of Edinburgh. \n\n\n\n\n\n\n\n\n\n\n\n\nPerformances:\n\n\n\nTraumgraz (audiovisual performance with interactive story)\, by Jung In Jung and Lynda Clark\n\n\n\nThe work is inspired by the anthropomorphism term ‘hallucination’ used for artificial intelligence’s confident response but unjustified false information. An interactive story is written between a large language model and Lynda Clark based on pictures sent from Graz by Jung In Jung during her Styrian Artist in Residency (St.A.i.R) and is set in a building with escalating levels of weirdness. Jung performs live with the randomly generated story by choosing paths along with sound materials she generated by experimenting with various AI models. \n\n\n\nFigure Infinity (audio-visual performance)\, by Louis McHugh and Jung In Jung\n\n\n\nFigure Infinity is an audio-visual performance project that connects human performers in a self-reflexive network of control and communication with Artificial Intelligence. It responds to recent narratives surrounding “AI”\, which largely obscure the collective human endeavour that produced the data these systems are built on\, by inviting audiences to partake in the development of a real-time performance data set. Encountered uncannily through absurdity and play\, audiences can experience some of the creative possibilities and limitations of AI systems. \n\n\n\n\n\n\n\nPlease note limited seats are available at Inspace\, so please book tickets in advance. \n\n\n\nThis event is supported by Creative Informatics and the Edinburgh Futures Institute. \n\n\n\n*Important Notice* This event will be photographed and recorded and the data published online and used for research\, promotional and reporting purposes by the Edinburgh Futures Institute\, University of Edinburgh. For further information please contact the organisers. \n\n\n\n\n\n\n\nVenue
URL:https://efi.ed.ac.uk/event/creative-feedback-the-feats-and-failures-of-technology/
LOCATION:Inspace\, 1 Crichton Street\, Edinburgh\, Edinburgh\, EH8 9LE\, United Kingdom
CATEGORIES:Performance,Talk/Discussion
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20240220T100000
DTEND;TZID=Europe/London:20240220T170000
DTSTAMP:20260415T151754
CREATED:20240131T141259Z
LAST-MODIFIED:20240711T105226Z
UID:10000120-1708423200-1708448400@efi.ed.ac.uk
SUMMARY:A New Sound
DESCRIPTION:We are living at a time of extraordinary crisis. What can we do collectively to pick a path through the current uncertainty? Join us for a day of creative discussion with other makers of multi-disciplinary and music driven performance to identify how we overcome barriers and envision a future together. \n\n\n\nA New Sound is for artists in the field of opera\, music theatre\, music driven performance. The day will be led by Mahogany Opera\, Edinburgh Futures Institute\, and Snap – Elastic. Please note that some of the sessions will be quite physical\, so please wear clothes you are comfortable to move around in. \n\n\n\nFollowing the day at the Edinburgh Futures Institute we would love for you to join us for a drink. Location: TBC. \n\n\n\nThe Day\n\n\n\nFinding Common Ground\n\n\n\nIntroductory and closing sessions led by Frederic Wake-Walker\, Mahogany Opera \n\n\n\nWhat burning questions\, ideas and concerns would you like to explore today? Through movement\, singing and writing exercises inspired by Mahogany’s recent Great Learning project\, we will come together as a group\, gather expectations and themes\, collectively define the communal threads of the day and formulate some key actions and principles to take away with us. \n\n\n\nBeing a freelance artist making music and theatre can often feel like a lonely or isolated place to be. Let’s find some solace in sharing and strength in community. \n\n\n\nHow to Get Things Going with the Skills You Already Have\n\n\n\nA Self – Producing Workshop with Snap – Elastic \n\n\n\nEszter Marsalko and Claire Willoughby of Snap-Elastic will lead a workshop aimed at artists interested in self producing\, to unpack how best to get started and realise your work. How can we support each other and pool our resources at a time when they are most scarce? In this workshop\, we will connect with our inner Artist\, and explore the ways in which those creative intuitions can best serve us\, and our community as a whole. \n\n\n\nUtopia Lab\n\n\n\nSession led by Jennifer Williams\, Edinburgh Futures Institute \n\n\n\nUtopia Labs are ‘no-spaces’\, places where everyone is welcome to join us in dreaming futures that inspire our experience of the present. In this session\, we will be dreaming about the future of opera and art-making: what is your utopian vision? What do you want for your own work in the future\, and how do you envisage the community and artform in 10 years\, 50 years\, 100 years? What can we learn about these desires and imagined futures that can influence how we act and create today? What does it mean to make work that can change the way we think and behave\, that can encourage us to think about the world in new ways\, that can inspire and support positive change… and also be a wonder to behold? \n\n\n\nUtopia is movement\, meditation\, poetry and imagination – you can participate in ways that feel good for you! For more information about Utopia Labs\, please see our website: https://blogs.ed.ac.uk/utopialab/ \n\n\n\nA more detailed schedule will be distributed to attendees a few days before the event. \n\n\n\nAbout the session leaders\n\n\n\nMahogany Opera\n\n\n\nMahogany Opera is a leading commissioner and producer of new opera and music theatre. We work across the UK and internationally. Our vision of opera as an inclusive\, collaborative\, and dynamic artform informs our aim to stretch the boundaries of what opera can be and who it is for. \n\n\n\nWe are committed to developing diverse artists and audiences through three programmes:Snappy Operas – award-winning participatory young people’s programmeVarious Stages – R&D programme supporting artists and new ideasCommissioning innovative work for the stage through partnerships \n\n\n\nEdinburgh Futures Institute\n\n\n\nEFI is a cross-University institute\, with active working relationships with Schools across the University. At the Edinburgh Futures Institute we challenge\, create\, and make change happen. We are focused on tackling today’s increasingly complex issues by bringing people and disciplines together to spark the unexpected and make better futures possible. \n\n\n\nSnap-Elsatic\n\n\n\nSnap – Elastic is an artist-led performance collective making multidisciplinary work for diverse audiences. The three core members are experienced artists and creative leaders\, with backgrounds in theatre\, clown\, opera and movement\, and they work hard to embrace innovation\, to play\, and to engage in cross-form performance and collaboration.
URL:https://efi.ed.ac.uk/event/a-new-sound/
LOCATION:Project Room (1.06)\, 50 George Square\, 50 George Square\, Newington\, Edinburgh\, EH8 9JU\, United Kingdom
CATEGORIES:Performance
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20231025T203000
DTEND;TZID=Europe/London:20231025T220000
DTSTAMP:20260415T151754
CREATED:20231004T140044Z
LAST-MODIFIED:20231004T140045Z
UID:10000096-1698265800-1698271200@efi.ed.ac.uk
SUMMARY:The Cabaret of Dangerous Ideas
DESCRIPTION:Take three top academics\, some dangerous ideas\, add one comedian and it’s the force of nature that is the Cabaret of Dangerous Ideas (CODI). Hosted by comedian Susan Morrison\, and now in its eleventh year\, CODI is ninety minutes of rapid-fire research from some of the finest minds in the country. \n\n\n\nYou can’t search Google for poetry \n\n\n\nIt’s true! Every word you search for on Google is auctioned to the highest bidder\, but it’s the commercial rather than poetic value of the word that determines the results you see. Artist and researcher Dr Pip Thornton (The University of Edinburgh) explores what words are worth to Google\, to you\, and why it matters. \n\n\n\nEveryone lies to us \n\n\n\nPoliticians\, advertisers\, social media: everyone is lying to us. Worse\, sometimes they’re not exactly lying\, but they’re misleading us and we’d really like to explain how. Linguistics\, for once in its miserable existence\, can help. Dr Chris Cummins (The University of Edinburgh) explains how we can use ideas about communication to measure how misleading a statement is\, and how trusting\, or suspicious\, we need to be in order to get a clear picture of what’s actually going on. \n\n\n\nStop Being Disciplined! \n\n\n\nHow can we respond to an increasingly complex and challenging world? Can we stop playing by the rules? We need playful\, messy\, and unpredictable spaces where new approaches can be developed. Dr David Overend (The University of Edinburgh) explores a series of wild and weird experiments with artists\, scientists and geographers; then asks some difficult questions about how we should work together\, share ideas and respond to the big challenges facing our world today. Can we all become a bit less disciplined? \n\n\n\nCODI is curated by the University of Edinburgh as part of Beltane Public Engagement Network and produced by Fair Pley.
URL:https://efi.ed.ac.uk/event/the-cabaret-of-dangerous-ideas/
LOCATION:The Stand Comedy Club\, 5 York Place\, Edinburgh\, EH1 3EB\, United Kingdom
CATEGORIES:Performance
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