Sheffield University Live Project 09 Remote Control

RhyzomFieldTrip_21.11.09

2009-11-24T02:55:00.000-08:00

2009-11-24T02:44:00.000-08:00

detail of drawing

2009-11-09T13:24:00.000-08:00

OLD MAN IN RURAL IRELAND

- Pól

Crossroads/ Nodal Interfaces

2009-11-09T12:56:00.000-08:00

...Visual representing the differnces in congregational gatherings in rural and urban environments. This image also seeks to distinguish the relevance of generations on community gatherings. The drawing spans from rural old age (Leitrim) to urban youth (Belfast).The mapping exhibited shows the congregations most prevalent in Belleek, Co. Fermanagh. Belleek straddles both north and south and also typically embellishes two religions, Protestant and Catholic. The mapping shows the paths and routes these two communities use to approach their congregational hubs (parish halls, churches, community groups etc) and where these two interact and cross over. it is the 'common space' that interests me. The terms 'candle-stick' and 'pritt-stick' derive from a conversation with kids in manorhamilton. I liked the innocence of this understanding of sectarianism. It kind of emphasises the ridiculousness of it all.The PS2 rubix-cube is a graphic illustarting how this ongoing research may 'solve' a problem

- Pól

Introductary video

2009-11-09T12:50:00.000-08:00

introductary video for live project presentations: The Moor Sheffield, Thursday 5th November 2009. Remote Control

- Pól

Pictures from Exhibition (e) - Sheffield 5th November 09

2009-11-07T10:00:00.000-08:00

Pictures from Exhibition (d) - Sheffield 5th November 09

2009-11-07T09:57:00.000-08:00

Pictures from Exhibition (c) - Sheffield 5th November 09

2009-11-07T09:52:00.000-08:00

Pictures from Exhibition (b) - Sheffield 5th November 09

2009-11-07T09:47:00.000-08:00

Pictures from Exhibition (a) - Sheffield 5th November 09

2009-11-07T09:24:00.000-08:00

THE Key Map

2009-11-03T14:09:00.000-08:00

A map attempting to map the postcard proposals, the size of figures hinting at the influence and outreach of each proposal.

The 3 counties are then used as a model for the remainder of the border region.

Re-Introduction of Rail network

2009-11-03T03:21:00.000-08:00

At its peak in 1920, Ireland had 5,600 km of railway, now only about one third of this remains. A large area around the border area has no rail service. There are currently a few preservation societies which run old steam trains and a few freight services linking major towns along the border. This proposal looks to re-introduce a sustainable light railway connecting towns and villages efficiently so that residents of cross border communities can travel cheaply to cultural sites either side of the border.

NODAL INTERFACE

2009-11-02T13:49:00.000-08:00

This worked out proposal is a visual loaded with rich connotations on my interpretation of Interfaces in rural areas. The research for this started with a critic on rural ‘hang-outs’ in contrast with urban ‘recreational areas’. The tradition of dancing and meeting at crossroads in rural areas evolved as a pragmatic site due to the convergence of two roads or two villages. This in itself screams with metaphor of the political/religious condition in Northern Ireland. Two communities abide side by side often segregated, sometimes integrated. In Belfast city, the overlap of these segregated areas is very evident through Ireland’s own Berlin wall’ or ‘peace-lines’ that snake through residential areas in Belfast literally separating protestant and Catholic communities. In rural areas, these enclaves of jurisdiction are not physically evident and exist predominantly as ‘states of mind’. The political border has now evaporated and it would seem infrastructure is now being laid down to ease tensions and hopefully gradually dispel any type of sectarianism or division. The CROSSROADS analogy offered a visual description of the convergence of two entities at a ‘nodal point’. The memory of more innocent times when dancing/music/performance/gatherings were organised at crossroads is now gradually beginning to look familiar in the current advent of a peaceful Northern Ireland. My proposal is to utilise this heritage and analogy and organise performances which occur at nodal points in rural towns and villages... Crossroads, Bridges, Wells, social hubs etc. This also addresses the current situation where the social hub or meeting point is the ‘pub’. I propose to create a demountable stage platform which could be easily erected at rural nodes. The platform would offer potential for performance, sculpture, dance, music, etc and would hover above or to the side of the convergence of roads or rivers without blocking their paths. It links to the idea of decontextualising the conventional artistic accommodation also, as it creates rural, country and a colloquial setting for artistic intervention. This makes art/culture much more accessible to the local farmer and offers a sense of ownership and pride to the area. This could be a model for rural regions throughout Ireland.

-Pól

PROCESSED CULTURE

2009-11-02T13:46:00.000-08:00

This image is about the outcome of agricultural/organic practice in border areas. The interpretation is based on my visit to the Organic Centre in Manorhamilton, co. Leitrim. The centre has an outreach which stretches to both the Republic of Ireland and Northern Ireland. It seemed a successful example of cross-border communication with both communities involved. I liked the idea that the raw material - ‘the seeds’ are planted, nurtured and then harvested when ready by the people of the locality. The produce is then gathered, processed and sold in the border region. The labour and nurture is offered by both communities in various satellite vegetable patches and centres offering a sustainable mediator between communities. The notion that all this ‘procedure’ and ‘participation’ then ends up as a sauce or relish is a commentary on the ‘output’ of these centres. The fruits of rural labour so to speak. It is this agri-CULTURE which then ends up in supermarkets around the country, packaged and branded without much memory of the original ‘culture’ that created it.

-Pól

ISOLATION

2009-11-02T13:44:00.000-08:00

This simple diagram shows the isolation experienced outside urban centres, where often the demographic is sparse, public transport is vague and services are lacking. The relative loneliness in comparison to city living is often desirable in terms of ‘pace of life’ and ‘escape to nature’ but this diagram also proposes that the audience for art will be much less, thus affecting less people. I propose this is fine. Rural art should address the vernacular and offer interpretation to the immediate locality. It should be ‘of a place’ - ‘for a place’ (quote by the famous peaceful muralists in Derry- The Bogside Artists).

-Pól

INTERPRETATION

2009-11-02T13:43:00.000-08:00

This drawing follows on from the earlier drawing dealing with rural art addressing a different audience to urban art. After conducting informal chats with gallery curators in Belfast and then interviewing artists and curators in isolated Leitrim, the nature of the audience proved poignant. The art gallery in rural areas such as Portadown attracts a type of cult following, whereby the attendees at exhibition openings are usually familiar faces, a collective of art enthusiasts on a monthly mailing list. These ‘art voyeurs’ also travel long distances to attend these rural galleries. It would seem the vernacular society is disinterested and the ‘keen voyeur’ is necessary to fill the exhibition openings. I feel alot of this has to do with the perceived art ‘audience’ being upper class and highly educated. “What would I be going into those galleries for? I’m not sure if I would be welcome in there” to quote a local farmer in Belleek, Co. Fermanagh. “These galleries are for the people and we try to engage with the local community as much as possible. We advertise locally, we visit schools to create awareness, and we strongly encourage local participation” Megan – Gallery Manager of Portadown’s Millennium Court Gallery. Obviously there is a stigma attached to art in rural communities sometimes, not always but it exists. Public Interpretation of art pieces/cultural production/literature etc is paramount in understanding the nature of art and creating dialogue and discussion, which is necessary if the art has set out to achieve something. And it is this imposition of art (mainly from top-down Governmental agencies, administered through funding) that almost demands public interpretation. Sadly if the public are not attending these publicly funded projects then there is a quandary. Art is fundamentally about interpretation and ‘the eye-of-the-beholder’ type philosophy is key, but if the public are not involved then little output is achieved. This drawing attempts to address the outcome or discourse that evolves if art is funnelled through an ‘interpretative device’. The intention of the artist or agency may differ greatly from the viewers interpretation but that is fine and provokes discussion. In this example I used PS2’s project/publication and put it through an interpretative device, symbolising the viewer/reader. The end analysis is whatever the viewer takes away from this ‘digestion’.

-Pól

RURAL THEATRE

2009-11-02T13:40:00.000-08:00

The rural theatre idea is about de-contextualising the conventional exhibition space. I chose to represent this as I found that when interviewed, many members of rural communities would cite that ‘they have never been to the theatre’ or ‘formal performances’ so I like the idea of re-imagining the audience of these classical performances. By situating the performance in this rural and scenic environment; I’m proposing that local residents don’t have to travel to urban centres to enjoy such theatrical shows/performances. Often the extent of formal performance was for example, a travelling cinema visiting Manorhamilton, Co. Leitrim or a theatre company that used to visit Belleek, co. Fermanagh annually. By bringing such cabaret and enjoyment to people in this medium, we are blurring the exclusivity of artistic endeavours such as clinical contemporary art galleries, or sophisticated theatre performances. It opens up what would appear a very inaccessible world to locals in rural areas.

-Pól

2009-11-02T04:15:00.000-08:00

2009-11-02T02:39:00.000-08:00

Re-tasking off-season machinery (work in progress)

2009-11-02T00:59:00.000-08:00

high speed art

2009-11-02T00:38:00.000-08:00

Seasonal art exhibition

2009-11-01T16:35:00.001-08:00

2009-11-01T12:19:00.000-08:00

Expansion of existing organisations

2009-11-01T06:47:00.000-08:00

2009-11-01T04:28:00.000-08:00

Postcard Proposals set 1 of 6

2009-10-31T06:58:00.000-07:00

PinUpSpace_Thursday

2009-10-30T09:40:00.000-07:00

049

2009-10-30T09:39:00.000-07:00

050

2009-10-30T09:38:00.000-07:00

051

2009-10-30T09:32:00.000-07:00

Crop Art

2009-10-29T14:42:00.000-07:00

Development of the Drive thru idea

2009-10-29T12:43:00.001-07:00

Workshop with Andreas lang

2009-10-29T12:37:00.001-07:00

Visual workshop with Andreas Lang

2009-10-29T12:03:00.001-07:00

2009-10-29T03:44:00.000-07:00

Ideas page

2009-10-29T03:21:00.001-07:00

Rural Machines

2009-10-29T03:17:00.000-07:00

Knowledge and Interpretation: DIGESTION

2009-10-28T19:27:00.000-07:00

Rural Isolation - Pól

2009-10-28T18:44:00.000-07:00

rural graffiti:DISCUSS

2009-10-28T13:04:00.000-07:00

Agri-timeline Resized

2009-10-28T06:22:00.001-07:00

works in progress

2009-10-27T08:53:00.000-07:00

Spheres of Influence and Funding

2009-10-27T07:57:00.001-07:00

Choice Cycles [progress]

2009-10-27T06:44:00.000-07:00

drive-thru gallery?

2009-10-27T05:17:00.000-07:00

Agri-timeline

2009-10-26T09:28:00.001-07:00

Congregation : Urban vs Rural

2009-10-25T19:55:00.000-07:00

2009-10-23T06:11:00.000-07:00

Changes to the profession under the Conservatives
vs.
Changes to the profession under the BNP
......?

...encounters

2009-10-23T05:34:00.001-07:00

DIAGRAM TOPICS

2009-10-23T05:25:00.000-07:00

We are currently working on explaining our findings diagrammatically to address the following issues:

1. Questioning Relevance and Permanence

-Demonstrating locations of art centres situated where main roads meet and percent for art scheme concentrating on very visible art prodution at the side of roads
-The inverse rural space inbetween these roads, how are they affected and how culture is produced and funded differently
-Appropriate spaces for cultural production and questioning the need for a permanent art/cultural space

2. Cultural Expense

-Outreach in relation to funding intake of an institution
-Where the funding comes from - top down or bottom up
-Difference between agricultural activities attendance
-Location and proximity of users and how regular they visit or use the places
-Where is the cultural produced (is it brought in or produced on site)

3. Congregation

-Changing of congregational places through time
-Migration of people both rural - urban, north - south, Ireland - international
-Changing monuments, spiritual places and their location

4. Choice and Cycles

-Nature vs Nurture
-Born into a certain culture such as a farming or academic family
-Border differences, restrictions of cultural crossings
-The importance of choice when interacting with the arts and culture

Studio Discussions/Sketches

2009-10-23T05:24:00.000-07:00

Good Times...part 2

2009-10-22T03:08:00.001-07:00

Good Times...part 1

2009-10-22T03:04:00.000-07:00

Research Questions

2009-10-21T12:29:00.000-07:00

Some questions and areas of interest have emerged from our trip to Ireland, our discussions with the artists and curators and with Peter, Ruth and Florian.

Routes to art.

How does the existing transport infrastructure relate to the location of rural art centres in the north of Ireland and how does this compare to historic places of congregation, nodes and walkways in the landscape?

Routes, rights of way, paths in the landscape.

Study/analysis of traditional congregation spaces.

Permanence, landscape and rural practices?

Is there a need/demand for the ‘flagship’ arts building, which is prevalent in the both the rural and urban landscape? Is there a relationship between the seasonal events in the agricultural calendar and a more temporal space for art?

Temporary agricultural structures.

Is art produced in a rural setting ‘rooted’ in the landscape?

Relevance to the community, extent of outreach. Funding vs output. The border condition. A comparison of the mechanisms of north and south art – top down/bottom up?

Arts Centres in the North of Ireland

2009-10-20T07:33:00.001-07:00

Border Counties

2009-10-20T07:28:00.000-07:00

Colourchart_Progression

2009-10-20T05:48:00.000-07:00

Mapping Execise - Cavanacor Gallery Recent Influences

2009-10-20T03:38:00.000-07:00

Mapping Execise - Rathriland Farmers Market Buyers and Sellers

2009-10-20T03:37:00.000-07:00

EU Cultural Employment Rates

2009-10-20T03:36:00.001-07:00

EU Unemployment Rates

2009-10-20T03:35:00.001-07:00

Border Counties Rural / Urban Split

2009-10-20T03:33:00.000-07:00

Northern Ireland populatin estimates

2009-10-20T03:32:00.000-07:00

EU happiness data

2009-10-20T03:31:00.001-07:00

Routes with photos

2009-10-20T03:02:00.000-07:00

2009-10-19T05:12:00.000-07:00

Remote CONtrol

2009-10-19T04:26:00.000-07:00

Everyone is 'in pursuit'

2009-10-19T02:46:00.000-07:00

Collaboration

2009-10-19T02:33:00.000-07:00

A few logo options

2009-10-17T05:05:00.000-07:00

Millennium Centre, Portadown

2009-10-17T01:14:00.000-07:00

The Organic Centre

2009-10-15T03:01:00.000-07:00

Leitrim Sculpture Centre

2009-10-15T02:57:00.001-07:00

micro-urban encounters?

2009-10-15T02:11:00.001-07:00

Name - storming

2009-10-15T02:01:00.000-07:00

Micro - Urbanism

2009-10-15T01:25:00.000-07:00

CSO, the authority responsible for conducting the census in Ireland defines “urban” as towns with a population of more than 1500, according to the 2006 census 61% of the Irish population was living in urban areas. Considering that many of these towns (or urban locations as defined by the state) are the hub of largely rural and agricultural communities, a strange condition exists, a kind of micro urbanism. Where the urban and the rural co-exist, thrive on each other and are interdependent. For example a classic example of this interdependence is ‘the mart’ - it is a place where farmers congregate to trade livestock, however it would typically be located in a town centre, rather than a rural location. Similarly, the farmer’s co-op is located in the town centre. It seems a dichotomy; but can there be such a thing as a rural-urban town?

What is Culture?

2009-10-14T12:55:00.001-07:00

The Rural Condition

2009-10-14T10:21:00.000-07:00

THE RURAL CONDITION
Definition: Rural (adjective)
- outside city: found in or living in the country
- typical of country: relating to or characteristic of the country or country living
- agricultural: relating to, characteristic of, or involving farming
Source: Encarta Dictionary: English UK.

How do we define “rural”? In a country such as Ireland, with such diverse regional identities, the concept of rural is completely subjective, it can be ambiguous and rather vague. For example, someone from Belfast city may define “rural” as places which do not have the typical civic infrastructures and institutions which would normally exist in cites: hospitals, universities, motorways, museums, galleries and cathedrals etc. Someone living in a small Irish town of say 1000 inhabitants, (such as Manorhamilton, Co. Leitrim) may define rural as the place that exists beyond the limits of the town. If we abide by the first definition of rural most of Ireland would technically be rural! Since there are only five cities in southern Ireland (Dublin, Cork, Galway, Limerick and Waterford) and five cities in Northern Ireland (Belfast, Derry, Lisburn, Newry and Armagh) does this mean that anywhere outside of those ten cities is rural? Perhaps it is more reasonable to define rural, not by what is it but by what it is not; non-metropolitan landscapes. This live project endeavours to explore ‘cultural productions’ in the “rural” context.

Our travel routes (806.71miles by hire car / 1279.23miles total / per person)

2009-10-14T05:53:00.000-07:00

2009-10-13T14:22:00.000-07:00

Rhyzom structure

2009-10-13T14:09:00.000-07:00

Rhyzom players

2009-10-13T14:07:00.000-07:00

Guidebook overview and stakeholder map

2009-10-13T13:53:00.000-07:00

Guidebook pre-determined destinations

2009-10-13T13:44:00.000-07:00

The Lake at the Tyrone Guthrie Centre

2009-10-13T13:39:00.000-07:00

2009-10-13T13:33:00.000-07:00

2009-10-04T10:29:00.000-07:00

2009-09-30T06:46:00.001-07:00

Welcome to the "BELFAST" live Project Blog

2009-09-30T06:25:00.000-07:00

We are a group of 6 Sheffield Masters of Architecture students who will endevour over the next 6 weeks, to create a unique project mapping, analysing and abstracting the border situation of Northern Ireland in a social experiment culminating in a comprehensive body of work. The project will consult and conform with the experienced expertise of "PS SQUARED" - a small artist collective, located in the centre of Belfast. This collaboration with Sheffield architectural students will set out to achieve an original and informative platform which will form the plateux for further ideas and future analysis to build upon.