Chris Howlett | California Institute of the Arts (original) (raw)
I recently completed a Doctor in Philosophy degree (PhD) in 2020 at Queensland University of Technology, and graduated with an MFA from the Californian Institute of the Arts in 2000. My works have been exhibited internationally including the XXI Triennial International Exhibition in Milan, GamerZ in Marseille, France, Inter-Society of Electronic Arts in Helsinki, Finland and Stockholm; Videoholica International Video Art Festival in Bulgaria; Los Angeles Freewaves Festival of Film, Video and New Media and exhibited work at the Art Centre College of Design in Pasadena, California. My solo and collaborative works have also been exhibited locally at the Gallery of Modern Art, Institute of Modern Art, the QUT Art Museum, The Arc Biennial for Art & Design and interstate at the Contemporary Art Centre of South Australia, Hobart Art Gallery, Cairns Contemporary Art Space and Blindside Artist Run Space in Melbourne. My public art commissions include "KICK OFF" which was a curated screen-based program at the new Metricon Stadium Homeground of the Gold Coast Suns and Australia's largest public art canvas the QUT billboard project.
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Papers by Chris Howlett
QUT ePrints, 2020
Jacques Rancière’s concept of dissensus can be understood as an activity or process that modifies... more Jacques Rancière’s concept of dissensus can be understood as an activity or process
that modifies or reorders the consensual operations of social, cultural, and economic
orders. The sensible is his concept of the common spaces and sites we occupy.
Dissensus creatively reimagines the possibilities for subjectivisation outside of
discipline specific entities and socio-political boundaries. The possibilities for
contemporary art to enact this have been recently addressed through relational and
socially engaged practices, but these have overlooked the potential of hybrid digital
forms like Machinima to explore the political potential of dissensus.
Rancière’s idea of dissensus will be reimagined in my digital art practice in light of art
critic Nicolas Bourriaud’s concept of the ‘social interstice’, a site where technology
and contemporary art can intersect to form transformative interstitial space in the
digital media sphere.
This practice-led project aims to creatively and critically research this gap in
knowledge and practice in order to develop new models for thinking about the political
possibilities of digital creative forms. The project creates multiple, interactive
Machinima art works that explore and expand ideas about authorial space and human
agency. It aims to develop an original practice-led methodology that represents a
synthesis of technology and the ‘social interstice’ in contemporary cultural forms.
Accordingly, the project’s creative and critical outcomes relate to a ‘techno-stice’,
which will form a unique contribution to digital and interdisciplinary research culture.
My practice-led project also seeks to demonstrate contemporary art’s contribution to
the creation of dissensual space, and new ethical perspectives in the digital realm.
QUT ePrints, 2020
Jacques Rancière’s concept of dissensus can be understood as an activity or process that modifies... more Jacques Rancière’s concept of dissensus can be understood as an activity or process
that modifies or reorders the consensual operations of social, cultural, and economic
orders. The sensible is his concept of the common spaces and sites we occupy.
Dissensus creatively reimagines the possibilities for subjectivisation outside of
discipline specific entities and socio-political boundaries. The possibilities for
contemporary art to enact this have been recently addressed through relational and
socially engaged practices, but these have overlooked the potential of hybrid digital
forms like Machinima to explore the political potential of dissensus.
Rancière’s idea of dissensus will be reimagined in my digital art practice in light of art
critic Nicolas Bourriaud’s concept of the ‘social interstice’, a site where technology
and contemporary art can intersect to form transformative interstitial space in the
digital media sphere.
This practice-led project aims to creatively and critically research this gap in
knowledge and practice in order to develop new models for thinking about the political
possibilities of digital creative forms. The project creates multiple, interactive
Machinima art works that explore and expand ideas about authorial space and human
agency. It aims to develop an original practice-led methodology that represents a
synthesis of technology and the ‘social interstice’ in contemporary cultural forms.
Accordingly, the project’s creative and critical outcomes relate to a ‘techno-stice’,
which will form a unique contribution to digital and interdisciplinary research culture.
My practice-led project also seeks to demonstrate contemporary art’s contribution to
the creation of dissensual space, and new ethical perspectives in the digital realm.