Ma Johnson and Her Katrina Kats

Yu save storem ol wok blong yu onlaen taem yu yusum Cloud storage seveses olsem Dropbox o Google Drive. Wan narafala isi wei blong pasem ol notbuk blong yu hemi blong mekem kopi long ol PDF fael we yu bin skanem mo putum igo long ol flash draev or ol memori kad we oli save storem fulap samting. Poao mo Laet Ol camera, laptop, smatfone, printa mo skana oli nidim paoa suplae blong oli save wok. Taem se maen paoa supplae hemi no avaelebol imas gat ol bakap olsem ol batri mo jenereta blong yusum. Mifala ibin traem yusum samfala sola laet long vilij mo mifala wantem advaesem yu blong yusum: I flew to Perth in late February to spend a week with James preparing for our trip: The focus was to understand how far this idea could really deliver something of use and value to people who live a largely traditional way of life in the bush, and why they might want to do this.

The success of this first experiment enabled us to write a proposal for funding a 2 year pilot to the Christensen Fund a US-based foundation which awarded us funding in James had visited Reite again recently, in October , to discuss the upcoming field work and to gather more feedback on our original experiment so we could plan how, in practice, we could co-design notebook templates with the villagers and what we could prepare in advance to help this. For paper we brought with us a supply of Aquascribe waterproof paper a Tyvek-type product and pre-printed and shipped some copies of different book templates.

The waterproof paper is a highly useful technology to use in the damp and humid environment, where ordinary pulp-based paper becomes fibrous very swiftly and disintegrates in a short time. Books printed and made on this paper as we used before have a much longer lifespan — possibly decades.

Reite is made up of several hamlets, being the name applied not just to one village but an administrative district from the colonial period. As such the people who took part in our project come not just from Reite itself, but from Sarangama, Yasing, Marpungae and Serieng. For the next two weeks of our fieldwork we were constantly engaged in discussions with local people about the books, what they might include in them and how they could help reinforce the importance of the knowledge of the land, plants, animals and environment that people here have developed over generations.

This was an important step, partly to underscore that the books were by and for people in the village, not for us, and also to counter ideas that we might be taking knowledge away from the village to profit from selling it. For us, the digitisation of the books is a critical component for transmission to the future as it means that the unique books, which are hand written and drawn in by their authors, can be retrieved and printed again if lost or damaged.

We explained this to everyone in several meetings — both smaller ones within the house we stayed in, and a larger public meeting about halfway through the project. Having something they had made, with their picture on it, on the internet had real value — suggesting that the knowledge they have could both be seen by others around the world and known about across PNG too. We met up with Mr Jonathan Zorro, the school headmaster, in the first days of our trip I had met him on my previous trip and James again last October and he confirmed that he was very keen for the school to become involved.

It turned out that the school has a desktop PC with a laser printer and scanner, so it became clear that not only could the school print out copies of the books on standard A4 paper, but they could scan them in and store them locally on the school computer. We agreed to spend a day at the school to introduce the project to all the students and then to do some practical book-making demonstrations and workshops with each class.

Mr Zorro organised for books to be printed at the school, with one of the key emphases being that the students should use both the Tok Pisin versions and the English versions to improve their language and descriptive skills. Within a week of our first presentation at the school many of the students had submitted books of their own and we ended up digitising 55 of the best ones. There we presented the work completed to Yat Paol and were also able to arrange a meeting for him with the school headmaster plus Porer Nombo and Pinbin Sisau who have been our steadfast colleagues in this project.

Now we have scanned the books we have been indexing their contents and details of the authors to prepare a specially designed website to act as an online repository of library for Reite, and beginning to analyse and work with Porer and Pinbin on some indigenous classifications for the kinds of knowledge and experience that they contain. The drawings are inspired by Kats in-depth research and tell some of the stories behind each patent, the woman who invented it and the social, technological, physical and cultural challenges that early women cyclists had to face.

Kat has a keen interest in making, craft and collaboration so at any time there was drawing, sewing, film-making, photography and desk based academic research all going on in the space. The finished linings are the a record of, and result of those intense drawing activities as well as an interpretation of the research. One of the features of the cycling garments that attracted me to this project is that they convert from one type of garment to another. A long skirt might be folded, gathered or lifted up to above the knee by some mechanism of cords, buttons or hooks, to reveal bloomers worn underneath or perhaps a long coat on top; in another patent a skirt is taken off, to reveal bloomers, and worn as a cycling cape.

I was surprised to find out how controversial it was for women to cycle particularly wearing bloomers , they were shouted and jeered at, refused entry to cafes, were socially shunned and had dirt thrown at them. The women who invented these garments had to be highly creative and balance the need for modesty with the need for free movement of the limbs and safety from fabric catching in the mechanism of the bicycle. The garments themselves will be worn and used for storytelling and presenting the research.

Over the past six months or so we have been developing some new partnerships and working on several collaborative projects:. We aim to develop a prototype for indigenous people to be able to digitally record and share knowledge using a combination of machine learning software, mobile devices and their own traditional craft and cultural practices.

Places to Meet and Hang Out. In these spaces, we often see people walking around, hanging about, waiting for someone, conversing with each other, and so on; and then it hit me — places to meet and hang out can be considered as a public good. These could be conventional spaces such as the park or places that encourage socialising like a cafe, but there are also informal spaces; ones that are not dictated. An example of an informal space brings me back to my university days; every weekend when I had to go to the main high street to buy food for my deprived fridge, I would have to walk through the town square where flocks of teenagers would hang out, spreading across the flights of stairs and having to dodge the dangerous skater boys practicing stunts from one side to the other.

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It was the same every weekend without fail. Creativity and innovation proceed in cycles rather than in some remorselessly forward trajectory. It is only over time that we can see the significance and importance of some projects and initiatives and particularly within the arts and cultural world, there are many different lenses and perspectives which we might take on work which we may wish to call contemporary.

In this text I respond to an invitation by the Proboscis Co-Directors, Alice Angus and Giles Lane to consider their work through the lens of collaboration and partnership. I approached this task aware that often the most critical developments happen below surface, in cyclical and indirect fashion. I was intrigued to explore how far one might consider this conceptually as a counterpoint to the increasingly predominant use of short-term quantitative analysis to assess value within the arts and concerned that such an approach is highly inappropriate for research-led practice and indeed sometimes also for practice-led research both of which activities may primarily be focussed on exploring new spaces, opening up dialogues and experimentation in form and media whose value can only become visible over time.

I have long been concerned to argue for value and in particular symbolic value of not for profit research-led or research-active creative organisations. In this essay I hope to build some layers onto this observation drawing on the work of Proboscis whose engagement with place, space and locality working with variable types of media provides the context for this text. One consistent aspect has been that the work has engaged with numerous different agencies and communities, spanning and bridging private and public domain; always integral to their practice has been the development of publishing and storytelling initiatives using print and networked media processes with a primary concern for combination of image, word and text.

Proboscis was first formed by Giles Lane and Damian Jacques as a partnership to develop COIL journal of the moving image which ran through to issues 9 and 10 launched as a joint issue in December Alice Angus joined the partnership in and began leading some significant projects including the seminal Topologies initiative which was formative in terms of what was then known as collaborative arts practice and funded through the Collaborative Arts Unit at Arts Council England where I then worked, interfacing successfully and in a ground-breaking way between contemporary art practice and the Museums, Libraries and Archives services in the UK.

The breadth of this project which ran between and added many layers to Proboscis and as is noted below, was shaped by an ideology and set of aspirations which were fully admirable and still unfolding now, in a considerably harsher climate in terms of arts and other public funding. With the choice of their name the organisation certainly pledged itself to a high degree of engagement with environment and context. Seeing Proboscis and its life cycle as a kind of organism is curiously appealing. I am not sure if it is predominantly elephant or butterfly — or even mosquito… perhaps all these things.

In terms of how and where and why they proceed in certain directions extending their range of enquiry, engagement and investigation, their presence in various contexts seeming partly intentional, partly collaborative and always based on an underlying agenda that has critical intervention at its core. It is at perhaps at edges of collision and collusion between public and private spheres, policies and desire, that what I wish to name the Proboscis effect has been most active.

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Probing Proboscis In probing Proboscis over the past twelve months looking closely at their core ethos and expression in various permeations I have sought to do more than simply referencing the collaborations and partnerships with which they have been involved as this narrative is already substantially documented on their very useful website. In setting out to do this I thought I should also confront and re-evaluate my own set of perceptions and assumptions about their work in order to gain some new understanding from the process of dialogue and interaction that this project has deserved.

So it has become a critical aspect of doing the text to destabilise my own existing conception of what Proboscis is and, in so doing, I have hopefully begun to understand what they might do next. In along with then colleague Tony White we had made a strong and in the end successful pitch for regular funding for the Proboscis team as part of a larger series of arguments relating to the shifting nature of cultural practice, the growth and emergence of interdiscipinarity as an innovation layer and the fact that there were arts development and production agencies in this case, the Arts Catalyst , onedotzero , Forma Ltd and some artist-research organisations like Mongrel … and Proboscis which were as significant to the emerging arts infrastructure as orchestras and ballet companies were to the established performing arts canon or galleries to local authorities and the defined visual arts.

I had felt that it was the right time to make this case to help these often small-scale organisations to get funding for their core costs so that they could avoid having to make countless small project applications which drew on time and energy and also we argued successfully for the benefits of providing a core allocation that would enable these essentially innovation focussed organisations to prepare the ground for their next phase of development through periods of research and development, travel and experimentation that would inevitably result in valuable new work over the course of the following few years.

Making this argument in terms of policy criteria of excellence and innovation and in the context of building multiple partnerships with arts investment as often these agencies were being highly entrepreneurial leveraging many new kinds of partnerships with other sectors nationally and internationally, batting well above their weight was effective and allowed for growth and adaptation over time. It was then important we felt to consolidate an emerging sector that was in many ways ahead of the curve in terms of arts policy.

One can argue for strategic and perhaps then symbolic value by citing the significance of arts organisation x as the key agency for xxx e. These significant gaps are often where the best interdisciplinary practice lies — not representing anything but heralding stuff to come, shifts that will eventually mainstream over time. On the Act of Interpretation and Analysis My overall sense since being invited in early to write an essay about their work particularly from the viewpoint of the range and complexity of partnerships they have made and held during the past decade and a half of their existence as an arts organisation, has felt like I have been staring at tracks in the snow, looking at something which is already formed and fully crystallised and not that much needing of further explanation.

I was hoping to define a pathway or journey through their layers — perhaps move further along the path in the snow. She also reflects on the processes of layering I have mentioned above:. This network is built around the delivery of projects but is by no means limited to the parameters and timescales of the projects themselves. This is very much a distinguishing element of their work — a specific way of working, in porous and co-operative ways, engaging with locality and often with habitat.

The advent of Arts Council England funding changes now announced, which have swept through the ecosystem of digital media organisations in this country with desperate disregard for preserving and sustaining knowledge within a still developing sector — reminds us to suggest the importance of finding ways to recycle and re-embed these elements into a broader cultural ecology.

Somehow this seems appropriate in many ways to Proboscis preoccupations. They have separated themselves from dependency on ACE life rafts for floating media practices and now have set themselves new agendas, new partnerships and new horizons engaging even more closely with critical social challenges from global technological waste to employment of young people from disadvantaged contexts in London. In addition to conceiving and shaping various projects Proboscis as an arts organisation has defined itself during this time as a vital critical space for understanding the emergent nature of collaborative practices, from research through to the public domain and as an agency through which documentation and discourses around these processes has been facilitated and enabled.

What it has also most critically done is to provide a space for documentation and critical reflection on these processes — their significance has partly been to find a way to make the temporal or temporary processes of collaboration stable in terms of existing in accessible documentation over time.

As their website now rumbles with tag-clouds and twitter-feeds it continues to grow in an organic fashion, as a responsive and collaborative space enabling expression of differences within an open and common domain. Why does this matter? In considering patterns of collaborative arts practices in the past fifteen years, often emergent work has been primarily time-based with documentation of the practices secondary to the event of the work itself.

The process is never mechanical but somehow organic and collaborative — as traces are made, they may also be erased. Or they may be retained held in the act of publishing, drawing or commissioning critical texts. In referencing a latency I am also signalling how in the nature of research based arts practice only by looking at developments over time might one truly realise the value. At times something may be in germination stages lying low in order to succeed but hard if not impossible to measure.

These stages are in my mind at least the most important stages and ones most deserving of subsidy. As noted above and looking now in hindsight at how the life cycle of the organisation we know as Proboscis has evolved we see many layers embedded over time. Within all the projects has been a set of disparate connections — sometimes with other artists, sometimes with scientists,sometimes with companies, sometimes with academia — and often with groups working in similar fields, as part of a set of network connections — producing an identity which is both fixed and process-led.

Somehow in these spaces between specificity and hybridity and tracing and erasing the Proboscis effect adheres. It is vital to also consider the development of the Proboscis effect or practice within the context of recent intensive shifts with respect to how artists and arts organisations work within the spectrum of a broader creativity often, though not exclusively, technologically related. The most compelling work in this terrain has brought about a fusion of different disciplinary approaches and a combination of themes, fields and metiers into common and uncommon forms.

This period of development has brought about also a shift within the nature of culture itself not just towards hybridity but towards open and collaborative works that engage directly with audiences or users transforming their position from user to co-producer, collaborator and joint agent within a process or design.

Identity In terms of how they approach collaborations and partnerships it is perhaps interesting to also consider the internal relationships which inevitably drive and define this kind of organisation. When one considers the identity of Proboscis, we recognise a pattern similar to the other organisations of similar scale and size. Often these organisations are indelibly connected to the personalities of their original founders. At the same time, when it comes to small-scale organisations the intensity of the human relations the personality and behaviours within the group often transfers to become the image of the organisation as a whole.

Organisations form around and mirror the values and ideas of the people who form them. When people change the organisations inevitably change. But organisations evolve even when they have the same people involved who helped to develop the initial projects. In the case of Proboscis, its work has shifted and developed radically showing the various inputs and influences of the various people who have become involved over the years at project, administrative and consultancy level — yet it has also retained and maintained a consistency that is highly recognisable though perhaps difficult to define.

Over many years they have brought in various skilled people to work on diverse projects which has provided an abundant network within which the organisation is situated and which they have in turn helped to generate and facilitate at various points and in various places. The workplace trainees who have been present in the office over the past year have been carrying and bringing a different, more youthful energy into the studio and as their voices grow louder as they are encouraged to express their views online and this has in turn shifted the pattern of perception of how and what Proboscis does.

At the very heart though is the deeply creative core relationship of the two Co-Directors whose differing and complementary sensibilities suffuse all aspects of their work. I am suggesting this as it seems to me that implicit within any discussion about collaborations and partnerships is a belief system or set of values that informs and entwines with the nature of these connections and that what has partly distinguishes how Proboscis has been working in these interdisciplinary fields has been a set of principles or operating framework which has insisted on autonomy and independence of status within a broader assemblage or set of networks.

Part of the concern in science collaborations is that there is a huge push towards consensus. Achieving Effective Process within Asymmetrical Relations The strength of the process was demonstrated most visibly in the pioneering Urban Tapestries project which Proboscis initiated and ran between and and which probably for the first time ever demonstrated the capacity of a small not for profit organisation to draw together a set of large institutional and commercial partners leveraging plural funding routes and most spectacularly to define the terms of engagement.

Here is an extract about the project:. The Urban Tapestries software platform enabled people to build relationships between places and to associate stories, information, pictures, sounds and videos with them. On the Daniel Langlois Foundation website who provided funding towards the project the language outlining what happened is different again:. No doubt there were different spins to the narrative again on the websites of the different project partners — as clear an illustration as one might wish for of the pluralistic capacity of Proboscis during this period acting as a broker, connector, and transdisciplinary catalyst.

This work was intensive and significant with respect also to the broader history of collaborative media practices in the early years of this century. The history of the period between September and now is also now still waiting to be written — and the turn which is now happening in relation to the direction of their work more explicitly revealed. Between Tactical Extremes Taking further forward some of the ideological strands initially outlined in the goals for Topologies as well as running through the Urban Tapestries above, Giles writes currently on the Proboscis website about their forward programme for which will focus around the over-arching theme of Public Goods ,.

Showing this long-term commitment to core ideals, when I first met him in , when commencing their Topologies project, Giles had written:. It is also ironic now writing this just after one of the biggest public demonstrations that London has known in the context of planned government cuts to the public sector and recalling that whilst the aim Proboscis had thirteen years ago was to add to the experience of visiting libraries by adding artists books into their holdings, the demise of the library system itself is now the battle along with devaluation and depreciation of many aspects of the public domain.

Their antennae as sensitive collaborative creatures twitching often too soon? Sustaining Partnerships In exploring the way in which Proboscis set out to work in collaborative ways over many years one notes a serious attuning to context, making events and initiatives which often involve deep localised engagement with those with whom they have chosen to partner whether in public or private sector contexts.

Other relationships have been related to specific projects; almost all take place over at least two or three years following a series of research questions or over-arching line of enquiry which requires focussed time and many different manifestations. The techniques which Proboscis bring to the table in terms of collaborations have been well-honed in various scenarios — as are well outlined and documented on their capacious website. Connecting these techniques for group interaction and group authorship with technological and industrial change and a corresponding shift in the cultural and social imaginary has been a prevalent element and thread which has emerged throughout a series of interrelated activities.

Re-drawing the Map I developed a deeper understanding at first hand of the Proboscis effect when Alice Angus, Giles Lane and Orlagh Woods from the company were among a group of UK based arts technology and design researchers and practitioners who came to an event held in Sao Paulo called Paralelo with which I was closely involved. The event brought together individuals and groups working in three countries — the Netherlands as well as UK and Brazil — on topics and themes relating to Art, Technology and the Environment.

Proboscis brought a beautifully honed process of group Social Mapping to the opening session of the event.



This created a way of introducing individuals and everyone to everyone else with the plus factor that it gave form to the latent network connections that lay underneath, beside and across the topology composed on paper laid out on the ground. It was in many ways a characteristic Proboscis intervention inflecting the overall event with a collaborative and open-ended fluidity of approach with participants then returning to the map at the close of the event and in a ritual of consolidated iterative expression redrawing earlier lines, shifting to new points of intensity.

This effect relies on an appreciation of ritual, of the act of drawing with the hand on paper, of making marks and leaving something that over time becomes a document of something that has now passed…. What is possible is the programmed creation of works. The artist is then creating a process, not individual works. In the pure arts this may seem anathema, but art thrives on contradictions, and it can be yet another way of asking what is art?

In their contribution to the book Paralelo: Unfolding Narratives in Art, Technology and Environment which emerged after the workshop in , the Proboscis team also brought a singular simplicity that held much deeper meaning than what was visible on the surface to the project. Their text, Travelling through Layers , available also as a Diffusion eBook — holds in a small space a series of interleaving observations, images, quotes and commentary — all of which combine to build a narrative that stands alone or as part of the larger whole in this case the wider texts that make up the publication, a small microcosm of the broader Proboscis effect.

In Conclusion — The Latency of Glass? As we enter into and shifts in political and arts funding scenarios, it seems to me that Proboscis are once again on the turn. Adapting to constraints that have emerged from socio-environmental contexts, they are taking a slower course. It seems to me that with the usual fore-shadowing the organisation is now pointing towards a need for deep contemplation and reflection on what is currently in danger of being lost and following the ecological theme, seeking to ensure that we devise ways to recycle material back into the system.

In some extent they are going out further to those margins and extremes, wanting to fuse together some new points of tension or heightened concerns. No doubt this will slowly and surely emerge. And most importantly how does one articulate and measure value within these processes? What distinguishes their work from others who have moved into these spaces between the arts and other sectors?

What has made them so effective in these spaces? And having moved in, developed systems of exchange and parallel processes with many other agencies, what has Proboscis gained and lost — what apart from documentation on their website might remain? Why do they move on? What do we learn from the textures and edges that their processes effect? Their capacity to retain an integrity and critical edge whilst being involved in processes of exchange with many different types of partner organisation has been admirable; if as outlined in the Prix Ars Electronica Hybrid Arts text we might see hybrid arts practices as being fundamentally about an ontological instability or insecurity then in many ways the work of Proboscis throughout sixteen-seventeen years may be situated in this terrain.

Throughout the late s and s so far the best projects and those which become most memorable at least in relation to the broad field of collaborative and interdisciplinary arts practice seem to me to be those which tend to fuse together layers of different processes, systems and materials to form a new, highly charged synthesis that carries within it the tensions implicit in making something disparate whole. If broken or contracted, new edges will then emerge that redefine the boundaries of the whole.

Over time what is engendered and revealed are certain qualities manifest at both surface and depth — I describe these forms as having something like the latency of glass. The Proboscis narrative has many of the properties of glass fused to a point of stillness, yet with inner motion and capable of breaking to form new edges. The photographic negative awaiting advent of light in the darkroom is another way of seeing this.

At the beginning this year I started planning how we could begin to introduce bookleteer into education and learning contexts and programmes — not just in formal settings such as schools, colleges and universities, but also in other spaces and places where learning takes place: Others have also used bookleteer in their own projects and for creating teaching and learning outcomes — workbooks, notebooks, documentation and course materials — and not just in English, but Hindi and Arabic so far too.

Our own City As Material event series has also outlined a simple model to bring a group of people together to explore an idea, place or theme and then collaboratively produce eBooks you can follow the development of the series over at diffusion. We want to help people find new and dynamic ways to record and share the ideas, stories, knowledge and experiences they have — learning and exchanging things of value as they go. I am an artist and co-director of Proboscis, my work includes works on paper video and textiles. I often work in collaboration and create projects in response to a particular location or question.

The work ranges from larger curatorial, collaborative frameworks to individual commissions, participation and research. Attentive Geographies — 16, commissioned to create a new textile work in response to, and participate in, the research process for Attentive Geographies. Exhibition forthcoming in Bikes and Bloomers — a commission to create textiles for the Freedom of Movement project by Katrina Jungnickel and Goldsmiths University of London. Tall Tales, Ghosts and Imaginings — commissioned by artistsandmakers.

Landscapes in Dialogue — works on paper for reflecting on my residency in Ivvavik National Park in Arctic Canada. Birmingham Total Place — Proboscis commissioned by Birmingham City Council in response to conversations with parents and early years workers. At The Waters Edge: Perception Peterborough — a creative visioning project to develop solutions to the challenges Peterborough faces in the next years.

Part of the British Councils Creative City project. Welcome to our latest newsletter, its been about 6 months since our last one so this is a catch up across a range of projects and activities. StoryCubes min order cubes Find out more here: Follow us on Twitter for updates: We look forward to some more experiments emerging throughout the year. Professional Development Commissions Our first two commissions have been completed and the results published on our website. Niharika Hariharan and Holly Clarke were each commissioned to develop small projects that connect with our work and themes.

We made the cubes in response to our conversations with people about the ups and downs of accessing local services and support for their children and families.



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Its rich history is crossed by stories of King Canute and Lady Godiva. Today Coventry now has a maze of traffic free precincts and modern buildings built in the postwar period and it is far from what the medieval city must have been. These precincts are watched over by many surveillance cameras and again on this project I to the issue of private and public space that has come up so often for Proboscis in the last 2 years as we find ourselves prevented from taking photos in shopping malls and public squares.

PD Smith writes about this issue in an interesting blog post about Ground Control: Fear and Happiness in the 21st-century City, Anna Mintons Book looking at control, fear and the city. Its got a real sense or people mingling from different communities and backgrounds and ages using it to meet, chat and hang out, not just shop.

They once celebrated it in a musical. From parks to pedestrian streets, squares to market places, public spaces are being bought up and closed down, often with little consultation or publicity. In towns and cities all over England, what was once public is now private. It is effectively owned by corporations, which set the standards of behaviour. These standards are the standards that are most congenial to their aim — getting you to buy things.

You will eat and drink where you are told to. The Empty Shops Network is aiming to celebrate the kind of local distinctiveness that gets lost in these developments and it is working with communities to use empty shops for projects in the spaces and times inbetween other uses.

You can see more images from Coventry here. The first event was a fun evening and everyone who attended created at least 1 eBook each, with the exception of Matthew who managed to create two lovely examples. A series of essays, polemics and manifestos designed to provoke comment and debate on the contexts in which Proboscis works. Cultural Snapshots are resourced by Proboscis as part of our core artistic activity — we welcome any donations to help us continue commissioning new titles and providing the texts free of charge to all. A New Cultural Revolution. Urban Tapestries was a ground-breaking project that investigated how the combination of geographic information systems GIS and mobile technologies including ad-hoc WiFi could enable people to map and share their knowledge and experience, stories and information — public authoring.

The project resulted in numerous events, publications, technologies as well as two public trials of the Urban Tapestries mobile platform for public authoring in December and June-July Sonic Geographies takes sound as the entry point for excavating and mapping urban experience and invisible infrastructures of the city. These mappings attempted to excavate the layers of sound that make up the city and create strata of difference: The excavation was designed to open up a new space of enquiry into the experience of the city, and how sound functions as a kind of infrastructure for understandings of place and geography particular to contemporary conditions in the city.

Proboscis moves to new studio in Rosebery Avenue, Clerkenwell. Proboscis is seeking a part-time temporary assistant for the Social Tapestries Project. June 10 Years of Proboscis: October Proboscis launches new online publishing series: August SoMa — social matrices think tank for culture: July Proboscis launches new website for Peer2Peer: January SoMa — social matrices think tank for culture: ALICE ANGUS Alice is co-Director of Proboscis since and an artist, her personal interests and work revolve around; an interest in using artistic practices to rethink perceptions of common space in urban space, landscape and water and environmental knowledge, particularly around food and water; and an interest in how artistic practice can intersect with other disciplines suggesting new models of collaboration.

Over the recent years she has been creating a body of work exploring concepts of proximity and presence, against the lived experience of a place including: The role of food markets, independent shopkeepers and the economics of the high street is being explored in in a series of collaborations and commissions with The Empty Shops Network, with Dodolab, and with Mid Pennine Arts. Jo runs her own accounts management and bookkeeping business for arts organisations — Blackdot Ltd.

He works with Proboscis on interface development for bookleteer — his website is stowaway. Gary works with Proboscis as a Senior Creative Associate on new creative projects combining youth and public engagement with experimental media practices and technologies. Shalene joined in March and worked both on projects related to bookleteer and studio coordination. John took part in PRPS as well as designing the project website. Karine joined in March and worked on bookleteer projects.

Steve is also a practising artist and performer. Niharika was an intern during and has since worked with Proboscis as an assistant on the project Being in Common. Damian was the graphic designer of the first 6 issues of the journal and a director of the company. Damian left to develop his burgeoning freelance design practice in Her work focuses on new technologies and social behaviour, mobility and place. Recordings of his work have been released by labels such as: Recently Karen has been a team member on bookleteer.

Radhika joined in November and is working across projects on marketing and promotion. She was a social researcher on Urban Tapestries. After completing a 4 month internship with Proboscis in , Carmen has since been commissioned to design several print publications for Proboscis projects as well as contributing template designs and other graphic material for bookleteer.

Character Worksheets

ORLAGH WOODS Orlagh Woods is an artist whose work explores how diverse people and communities engage with each other and their environment — how they connect, communicate and are perceived both through digital and non-digital means. Orlagh also curates a professional development programme for British Asian theatre company, Tamasha, in London. Read more about the workshop and view it outcomes here. Paperback 80 pages, colour images ISBN: Katrina McPherson published May Dispela Tulkit em i save yusim pepa wantaim kompyuta. Bairo, pepa, na sisis bilong wokim liklik notbuk. Kompyuta igat internet koneksen bilong kisim ol notbuk long nambawan raun , na printa bilong printim ol notbuk taim yu kisim ol pinis long kompyuta.

Kamapim bung wantaim ol manmeri igat interes.

Ma Johnson and Her Katrina Kats (Paperback)

Mekim wanpela pablik toksave o awenes long dispela projek. Tokaut long projek na askim ol long ol i gat wanem kain tingting. Painim aut tingting bilong ol long wanem samting ol i laik raitim, na bilong wanem ol interes ol i laik wokim dispela wok. Tokaut long kliapela toktok olsem ol man o meri bai kam insait long dispela wok long laik bilong ol tasol.

Ol laik lusim, emi orait tasol. Toksave olsem ol yet bai gat pawa long stopim save i go aut long pablik, sapos ol i laik olsem. Bilong wokim dispela wok gut, em i bikpela tru ol manmeri i save olsem: Ol yet mas i gat save na tingting long kam insait long dispela wok c. Printim ol notbuk yu bai yusim long en. Sekim — i gat inap sisis? Bungim ol manmeri na lainim ol long we bilong wokim ol notbuk. Wanwan notbuk mas kisim nem bilong man o meri husait bai wokim em. Kisim poto bilong dispela man o meri sapos ol i planti, kisim poto bilong olgeta grup na pasim em long nambawan pes bilong notbuk.

Askim ol long raitim nem bilong ol ananit long ol tok orait. Soim ol manmeri na redim gut tok orait i stap long nambawan pes. Askim ol olsem, bai ol hamamas long olgeta tok i stap o nogat? Sapos nogat, karamapim wanem hap ol i no laikim wantaim bairo. Yu mas sekim gut, bilong wanem, ol i mas klia gut long ol dispela samting. Ol igat inup bairo? Sapos nogat, helpim ol wantaim ol dispela samting. Toksave long ol manmeri olsem, ol i mas tingim gut stori bilong ol na wokim olgeta hap bilong dispela stori.

Skelim gut pastaim na wokim samting. Noken hapim, na noken giaman. Tokim ol long traim pulumapim olgeta spes long liklik buk. Ol i ken raitim stori, wokim piksa, poto, na drow wantaim long laik bilong ol. Mekim de bilong givim bek ol notbuk ol i bin pulumapim bilong skenim long kompyuta sapos ol laik skenim. Givim sapot na hamamasim ol taim ol i wokim ol notbuk. Bekim gut olgeta askim, na strongim ol manmeri long yusim tingting na save bilong ol. Taim ol man i pinisim notbuk bilong ol pinis, bai yu stretim gut insait long kompyuta wantaim wanpela masin ol kolim skena Tok Inglis: Pastaim, sekim gen sapos ol man i hamamas long yu putim notbuk bilong ol long kompyuta.

Soim ol dispela toksave long nambawan pes bilong notbuk na askim ol gut — ol i gat laik long senisim o nogat? Conversely, all of the stories offer a glimpse into the hearts and minds of unforgettable people of different lifestyles and backgrounds with whom Whitaker shared moments of tenderness, laughter, tears and hope.

Souq | Ma Johnson and Her Katrina Kats | Kuwait

You will smell the honeysuckle vines. Allow the sensation of peace, quiet and tranquility work its way from the inside out—much like the hunter experienced when she emerge from the woods—for you are well on your way to becoming a Stillhunter. The Stillhunter is a book that needs few words. The uplifting verse and radiant paintings capture the love, hopes and joys of people worldwide.

Here, the reader is taken on a literary excursion that vividly links the terrain between personal experience and poetic imagination. Inside your mind, feel the silent melodies rippling like waves over the rocks. Hear fussy little animals squabbling nearby. Allow the sensation of peace, and tranquility work their way from inside outward—much like the hunter experiences when she emerges from the woods—for you are well on your way to becoming a Stillhunter.

Hunters from villages were sent into the forest in quest of absolute quiet. During this meditative interlude, as hunters exhaled and inhaled, they expanded their consciousness of grace. At the completion of this spiritual course they became Stillhunters, distinguished members of their society destined to enrich the lives of those around them. The verse is fresh, melodious and easy for children to memorize. The book was inspired by riveting narratives—storm stories of hope—told to Whitaker by victims of Hurricane Katrina, with whom she work in New Orleans.