James Chinneck

Sonic Arcade: Shaping Space with Sound (2017-2018). Radius will be participating as a featured exhibitor at the Museum of Arts and Design's upcoming exhibition Sonic Arcade: Shaping Space with Sound. This exhibition will be taking place at MAD in New York City from September 14, 2017 until February 25, 2018. It will include an installation of Radius' new series BEACON with two new commission works by artists Deborah Stratman and Anna Friz, a gallery installation of Radius, and a six-month long radio broadcast of the entire Radius Episode Archive from inside the museum. Radius has designed a special program for every day of the exhibition. James Chinneck’s ‘Millionth’, Radius episode 60, will be featured for a full day on Friday January 5th 2018. The program has been designed based on attendance statistics, so that each of the 80 episodes that Radius broadcasts will be aired during the museum's busiest days. Links: http://madmuseum.org/sonic-arcade-shaping-space-with-sound

&Model is a curatorial project and a research vehicle for Chris Bloor (Curatorial Director), James Chinneck (Operations Director) and Derek Horton. As part of Regeneration Through the Arts &Model occupied a gallery space at 19 East Parade Leeds where it presented 34 exhibitions and residencies between January 2013 to June 2017. &Model’s research investigated art’s purpose outside the market place and developed new critical insights whilst bonding a specialist audience in Leeds with a broader and inquisitive public. From a distinct site close to the City Gallery and Henry Moore Institute it tested the necessity for an un-dogmatic and independent art space that questioned the cultural value of the visual arts for an expanded audience. Through its assistant mentoring programme it created new relationships between students and graduates of the arts from the three major Universities in the city. The project embraced the opportunity of exhibiting international artists alongside those who have escaped attention yet should be considered worthy of critical consideration. The project was critically supported by Leeds Art Gallery (Marlow Moss and British Art Show 8) and The Henry Moore Institute (Barry Flanagan, ‘the King and I)’ involving reciprocal exhibitions with both venues. The publication made with William Corwin and Liam Johnstone examines the project history and acts as a fictitious final work. Significance can be measured from conversations around Marlow Moss with Andrew Bick and Katrina Blannin, June–July 2014, Chris Dobrowolski, October–December 2014, (Artists Newsletter, Top Exhibitions), Fay Ballard, House Clearance, May 2015, (Bob Dickinson, Corridor8, 2015), Barry Flanagan Light pieces and other works, May–June 2017, curated with Jo Melvin, (review, Nick Thurston, Frieze, June, 2017). “&Model has made an important contribution to the visual art offer of the city of Leeds.” — Godfrey Worsdale OBE, Director, Henry Moore Foundation.

Tueri Terram (part of Radio City at Tate Britian) 2014. RadioCity is a special season of participatory radio, sound art, performance and broadcast at Tate Britain. RadioCity has been devised in collaboration with artists Marion Harrison and Harold Offeh, and Tate’s Early Years and Families team. 13–14 December 2014 at 10.00–18.00.

Have Some Imagination: Towards a Manifesto for Arts Education Experimental cultures: then and now Le Ver Troyen: Imagination Recovery Service is an ongoing collaborative project and pedagogic tool for working with undergraduate Fine Art students at Leeds Beckett, Leeds School of Arts. Conceived in response to the rich performative history of the Fine Art provision at Leeds Polytechnic/Leeds Metropolitan/Leeds Beckett, Le Ver Troyen is an expandable/collapsible wearable sculpture animated by up to twenty performers. When worn, Le Ver Troyen stretches to 30m in length. Made with fabric used to make medical uniforms, Le Ver Troyen facilitates and represents the recovery of creative activity following periods of stasis or creative blockage. Each year, Fine Art undergraduate students from Leeds Beckett School of Arts add to the sculpture’s surface, accumulating decoration and creating a collective archive of the art school. Le Ver Troyen is informed by Leeds Polytechnic interventionist art performance groups including John Bull Puncture Repair Kit, People Show, Roland Miller & Shirley Cameron and Welfare State International. Le Ver Troyen facilitates participation and collaboration among students in the first year of their Fine Art degree, fostering a sense of camaraderie and inclusion. The art school becomes an incubator from which creative communities can emerge. Meaning ‘the Trojan worm’, the work enables students to infiltrate the gallery system, helping them access and activate gallery spaces they might not be able to as individuals. Unlike a computer virus, the ‘worm’ acts positively as a viral antidote to the makers, performers and broader public: the term ‘Imagination Recovery Service’ is emblazoned down its side. In this context, Le Ver Troyen embodies the virality of creativity. Programmed early in the academic year, the project quickly establishes a non-hierarchical community within the cohort that meshes students from diverse backgrounds and prior educational experience. Le Ver Troyen models an approach for making artworks in academic contexts which act as living and cumulative archives for the institution. The live performance has been presented in Leeds City Centre (2022,2023), the Yorkshire Sculpture Park (2023), and the Tetley Gallery, Leeds (2023). The more the work is performed in galleries and museums, the more content will appear online via social media platforms and other channels. The viral nature of this type of dissemination will enhance the idea of imagination recovery. Fine Art, Leeds School of Arts, Leeds Beckett University would like to participate in the conference by presenting images and video footage of Le Ver Troyen whilst presenting and/or as a live performance at a given point within the conference. Link to YSP performance below: https://drive.google.com/file/d/1R18PNgqX8UQB5PTg7qp-vyy2qX4R__bi/view?usp=sharing

Le Ver Troyen: Imagination Recovery Service is an ongoing collaborative project and pedagogic tool for working with undergraduate Fine Art students at Leeds School of Arts. Conceived in response to the rich performative history of the Fine Art provision at Leeds Polytechnic/Leeds Metropolitan/Leeds Beckett, Le Ver Troyen is an expandable/collapsible wearable sculpture animated by up to twenty performers. When worn, Le Ver Troyen stretches to 30m in length. Made with fabric used to make medical uniforms, Le Ver Troyen facilitates and represents the recovery of creative activity following periods of stasis or creative blockage. Each year, Fine Art undergraduate students from Leeds Beckett School of Arts add to the sculpture’s surface, accumulating decoration and creating a collective archive of the art school. Le Ver Troyen is informed by Leeds Polytechnic interventionist art performance groups including John Bull Puncture Repair Kit, People Show, Roland Miller & Shirley Cameron and Welfare State International, as eloquently explored in Professor Gavin Butts’ Inside/Out lecture, Between Dream and Disillusion: Group work in the art school (November 2023). Le Ver Troyen facilitates participation and collaboration among students in the first year of their Fine Art degree, fostering a sense of camaraderie and inclusion. The art school becomes an incubator from which creative communities can emerge. Meaning ‘the Trojan worm’, the work enables students to infiltrate the gallery system, helping them access and activate gallery spaces that they might not be able to as individuals. Unlike a computer virus, the ‘worm’ acts positively, as a viral antidote to the makers, performers and wider public: the term ‘Imagination Recovery Service’ is emblazoned down its side. In this context, Le Ver Troyen embodies the virality of creativity. Programmed early in the academic year, the project quickly establishes a non-hierarchical community within the cohort that meshes students from diverse backgrounds and prior academic experience. Le Ver Troyen models an approach for making artworks in academic contexts which act as living and cumulative archives for the institution. The live performance has been presented in Leeds City Centre, the Yorkshire Sculpture Park, and the Tetley Gallery, Leeds. The more the work is performed in galleries and museums the more content will appear online via social media platforms and other channels. The viral nature of this type of dissemination will enhance the idea of imagination recovery. Documentation is also housed in the National Arts Education Archive. This will be added to year on year following each performance.

James Chinneck's 'Millionth' on 8th November 2017 @ 9:45 pm - 10:30 pm. Radiophrenia is a temporary art radio station – a two-week exploration into current trends in sound and transmission arts. Broadcasting live from Glasgow’s Centre for Contemporary Arts, the station aims to promote radio as an art form, encouraging challenging and radical new approaches to the medium. The broadcast schedule will include a series of 14 newly commissioned radio works, live shows, pre-recorded features and 12 Live-to-Air performances. The majority of the programme will be made up from selections submitted to an international open call for sound art and radio works. Now in its third season Radiophrenia first began broadcasting in April 2015. Links: http://radiophrenia.scot/schedule/november-8th/ http://radiophrenia.scot/

Artists Bookwork Documenting Eighteen Unrealised Artworks

Episode 60: James Chinneck Radius is an experimental radio broadcast platform based in Chicago, IL, USA. Radius features a new project monthly with statements by artists who use radio as a primary element in their work. Radius provides artists with live and experimental formats in radio programming. The goal is to support work that engages the tonal and public spaces of the electromagnetic spectrum. All audio works are broadcasted locally on 88.9-FM with a secondary stream online. Radius Episode 60 is a duel site broadcast, featured in the exhibition And Sometimes Gravity on 88.9-FM at Adds Donna in Chicago, USA on February 1, 2015 from 1-4pm CST and in radioCONA: Zima FM on 88.8MHz in Ljubljana, Slovenia on February 19, 2015 at 7pm CET. Also: Episode 60 of Radius in the program of Radius ongoing Sketchpad series. The program aired on Saturday, September 26, 2015 from 2pm - 3pm EST on WGXC 90.7-FM Hands-on-Radio in Greene and Columbia Counties, New York, USA.   The Radius Sketchpad series is an ongoing monthly radio program produced specifically for Wave Farm's Transmission Arts program. The Sketchpad program features a re-broadcast of previous Radius episodes. Each episode is followed by a playlist of works selected by that episode’s artist. In other words, the series is a more traditional radio show that will feature a re-broadcast of your work and then other audio/music/sound that was influential to you when making your Radius Episode. The goal is to showcase your work, and a playlist of audio from the research of your piece. Work highlighted on the Transmission Arts Archive, which will include a description of your work, bio, Sketchpad audio, and a PDF playlist.   More information about the series can be found here: http://theradius.us/sketchpad & http://wavefarm.org/wgxc/schedule/896yhj

Bufferty investigates a central research question: can computational temporality restore attentive looking within image-sharing platforms? Situated at the intersection of software studies (Manovich, Fuller), slow media theory (Köhler et al.), and durational aesthetics (Bergson, Bishop), the work proposes "lunar-synced revelation" as a novel publishing paradigm. Images are not displayed instantly but revealed progressively over a 14-day lunar cycle. From darkness at New Moon to full fidelity at Full Moon. This original contribution challenges the attention economy's logic of immediacy, replacing infinite scroll with enforced duration. No existing platform operationalises astronomical cycles as a mechanism for controlling image temporality at this scale. The methodology is practice-based research through software development, employing iterative design as a mode of critical inquiry. Built as a progressive web application using React, TypeScript, and cloud infrastructure, the platform constitutes both artefact and argument; what Frayling terms "research through design." The lunar luminance algorithm was developed through empirical testing of perceptual thresholds, calibrating grain, brightness, and contrast against real lunar ephemeris data. This computational craft approach treats code as a primary research material, integrating aesthetic decisions within technical architecture. The choice of a live, publicly accessible platform over gallery installation was deliberate: the research tests its thesis under authentic social media conditions. Bufferty is live at bufferty.com as an open-access PWA with a growing international user base of creators and collectors. The integrated marketplace (limited-edition prints, handmade objects, auctions with certificates of authenticity) demonstrates viable alternatives to extractive platform economies. The work contributes to interdisciplinary discourse on digital wellbeing, platform ethics, and post-growth design, with relevance to HCI, visual culture, and creative industries policy. The platform's deceleration model has implications beyond art, offering a transferable framework for any domain where sustained attention improves engagement quality. Creator earnings from ad-revenue sharing evidence a functioning ethical economy within the research output itself.