Room B312 Portland Square,
University of Plymouth,
Stephanie Moran is a 3D3-funded PhD candidate as part of the Transtechnology Research Group at Plymouth University. She is an Associate Partner at Etic Lab LLP design and technology research and development agency, a Wales-based SME. She is also Art Editor at The Ecological Citizen, a peer-reviewed ecological open access journal, and Art Advisor for GENIE: The Global Ecocentric Network for Implementing Ecodemocracy. She completed a Postgraduate Diploma at Cyprus College of Art and an MFA in Fine Art at Goldsmiths College, London. Other work here.
Media Ethology: Ecological Fictioning and Networked Media
Stephanie’s PhD investigates the minimum necessary requirements to constructing diegetically and vibrantly coherent nonanthropocentric fictional worlds, grounded in real world scenarios and based on available material evidence. It looks at ways that nonhuman sensory and phenomenal experience are represented in fiction and philosophy. An alien or outside perspective is crucial to this process, to produce a translation or controlled misunderstanding. It uses gaming and AI as research methods to apply some of the findings as a fiction that models nonhuman life-worlds in attempting to engender another version of the current reality, an environment in which the anthropomorphic is subjugated.
Publications, Conferences and Project Work 2018-19
‘Visual Democratisation: AR and the Underpass Festival’, co-authored with Christian Tilt and Alexander Hogan. Proceedings of EVA London 2019. http://dx.doi.org/10.14236/ewic/EVA2019.38
‘Narrating Collective Empathy Online’, Transtechnology Research Reader 2019, pp.110-127.
High Weirdness: Drugs, Esoterica and Visionary Experience in the Seventies by Erik Davis. Leonardo Reviews September 2019.
Conferences and Talks:
KRAKEN?: AI, Octopuses and Alien Intelligence, lecture for Goldsmiths Visual Cultures public programme, with Etic Lab and collective artist 0rphanDrift. October 2019
Alien Holobiontology, Digital Ecologies II: Fiction Machines, Bath Spa University. July 2019
Visual Democratisation, EVA London. July 2019
Mantic Staining: the Divinatory Paintings of Ithell Colquhoun, Re-writing the Future: 100 Years of Esoteric Modernism, Merano, Italy. May 2019
Ecological Science Fictioning, Environmental Arts Practice Research Conference, University of Plymouth. April 2019
Future Ghosts and Biosemiotic Chronotopes, Haunted Geologies Symposium, University of Plymouth. March 2019
Alien Physics, Transtechnology Research seminar. February 2019
Coding the Digital Occult, Occulture Berlin. November 2018
Project Work and Events:
Eco-sci-fi Workshop as part of Supernormal Supersensory Species Screen Summer School (SSSSSS), Supernormal Festival, Oxfordshire. August 2019
Interspecies Twitter bot, with Etic Lab @alien_ontology
Skullcracker Suite Ballet, online hypertext sci-fi ballet with sonic drone score by sound engineer Chris Hind.
Interspecies Disco, as part of 0rphanDrift collective artist and with artist-curator Kirsten Cooke, at Dilston Grove/CGP London November 2018. Following on from Swamp Living immersive workshop at IMT Gallery, part of Maggie Roberts’ solo show. London May 2018.
Catalogue essay Liquescence for Fragility Spills, exhibition of artist Clare Price in collaboration with photographer Benjamin Whitley and curator Cairo Clarke, ASC Gallery London. November 2018 – January 2019.
Blog posts and papers for Etic Lab include Anti-Muslim Propoganda in the US: a Study of Online Narratives and Communities, write-up of research by Kevin Hogan; Nascent: a New Contemporary Art Platform August 2019; The Guru Code: Algorithmic Reality Production and Cultural Work (with Alexander Hogan) May 2019; Building an Interspecies Twitter Bot (or, What Does a Cyborg Imagine it’s like to be a Bat?) September 2018.
Film screenings of Green Skeen, as part of 0rphanDrift collective artist and in collaboration with art collective Plastique Fantastique, where I play my technoanimal avatar Zahir. Screenings at CGP Gallery London, and Rhubaba Gallery Edinburgh.