invaluable input from: Gulsen Bal, Director OpenSystems (Austria/Turkey), Walter Seild, Erste Group Curator of the Art Collection (Austria), Elionor Morgan (UK), Helena Blaker (UK), Rebecca Beinart (UK), Ian Nesbitt (UK),  Cristina Bogdan, Director ODD (Romania, France),  Aid&Abet, ELAN (UK),  Alana Jelinek, University of Cambridge (UK/Australia), London Fieldworks, OUTLANDIA (UK), Bram Thomas Arnold (UK), Ian Hunter, Littoral Arts Trust, the Merz Barn (UK), Anna Santomauro Vessel (Italy/UK), Annalisa Cattani, Novella Guerra, (Italy), Julian Klein, Director of !KF director and Editor of Journal for Artistic Research (Germany), Gianluca Codeghini (Italy), Aurelio Andrighetto (Italy), Helga Franza and Silvia Hell (Italy), and many more

Connerton is a research associate in the Department of Social Anthropology at the University of Cambridge. His books include How Societies Remember (Cambridge University Press, 1989), How Modernity Forgets (Cambridge University Press, 2009), and The Spirit of Mourning: History, Memory and the Body (Cambridge University Press, 2011). Connerton’s first book, How Societies Remember (1989), opened the discussion of collective memory (per Maurice Halbwachs and others) to include bodily gestures, finding in clothing, manners, musical performance, and other socially negotiated practices locii where memory is “silted” (to use his verb) into human corporeal consciousness and praxis. Connerton followed up this work with How Modernity Forgets (2009), which emphasizes what Connerton calls “place memory,” or memory that is dependent upon topography and particularly upon topography as it relates to the human body. Connerton argues that modernity is characterized by a particular sort of forgetting “associated with processes that separate social life from locality and from human dimensions: superhuman speed, megacities that are so enormous as to be unmemorable, comsumerism disconnected from the labour process, the short lifespan of urban architecture, the disappearance of walkable cities

This project lead by Elena Cologni (MA Sculpture Leeds, PhD Central Saint Martins College of Arta nd Design), whose mediatised performances, sculptural installations and video manipulation point at the unstable nature of perception and memorisation of reality through time, with a phenomenological frame. Rockfluid builds on her interest in memory (since 1997) and live documentation of performance, further developed with specific involvement of the audience in ‘Mnemonic Present, Un-Folding’ series (AHRC 2004-06). It continued through: Creative Lab Residency at CCA in Glasgow (2006), Re-Moved (2008, CCA, Gi08) and Geomemos, Yorkshire Sculpture Park (2009), when site specificity and notions of memory as archival and removal in trying to enhance the audience’s and my own experience of who we are in any given moment. Using video pre-recorded and archival material in the ‘presentness’ of the event, underline the everyday’s condition of constantly engaging with (and processing) re-presentation of immediate or remote past, to make sense of the present.

www.elenacologni.com

Adviser on Rockfluid. Dr. Caterina Albano is Reader  and Curator at  Central Saint Martins College of Arts and Design, University of the Arts London. Albano curates, lectures and publishes in the fields of art, cultural history and theory, in particular emotion and affectivity, memory and consciousness; and on the theory of curating. Albano is the author of Fear and Art in the Contemporary World (Reaktion Books, 2012) and she is currently working on a project on affectivity, memory and art (Palgrave MacMillan).

Cambridge and Peterborough NHS Foundation Trust and  The University of Cambridge. The Family Happiness and Wellbeing project is a pilot project Cologni was asked to contribute to by Dr Hamphrey, by devising a program of creative interventions in Schools in parallel to a more traditional approach. In addition to Cologni’s previous interdisciplinary work, this was developed  based on the phenomenological approach in her art practice, interest in space and place, and the collaborative methods adopted in ROCKFLUID.

Roberto Crippa has been working on web based art, 
digital design and sound installations for over 12 years. His work includes live electronic music and installations investigating the responses of physical bodies to architectural acoustics.

Sweet Gill is a video producer and director with over 10 years experience in broadcast, corporate and educational video production. Currently working on various education short films for University of Cambridge International Examinations.

Professor, University of Cambridge, Department of Experimental Psychology and the Wellcome Trust/Medical Research Council Behavioural and Clinical Neuroscience Institute. She is an expert in the cognitive neuroscience of learning and memory.