In 2011 Fee gave up her increasingly respectable career as a creative digital consultant in order to take up a new life as a bus-loving nomadic geek artist. In a reaction against the shift in global politics, she set out to discover how someone could disconnect as much as possible from a broken socio political system while maintaining meaningful connection to the people and places which enable her own vision of home and self.
Her work explores the increasing removal of ‘the commons’ in contemporary life, from common land and open democracy through to open source creative digital commons, and the tensions which exist between them.
Longer (but older*) Biography
* I really need to update this…
“Fee Plumley” is an artist, writer, consultant, speaker, and self confessed ‘technoevangelist‘.
My experience in Theatre Design and Technology (BA, 1995) somehow got distracted by the (then) quite new phenomenon known as the Internet. Seduced by this new digital culture, I went on to obtain a Masters in Interactive Multimedia Production (MA, 1997). This kickstarted a (trans)media arts practice as a creative producer, combining (primarily) technology, performance and literature.
An inherent early-adopter, I like to take others along for an extremely collaborative ride. I have curated public screen content (GMI, London, 1999 & BBC Bigger Picture, 2004), enabled community webcasting (Superchannel.org 1999-03), and created interactive experiences for clients including Douglas Rushkoff (Ecstasy Club, Manchester 1997) and the Manchester Literature Festival (The Burgess Project, Manchester 2006).
As co-founder of UK based company the-phone-book Limited (2000-2008), I was best known for encouraging people to be creative with their mobile phones at a time when most people didn’t realise the power they carried in their pockets. I have chaired a media arts network and advised boards of company development relating to digital strategies. I am often found as a speaker, mentor and juror at international arts gatherings, games festivals and educational establishments (Freeplay, ISEA, Banff New Media Institute [RIP], AIMIA & BAFTA). And I’ve been involved in a couple of international exhibitions (Huddersfield Media Centre, UK; Media Miniatures, Manhattan; Platform Animation Festival, Portland) and written for other people’s exhibitions (Larissa Hjorth, Micronarratives).
Until recently I was found promoting a culture of digital literacy and strategic innovation as the Digital Program Officer at the Australia Council for the Arts. There I was attempting to debunk the term “geek”, showcasing generative art systems, and helping arts organisations increase their confidence with social media and online tools. I eagerly await the arrival of the National Broadband Network & the chance to endorse its wealth of creative opportunity. Oh and I’m now a “distinguished talent” (hehehe) permanent resident too!
Some media articles interviewing/mentioning me:
media relating to reallybigroadtrip 2012+.
mo:life talks to Fee Plumley, December 12th 2005.
Power to the Mobile People, Mark Frauenfelder, Fri Aug 22 2003.
Anthemic: Web watch, Jack Schofield The Guardian,
High rise hi-tech, Sean Dodson The Guardian,
Some of my writing outside this blog:
Artlink, Vol 32 no 1, 2012 – Mesne: Stitches in the Air: computational craft
Intelligent Agent – The Wireless Confusion: A Call to Arms
Creative Times, UK – Why can’t the arts be more like a kitchen?
Creative Times, UK – Please sir, can I have some more?
Australia Council for the Arts – Geek Speed Dating
Australia Council for the Arts – Why digital did not kill the opera star
Australia Council for the Arts – Announcing TransmediaVictoria
Australia Council for the Arts – Twitter+art=?
ANAT – KINO Portable
ANAT – Portable Platforms
ANAT – Portable Perspectives
ANAT – Celebrating 21 Years of Experimentation
ANAT: Ported – Art, Technology & Education: A case for companionship