Catherine Mason

Art History: Lecturing and Research

Based on four years of research and numerous interviews with practitioners, this book uncovers the little known history of early British computer art. It is an amazing story and hard to comprehend that before the onset of personal computers, propriety software and the internet there was a real struggle for access which touched off an explosion of true British pioneering spirit. Computer art can be described as “art created through the agency of a computer in which the computer operates simultaneously as medium, tool and context in addition to its organizational and interactive elements” and it is important to bear this in mind as the reader considers the vagaries of comprehension by the establishment and the countering powerful support of the art colleges. A number of art schools played a crucial role in fostering these important cross-disciplinary digital collaborations. These are described for the first time here, along with over 140 illustrations, many not seen in print before. The book introduces British artists in the postwar period who were inspired by science and began to consider the use of computing. They found the requisite technology and expertise at innovative art schools including the Royal College of Art, the Slade School of Art, Leicester Polytechnic, Middlesex Polytechnic and Coventry Art School. A direct link is traced from tutor to student through the British art school system. This was a unique period in which art students could learn to program computers and construct their own hardware. These pioneers had a real vision of the arts and sciences coming together for greater understanding and creativity on both sides

INTRODUCTION

‘Oh no, not another report!’ This was the common reaction from stakeholders when contacted for this study. There have been numerous state and federal reports written over the past decade echoing the need to develop the digital content industry. These reports have repeatedly identified the tremendous economic and cultural benefits of developing the digital content industry, the fact that Western Australia (or, depending on the report, the country as a whole) is lagging behind the global market, and the desperate need for government support to achieve industry growth. And these reports have also offered numerous recommendations outlining positive steps to achieve growth and establish the digital content industry as a global market player.

Independent Review of the Operations of ScreenWest, 2001: “The online market will increasingly become a video-rich broadband service, extending further the opportunities for the industry to place and develop creative material into new and potentially lucrative market environments. This development represents a significant opportunity for screen industry creators.”

Creative Industries Cluster Study: Stage One Report, DCITA, 2002: “Another key finding is the small scale of digital content and applications development activity in Australia. This presents a major limitation that must be

faced in any strategy to position Australia’s industries in global value chains…Australia’s relatively small and fragmented domestic industry contrasts with the rising direct government support and increasing levels of vertical and horizontal integration observed in some industries overseas.”

The Role of Government Agencies as Marketplace Participants in Digital Content Markets, DCITA, 2003: “…our firm conclusion is that, while Agency spending with digital content and applications suppliers might be small, the multiplier effects on industry development and innovation are very significant and important.”

Digital Communities: A Study to Determine the Feasibility of Creating a Digital Content Industry Cluster in Western Australia, DET/DoIR/DCA, 2004: “Over the longer term the creative digital sector has other opportunities exporting product into the global educational and entertainment market. Provided they are given the opportunity to flourish, both of these clusters will provide high value employment opportunities to the WA community, and begin to position WA as the “State of Digital Innovation.”

Growing WAdigital Report, 2005:

“If Western Australia is to obtain its share of the benefits of the digital content industry it needs [to] raise its profile, and all the various fragments need to pull together and become a cohesive force.”

Australian Film Commission, Australia Council for the Arts and AFTRS Joint Submission to the House of Representatives Standing Committee on Science and Innovation, 2005: “…technological innovation and the pathways to commercialisation can only be achieved in today’s global economy through engagement of the creative industries and adequate, targeted resourcing of the government cultural agencies which are dedicated to the development of these industries.”

Unlocking the Potential: Digital Content Industry Action Agenda Report, 2006: “In order to grow, the Digital Content Industry needs regulatory and investment frameworks that operate under technologically neutral principles and encourage interoperability, innovation, investment and competition.”

ScreenWest Strategic Development Plan Phase III, 2006: “Innovation and increased knowledge are essential for the future, if the WA screen industry is to penetrate new markets, raise its profile in existing markets or even maintain its current position in the marketplace.”

The State Government’s Role in Developing and Promoting ICT in WA, 2007: “There is a need for enhanced digital content industry support schemes targeting management skills development, incubators, marketing and investment attraction.”

Strengthening the Creative Innovation Economy, Cultural Ministers Council, 2007: “Opportunities for the independent production sector in the interactive digital environment are enormous. They can be defined as creative, cultural and commercial

in nature, having the potential to be realised in short, medium and longer term time frames. Once implemented, these initiatives will provide ongoing benefits to the society and the economy.”

julian knowles on survival in a harsh climate

AS MANY OF THE WRITERS FOR THIS ISSUE WILL IDENTIFY, THE ARTS IN AUSTRALIAN UNIVERSITIES HAVE BEEN UNDER A PERIOD OF SUSTAINED

CHALLENGE SINCE THE MID 1990s. IT IS IMPOSSIBLE TO ADDRESS THIS ISSUE IN RELATION TO SOUND ART AND EXPERIMENTAL MUSIC

PRACTICES WITHOUT CONSIDERING THE ECOLOGY IN WHICH THEY ARE SITUATED

RealTime Issue 80: Gillian Leahy is a filmmaker whose credits include My Life Without Steve (1986) and Our Park (1998). She is Associate Professor and Program Director of the Media Arts and Production Program at UTS and a

member of the advisory counc

il of ASPERA.

http://www.realtimearts.net/article/80/8635

In the Bachelor of Communication in Media/Multimedia Production students undertake a six unit major in practical production. For the major in New Media,

a typical course structure is:

viagra