Media Art Scoping topics

BEAPWORKS05 Call for works

Friday, March 4th, 2005


Grants of up to $10,000 are available to artists in 2005 for adventurous new art projects that utilise emerging technologies in areas such as digital, time-based, broadband, screen-based and biological art.

CLOSING D

ATE: 4th March 2005, at 5pm

About BEAPworks

BEAPworks is a research and development grant funding adventurous new art projects utilising emergent technologies for Western Australian artists.

BEAPworks is a joint initiative between the Biennale of Electronic Arts, Perth and ArtsWA. BEAP is supported by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments and the Government of Western Australia through ArtsWA in association with Lotterywest.

About the BEAPworks Exhibition

Recipients of the BEAPworks 2004 grant round are being exhibited as part of the Perth International Arts Festival at John Curtin Gallery, Curtin University. The exhibition runs from 10 February until 12 June 2005.

BEAPworks is curated by Paul Thomas, the Director of BEAP. The exhibition presents the work of six local electronic artists, Mark Cypher, Cat Hope, Jo Law with Hilary Bunt & Raoul Marks, Cameron Merton with Yvette Merton, Nina Sellars with Iain Sweetman & Gareth Lockett, and Cynthia Verspaget. The works explore the way the world is shaped by scientific development. Through the interactive multimedia installations the works provide access to understanding how these scientific developments affect our perception of daily life.

More information on the artists can be found online at www.beap.org

BEAPworks exhibition:

John Curtin Gallery, Building 200 (Opposite the Kirribilli Café)

Curtin University of Technology, Kent St, BENTLEY WA

Opening hours Tuesday to Friday 10.30am – 5pm, Sunday 1 – 5pm

Admission is free

BEAPworks Grant Aims

BEAPworks grants assist in the creation new, cutting edge and experimental electronic and/ or biological art projects.

The BEAPworks grant aims to:

  • stimulate and cultivate electronic and emerging technology based artwork, by local emerging and practicing artists
  • assist in the development of innovative artwork, leading to the realisation of artistic outcomes, at an international standard
  • stimulate artistic research and development allowing artists to explore ideas uncovered by new developments in emerging technology

BEAP strongly recommends that all grant applicants visit the exhibition, as this will enhance understanding of the aims of the BEAPworks grant.

Funding Criteria

BEAPworks grants are awarded, by a panel, on the following considerations.

The extent to which the project:

  • is cutting edge, innovative or experimental
  • uses emerging/ electronic technologies in areas such

    as digital, time-based, broadband, screen-based and biological art

  • holds strengths in research and development
  • has the potential for external collaborations, or explores external collaborations
  • has clearly defined aims, strategies and expected project outcomes
  • has evidence that the project is well planned and achievable with consideration given to financial management, proposal concept and technical requirements

Guidelines and Conditions

To be accepted, all BEAPworks applications must follow these guidelines and conditions:

  • BEAPworks grants are only available to Western Australia artists
  • Applicants must be Australian citizens or have permanent resident status in Australia;
  • Applicants must have resided in Western Australia for at least 12 months immediately prior to making an application;
  • Applicants must not have any overdue acquittals from previous ArtsWA funding;
  • Applicants must have an Australian Business Number (ABN) or proof that they are not subject to Pay As You Go (PAYG) withholding
  • Students and organisations cannot apply to fund works for student based exhibitions
  • Funding will not be given to capital equipment
  • Only 1 application from each individual can be submitted
  • Applicants must be over 18 years of age

Other Research/ Residency Opportunities

Residencies offered in partnership with BEAPworks will be negotiated directly between the artist and the organisation. Residencies offered are:

  • Physical residency space at CLEAR (Centre for Living, Electronic Arts Research): a dedicated research centre at the intersection of art, science and industry. Space is negotiable based on acceptance of a proposal.
  • Online residency space at CLEAR: offers interactive server access, file sharing, ftp access and web presence.
  • Online research facilities: offers online collaborative research space.
  • BEAPworks ISA Technologies HPC Fellowship: provides access to a high performance computing and visualisation facility through ISA Technologies (Applicants must have strong computer knowledge)

Successful Applicants

Successful applicants will be notified via mail.

The ArtsWA Grants Administrator will contact each successful applicant detailing the conditions and requirements applying to this offer.

Successful applicants must acknowledge such support in all publicity and promotional material, including websites, email notification and verbally, when relating to this project.

Un-successful Applicants

Un-successful applicants will be notified via mail.

How do I apply?

Fill in all questions on the BEAPworks grant submission form.

Complete the budget form.

Applications must:

  • be submitted via post (to the below address) or via email (to info@beap.org)
  • be short, concise, relevant and legible
  • not be bound, and must be printed on one side only (paper version only)
  • contain relevant support material (do not send original copies)
  • all support material must be labelled clearly with your name and contact details

Send the application via post to:

BEAPworks application

Centre for Living and Electronic Arts Research (CLEAR)

Suite 3 Enterprise Building 3

11 Brodie Hall Drive

Bentley, WA, 6102

CLOSING DATE: 4th March 2005, at 5pm

Need more information?

Contact Amanda Alderson, BEAP administrator on 9266 4922 (until the 11th of February) then on

6424 8203 (from the 14th of February) or via info@beap.org, for more information, or to discuss proposals.

BEAP 04 iLecture Distributed Difference Cultures of Conflict Conference

Friday, September 10th, 2004

State Library of Western Australia (LISWA), Alexander Library Building, Perth Cultural Centre, Perth

lasix online
FibreCulture: Anna Munster
Welcome address
(University of NSW)
Convenor Distributed Difference conference
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=642&id=15424
Simon Biggs
Keynote Address
Fine Art Research Professor at Sheffield Hallam University and

Research Fellow at Cambridge University, UK
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=642&id=15425

Josephine Starrs (Aus)
Plaything, Games/Art/Culture
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=642&id=15426
Lisa Gye
Mobile Art
Swinburne University of Technology
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=642&id=15427
Darren Tofts
Tsk-tsk-tsk and beyond: anticipating relational aesthetics
Swinburne University of Technology
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=642&id=15428
Nicola Kaye
The Net as a Social Space, Increasing Governance Laws and Democracy Edith Cowan University
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=642&id=15429

BEAP 04 iLecture Sonic Difference Conference

Thursday, September 9th, 2004

State Library of Western Australia (LISWA), Alexander Library Building,

Perth Cultural Centre, Perth

Nigel Helyer
Welcome address
Curator and convenor Sonic Difference exhibition and conference
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=641&id=15412
Cat Hope (Aus)
Sound and Seeing
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=641&id=15413
Garth Paine (Aus)
Endangered Sounds
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=641&id=15414
Ed Osborn (USA)
Sonic Difference Exhibitor
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=641&id=15415
Bjoern Schuelke (Germany)
Perceptual Difference artist
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=641&id=15416
Panel
Cat Hope, Garth Paine, Ed Osborn, Bjoern Schuelke, Tos Mahony (Tura New Music)
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=641&id=15417
Shawn Decker (USA)
Sonic Difference artist
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=641&id=15418
Simo Alitalo (Finland)
Sonic Difference artist
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=641&id=15420
Amy Youngs (USA)
Sonic Difference artist
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=641&id=15419
Open Panel Session
Panel Chair: Nigel Helyer
Panel: Shawn Decker, Simo Alitalo,

Amy Youngs,
Jocelyn Robert, Tos Mahoney (Tura New Music)
http://ilectures.curtin.edu.au/ilectures/ilectures.lasso?ut=641&id=15421

BEAP 2004 Timeline

Thursday, August 26th, 2004

 

 

Conference and Exhibition timeline for BEAP 2004.

BEAP_timeline

ONLINE PROPOSALS SUBMISSION INFORMATION BEAP WORKS 2004

Friday, December 12th, 2003
ONLINE PROPOSALS SUBMISSION INFORMATION
BEAP WORKS 2004
Closing date for new works: 12 December 2003

The Biennale of Electronic Arts Perth, is dedicated to the development, production and promotion of experimental electronic arts research.
BEAP is now also a mechanism to facilitate the creation and production of electronic art works.
The Biennale of Electronic Arts Perth intends to become Australia’s peak organization promoting and showcasing contemporary experimental art practice of an International calibre. BEAP is committed to fostering work leading tocritical debate within these fields and will develop robust advocacy strategies.
BEAP 2004 will investigate notions of ‘Difference’, which focuses upon:
1. Sonic-Differences; Re-sounding the World. Exploring sound art
2. Bio-Differences; Born and Bred. Exploring Bioloical art
3. Data-Differences; The dissolution of locale. Exploring net art
4. Perceptual-Differences; Vision systems. Exploring interactive images
5. Distributed-Differences; Cultures of conflict. Exploring networked art
The theme ‘Difference’ and ‘Denial of Difference’ will explore the humanness of being human

buy generic cialis online

as it confronts globalisation. The technological transformation, transcendence and transmutation of what we have based our knowledge upon are still stretching the boundaries of our consciousness.
Call for works
BEAP is looking for exciting and adventurous projects that primarily exploit the possibilities of Western Australian artists working with emerging technologies in the area of Time based Media, Broadband, and Screen based work.
The work
BEAP 2004 seeks to fund research and development in the broad context of screen based, gaming technologies and broadband which address the five main themes of BEAP2004. Grants of up to $10.000.00 will be available for new projects meeting these criteria. The committee will support and encourage original research and development projects that address these topics with anticipated exhibition outcomes in BEAP 2004.

Proposals An online written proposal should include the following information:

    1. Title of work

    2. Project description no longer than 500 words (including its rationale)

    3. Technical details:

    3a) A brief description of your project and its implementation;

    3b) A time schedule: description of the work that has to be done.

    3c) Equipment list, including production materials and supplies needed;

    4. Budget details(see online budget form. Please ensure quotes are accurate, maximum request $10,000 per project.)

    5. Concise CVs (no more than two A4 pages each) of all key personnel/collaborators with contact details.

    6. Your ABN number and GST registration. Applicants must provide an ABN in order to be eligible for support, OR evidence that the Australian Taxation Office has determined them ineligible for an ABN. Applicants must ensure that the name on the application form (for payment purposes) is the same as the name the ABN is issued in.

support material - please submit in the following formats 
Place all documentation into a folder then compress in to as zip or sit file.
This file can then be uploaded using the upload button from at the bottom of  the online submission page

Text: .doc, .pdf, .txt, .rtf

Images: .jpg, .tif, Mov

Compressed files: .zip, .sit (for Mac and PC)
The support material should include

 Budget

 Concise CV

 Documentation of relevant  work 

Applications will only be accepted from artists residing in Western Australia following the ArtsWA guidelines.
  

Individual or group projects must not exceed requests for $10,000. 

Any questions or further information, email: info@beap.org

Applications will be assessed by the BEAP curatorial committee and members of Media-Space Perth Inc. The decision of the committee is final. ArtsWA will administer the grants.

Proposals will be assessed on
    The proposals potential or significance in relation to the ‘SameDifference’ themes; The proposal’s relevance to the BEAP interest in the collaboration of Art and Science; through Time based Media, Broadband, and Screen based work. The benefit to the artists, the community, the audience/participants in developing critical debate; The project's contribution to advancing research in the area of Electronic art. Financial responsibility and management competence; Clearly defined objectives and outcomes; All participants have confirmed their active involvement; Accuracy of costings.
Applicants will be contacted with results by 9 January 2004.

Culture and Technology: Andrew Murphie and John Potts

Wednesday, April 30th, 2003

Culture and Technology begins with several useful and clear definitions of its key themes—technology and technique, culture and the intersection between these.

http://www.realtimearts.net/article/issue54/7044

zp8497586rq

BEAP02 – The Aesthetics of Care iLecture

Monday, August 5th, 2002
Showing items 1 through 15 of 18.

first | previous | 1 2 |

05 Aug 2002 – 09:00

Topic: Welcome
Speaker: Oron Catts
Streaming:
quicktime

quicktime


05 Aug 2002 – 09:15

Topic: Morning Session
Speaker: Prof Lori Andrews
Streaming:
quicktime

quicktime


05 Aug 2002 – 10:00

1
Topic: The Aesthetics of Cruelty vs. the Aesthetics of Empathy
Speaker: KDThornton
Outline: “As we understand more the import and effects of our physical composition we move from a time of corrective nurturing (religion, psychoanalysis, therapy) to corrective “naturing” (pharmaceuticals, EST, genetic modificaitons) …. Our relationship to ourselves dictates our relationships toward other creatures and our ecology, more generally. Our ethics with human culture do not easily translate to the needs and values of all biological forms”
Thornton, in her art practice, critiques concepts of anthropology, community and observational science using house flies; investigates the seven deadly sins within the modern pharmaceutical industry and witnesses the resurrection of a chicken.
Related site: http://www.artic.edu/~kthorn/allista.html
Streaming:
quicktime

quicktime


05 Aug 2002 – 10:20

Topic: A complicated balancing act? How can we assess the use of animals in art and science?
Speaker: Stuart Bunt
Outline: The ethics of animal use in scientific experimentation has been, and continues, to be widely debated. Absolutist positions forbidding all such research as immoral or specist, hinges on the relative balance of harm versus good. Stuart Bunt from the School of Anatomy and Human Biology UWA, will discuss the inherent difficulties of using such an approach, and the particular ethical and scientific challenges presented when such rules are applied to the use of living material in art works.
Related site: http://www.fishandchips.uwa.edu.au
Streaming:
quicktime

quicktime


05 Aug 2002 – 10:40

Topic: Cute Robots/Ugly Human Parts (A post-human aesthetics of care)
Speaker: Laura Fantone
Outline: The role of art in relation to bio-politics; increasing solidarity and empathy among species; a Dada of the human genome; art that develops and aesthetic of care and recognition for non-human elements and intelligence. What to do in the era of biotech?!
Related site: http://www.women.it/cyberarchive/files/fantone.htm
Streaming:
quicktime

quicktime


05 Aug 2002 – 11:25

Topic: Breeding for Wildness
Speaker: George Gessert (presented by Adam Zaretsky)
Outline: By bringing art to evolution, and to ornamental plants in particular (which constitutes a major expression of genetic folk art) we may deepen awareness of the social, psychological, and ethical issues involved in directing evolution. . Gessert is an artist, scholar and is a member of the editorial board of Leonardo MIT Publication. In this paper he discusses his work over the last twenty years breeding plants that recall their wild ancestors rather than the overbred and kitsch of the commercial breeders.
Related site: http://www.geneart.org/gessert.htm
Streaming:
quicktime

quicktime


05 Aug 2002 – 11:45

1500 mins
Topic: Recombinant Aesthetics (adventures in paradise)
Speaker: Andre Brodyk
Outline: New media-art reveals the dissolution of immutable self-contained organic entities. It presents all entities as genomic sites, permeable mediums of ‘genetic’ exchange susceptible to continuous engineered transmutation. Brodyk discusses art based coding mechanisms modelled on interpretations of genetic engineering processes used in biotechnology applications to new media art.
Streaming:
quicktime

quicktime

05 Aug 2002 – 12:05

2100 mins
Topic: Gene Packs
Speaker: Peta Clancy
Outline: Clancy explores the scientific processes used in the field of genetic engineering with the ethical implications of imaging her own chromosomes and the development of artificial chromosomes as a gene delivery method. Clancy is a member of body manufacture a multi-disciplinary group of artists exploring and critiquing the field of genetic engineering.
Streaming:
quicktime

quicktime

05 Aug 2002 – 13:30

900 mins
Topic: Performance “The Dissecting Eye”
Speaker: Julia Reodica
Outline: Every eye has its blind spot.

Through the ages, incomplete visions have prompted mystics, philosophers and scientists to probe through the viscous liquid. What has been revealed are truths and lies about the super/natural world. The power of the eye and gaze, still not fully understood, continues to be a source of inspiration and fear. The live performance explores the physical structure and cultural symbolism of the mysterious eye.
Bay Area Artist, Julia Reodica, is also a Life Sciences Intern and Exhibit Facilitator at the Exploratorium Museum in San Francisco, California.

Streaming:
quicktime

quicktime

05 Aug 2002 – 13:50

1200 mins
Topic: The Ethics of Looking
Speaker: Redmond Bridgeman
Outline: For John Berger, the mutually regarding look between humans and other animals has been largely extinguished; replaced by a gaze that see animals as raw material: a focus for human sentimentality, a resource, or objects of human knowledge. Addressing the work of a number of artists, this paper will explore the considerations appropriate to the development of an ethics of looking_, one that escapes the isolating gaze Berger describes. It will be argued such an aesthetic would involve an interplay between visualisation technologies, with their capacity to expand and organize our experience of the world, and visual art’s speculative role on the limits and nature of visual experience.
Streaming:
quicktime

quicktime

05 Aug 2002 – 14:10

900 mins
Topic: The Laboratory as an Art Studio
Speaker: Marta De Menezes
Outline: Menezes discusses her artistic practice in the lab – using DNA labelled with flurochromes to paint the nuclei of human cells, imaging techniques that allow the visualisation of brain activity and creating live butterflies with wing patterns, never seen before in nature.
Related site: http://dunn1.path.ox.ac.uk/~lgraca/nature.htm
Streaming:
quicktime

quicktime


05 Aug 2002 – 14:30

1800 mins
Topic: Meart – The semi living artist (Aka Fish & Chips)
Speaker: Guy Ben-Ary/Thomas DeMarse
Outline: Meart (AkA Fish & Chips) is an on going research & development project conducted in SymbioticA. Meart is a bio-cybernetic project exploring aspects of creativity and artistry in the age of biological technologies. It is assembled from neurons (from embryonic rat cortex) – “wetware”, grown over multi electrode array, software and visual art output device (robotic arm) – hardware. In this talk, Guy Ben-Ary presents the current state of research in the development of a “semi-living artistic entity”.
Related site: http://www.fishandchips.uwa.edu.au
Streaming:
quicktime

quicktime


05 Aug 2002 – 15:00

1500 mins 10 hits
Topic: An emergence of the Semi-Living
Speaker: Ionat Zurr
Outline: Modern biology enables us to objectify living systems and to create Semi-Living beings. As wet biology art practitioners Ionat Zurr and Oron Catts are acutely aware that the Semi-Living beings they create are dependant on their care for survival and well-being. In this presentation Zurr explores the extent to which the TC&NA (Tissue Culture and Art) project can morally manipulate and exploit living and biological systems for human-centric activities. Will the emergece of the Semi-Livings make our society a more caring one or will life become objectified even further?
Related site: http://www.tca.uwa.edu.au
Streaming:
quicktime

quicktime


05 Aug 2002 – 15:45

1200 mins
Topic: The Fine Art of Creating Life
Speaker: Amy Youngs
Outline: Youngs uses electronics, kinetics, sound, insects, plants and pixels to create art about the complex relationship between technology and our changing concepts of nature and self. Her work engages viewers in a visual, tactile and auditory realm, to elicit a dialogue regarding the relationship between technology and our changing concept of nature and self. That technology can simultaneously ruin, reveal, reinvent and repair nature is a paradox Young investigates in this presentation.
Related site: http://www.accad.ohio-state.edu/~ayoungs/
Streaming:
quicktime

quicktime


05 Aug 2002 – 16:05

1500 mins
Topic: The obscured ideologies of Artificial Life: An analysis of the construction and representation of nature through the work of Mark Latham.
Speaker: Grant Taylor
Outline: The politics of the “idea” of nature and its social construction are ideas manifest in Mark Lathams’ art. The digital machine is perceived as a moral free zone, yet is always historically and culturally mediated through scientific discourses and Western attitudes towards nature. Taylor explores the ethical debates of biology virtually created.
Streaming:
quicktime

quicktime


Biennale of Electronic Arts Perth (BEAP)

Wednesday, July 31st, 2002

The Biennale of Electronic Arts, Perth actively embraces the opening of new technological frontiers.

Biennale of Electronic Art Perth 2002 from Paul Thomas on Vimeo.

BEAP is an international event which includes a conference,symposiums, forum and exhibition presenting the theoretical, cultural and philosophical basis of Electronic Arts practice. The inaugural thematic focus for BEAP is LOCUS, the place where we believe consciousness exists. The idea of place is being renegotiated through the developing biological relationships, effecting consciousness. These effects are further confronted through the external input of computer generated and augmented virtual realities. We find ourselves as the centre of this point of convergence, our senses become the portals, our skin becomes the screen between these immersive realties. This portal, this relocated screen, should now be at the forefront of minds, when the skin no longer defines the boundaries of our sense of self.

The Biennale examines these explosions of activities at the intersection of art, science, and technology, by practitioners in the field of developing electronic technologies from Australia and around the world. It will focus on the ongoing need for dialogue and contextualisation to represent the current states in which we will find ourselves.

BEAP shares an interest in the possibilities of using exhibitions and discussion to explore aspects of practice as well as developing networks to critically evaluate work. From Perth the concept of Locus is placed in the wider context of international forums, communicating with other groups and individuals in Australia and overseas.

The John Curtin Gallery and the Studio for Electronic Arts in the School of Art at Curtin University of Technology have sought expressions of interest from artists working either individually or in partnership with scientists to instigate an international electronic arts exhibition. This exhibition will feature cutting edge work from international, national and regional contemporary arts practitioners. The exhibited works will explore the boundaries of new technologies and present them to the public in a challenging and thought provoking way.

There has been a significant attitude shift in recent years with artists and scientists reaching out beyond their own domains and this comes at a time when global economics, fuelled by new developments in science and digital technology, is providing increasing opportunities for artistic and technological interactivity. Artists have always been among the first to apply technological advances to their work, and using electronic and digital technologies for seeing and expressing ideas is becoming commonplace in the scientific arena. This mutual interest in shared electronic and digital tools is fostering a common language between artists and scientists, and the Internet and email enable artists and scientist’s new access to one another. Given all these factors there is now an exciting opportunity for developing collaborative partnerships for informing and inspiring society with the artist and scientist working together in the field of electronic arts.

Director Paul Thomas

http://mass.nomad.net.au/wp-content/uploads/beap/200

SECOND ITERATION: GENERATIVE SYSTEMS IN THE ELECTRONIC ARTS

Friday, December 7th, 2001

Wednesday 5th to Friday 7th December 2001

Second Iteration : emergence is the event for anyone with an interest in the relationship between generative processes, creativity and artistic practice. The key theme will be emergence: the property of simple, interacting processes to acquire characteristics and form beyond those direct to the sum of the individual components. Second Iteration will investigate the discontinuities between poeisis and physis, and how these processes influence the development of creative ideas.

http://www.csse.monash.edu.au/~iterate/SI/index.html

E-volution of New Media

Wednesday, November 28th, 2001

Articles in Vol 21 no 3

The E-volution of New Media Art Full article available

Editorial by Kathy Cleland

An Ecology of OZ Mutant Media

Feature by Jean Poole
Wade Marynowsky, aka Spanky is a software engineer who has coded a new program which allows audio-video samples to be collated for the live performance of a particular ‘song’, triggered live through a preferably loud sound system and video projector. This innovation marks a step forward in the realm of audio-video intersection and hybridisation. The recent emergence of VJ’s (Vidi-yo Jockeys), artists who combine computer and VHS source materials to play with visual rhythms, create atmospheres, tell stories, respond to the music and provide visual stimulus also play a crucial role in this new media arena. Other new media collectives such as Shut up & Shop, Kraftwerk, the Distributed Audio Sequencer Environment crew and Labrat are here discussed. — More »

An End to Technophobia! Risk-Taking the way to go

Feature by Kim Machan
Machan turns the light on and examines the fears associated with technology – mystical secret language, complex software, indecipherable code – and furthermore those associated when art is involved. She proposes that the use of technology in everyday life be an experimental process, more aligned to the ways it is used in an art-based contexts. She states that: “through risk taking with fragile technologies we not only accelerate our knowledge but also accelerate relationships formed from the very human experience with technology”. — More »

Digital Drawing: The Same But Different

Feature by Mike Leggett
Drawing – the use of line and tone – is at the other end of a technology timeline currently unravelling in the digital age of information. The theory and practice of drawing ranges from a tool for honing perceptual disciplines to one that permits the free-flow of the obsessive-compulsive component of our personalities. Leggett looks at the works of artists Paul Thomas, Maria Miranda, Harriet Birks, Alyssa Rothwell, Mr Snow, Peter Callas, Simon Biggs and Damien Everett and the various digital tools they employ to assist in the documenting and ‘drawing out’ of their individual ideas. — More »

Do Art-droids Dream Of Electric Sheep? Full article available

Feature by Danny Butt
Peter Robinson and Jacqueline Fraser were the first two New Zealand artists ever to be included in the Venice Biennale. Both were chosen as a result of their work, rich in conceptual layering and with roots in Maori culture, but wrapped in appealingly conventional presentation styles with plenty of hooks for an international audience. This fact leads Butt to the discussion surrounding the support for New Zealand’s arts and culture sectors, pointing to a few examples such as Cuckoo, The Physics Room web project series and artists such as Sean Kerr and Warren Olds. — More »

Electrobricollage and Popular Culture

Feature by Darren Tofts
Tofts attempts to redefine that which is commonly known as ‘new media art’, as he believes it is out of touch with what’s actually going on in digital culture. He refers to a range of contemporary Australian artists utilising digital media to explore some of the ways old material is appropriated and remediated to present works that are new and unique. Amongst those are Josephine Starrs and Leon Cmielewski, Murray McKeich, Ian Haig, Nicholas Negroponte, David Carson, James Widdowson, Gregory Baldwin, Elena Popa, Greg O’Connor,Troy Innocent, Rebecca Young, Andrew Trevillian and Tina Gonsalvas. — More »

Inframedia Audio: Glitches and Tape Hiss

Feature by Mitchell Whitelaw
This article focuses on that which is known as ‘sound art’, ‘new media art’ or if a label is required the best might be simply ‘audio’. It is not so much a sound as a transparent substrate for organised expression but rather sound being mediated, synthesised, generated, collaged. Furthermore this article looks at the in-between sounds – the glitches, clicks, pops, and CD-skips – with many artists drawing on these entropic internal workings of audio processing systems. Artists include Nam June Paik, Minit, David Haines, Vicky Browne, Andrew Gadow and Netochka Nezvanova. — More »

Interfacing Art, Science and New Media

Feature by Anna Munster
Among the current metaphors used to describe the unfolding relations between art and science, the two ascriptions that have held sway most recently have been those of collaboration and/or intersection. Both art and science have sent out sets of feelers towards each other’s cultures which has in turn produced an overlapping sphere of cultural and intellectual activity. Following Lisa Jardine’s argument, Munster tentatively proposes that “we think through these connections as a process of hybridisation performed by the work of the technical-aesthetic objects themselves” rather than to declare a glorious new age of harmony, unity and productivity between the two. Artists Oron Catts, Ionat Zurr, Guy Ben-Ary, Justine Cooper, Michele Barker and Patricia Piccinini are in reference. — More »

Is Any Body Really There? Hybrid/Performance Arts Full article available

Feature by Keith Gallasch and Virginia Baxter
In a work that refuses language and conventional psychologising, Mary Moore’s production Exile, which opened at the Sydney Spring International Festival of New Music at The Studio, Sydney Opera House in 2000, the ascribed meaning is an experience rich in identification. This is pleasurably disorienting theatre that says it all about the ‘immersive’ experience from 3D to Cinemascope to TODD-AO to Cinema to VR. Other new media performance and installation works are brought into focus such as the Melbourne-based Company in Space work Trial by Video (1997), Liquid Gold by Lisa O’Neill, that of Queensland media artist Keith Armstrong and the Melbourne performance company The Men Who Knew Too Much. —More »

Out of Australia: International Exposure

Feature by Linda Wallace
This article poses the question of what new media art exhibitions, as international exports, can offer to us as a nation, as a ‘new media’ community and as individual artists, and of how they can function in terms of the transmission and propagation of certain ideas and images into what might be called ‘the world brain’. To discuss this Wallace looks at the structure and outcomes of PROBE, the first large-scale exhibition of contemporary, new media art ever held in Beijing which featured the work of Patricia Piccinini, Justine Cooper, Leon Cmielewski/Josephine Starrs, Brenda L. Croft, Zen Yipu and Jen Seevink, as well as including a range of internet sites. — More »

Polemic: An Allergic Reaction – The eminence grise in our Art Schools

Feature by Pat Hoffie
Artist/academic Pat Hoffie has been brooding on the rise and rise of the éminence grise in our teaching institutions and warns of the perils of giving in and being swept along by the current of the times. She is not the only commentator to observe that the visual arts created an irritating skin condition for itself in the eighties when, in search of institutional support, it mimicked the language of ‘professionalism’ and thus unwittingly exposed itself to the corrosive influence of bureaucracy. This is here discussed. — More »

Profile: Jon McCormack’s Evolving Ethics

Feature by Liminal Product
Most readers would probably have noticed that talk about A-life technology (or any technology for that matter) has a definite shelf life. Liminal Product [LP] quizzed internationally acclaimed computer artist Jon McCormack, whose paper [Re]Designing Nature given at dLux media art’s FutureScreen symposium on Artificial Life in October 2000, and recent piece, Eden exhibited at Cyber Cultures, Casula Powerhouse, in the same year, articulate many of the concerns about A-Life that Australian artists grapple with. — More »

Profile: Melinda Rackham’s Online Installations

Feature by Sean Cubitt
Time is the key. They say that the only law of physics that absolutely requires time is the second law of thermodynamics, the law that says systems tend towards entropy. That tendency is time’s arrow, the ineluctable winding down of the universe. Except, of course, for life. — More »

Sarai: New Media Initiative in Delhi

Feature by Samara Mitchell
In Delhi early in 2001, a new media research and development program Sarai: The New Media Initiative was launched carrying the energy and quality of intellectual exchange embedded within the history of the caravanserai, translated through the colourful codes, cants and images of public urban life within India’s cities. Sarai is a bold initiative facilitating formal and informal partnerships within India and internationally between the likes of hackers, philosophers, artists, media theorists, graphic designers, anthropologists, filmmakers and software developers. Some of the names which appear in this article include Meena Nanji, Rehan Ansari, Graham Harwood, Monica Narula, Sarah Neville, Mari Velonaki and Mukhul Kesevan. — More »

The A-gender of Cute Capital

Feature by Larissa Hjorth
One the one hand the notion of the ‘cute’ is seemingly universal and yet it is marked by specific cultural indices and contextual factors. The possible modes of employing the ‘cute’ is evidenced by the practices of Australian artists Martine Corompt and Kate Beynon. Both artists have a strong interest in character culture (ie. comics, cartoons) and their associated vernaculars; in turn they explore and outline different types of ‘cute’ landscapes. Both artists use ambiguity in the case of gender representation and utilise aspects of eastern and western contexts and character traits to create works which reinforce and subvert the constructions of gender, class and culture within the ‘universal’ graphic language. — More »

Update: Support for Australian Media Arts

Feature by Julianne Pierce
Through a process of active lobbying by various people around the country in the mid-eighties, the funding and institutional support for art and technology practice in Australia began to materialise. Some key figures in this push were Stephanie Britton, Louise Dauth and Gary Warner who saw the Australian Network for Art and Technology (ANAT) come into existence. The progress of the Australian new media arts scene is here documented from these early years and the various initiatives and supportive programs and events through to what is now the fundamental arts and cultural practice of the twentieth century. Artists Maria Miranda, Norie Neumark and Mari Velonaki are featured. — More »

Writing on the Net: Nodes and Hypertext

Feature by Linda Carroli
Many new media works contribute to the field of hypertext despite not being concerned with the literary. Corroli refers to Adrian Miles who likes to “think of hypertext as being primarily about links and nodes and their relations, which may or may not privilege words”. This topic is examined using examples where hypertext has become a primary focus such as the partnering of eWRe, trAce Online Writing Centre and ANAT who developed a series of online writing residencies in the late 1990s. Artists also discussed: Anne Walton, Francesca da Rimini, Sally Pryor, Diane Caney and Robin Petterd. — More »