The Biennale of Electronic Arts, Perth actively embraces the opening of new technological frontiers.
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
|I offer a very critical account of technology and of technology 's impact on the world. I'm not the only one to do this – everybody speaks of technology in this way. But now having reconsidered technology … I'm beginning to formulate another hypothesis … In other words, there's a difference of vision. Let's say that the rather critical or pejorative vision of technology represents a first position.Now, from a second position, I'm more interested in seeing technology as an instrument of magic … Up to now I think that technology has been analysed in too realistic a way … it has been typecast as a medium of alienation and depersonalisation. That's what we've done, and that's what we're continuing to do in analyses of virtual reality – it's possible to continue forever in this sort of direction.
But I sense now that a sort of reversal of focus is taking place … I'll always continue to offer a radically critical analysis of media and technology – one's obliged to do this. But it's also necessary to identify another sort of analysis – a more subtle form of analysis than that one.
– Jean Baudrillard (Paris, 4 June, 1993)
INTRODUCTION: Contemplating Electronic Arts
PETER ANDERSON – Tim Gruchy: Electronic Media Art, Popular Culture and the Experimental Avant-Garde
ARF ARF Interviewed by Nicholas Zurbrugg
ROS BANDT Technology in Australian Sound Installations: Three Recent Approaches
WARREN BURT Installation at Experimenta: Fighting the “So-What” Factor in Electronic Art
WARREN BURT Thoughts on Physicality and Interaction in Current Electronic Music and Art
WARREN BURT Collaborating with Amanda Stewart- Interviewed by Nicholas Zurbrugg
PETER CALLAS Interviewed by Nicholas Zurbrugg
SUSAN CHARLTON – Six Degrees of Freedom: Apres Orlan
HENRI CHOPIN – Concerning Chris Mann
JOHN CONOMOS – Rethinking Australian Video in the Nineties
GRAHAM COULTER SM TH – Exploring the Technological Other: Robyn Stacey and Rosemary Laing
DIRK DE BRUYN Tex
t – Texture – Gesture
LINDA DEMENT – Interviewed by Glenda Nalder
LINDA DEMENT The Tales of Typhoid Mary Strip #4
LYN GALLACHER Of Course: A Grammatical Tech Check
ERIC GIDNEY & TONI ROBERTSON Computer Communications for Visual Designers
JOHN GILLIES Interviewed by Nicholas Zurbrugg
JAMES HARLEY & SHIRALEE SAUL A.I.P.: An Installation Publication
LEIGH HOBBA 'Between the glaze and the surface' – Five Uneasy Fragments
BETH JACKSON – Self-Inscription in the Work of Doppio Teatro, Tracey Moffatt and Linda Dement: An Interpretation of Feminist Use of Technology according to Deleuze's Writings on Masochism
ANNE KIRKER – Bashir Baraki and Pat Hoffie: Extending the Vernacular of Prints
FELONIUS KRANK The Snuff-Jazz Conspiracy
BRIAN LANGER Video Art and the Australian International Video Festival
BRIAN LANGER – Chronology of the Australian International Video Festival
ANNE MARSH Bad Futures: Performing the Obsolete Body
MARTIN Hold Back the Dawn: Notes on the Position of Experimental Film in Australia 1993
ANDREW MCLENNAN A Brief Topography of Australian Sound Art and Experimental Broadcasting
CATHIE PAYNE Visible Spaces, Electronic Records: John Conomos and Tracey Moffatt
SIMON PENNY Working in Electronic Media
TONI ROSS – Portrait of the Artist as Photocopier: Jane Richens
SAM SCHOENBAUM – The Electronic Paws of Jill Scott
JILL SCOTT Paradise Tossed
BILL SEAMAN The Emergence of New Electronic Forms in Australian Art – Rodney Berry. John Colette, Linda Dement, Phillip George, Joyce Hinterding, Jon McCormack, Stelarc, VNS Matrix
ZOE SOFIA Technoscientific Poeisis: Joan Brassil, Joyce Hinterding, Sarah Waterson
STELARC – Interviewed by Martin Thomas: “Just Beaut to Have Three Hands”
URSZULA SZULAKOWSKA – Rose Farrell and George Parkin: Art History and “Primitivism” in Contemporary Australian Performance Photography
DAVID TAFLER – Does the Outback Represent the Centre? Tracing Electronic Art Tracks across Australia
VNS MATRIX AND VIRGINIA BARRATT – Interviewed by Bernadette Flynn
LINDA WALLACE 2000 Thunderstorms: Joyce Hinterding
JOHN WALLER – Interviewed by Nicholas Zurbrugg
LARRY WENDT Sentient Percussion: Ernie Althoff's Music Machines
ADAM WOLTER “So you want to be a computer artist”?