Writing on the Net: Nodes and Hypertext

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 from this Issue

Do Art-droids Dream Of Electric Sheep?

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.

Danny Butt

Digital Drawing: The Same But Different

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.

Mike Leggett

Winterbodies

Agnieska Golda, Zofia Sleziak, Stephanie Radok, Frances Phoenix, India Flint, Lisa Harms, Julie Robinson Wayville Showgrounds Adelaide 17-24 June 2001

Cath Kenneally

Robert Klippel 1920-2001

Robert Klippel 1920 - 2001

Geoffrey Legge

Digital Luggage and Meaningful Relationships

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.

Kim Machan

A Studio in Paris

5 May - 1 July S H Ervin Gallery Sydney

Ella Barclay

Out of Australia: International Exposure

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.

Linda Wallace