Published 01 September 2019
Published 01 June 2019
Published 01 March 2019
Published 01 December 2018
Published 01 September 2018
Published 01 March 2018
Published 01 December 2017
Published 01 September 2017
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.
Published September 2001
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.
Fleurieu Marine Forms: Engraved Porcelain
JamFactory Craft & Design Centre
19 May - 8 July 2001
Agnieska Golda, Zofia Sleziak, Stephanie Radok, Frances Phoenix, India Flint, Lisa Harms, Julie Robinson
17-24 June 2001
Art Gallery of WA
12 April - 4 June 2001
In a work that refuses language and conventional psychologising, Mary Moores 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 ONeill, that of Queensland media artist Keith Armstrong and the Melbourne performance company The Men Who Knew Too Much.
Contemporary Art Services Tasmania
April 6 - 29 2001
Art Gallery of South Australia
29 June - 26 August 2001
Stephen McLaughlan Gallery
6 - 30 June 2001
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 VJs (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.
Soapbox Gallery, Brisbane
1-27 June 2001
Allure: the Feminine in Print:
Wendy Hutchison, Deborah Klein, Marion Manifold, Heather Shimmen
Memoryware: Ceramics by Pamela Irving
Maroondah Art Gallery, Ringwood, Vic
29 March - 13 May 2001