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Large LED alphanumeric units are mounted in a 13 x 9 grid on the stage tower of this theatre. Like a conventional news sign textual information is scrolled through these elements, but because the alphanumeric units are spaced far apart, the projected information becomes abstracted into a more complex image - it generates a patterning of fragments of words and sentences that appear to weave in and out of the wall of the building. The theatre users interactively program this sign, taking titles and texts from performances that are being presented in the theatre.
Thus the sculpture radiates fragments of texts from the current stage production to the viewers outside, and from a great distance draws attention and makes the building porous to a transfer of information from inside out.
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Net Behaviour is an open email list community for sharing ideas, posting events & opportunities in the area or networked distributed creativity. Also facilitating collaborations.
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ACT - assemblage for collective thought - is an ongoing conceptual and aesthetic collaboration, an assemblage of technologies and techniques for collaboration. It enables participants to think collectively. By 'think' here we do include thinking conceptually. However, following a century that has had to come to terms with thinking through aesthetic processes, we also mean thinking affectively, via images, texts and sounds. More than this, ACT asks what kind of thought is produced in the mix in the middle of the very act of collaboration, when DJing, VJing, dancing in front of a camera perhaps, are all opened up to the mix. Is there a different quality of thought? A different experience of thinking? An especially collaborative thought?
Excerpt from the article: Assembling Collective Thought]]> Excerpt from the online database Australian Sound Design Project]]> Artist Statement
The nine signs for Ogaki in this work originate in Japan during a residency in September 2010 at IAMAS an Art & Science research institute in Japan. During this month I surveyed the small town of Ogaki via bicycle and identified locations suited to digital intervention. Decoding the space, its history and inhabitants to provide context for a new set of codes. These codes were embedded in a work entitled noemaflux developed on site during my time in Japan. This work is an interactive work that creates new experiences of urban space and different ways of seeing the city. The title expresses this meaning.
Description from Vimeo]]> Artist Statement
Autograf is an asemic writing system that generates tags by recombining marks and gestures used in graffiti tagging. The languages generated by this process are both familiar and alien its tags look like letters but remain indecipherable. It is constantly and rapidly reinscribing itself as if being generated by a gang of autonomous mecha-graf artists. The tags consume and erase one another and those that survive reproduce with one another to create stylistic hybrids. The processes behind this interaction are modelled on an experimental ecosystem made of language tags have energy, they live and die, replicate, and may steal or give energy to their neighbours. This ecosystem is sonified the generated soundtrack reflects the ebb and flow of energy in the system.
Description from Vimeo]]> Artist Statement
When ELIZA, the world's first chatbot, was born in the 1960s, users were startled at how much the psychotherapist in the program resembled a human. Since then, chatbots have become increasingly sophisticated; some predict that a computer will pass the Turing test of successfully impersonating a human within the next decade. But in the age of Big Data, does it make sense to say that bots are imitating us? Many already are us, constituted from the thoughts and emotions we share every day online.
B.E.T.T.Y. seeks to draw attention to the ghost in the machine of AI the humans who unwittingly control the wonderful Wizard of Oz from behind the curtain, and crouch inside the Mechanical Turk. Audience members are invited to share their private thoughts with an entity created by data-mining millions of social media messages in real time. Is artificial intelligence really so artificial after all? And do these cyborgian interlocutors lend us an empathetic ear, or cold comfort? B.E.T.T.Y. was a new media installation for the Art Gallery of New South Wales Society Contempo series exhibition in February 2014.
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Activated by the voices of visitors in the real-world gallery and chat messaging from virtual visitors in Second Life, a swarm of letter cubes - programmed to seek out their original word position - slowly builds a morphing, virtual Tower of Babel. This tower is constructed from the utterances of visitors to it, constantly reconfiguring itself according to the artificial stupidity of the individual letter forms. What sorts of conceptual figures are available to think such a thing? The very old: the Tower of Babel from the Book of Genesis, which melds the frightening possibilities of technology, language, and power in a single startling image. And the very new: swarm intelligence as an ideal that expresses how innumerable different individuals can nonetheless come to produce radical innovations in excess of the powers of any one of them and in the midst of apparent disorder.
Babelswarm is a project that draws on the most traditional elements of religion, art, and literature, as it engages with the challenges of a scientific and technological age.
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Banalities for the Perfect House is a collaborative installation & performance work premiered at Sydney's Performance Space theatre on Sept 9 2005. The work posits the house as a condition through which we perceive the world - the city an extension of grid-like structures viewed through the frame of an open window. The performance space is arranged with wooden frames, boards and barricades resembling, in abstract form, a housing construction site. Each surface is rendered with text creating an immersive environment that can literally be read, and heard as speech.
Source of Artist Statement]]> Linz, Rainer]]> Artist Statement
Believe is both a website and a novel which is being written by my fictional character, Theodora Free. It will circulate around ideas about isolation and despair while also trying to find some form of peace/bliss. The novel is still evolving.
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Hidden secrets and interactive layers are packaged by our obsessions with objects and their terrible dark between. Between Treacherous Objects explores the space between various contemporary items/ideas. For example, between the Refrigerator and the Death Bed is a heavy lines and gradual space, where eating can fill your world, ending it as well. There are twelve levels, each playing with the depth of the screen, allowing the user to move in and out and around the floating space.
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Players clean up the kitchen laboratory of a home biotech enthusiast using weapons such as dish cloths and egg flippers. The player is attacked by nasty mutant vegetables which are the product of genetic nouvelle cuisine, and learns throughout the game of a world wide corporate conspiracy to take over the entire food chain. Bio Tek Kitchen: a computer game patch on theme of public IP loss via biotech patenting.
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Multidimensional/interactive cube poem, based on the puzzle, but impossible to solve.
Source of Artist Statement]]> Excerpt from the Australian Sound Design Project]]> Artist Statement
A fancy way/method for branching, poetic lines out of lines, extending the poem down and out, read through node or nodeless. The poetic notion is more than simple. Write a poem, perhaps ten lines long. Then explore each of the lines, imagine poems which might build from them. Your poem might now have three branches extending from the trunk. Now choose lines from the branches and extend those, trees on trees. Geometry is both important and not important. Such meaningless statements are designed to coax vague thoughts an academic wonder. Are you now an academic wonder? You are. You are. Just because I am silly doesn't mean I'm not entirely serious. Whatever that means.
Source of Artist Statement]]> Description from artist's notes.]]> Artist Statement
Carrier is a love story - an intimate romance between invasive virus and sentient host. Carrier eroticises the intertwining of genetic codes, where cross-species merging on the cellular level is sexuality in its rawest form. Carrier is artificial intelligence embedded in the world wide web - viral life swarming within the nervous system of our planet. carrier explores the textures of intersections rather than contrasts of oppositions, elevating invalid code in a symbiotic ecology in both the biological and virtual domains.
Carrier is a becoming symborg model as we emerge into a new millennium, as we seek a way to culturally reposition ourselves to the dissolving natural/artificial/species divide. Carrier positions the contagious virus as a lively agent adapting in response to a changing environment, engaging with, and replicating within the receptive body. Carrier draws blood from immunology and immunosemiotics, integrating the dynamic of interrelating pure codes, whether they be within the immune system or the computer operating system.
Carrier project originated from my research in gender, net art practice and chronic viral illness, with intent to reposition viral infection as positive biological merging with the flesh - a love story with an intelligent being, rather than the defensive medical response to invasion which sites the body as a detached battleground.
Provided by Artist.]]> Excerpt from Australian Sound Design Project]]> ]]> Tammy Suzor]]> Teri Hoskin, An other writing. RealTime
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Clay conversations arose out of collaborative conversations I had with British ceramicist Joanna Still. After several meetings and exchanges, Joanna created some ceramics which evoked various forms of communication, for example a clay book, a calendar, and an abacus, but which also had an abstracted connection with the objects to which they refer. I wrote several short poems in response to Joanna's ceramics, conversations we had, and textual material she sent me (such as a newspaper cutting about Haitians eating clay plates because they could not afford food). My poetry also drew on experiences I had independently, which seemed to connect with the project, such as a visit I made to the Asian Art Museum in San Francisco.
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Colony is part artificial lifeform, part icon of a digital media landscape. The weathered totems use light and sound to communicate with one another in response to human presence. Affect the colour and sound patterns of the artwork by walking through the environment or playing the totems with your iPhone.
Description from Vimeo]]>