Artist Statement
Two teams, warriors all, enter the great cycle of pain, humiliation, and exhilaration. Different women take the lead, driven by a new and ardent desire. Some come from the Furies, expressing the unappeasable anger of the dead, while alluring others are descended from the Sirens, liberated from their meadow starred with flowers. Streaming forward are the daughters of the Sibyls, each violent twist and collision triggering a momentary collapse in time through which their bodies can sing the future. Fragments of ecstatic prophesies spit out through the screen, interrupted by an occasional image of life at its most minuscule, revealing universes within universes. We struggle to make sense of the formless, the imperceptible. We struggle to name our fear, yet once we recognise it, we become liberated. Over time the women's power and courage increases. They are formidable, licking the future into shape. As they fall to their knees, the Invisible emerges through a bed of skulls into the yawn of radiance.
Description from Bump Projects]]> Artist Statement
Imaginative Reading V is a collaborative web site in 15 paragraphs. A female academic writer is exploring how aspects of her thesis on intertextuality might be "written" in the future by the baby she bore while doing her PhD. A male artist interacts with this writing and develops the writing into both static and moving images and written text. There is a play across genders, textual media, academies vs independence and both artists and writers. Imaginative Reading V is also designed to be read as a fiction, though, and hopefully as something that traverses generic boundaries in order to be open-ended ...
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]]> The Cross Art Projects website, an initiative for Contemporary Art and Curatorial Platforms]]> Gillian Fuller]]> Artist Statement
In 1829-30 the explorer Charles Sturt and his party hauled a whaling boat over the mountains to sail downstream along the Murrumbidgee River to the Murray in search of an imaginary inland sea. Beginning in Sydney, the artists made a (miniature - paper) whaling boat to take along Sturt's trail, the boat acting as a transportation/transformation device for their journey into memory and imagination. Making paper boats with found material along the way, and then with videos and soundtracks, they updated Sturt's journey as a performative media event for the 21st century. Three soundtracks, three scenes and a pile of paper boats.
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This video by Josephine Starrs & Leon Cmielewski embeds the words 'a living body' into an image of the Coorong, South Australia. This is how Tom Trevorrow, a Ngarrindjeri elder and custodian described the Coorong wetlands.
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Incompatible Elements is an ongoing project that evolved during an artist residency at Performance Space, Carriageworks. The media art installation explores ways of representing the relationship between nature and culture, embedding poetic texts into animated satellite images of landscapes in crisis due to the effects of climate change in the Asia/Pacific region.
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Inside/outside intertextuality is a collection of fragments relating to text, new technologies, identity and language. Both text and language are considered in their broadest contexts: as entities which transmute as they voyage across the parallel virtualities of technology and readerly space. I argue that identity is splintered enmeshments ...There are no strict conclusions in this composite text which I regard as always already entangling with a vast world (while it is being read): that of the multi-faceted virtual realities of its reader(s).
Source of Artist Statement]]> Excerpt from Drunken Boat, an online journal of art and literature. Issue No.12]]> Artist Statement
A mixed media installation exploring the female body and alien conspiracy theories.
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Transcending the realm of the anecdotal, in the dark magic space of the shell, the artist divines classic texts, reconfigures it into lists, a literary pirate she reveals its treasure. Using command tools (cat, sed, grep, regex) from GNU/Linux community, in this particular work the artist parses through the essay 'A Room of One's Own' by Virginia Woolf, the semiotic analysis transfigures the work into its essence. Woolf's essay, a cogent masterpiece, sharply references the writer's experience and the place of women characters in the University, in fiction and in society per se.
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IUXTA investigates the narrative possibilities of the network. IUXTA generates a user generated, augmented reality network will evolve across world. I invite you to participate in this multi-nodal narrative, a narrative that is always in a flux of fragmentation and recombination. Chapter 1 was presented as part of ISEA 2013 and now Chapter 2 begins to evolve centered around Adelaide and ISMAR 2013. In IUXTA I ask you to help spread and embed my own personal and historical narrative into the physical world around us. Over time, this narrative will proliferate according to its own inner logic. You can use the IUXTA mobile viewer to observe and listen to the narrative's current state in real time and in relation to your own physical location. You can also use the IUXTA web app not available on mobile devices) to explore a simulation of the narrative network. Physical locations where narrative nodes are concentrated are marked but not labeled. The IUXTA app is now available on the app store and the Google play store.
IUXTA Project website]]> Excerpt of Leonardo Flores' description, I love E-Poetry]]> Artist Statement
In The Legible City the visitor is able to ride a stationary bicycle through a simulated representation of a city that is constituted by computer-generated three-dimensional letters that form words and sentences along the sides of the streets. Using the ground plans of actual cities - Manhattan, Amsterdam and Karlsruhe - the existing architecture of these cities is completely replaced by textual formations written and compiled by Dirk Groeneveld. Travelling through these cities of words is consequently a journey of reading; choosing the path one takes is a choice of texts as well as their spontaneous juxtapositions and conjunctions of meaning.
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Venice is usually presented as an anachronism: a ‘timeless’ or even anti-modern city, whose only practical use in the twenty-first century is as a catalogue of picturesque motifs (gondolas, reflected bridges, maskers). Precisely because of its exceptional nature, however, the city offers unique opportunities to rethink or question the idea of modernity.

The figures on the grid indicate how long it takes to travel between the locations from which successive photographs were taken, either on foot o (when necessary) by boat. Times are given in seconds, minutes or hours.

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Life After Wartime is a suite of multimedia artworks by Kate Richards and Ross Gibson. Based on 3000 archival scene-of-crime images from Sydney and thousands of evocative texts by Gibson, each iteration within the suite uses various design and interaction techniques to engage its audience. The suite comprises: Crime Scene 1999-2000 Justice & Police Museum Sydney and touring; Darkness Loiters 2000 an interactive story engine; Life After Wartime CD-ROM 2003 exhibited nationally and internationally, for sale through the artists, funded by the Australian Film Commission. Life After Wartime live with The Necks Adelaide Fringe Festival 2001 and Sydney Opera House 2003 a live improvised event with world renowned jazz trio The Necks; Street XRays 2005 Gibson's re-photography installation at ACMI. Bystander 2007 a 5 channel interactive and immersive video installation at The Performance Space@CarriageWorks Sydney 2007.
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Bystander is an immersive environment composed of photographs, sequences of short text, and musical patterns that all knit together to conjure haunting moods and stories for a large, darkened gallery space. The images, texts and sound files of Bystander are all governed by computer systems to form an environment that responds evermore intelligently, semantically and aesthetically to the behaviour of visitors interacting with the historical material over time. Feedback relationships develop between the visitors and the environment so that the 'eco-system' of Bystander offers emergent patterns of narrative and ever-altering rhythms of dynamic reaction.
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A growing area of cultural and technology theory and practice that centres on how technology recreates/reforms our relationship with the land/builtscape. LNM is not depended on any particular tech, not are new tech innovations needed. Rather it is how the technology is used in the context of human spatial relationships research.
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Long Time, No See? is a collaborative, online artwork that focuses Australian and global audiences upon our long-term futures. The project seeks to link the local and the everyday with the global and the distant future, generatively mapping the ever-changing relationships between each project participants' ideas and visions. The raw content for the artwork is created by members of the general public undertaking walks in their local communities, assisted by a custom Smartphone App that choreographs and records their creative processes and physical journeys. The online artwork then presents this content relationally along with other generative media and sound. In all of these ways the project engages new audiences and participants to collaboratively 'design' pathways towards feasible and 'sustain-able' long term futures. Participants in locations across Australia and the world will each get the chance to share their visions of long futures and be enabled to collaborate, imagine, reflect, learn and act for change through optional local workshop processes.
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