Artist Statement
Think about Ludea as a 21st century version of the board game Ludo. On the streets of Melbourne three warring cultures struggle for territory: Neo-Materialists use traditional forms of communication such as words. Post-Symbolics communicate only through images, and Post-Humans are reliant on machines for communication. Each tribe gathers resources and tags in colour - Neo-Materialist orange, Post-Symbolic green and Post-Human blue. Victory goes to the clan that achieves the widest domain. Ludea is a micro-nation seeping into our own world and visible for the first time.
Description from Vimeo]]> Teri Hoskin, excerpt from lux: notes for an electronic writing]]> Description from Lux: Notes for an electronic writing website]]> Teri Hoskin, excerpt from lux: notes for an electronic writing]]> Excerpt from Australian Sound Design Project]]> Excerpt from the Australian Sound Design Project]]> Source of Description: Griffith University Art Collection]]> Excerpt from PennSound, Center For Programs In Contemporary Writing]]> Artist Statement
Development stage of a multi-disciplinary performance work based on the notebooks of First Fleet marine / astronomer / surveyor William Dawes who recorded his encounters between 1788-1790 with the indigenous peoples of the Sydney foreshore area most notably young Cadigal woman, Patyegarang.[...]The live action process will involve the opening up of the primary source notebook text through the actor's physiology of movement, voice, physical and emotional inter-relationships with Dawes text (words, correction marks, and spaces/silences between the words) and each other. Other source material will be diaries and letters that refer to Dawes and Patyegarang (i.e., Elizabeth Macarthur's letters & journals).
The secondary source material will be current writings and interpretations of their encounter (i.e. Inga Clendinnen's Dancing With Strangers). The other source text will be what the artists bring of themselves to the work, personal text, cultural stories, constellation and creation myths and their 'speakings back' to Dawes and Patyegarang from varying viewpoints. We aim to devise a chorus ensemble of indigenous performers to counterpoint the dual Dawes Patyegarang protagonist/s structure.
Source of Artist Statement]]> Gillian Fuller]]> Excerpt from the Center for Art and Visual Culture
]]> The object of the game is to guess the movie through summary cues and a film excerpt. There are only nine (re)colonisation techniques named here, but there are plenty more. If you don’t recognise these movies then when you’re next on the couch – keep your sharp eye open. If you do recognise these colonisation techniques, then you need to get off the couch – with your sharp tongue! keep naming the movies."]]> Artist Statement
Cloned sheep with teeth outside their skulls, recreate the cloning gone bad process with a hyperpoetic context. Includes an embarrassingly bad "matrix" interface.
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Hacking a roller-ball mouse to separate the x and y axes of cursor control. horizontal cursor-movement is controlled by the arms, with vertical movement controlled by the legs. By working across two computers two texts are produced simultaneously.
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Noemaflux describes an act of shifting perception. The work is centered on an augmented reality that enables different ways of seeing the city. Participants use AR markers and generative writing systems to create an experience of abstract virtual art in urban environments.
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Notes for Walking (the space in between time), [is] a locative artwork and app developed for Middle Head National Park, an abandoned naval fort in Sydney, NSW, and [was] presented during the Sydney Festival, 2013. In Notes for Walking, thirteen short video notes are electronically tagged to features of landscape, asking audiences to contemplate notions of waiting, time and impermanence as they walk the site. The project emerges from doctoral research into Buddhist pilgrimage, meaningful landscapes and the goeika poems of the 88 Temple pilgrimage of Shikoku, Japan, and the ways in which contemporary approaches to landscape and spatial narrative may intersect with earlier practices.
Description from Vimeo]]> Artist Statement
Of day, of night ( 2002) is a major interactive narrative/ electronic hypertext operating at the intersection of narrative and interactive forms. Funded by the Australian Film Commission, the project integrates video, audio, stills, and textual elements into a rich interactive narrative environment.
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Twills is a generative video work, dynamic and mostly text-based. It was projected on the wall in the show and explores the roles of medication in contemporary life and the complex responses people have to these. I harvested twitter for several months in 2013 looking for interesting tweets containing the words pills or medication and built a database of over 500 tweets. Then I wrote a program to assemble random collections of tweets into structured collages of these many different hopes, fears, problems, solutions and experiences of medication. People are remarkably candid on twitter and their tweets are thought-provoking in themselves, but when they are combined in unexpected ways, new stories are continually generated.
Source of Artist Statement]]> Excerpt from the Australian Sound Design Project]]> Excerpt from Other[wize] essay, Linda Carroli]]> Artist Statement
other[wize] is a new media arts project that celebrates the lives of Yugambeh family members that were moved from their traditional homelands in SE "Queensland", to work on properties in the Gulf of Carpentaria. The project highlights an era of 1800's colonial australia and explores the prickly issues of Native Policing, dispossession, displacement, massacres and survival [… ]other[wize] is an interactive work where stories are imparted through the use of family photographs, video, audio, and text - including Yugambeh language and relevant historical documents. The 'objects' are representative of important people or events and they transport the viewer to a story about someone from the past […] Events evolve in a non-linear way, grasping at the unknown, not sure of what will be found or how it relates to other information, until perhaps another time, leaving the viewer without a Narrator. This concept reflects how many Aboriginal people experience family histories. The viewer has the opportunity to experience a similar 'fragmentation' of history and they might think about their own relationship to place and times.]]>