a busy week this week...
i've also just found out that i've been awarded an honours scholarship to undertake studies (and develop my "suspect backpack" project) with the Sonic Communications Research Group (SCRG) at Canberra University in 2006.
Saturday, December 17, 2005
outing sounds
i found out this week I've just recieved a Sounding Out grant from the Australia Council for the Arts to assist with development of some alternative HCIs (in this case, accellerometers). This is part of my new solo live performance endeavour - ID-i/o.
I'm using one of Angelo Fraietta's microcontrollers and have been working with Nick Engel from Lake Technology to assist in building some modifications to the board.
the first prototype was performed with at Gadget (at the Australian Choreographic Centre), as part of a collaboration with dpwolf.
I'm using one of Angelo Fraietta's microcontrollers and have been working with Nick Engel from Lake Technology to assist in building some modifications to the board.
the first prototype was performed with at Gadget (at the Australian Choreographic Centre), as part of a collaboration with dpwolf.
summer gadget
performed at an event - gadget - on wednesday 7th december, at the Australian Choreographc Centre. A night of experimental sound and vision...
the line-up included:
alex thorogood + warwick lynch + josh wodak (visuals)
somaya langley + dpwolf (visuals)
steve law
kimmo vennonen
(gadget-7 group improvisation)
mc'd by julian day, the night had a really great feel to it, good to engage in discussion about the performance just witnessed in between each of them.
lots of good feedback about the gig, which should be the start of a series of these events to continue in 2006.
Dave Wolf (aka. dpwolf) and I put together a performance about cities, focussing on images of sites of destruction (video of the Griffin Centre in Canberra - in a semi-demolished state) and sounds of crowded resonant city spaces. Used some new accellerometers to control parameters of the sound. Somehow we managed to pull the piece together, working in a hot environment with loads of bugs and flying insects - not particularly conducive to laptop work.
seditious exhibitions
there's an exhibition that's just wound up at the Casula Powerhouse Arts Centre (see: http://www.casulapowerhouse.com/pages/current.php), which was a response to the new additions to the federal government's anti-terrorism laws. The modification of these laws have many artists concerned - and rightly so - about the potential impact on freedom of speech and how this relates to their artworks.
as part of metasense, i submitted a work based around some graffiti found on a footpath in redfern...
as part of metasense, i submitted a work based around some graffiti found on a footpath in redfern...
Saturday, December 03, 2005
e-performance
attended a day of the e-performance conference at UNSW (http://media.arts.unsw.edu.au/eperformance/program.html)
Norie Neumark and Maria Miranda's presentation on their e.motion project was fantastic and hilarious all at once. Sarah Rubidge's interactive space raises all the questions - the role of an individual, proximity to others and meaningful interaction with a constructed space - that we are all grappling with in developing these interactive environments.
there are still questions lingering in my mind:
Norie Neumark and Maria Miranda's presentation on their e.motion project was fantastic and hilarious all at once. Sarah Rubidge's interactive space raises all the questions - the role of an individual, proximity to others and meaningful interaction with a constructed space - that we are all grappling with in developing these interactive environments.
there are still questions lingering in my mind:
- do immersive spaces really create more immersive art experiences?
- do users/audiences actually gain from these types of experiences?
- do experiences that intend to frustrate the user actually make them contemplate the issue/concept being addressed?
Friday, December 02, 2005
jarring...
once again, i'm jarred by the world [governments] and the way it responds to humanity. and i can only think that behind each government facade, are a group of individuals. each able to speak out against such atrocities, should they choose.
as individuals, we can make the choice, to speak out against things we know in our heart are wrong, and to minimise harm...
so despite the collectives of individuals that gathered all around australia opposing the hanging, still a goverment would not listen to the voices of the people. because they sought to wield their power?
my world jolts like this everyday.
as individuals, we can make the choice, to speak out against things we know in our heart are wrong, and to minimise harm...
so despite the collectives of individuals that gathered all around australia opposing the hanging, still a goverment would not listen to the voices of the people. because they sought to wield their power?
my world jolts like this everyday.
picturing
have just completed interfaces for the National Library of Australia's pictures delivery system - released this week.
http://nla.gov.au/nla.pic-an13385070
http://nla.gov.au/nla.pic-an13385070
Monday, November 14, 2005
dissenting voices
As most of you who keep an ear/eye on the media, the review of the Sedition Laws looks positively terror-fying for artists...
Freedom of speech and freedom of expression are one of the few things that we consider our right as Australians living in Australia in the current day and age. (Perhaps we just take it for granted...) As creators, artists, musicians, media makers (the list is long) - our work embodies our beliefs, and so perhaps we are first in the "firing line", should these restrictive laws come into effect.
The current situation that has emerged over the past two weeks makes the ground we stand on seem infintely less stable, and crumbling at an exponential rate...
For more information take a look at:
http://www.ozsedition.blogspot.com/
and more info at:
http://www.newmatilda.com.au
and the independent media sites, such as: http://www.indymedia.org.au/
Freedom of speech and freedom of expression are one of the few things that we consider our right as Australians living in Australia in the current day and age. (Perhaps we just take it for granted...) As creators, artists, musicians, media makers (the list is long) - our work embodies our beliefs, and so perhaps we are first in the "firing line", should these restrictive laws come into effect.
The current situation that has emerged over the past two weeks makes the ground we stand on seem infintely less stable, and crumbling at an exponential rate...
For more information take a look at:
http://www.ozsedition.blogspot.com/
and more info at:
http://www.newmatilda.com.au
and the independent media sites, such as: http://www.indymedia.org.au/
Tuesday, November 01, 2005
Liquid Architecture 6 - Public Office, Melbourne, 2nd July 2005sounding passionate
Ten Minutes of Passion
Radio producers and sound artists from across the country have melded archival audio and contemporary sound to explore love, anger and obsession – in short the emotions of passion.
Now it’s listeners’ turn to experience Ten Minutes of Passion, an innovative new radio series commissioned by the National Film and Sound Archive (a division of the Australian Film Commission) and the Community Broadcasting Association of Australia (CBAA). The series will be available free of charge to any CBAA affiliated station for inclusion in local programming from early November.
The ten 10-minute mini-features, documentaries and soundscapes are suitable for general programming, arts segments or any program with a political, social, cultural or historical focus.
Australia’s audio heritage is showcased through such diverse projects as:
John Sheridan and Paul Kelly’s A Passion For Early Radio, a journey back to the pre-television era of radio - a time when the public received global news from the radio and listened with fascination.
Brendon Kennedy’s Audio Nullius, an experimental radio play focusing on acoustic archaeologists who sift the cosmos for relics of past civilisations.
Artan Jama and Simon Winkler’s Australian Cultural Identity, an audio montage that attempts to define Australia’s identity by exploring soccer, the television program Neighbours and Indigenous reconciliation.
Jillian Bartlett’s Gunzels, a radio documentary about a group of eccentric people who share an obsession with, and commitment to, buses.
Mykel Carlier’s Fathom, an avant-garde sound collage fusing the many layers of perspective and emotion found in archival audio.
Michelle O’Connor’s Love Stories, which explores whether the experience of falling in love is the same for everyone.
Somaya Langley’s Passion in the Protest, a personal exploration of the extraordinary passion found in protests.
Rob Willis’ Stand Up and Sing, a mini-documentary about Australia’s passion for music and song from 1897 to the present.
Michael Kraaz‘s The Billabong Bolt, about a long forgotten Australian superhero who explores the Archive’s collection and wonders why he wasn’t chosen as an icon.
Richard Allen’s The Kimberly Under Attack, a radio documentary that explores the influence of World War Two on the Kimberly region via first hand stories relating to the area.
Radio producers and sound artists from across the country have melded archival audio and contemporary sound to explore love, anger and obsession – in short the emotions of passion.
Now it’s listeners’ turn to experience Ten Minutes of Passion, an innovative new radio series commissioned by the National Film and Sound Archive (a division of the Australian Film Commission) and the Community Broadcasting Association of Australia (CBAA). The series will be available free of charge to any CBAA affiliated station for inclusion in local programming from early November.
The ten 10-minute mini-features, documentaries and soundscapes are suitable for general programming, arts segments or any program with a political, social, cultural or historical focus.
Australia’s audio heritage is showcased through such diverse projects as:
John Sheridan and Paul Kelly’s A Passion For Early Radio, a journey back to the pre-television era of radio - a time when the public received global news from the radio and listened with fascination.
Brendon Kennedy’s Audio Nullius, an experimental radio play focusing on acoustic archaeologists who sift the cosmos for relics of past civilisations.
Artan Jama and Simon Winkler’s Australian Cultural Identity, an audio montage that attempts to define Australia’s identity by exploring soccer, the television program Neighbours and Indigenous reconciliation.
Jillian Bartlett’s Gunzels, a radio documentary about a group of eccentric people who share an obsession with, and commitment to, buses.
Mykel Carlier’s Fathom, an avant-garde sound collage fusing the many layers of perspective and emotion found in archival audio.
Michelle O’Connor’s Love Stories, which explores whether the experience of falling in love is the same for everyone.
Somaya Langley’s Passion in the Protest, a personal exploration of the extraordinary passion found in protests.
Rob Willis’ Stand Up and Sing, a mini-documentary about Australia’s passion for music and song from 1897 to the present.
Michael Kraaz‘s The Billabong Bolt, about a long forgotten Australian superhero who explores the Archive’s collection and wonders why he wasn’t chosen as an icon.
Richard Allen’s The Kimberly Under Attack, a radio documentary that explores the influence of World War Two on the Kimberly region via first hand stories relating to the area.
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