Fragments of 21st century visual culture, traces of 19th century machines, and a taste for mid-twentieth century systems and silence, all wrapped in a generous dose of millennial manifesto and utopia.
Perhaps in 1972 this was the right place to leave the art machine: bashing at the operations of modernity…
Increasingly complex laws of compensation, cause and effect replaced the deodand, but the nonhuman objects and their crimes did not go away.
The spell of the city remained outside in the dreamspace of travel.
Paik’s works bought together a commitment to indeterminism, a deep knowledge of information systems, and a playful attention to the materials of communication.
All night silence: Live experimental sound in New Zealand public art galleries. At its best, experimental sound in public gallery spaces activates the gallery, and leaves listeners with a profound experience of all night silence.
Does the robot machine now patrolling the major galleries of the world suggest new methods for engaging with art, accidental spaces of machinic vision, New Aesthetics?
What is accidental about documentary? How should the accident be documented? In what ways is the accident productive of new aesthetics and new ways of thinking?
I was asked to make a list of New Zealand media artists currently doing interesting things. This is only a beginning.
the first emperor penguin spotted in the wild in New Zealand in 44 years
As we enter into this communal space the oscillations of abstraction become clear.
what are the most important social/ political and aesthetic events of the twenty-first century?
Enola simultaneously miniaturieses and displaces the histories and expectations of cinema.
The wow factor is the selected images that are at gigapixel quality, in the galleries though the same digital debris appear as out on the road.
Digital Literacy is not about teaching something that is separate to what the students do, rather, it applies across all visual arts disciplines.
What drives art into the twenty-first century? Why keep making objects, images, events, experiences?
This remote conversation will test the materials of digital networks, hosts and remote relays to enable an open discussion of the materiality of the digital.
Immediacy determines the kinds of experiential engagements that propel me to write.
This essay weaves together a discussion of the viewer experience of three of et al.’s recent installations with a consideration of the histories of informatics on which they draw.
The talk examines the ecological, economic, political, and technological history of utopian dreams.
PSN Electronic play The Substation as part of etherradio curated by Zita Joyce for Cloudland: Digital Art from Aotearoa at ISEA Singapore, July 2008.
PSN Electronic play “10 years of bad sleep” at the Dunedin Public Art Gallery in support of Chris Watson. 8 October 2009.
The restraint of the contrivance. On my first visit, a man beside me got extremely agitated and started shouting at the screen, swearing in German, “it is all nonsense”.
Steichen won many prizes for his cross-breeding of Delphiniums and at one time planted 5 acres of his Connecticut home with the flowers.
Engagements with Erewhon suggest an ongoing commitment to a potential future elsewhere and to the construction of media histories that are embedded in concrete locations.
Gallery Machines traces a critical art history of the tensions, resonances and disruptions found in the encounter between new media, sound, image and the art gallery.
Max Bellamy layers a mythic-biology with an acute awareness of what it means to exist in a hyper-real world.
It is a comfortable fiction to say that we know precisely where one thing begins and another ends.
ENOLA makes a final slip from the grasp of cinema, and becomes a vision machine.
In Aotearoa New Zealand artists playing with and shifting the distinct materialities of sound and image enabled by, and in response to, digital technologies have generated significant bodies of work.