Issue 57

As an organisation supporting the development of new media arts practice in Australia, ANAT aims to support artists and practitioners across a wide spectrum of artforms. Increasingly ANAT promotes dialogue and practice across a variety of disciplines including visual arts, performance, dance, film, architecture, design, sound etc. – reflecting the shifting evolution of singular artforms and disciplines into more hybrid and multi-layered forms. (more…)

Melbourne’s festival of sound art, Liquid Architecture, originated in 2000 at RMIT University, when RMIT’s Union Arts offered the ((tRansMIT)) student sound collective the chance to stage a festival promoting the talents of ((tRansMIT)) members. Since then, Liquid Architecture has grown to the point where it is now attracting top-line international guests, while still holding true to the promotion of local talent. (more…)

Sound is a visceral substance inhabiting air, water and three dimensional space while driving the temporal domain. The concept of time-space is complex and open to stylistic and cultural variation. Sound art merges visual space, and time-space, in acoustic space. (more…)

Imagine a child of the ‘jet-age’ in an unobtrusive coastal village living mid-way between the dwelling of Blake, the artist, poet and visionary and that of his friend, the scientist and astronomer Halley. With eyes wide open to technics and ears tuned to poetics come some brief reminiscences…… (more…)

In March this year with ANAT’s assistance I travelled to China for the first Dashanzi International Art Festival in Beijing. Initially the invitation to the festival was to show my work Close in the Transborder Language 2004 – Volume Control component of the festival. With ANAT’s support I extended the scope of the trip to include preliminary research for a sound art project in China. (more…)

The theme for Transmediale 04 was Fly Utopia—there is hope there is no hope. This offered interesting conceptual territory in terms of cultural theory and worried at the ongoing question as to the purpose and value of art, particularly digitally and electronically mediated art. Do the tools media artists use serve as formidable weapons in a techno-dystopic world, or do they allow us to escape into collective utopian imaginings? (more…)

In March and April 2004 I travelled to Helsinki for PixelACHE 2004 DIY Electronic Arts Festival: Audiovisual Architecture. During the first weekend of the festival I caught the ferry to Stockholm with 15 artists and crew to present a solo exhibition and performance at Sauna Gallery, participated in artists’ talks at CRAC (Creative Room for Art and Computing) and attended audiovisual club nights at Metro Club and legendary experimental music venue Club Fylkingen. (more…)

I was able to meet the artist Larissa Linnell, during the final stages of her site-specific installation.  Using a slide projector as a guide, she was completing a floor-to-ceiling pattern. Thousands of red and grey crayon dots of slightly differing shades were accumulating on the short wall at the far end of the space. (more…)

Futuresonic produced its first festival in 1996, primarily celebrating the famous Manchester music scene. Over the years the festival has integrated visual and interactive works, leading to this year’s 50/50 music and media art split. (more…)

Adam Nash is a performance artist exploring 3-D multi-user virtual space as a live performance medium. He teaches multimedia at RMIT, Melbourne; and is a writer/reviewer for Digital Media World Magazine. (more…)