https://hdl.handle.net/2123/9475 2026-06-12T23:33:56Z https://hdl.handle.net/2123/9863 Cybernetics in Society and Art Jones, Stephen This paper argues that cybernetics is a description of systems in conversation: that is, it is about systems “talking” to each other, engaging in processes through which information is communicated or exchanged between each system or each element in a particular system, say a body or a society. It proposes that cybernetics describes the process, or mechanism, that lies at the basis of all conversation and interaction and that this factor makes it valuable for the analysis of not only electronic communication systems but also of societal organisation and intra-communication and for interaction within the visual/electronic arts. The paper discusses the actual process of Cybernetics as a feedback driven mechanism for the self-regulation of a collection of logically linked objects (i.e., a system). These may constitute a machine of some sort, a biological body, a society or an interactive artwork and its interlocutors. The paper then looks at a variety of examples of systems that operate through cybernetic principles and thus demonstrate various aspects of the cybernetic process. After a discussion of the basic principles using the primary example of a thermostat, the paper looks at Stafford Beer's Cybersyn project developed for the self-regulation of the Chilean economy. Following this it examines the conversational, i.e., interactive, behaviour of a number of artworks, beginning with Gordon Pask's Colloquy of Mobiles developed for Cybernetic Serendipity in 1968. It then looks at some Australian and international examples of interactive art that show various levels of cybernetic behaviours. These include Stan Osotja-Kotkowski's interactive paintings of the early 1970s, Mari Velonaki's Fish-Bird robotics project circa 2006 and Stelarc's Prosthetic Head (2003-2009). 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9862 Unhomely Richards, Kate As winter’s dusk encroaches on The Rocks, under the shadowy reach of the Sydney Harbour Bridge, anonymous and unnoticed by the lively crowds, the shutters open, and the blank upper windows flash alive in vacant Reynold’s Cottage. Through the unraveling night the cottage innards twist and flutter, spit and ooze with glimpses of disarray, despair and turmoil, the windows spirit-lenses on the turbulent world of mid-twentieth century Sydney. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9816 Repeating the past: lessons for visualisation from the history of computer art. Schofield, Tom The development of critical discourse and experimental practices in computer art of the 1960s and 1970s was informed by new forms of collaboration between artists, scientists and institutions. This paper acknowledges the debt owed by modern visualization practice to developments of this period but suggests that much of the artistic and philosophical legacy has been largely ignored in this area. It is argued that criticality in visualization practice should be informed by a number of aspects of 1960s and 1970s computer art practice, including implications for collaborative practice, thinking about mediation, and the integration of aesthetics with life experience. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9819 GestureCloud: gesture, surplus value and collaborative art exchange. Doyle, Judith; Jun, Fei GestureCloud is an art collaboration founded by Beijing-based artist Fei Jun and Toronto-based artist Judith Doyle. At the ISEA2013 Creators Session, GestureCloud discussed its collaborative research-creation methodology and gave a demonstration of its Xbox Kinect 3D depth camera modified for motion capture. In addition to describing past and current artistic projects, this text expands on the theoretical concerns raised at GestureCloud’s ISEA presentation, such as embodiment in the post-digital present and the changing status of labour. Particular attention is paid to networked installations that harness gesture to trigger physical effects between locations. Different types of value (economic, documentary, social) that may be attributed to gesture are also considered. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9818 CRUMB doctoral research: reflections on creating and exhibiting digital art. Bradbury, Victoria; Ghidini, Marialaura; Hunter, Roddy; O'Hara, Suzy; Smith, Dominic Based on doctoral research undertaken at CRUMB, the online resource for curators of media arts, this paper gathers together knowledge from different experiences of producing and presenting digital arts, from the perspectives of both curators/producers and artists. Suzy O’Hara reflects on art, technology, and the commercial digital sector, Marialaura Ghidini discusses hybrid models of offline and online curating, Dominic Smith writes about models of open source production compared to participative systems in new media art, Victoria Bradbury investigates the performativity of code, and Roddy Hunter identifies curatorial models of practice that articulate the principles of The Eternal Network. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9817 Humpy: An early Australian Architectural Projection Gillespie, Alexandra In Australia’s Bicentennial year 1988, which marked 200 years of European colonisation, an important artistic collaboration occurred between Ian de Gruchy and Krzysztof Wodiczko. Their site specific installation Humpy commented on the ongoing politics of Indigenous dispossession and loss of place. They are artists who helped to develop the practice of projecting large-scale images onto architecture. While the work was critically ignored at the time, it has become increasingly relevant as historians, architects and artists research and reference Indigenous architectural forms. The ongoing currency of the artist’s political commentary on Indigenous loss of place is another important element of the work’s continuing resonance. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9815 Traces – 'reading' the environment. Bongers, Bert This paper looks particularly at informal and implicit sources of information in our environment, how we can read this kind of information, and how the information has come about. The paper focuses on implicit information and ‘reading the environment’, with examples from practice, and presents an art project that investigates this notion through an interactive video installation. This installation, called ‘Traces’, presented interactive videos and photographs of two types of human-made traces, revealing past behaviours and/or intentions. It took, for instance, the skidmarks of cars on roads as input for a process of video manipulation and a recorded sonification. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9757 Exquisite, apart: remoteness and/as resistance. Walker, Charles; Tiatia, Angela; Antonczak, Laurent; Eimke, Andrea; Watkins, Clinton It has become routine to characterise digital art as indicative of an assumed universal shift from ‘traditional’ practic-es towards novel forms of cultural pro-duction, interaction and consumption. Frequently, running parallel to this is the assertion that space, time and distance have been compressed, subsumed, aug-mented, eliminated or are unable to resist being replaced by relations, experiences or symbolic values. This collective paper is based on a panel presentation at ISEA 2013. It discussed five different research approaches that address theoretical, practical, philosophical and artistic possibili-ties of engaging with the realities of distance, remoteness or ‘exquisite apartness’ as locii of resistance. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9748 Dance and virtual physics: the mass of the object does not necessarily equal the object of the mass. Vincs, Kim Motion capture and 3D animation enable the creation of dance in which relationships between mass, weight and morphology are not restricted to the parameters of real-world physics. This paper will draw on a range of motion capture projects to develop an understanding of the virtualizing potential of motion capture as an encoder of not simply spatiality or temporality, but of the physics of movement, and therefore as a potential means of encoding the gravitational poetics at the core of contemporary dance. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9747 Siteworks: ecologies and technologies Ely, Deborah; Warner, Gary; Dement, Linda; Heyler, Nigel; Backen, Robyn; Paine, Garth; Newcombe, Jodi; Starrs, Josephine; Cmielewski, Leon SITEWORKS is an interdisciplinary research and practice project that invites artists, scientists and scholars to respond to the Bundanon property through the lens of their specific discipline. Over four years this has led to a series of interactive projects, many utilising electronic technologies. The inaugural investigations focussed on the geomorphology of the site and palaeoenvironmental research, specifically in the area of sea level rise and climate change. In subsequent years the focus has been on water and the river; land management; Indigenous cultural heritage, and food security. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9756 Shaping Cultural and Creative Space: Beijing as a case study Yingying, Xiao; Duo, Jiang; Yang, Lei; McArthur, Ian; Miller, Brad Supported by research and policy reform, China’s creative and cultural industries have seen explosive growth in recent years and this rapid expansion is anticipated to have an unprecedented and far-reaching influence on the future of the country and its economy. Researchers from Cultural Development Institute (CDI) based at The Communication University of China (CUC) and The College of Fine Arts (COFA) at the University of New South Wales (UNSW) present recently generated data and discuss Beijing as a case study to provide an informed overview of the recent proliferation of art parks and creative clusters in the city. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9736 Manipulating Space, Changing Realities: space as primary carrier of meaning in sonic arts Ekeberg, Frank Space is an essential element of human experience. In our daily lives we move about in a multi-dimensional sound field, constantly processing spatial cues in our encounters with our surroundings. Awareness of space as a fundamental compo-nent of sound is nevertheless limited among artists and listeners. This paper presents a framework for recognizing, analyzing and working with sonic space, based on identifying and categorizing spatial components from the level of the individual sound, via the combination of sounds in virtual spaces, to the experience of the fusion of composed space and the listening environment. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9754 Electronic music is here to stay – or is it? Travers, Meg; Hope, Cat Musical composers frequently make use of new technologies in instrumentation. Whilst orchestral traditions remain strong and the instruments viable, what of the works of composers of electronic music where the sound sources have fallen into disrepair, obsolescence, or modern technology has changed the sound so that it bears no relation to the original? Beyond collections of manuscripts and recordings, the practicalities of the re-performance of electronic music compositions have not been widely discussed, and no methodology for archiving the artefacts for re-performability exists. In time, as greater importance is placed on these works, the issue will become more difficult to retrospectively resolve. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9743 Community mapping: from representation to action. Collins, Dan Community mapping is an approach to spatial representation that promotes a sense of agency and active engagement by encouraging “bottom-up” participation by users and community groups. Reviewing the place-based work of an earlier generation of geographers, environmental writers, and artists, the paper provides a context for understanding contemporary mapping utilizing geotechnologies such as “locative media.” The author concludes that technologically empowered artists, partnered with specialists engaged in place-based research, can translate objective representations of place into socially engaged action. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9740 Between one and zero: noise, ghosts and plasticity. Grant, Jane This paper addresses two sonic artworks, Ghost (2011) and Plasticity (2012) that use models of spiking neurons to materialize endogenous and exogenous composition in relation to noise and sonic memory. In the formation of these artworks the exploration of noise is considered in the context of areas of neuroscience, cell switching and cultural theory. Noise appears to be the glue that turns the boundary or limit of the cell into a threshold, no longer indivisible. And that noise, in drawing sound into being, carries with it the root of all information implicit and explicit. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9745 Stereoscopic theatre: the impact of gestalt perceptual organization in the stereoscopic theatre environment Beckwith, Megan; Vincs, Kim This paper argues that it is essential for live theatre that incorporates stereoscopic imagery to reconceptualise the performance space to facilitate a successful audience experience. While 3D technology greatly increases artistic possibilities, the risks of perceptual confusion exist in live theatre just as in stereoscopic cinema, indeed more so given the co-existence of live performers. This paper argues that Gestalt perceptual organization theory can be valuable in informing how best to employ stereoscopic imagery within a live theater environment, with reference to the artistic works of one of the authors. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9751 Narratives of locative technologies as memory assemblages. Oliveira, Andreia Machado; Rebolledo, Felix; Hildebrand, Hermes Renato; Foglia, Efrain This article considers the virtual (re)construction of the Vila Belga neighborhood in Santa Maria, Brazil in terms of memory and the role of place as integrative of experience. Our paper poses the question "What constitutes the memory of community as a collective process of (re)collection?" and seeks answers in the locative technologies used by the participants to (re)activate and (re)purpose the spacetime of experience through an artwork entitled airCity:arte#ocupaSM. Using a research/creation methodology the researchers sought to produce mappings of relation which constitute the "groundwork" of memory, by integrating information derived from sensing and geolocation devices and traditional audiovisual technologies. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9739 Dancing in suits: a performer's perspective on the collaborative exchange between self, body, motion capture, animation and audience. Hutchison, Stephanie; Vincs, Kim The motion capture process places unique demands on performers. The impact of this process on the simultaneously artistic/somatic nature of dance practice is profound. This paper explores, from a performer’s perspective, how the process of performing in an optical motion capture system can impact and limit, but also expand and reconfigure a dancer’s somatic practice. This paper argues that working within motion capture processes affects not only the immediate contexts of capture and interactive performance, but also sets up a dialogue between dance practices within and beyond the motion capture studio. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9738 The Inter-Society for the Electronic Arts revived? van der Plas, Wim This is an edited version of an introduction written for the panel session with the same name of June 13, 2013. The editing took place after the session was held. Both the introduction and the panel session are seen as the beginning of a discussion that should help to give direction to the future of ISEA. This article was edited by ISEA International board member Bonnie Mitchell, and received input from the panellists as well as from Wolfgang Schneider, Roger Malina and Peter Beyls. The panellists were Bonnie Mitchell, Anne Nigten (former ISEA board member), Vicki Sowry (ISEA2013 organiser), Ernest Edmonds (presenter at the first ISEA symposia) and Peter Anders (ISEA International board member). I would like to thank them all for their constructive thinking. The panel proposal is followed first by a mini manifesto (why cooperation?) and then an historic overview of ISEA, which is celebrating its 25th birthday this year. Before presenting the viewpoints of the panel members, I will try to give some of those viewpoints an historic context, and add to that some insights from personal experience. Finally, I will try to draw some conclusions. In that way I hope to lay the foundation for a more or less structured discussion that will continue after the panel and ISEA2013 are over. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9752 Expanded urban media: from discretized social collages to corrugated social brain Lei, Yang; McArthur, Ian; Miller, Brad Big data, the mobile Internet, social media and the Internet of things (IOT) generate more information than ever but the aggregation of social intelligence remains far from realising it’s potential. Two exemplary works, mediated_moments and plasma_flow, exhibited at Beijing’s China Millennium Monument Museum of Digital Arts in 2012 model the scalable potential of urban media to weave itself into the city’s social fabric, mapping and visualizing individuals’ thinking/intelligence onto a mixed-reality urban canvas. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9759 Global mind field - a cybernetic perspective Casey, Karen; Smith, Damian This paper examines the process and outcomes of a workshop event Global Mind FIELD presented at ISEA2013, Sydney. The workshop was conducted and facilitated by Karen Casey and Harry Sokol, with assistants Damian Smith and James Power. The researchers aimed to initiate and test for instances of neural synchrony between participants using creative visual stimulus, enabled by proprietary software program Viseeg (Sokol/Casey) and wireless EEG (electroencephalograph) headsets (Emotiv). The paper further examines to what extent the process of neuro-feedback and the resulting neural synchrony produced through the ‘hard’ and ‘soft’ interfaces can be viewed as indicators of a cybernetic mode of practice. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9737 Innovative forms of healing: new media art as a catalyst for lasting change in therapeutic settings Heiss, Leah Through this paper I suggest that new media art has the potential to become a catalyst for real and lasting change in therapeutic environments. New media art practice is intrinsically focused on human experience and user engagement. It is this focus that so positively predisposes artists working in this realm to the development of works promoting health and wellbeing. New media artists are well versed in managing the indeterminate boundary between art and other disciplines and can take this experience into the therapeutic context to effectively collaborate with doctors, specialists, patients, scientists and the public to generate powerful artworks. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9755 Hyperobject: homeland Dawson, Paula This paper describes the conceptual underpinning, theoretical context and workflow of a haptic drawing hologram project, Hyperobject: Homeland which proposes that one’s homeland is emergent as life experience. The social context of this project is the current extensive use of holographic maps in tactical battle visualisation by the military. The Hyperobject: Homeland project proposes a shift in our perception of what a homeland might be in the age of the hyperobject. By inviting viewers to take up the same military point of view above a hologram it allows contemplation of a visualisation of homeland as a type of ‘common’. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9750 Ear in the cloud: acoustical accidents and clouded texts in Stelarc's internet ear. Søndergaard, Morten November 10, 2010, Utzon Centre, Aalborg, Denmark: Stelarc's Internet Ear, suddenly and unwittingly, is able to 'hear' and 'broadcast' what was said at a meeting held by the Danish Ethical Council in another part of the building. The transmission is fed back to the ear as 'speech-noise' – and broadcasted once again, creating a feedback loop of fragmented announcements from a debate on ethics. In this paper, I will take a closer look at how this acoustical accident created a situation where two different and, in some cases, opposing cultural patterns were reloaded / remixed into each other. By analysing this situation using the notions of ‘ontological theatre’ and ‘agency realism’ (Andrew Pickering), I am claiming that a collision of realities occurred which, in turn, addresses the issue of dislocated cultural identity in post-digital ‘cloud culture’. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9753 From interactivity to playability Leino, Olli Tapio This paper discusses the similarities and differences between participatory, interactive, and playable art. It suggests that computer games can provide novel perspectives on interactivity in interactive art. The paper also proposes that the implications of computer games to interactive art extend beyond whatever purpose and value computer games are perceived as having as products of popular culture. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9749 The digital dreamhacker: crowdsourcing the dream imaginary. Antonopoulou, Alexandra; Dare, Eleanor The digital Dreamhacker is an application that collects dream themes reported by individual dreamers and turns them into crowdsourced imagery. These dream visualisations are then uploaded onto the Social Web, allowing for further commentary and collective interpretation. We thereby focus on the social context of dreams, creating visualisations that are neither depictions of individual imaginings or a means of enhancing artistic skill, but involve the reframing of dreams within the technical and social imaginary, which forms our collective understandings and expectations of social life. We outline a research strategy in which social media, supported by methods that emanate from both critical design and network analysis, are innovative contexts in which to explore the connection between technology, culture and our individual ‘imaginings’, including our dreams. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9741 The tacet mark as blackness. Collier, Delinda James Webb’s 2012 performance The World Will Listen gestures towards a blackness of ‘zero of flow,’ updating the historical avant garde’s ‘zero of form,’ both in terms of the electronic media used and the history of communities that have been historically figured as unformed and unmediated. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9744 Baby x: digital artificial intelligence, computational neuroscience and empathetic interaction. Lawler-Dormer, Deborah As a new media curator, I work with artistic practices that engage multi-sensory media environments. Baby X is a digital artificial intelligence mixed reality installation created by Dr Mark Sagar. It is concurrently a neuro-behavioural computational model with emergent behaviours actively being used for neuro-scientific research and, at times, a media art installation on public display. This paper will explore some of the diverse issues at play in this project from the perspectives of embodied cognition, emotional engagement and perception within a mixed reality environment and transdisciplinary research context. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9742 The probability of the diagram. Thomas, Paul This paper will explore links between art and sci-ence by focusing on Richard Feynman’s 1979 diagrammatically enhanced lectures. These lectures explore various theoretical understandings of the quantum world, revealing new possibilities that insert different realities into the physical world. These different realities will be compared with Gilles Deleuze’s writing on diagrams revealed in the work of artist Francis Bacon. Feynman and Bacon were both drawn towards the diagram as a means to visualise and explore the probability of something occurring. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9636 Green's art: new media aesthetics in pre- and post- election events in Iran. Ansari, Amin Digital media has played a very significant role in anti-government protests in the Middle East (in Iran, Egypt, Syria and so on) over the last four years It has changed the rules of political struggle and established new expectations and rules of confrontation for both protesters and authoritarian governments in the region. The Greens' Art research project will be a curated exhibition of digital art and other works developed during the pre- and post-election period (2009-11), situated alongside participants' accounts of the role of these works in the grassroots Iranian Green Movement. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9689 Cine-installation metabook.1: the book of Luna. Waite, Clea T.; Fenton, Lauren The MetaBook is a transmedia concept that bridges the analog and the digital by introducing a cinematic and interactive dimension to the physical object of the book. MetaBook.1: The Book of Luna is the first realization of this concept. Across a series of embedded media technologies, this artwork explores texts written and inspired by some of history's great philosophers and scientists by navigating a map of the Moon's craters that have been named after them. The reader is free to navigate between these craters on page and screen, or just fly between them in a constant orbit. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9674 Resistance is feral: digital culture, community arts, and the new cultural gatekeepers. Shea, Pip The Community Arts sector in Australia has a history of resistance. It has challenged hegemonic culture through facilitating grassroots creative production, contesting notions of artistic processes, and the role of the artist in society. This paper examines this penchant for resistance through the lens of contemporary digital culture, to establish that the sector is continuing to challenge dominant forms of cultural control. It then proposes that this enthusiasm and activity lacks ethical direction, describing it as feral to encompass the potential of current practices, while highlighting how a level of taming is needed in order to develop ethical approaches. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9658 A thousand tiny interfacings: fertile acts of resistance. Goodman, Andrew This paper examines the process of interfacing between organic and technical objects and how this might be utilized as a tactic to promote invention within new media art events. Raphael Lozano-Hemmer's Relational Architecture is examined in relation to concepts of parasitic action and folding to show how the work develops a complex ecology of relation through interfacing. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9638 Learning to dance with a human. McCormick, John; Vincs, Kim; Nahavandi, Saeid; Creighton, Douglas Artificial neural networks are an effective means of allowing software agents to learn about and filter aspects of their domain. In this paper we explore the use of artificial neural networks in the context of dance performance. The software agent's neural network is presented with movement in the form of motion capture streams, both pre-recorded and live. Learning can be viewed as analogous to rehearsal, recognition and response to performance. The interrelationship between the software agent and dancer throughout the process is considered as a potential means of allowing the agent to function beyond its limited self-contained capability. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9691 Dérive in the digital grid, breaking the search to get lost. Psarras, Bill; Pitsillides, Stacey; Maragiannis, Anastasios This paper seeks to explore whether the psychogeographic technique of dérive can be used to break out of the directed pattern of 'search to find' in the online space following from Lev Manovich's con-cept of the Poetics of Navigation. An online psychogeographical dérive could be a form of digital resistance to the various ways information is being dictated to us from contemporary authoritarian rules and search engines. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9710 Art, mediation and contemporary art emergent practices. Jefferies, Janis The emergence of new, social and creative media practices has added to a disciplinary mash up, drawing participants from, amongst others, computer science, engineering, visual arts, science studies, literature, philosophy, film and media studies. The question of emergent practices is taken up in the work of Andrew Pickering. In The Mangle of Practice: Time, Agency and Science (1995), he writes about temporally emergent forms in experimental science laboratories. He makes a strong case for a re-conceptualization of research practice as a 'mangle,' an open-ended, evolutionary, and performative interplay of human and non-human agency. While Pickering's ideas originated in science and technology studies, the concept of 'mangle' captures what he describes as an entanglement between the human and the material. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9631 The situational library. Simionato, Andy This paper introduces the ongoing series of itinerant participatory artworks called the Situational Library. Through the construction of a publicly accessible and open-source archive of physical and digital books, the Situational Library attempts to create a heightened sense of the exchange of something other, or external, which accompanies the exchange of the book itself. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9683 Interactive drama in real and virtual worlds. Aylett, Ruth How do we resolve the paradox of computer-supported interactive drama - that the human participant requires the very freedom to interact that the authored narrative structure denies them? This paper reports work around the concept of Emergent Narrative - the development of narrative structure through interaction itself. We cover both systems using a virtual world and those using a virtually-augmented real world, exploring how far reworking narrative structure as a loop between the causal (plot) and affective (character) can produce engaging experiences for participants. We discuss the key role of a cognitive-affective architecture for charac-ters and the process of cognitive appraisal as an engine for both in-character and in-role dramatic action. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9646 Shivering domains: technologically mediated embodiment and ecologies. Adams, Patricia This article examines contemporary developments in the biomedical and ecological sciences and their impact on hybrid art practices in relation to the 'shivering domains' of cross disciplinary discourses and biotechnological research. Examples from the author's projects: Temporal Interval, machina carnis and Urban Swarming are introduced to illustrate the points discussed. Evolving media technologies and historical perspectives are re-viewed and located within the framework of an exploration into the permeable membranes of cellular consciousness and the biomedical sciences; which also considers the nature of constructs of corporeality and the 'self' in a socio-cultural context. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9721 Breathe - wearing your air. Anderson, Benedict; Diniz, Nancy Breathe – the air we wear proposes wearable and mobile technologies for reading and rendering in real time the air we breathe. The project proposes the ‘actioning’ for better air quality through individuals’ capacity to record air pollution. The project initiates a walk-able protest by taking air quality directly to the individual and through critical mass counter the massive problems facing our urban atmospheres. In particular, the article focuses on the pollution prob- lems facing China today. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9640 Hidden topology of life: life and space. Hoffmann-Dietrich, Joanna Taking into account a variety of contemporary definitions of life, I propose to focus on relations between complex systems of life processes and the evolution of our perception and concepts of space. My investigations are closely connected with a series of artistic projects under the common title The Hidden Topology of Being which are realized in cooperation with science research centers both in India and Poland. In this short presentation I do not concentrate to a great degree on the description of my artistic works but on questions of how science, humanities and cultural imageries influence each other and combine in shaping our understanding and knowledge; and how technology modulates these relations. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9716 Intimate Disavowal: Turning Away from Technological Media Art. Bunt, Brogan This paper describes a personal turn away from technological media art towards modes of practice that involve walking based interaction with the local environment. However, rather than stressing areas of difference, I consider points of unexpected continuity. The key association hinges on a common concern with dimensions of mediation. Within this context, I argue for a broader conception of mediation that is not restricted to technological media, but that can also incorporate our complex relation to aspects of lived immediacy. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9684 Cloud music: a cloud system. Randerson, Janine This paper suggests that artworks such as Yoko Ono's Sky TV (1966), Hans Haacke's Condensation Cube (1963-65), and David Behrman, Robert Watts and Bob Diamond's Cloud Music (1974-79) are ancestors to a significant strand of contemporary art practice that binds weather, emergent technologies and the observer-participant. Such projects freed technical instrumentation (meteorological devices, cameras, video analysers and circuitry) from their conventional usage in communication or science. It will be argued that the highly variable patterns of weather provide a live, improvised score, yet are still subject to restraints, where hierarchies between artist or composer and audience, as well as human and machine, became unsettled. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9661 Making worlds in art and science fiction. Barikin, Amelia Why do some artists make worlds while others make works? This article considers the renewed attention to world-making as a key trope in contemporary artistic practice in relation to the world-making tactics of science fiction. Nelson Goodman's 1978 book Ways of Worldmaking provides the entry point for this enquiry. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9699 Celebra. Laurenzo, Tomas; Clark, Christian In this paper we present Celebra, a massive, site-specific, interactive installation comprising two hundred balloons, LEDs, custom electronics, and custom software. The artwork allows for different interaction modes: visitors can interact with the piece locally via sound and movements, and remotely via smartphone apps and a dedicated website. The piece can also become an audio-visual performance instrument, allowing its users both direct and high-level control. We will discuss the motivation behind Celebra, its implementation, and technical details. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9673 The hacking monopolism trilogy. Ludovico, Alessandro; Cirio, Paolo The three artworks of the Hacking Monopolism Trilogy are Face to Facebook, Amazon Noir and GWEI-Google Will Eat Itself. These works have much in common in terms of both methodologies and strategies. They all use custom programmed software to exploit three of the biggest online corporations, deploying conceptual hacks that generate unexpected holes in their well-oiled marketing and economic system. All three projects were 'Media Hack Performances' that exploited security vulnerabilities of the internet giants' platforms to raise media attention about their abuse of power. These performances were staged through the global mass media for millions of spectators worldwide. The processes of the projects are always illustrated diagrams that show the main directions and processes under which the software has been developed to execute the performances. Finally, all the installations we exhibited did not use computers or networks, focusing more on the display of the processes than on the technologies. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9685 Mirroring Sherry Turkle: a discussion on authenticity humanity and technology. Jefferies, Janis; Maragiannis, Anastasios; Pitsillides, Stacey; Velonaki, Mari This paper expresses a reflective approach to the themes and issues surrounding Sherry Turkle's new book, Alone Together: Why We Expect More from Technology and Less from Each Other. This can be seen as the culmination of a trilogy of books concerned with human and computer relations and its implications for identity and psychology (The Second Self, 1984 and Life On the Screen, 1995). Turkle argues that, having already filtered companionship and relations through machines, we are now facing our own "robotic moment". Real life interactions with flesh and blood people are becoming onerous and too stressful and untidy. Instead, we prefer to organise them through digital interfaces and ultimately even replace them with technological alternatives. In response to Turkle's questions, we speculate: are we changing what it means to be human? Have we become over-reliant on technology to mediate human relations? Does social networking encourage us to become narcissistic and to regard others as merely problems to be managed, resources to be exploited? And do we, the creative community, have some responsibility in considering these ethical dilemmas and making technologies that respond to these questions? Juxtaposed with Turkle's insights is a commentary on the work of the neuroscientist Susan Greenfield. Her research on the neuroscience of identity offers a biological interpretation of how the brain adapts to environment which suggests that Turkle's question of what it means to be human is complexified further by unprecedented changes to identity itself. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9719 Openpaths: empowering personal geographic data. House, Brian OpenPaths, created by the New York Times Company R&D Lab, is a platform that demonstrates the collective value of personal data sovereignty. It was developed in response to public outrage regarding the location record generated by Apple iOS devices. OpenPaths participants store their encrypted geographic data online while maintaining ownership and programmatic control. Projects of many kinds, from mobility research to expressive artwork, petition individuals for access to their data. In the context of locative media practice, OpenPaths expands the notion of the tracing to address the components of an ethical implementation of crowd-sourced geographic systems in the age of "big data". 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9633 Aspects of the art/science equation - media art meeths high energy physics. Henschke, Chris In this paper the argument is made that formal and methodological relationships exist between media art and particle physics. This argument is supported by examples from artist-in-residence projects undertaken by Chris Henschke at the Australian Synchrotron. Through the development of collaborative experiments using a hands-on and emergent methodology, correlations were found between the two disciplines, and material was developed for the production of artworks. The development of, and responses to the works are discussed, and, in conclusion, a plea is made to artists working with scientific research to be more critically aware and engaged. 2013-01-01T00:00:00Z https://hdl.handle.net/2123/9644 Emoto - visualising the online response to London 2012. Hemment, Drew In recent years we have moved from data scarcity to data abundance. As a response, a variety of methods have been adopted in art, design, business, science and government to understand and communicate meaning in data through visual form. emoto (emoto2012.org) is one such project, it visualised the online audience response to a major global event, the London 2012 Olympic and Paralympic Games. emoto set out to both give expression to and augment online social phenomena, that are emergent and only recently made possible by access to huge real-time data streams. This report charts the development and release of the project, and positions it in relation to current debates on data and visualisation, for example, around the bias and accessibility of the data, and how knowledge practices are changing in an era of so-called 'big data.' 2013-01-01T00:00:00Z