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A.Land is a journey thru fragments of memory - internal and external landscapes that are common to us all. Inspired by ferry trips on the Baltic Sea, it is a glimpse of life from our cabin aboard a cruise ship on the seas of the www.
A.Land offers gentle views through differing portholes of perception on love, longing, space, and time. aland's cyclic, poetic and immersive narrative maps both our internal and external environments via fragments of literature, 19th century paintings and partially recalled events. the purpose of a.land is to identify and reflect upon the physcological, geographical and virtual stratas which both visibly and invisibly connect us - where ever we happen to be physically located.]]> Artist Statement
Postcard from Tunis is not an objective documentary (if such a thing actually exists). Instead, it's a playful, artistic exploration of writing: its histories, its inscriptions, its relationships with pictures and its relevance to the human-computer interface. This is set in a very personal, audiovisual portrait of Tunis, the capital of Tunisia. This is a city and culture that I love, and the home of my former family-in-law. I programmed the unique interface so that it echoes an actual visit, where you can't help learning a few Tunisian words and with time, maybe starting to read written Arabic. Although it was designed for adults, children have shown a strong affinity with the CD-ROM and the interface is bilingual in English and French.
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What exactly IS writing? Is picture writing something that is half way between pictures and writing? And is it a useful concept for thinking about new media writing and interfaces? One approach to these questions is provided by Integrationism, a radical new theory of language and communication which Roy Harris has applied to a groundbreaking analysis of writing. In this view, writing is teased apart from speech (transcription of speech is just one of writing's possible uses) and re-aligned with spatial configurations in general. 'Picture writing' then becomes a meaningless and rather ethnocentric term because the boundary between writing and pictures is shown to be fluid, rather than fixed. These are quite difficult ideas to grasp in a world where written words are so important.
In Postcards from Writing, a kind of intellectual road movie, I artistically express my own encounter with them and explore their implications for new media writing and interfaces. My work offers users an interactive experience, rather than simply an illustrated lecture, because user interaction creates dynamic and multidimensional signs that illuminate the ideas I'm trying to express.
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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.
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The Flight of Ducks [is] a participatory online documentary built around a collection of objects from a camel expedition into Central Australia in 1933. [This work] takes the textual form of a journey through a landscape and turns it into a contextual universe where hypertext paths can be taken through a datascape. These paths form stories. Narratives that can dip into their paper bound origins or plunge into the poetics of the screen space. In this space they are composed into shimmering pixilated displays where image and text are inseparable and anyone can participate.
Excerpt from author's article: Duck Song: Text and Image in on-line narrative.]]> Gillian Fuller]]> Artist Statement
Searching for rue Simon-Crubellier is a video/sound installation, which is part of a cross media project that also includes the Internet site The 4th Floor. The project was begun in Paris in 2004 while doing a residency at the Cite Internationale des Arts. The work takes as a point of departure the experience of being Australians in Paris and reading George Perec's book Life a User's Manual. In this book Perec creates a puzzle of a novel set in a building located in the 17th arrondissement of Paris at number 11 rue Simon-Crubellier.
Excerpt from artists' website]]> Excerpt from Rhizome.org, a website on Contemporary Art and Technology]]> Gillian Fuller]]> Artist Statement
In 1829-30 the explorer Charles Sturt and his party hauled a whaling boat over the mountains to sail downstream along the Murrumbidgee River to the Murray in search of an imaginary inland sea. Beginning in Sydney, the artists made a (miniature - paper) whaling boat to take along Sturt's trail, the boat acting as a transportation/transformation device for their journey into memory and imagination. Making paper boats with found material along the way, and then with videos and soundtracks, they updated Sturt's journey as a performative media event for the 21st century. Three soundtracks, three scenes and a pile of paper boats.
Source of Artist Statement]]> Gillian Fuller]]> Artist Statement
The Art of Walking where we remix Agnes Varda's Vagabond, our own online project Museum of Rumour and Mark Amerika's Sentences on Remixology 1.0 with a dash of Hamish Fulton the walking artist. The work came about through serendipity. Mark's deadline for his Remix project was looming and we had just read his Sentences on Remixology 1.0 a wonderful piece of writing that detourned Sol Lewitt's own Sentences on Conceptual Art. Mark had completely rethought what it is to be a media/ postproduction artist today. His thinking ranged widely across the arts and philosophy and there was a lot to think about.
Artists' statement from remixthebook.com]]> Well-worn Australian cinematic type images of desolate roads against furnace red skies with road trains thundering down them juxtapose silent shots of scrubby desert wildflowers as a voice narrates the story of the artists' road trip and their spare poetic observations. Scenes of various tourist sites in Woomera: a park containing old rockets sculpturally displayed; public buildings; close-ups of bowling pins being knocked down in the town's bowling alley display the aesthetic residues of the Space age: the surprising junk left over and what becomes of it.
The soundscape features rhythmic ambiguous metallic sounds, sounding sometimes like the clatter of a typewriter, at other times the scraping sound of metal against a metal interspersed with the crunch of footsteps walking over salty earth, at other times quiet with spare voice over.
Gillian Fuller]]> Artist Statement
In 2006 we took a roadtrip to Woomera in South Australia, wanting to see the fabled rocket-testing, weapons testing site we were surprised at what we found. Woomera the traditional country of the Kokatha people is now owned by the Defence Department. It's essentially a company town, rather than a country town. Woomera is a place that occupies a singular and contradictory position in the Australian cultural landscape. It is a place of actual and imaginary space junk, an ageing Rocket Park and a town with a shrinking population. It was once the centre of Australia's defence program - testing rockets and sending Australia's first satellite into orbit. 4000-7000 people lived there. Today there is about 200 people living in a purpose-built town surrounded by the Woomera Prohibited Area. In many ways it exemplifies modernity's contradictions and paradoxes.
Artists' description on Vimeo.]]> Artist Statement
Talking About the Weather is an ongoing cross media project sparked by our response to the terrifying spectre of global climate change. Sheer terror at the possibilities that are being talked about led us to talking about the weather. In this project weather talk is no longer a banal exchange of local weather conditions, but instead we ask people to donate their breath - the breath which they would normally use to talk about the weather and the same breath that is spread far and wide as described by Tim Flannery. Working with breath emphasises the dynamic nature of the atmosphere and our part in its creation and destruction. As Tim Flannery says, every breath you take makes you part of a dynamic system called the atmosphere, or the aerial ocean.
Source of Artist Statement]]> Excerpt from the Center for Art and Visual Culture
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Within every human there is a singular gene, unique only to that individual. And with that gene comes a singular ability, a rare, mostly never realized capacity for interacting with the world. The Bomar Gene explores this mythical gene, through a series of ficto-biographies, with each story being retranslated and spatialized through interactive interfaces and embodied animations. Each section opens up to such questions as: How are we defined by our genetic code? What does it mean to be an individual, to be unique? What are the implications of a society obsessed with rare abilities and super-powers?
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A growing area of cultural and technology theory and practice that centres on how technology recreates/reforms our relationship with the land/builtscape. LNM is not depended on any particular tech, not are new tech innovations needed. Rather it is how the technology is used in the context of human spatial relationships research.
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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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Combines mysticism science with math poetics caressed into game interface. A modified card game cycles randomly through 52 options.
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Simple interacter, forces the reader/user to play. More abstract painting than strict poem, but glorious fun all the same.
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Exploring depth, plays with texts inside texts inside texts. Artwork arrived after watching loose poem pages blow from my car.
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Allegiance between common objects and overblown titles, brand names. Toothbrushes and carpet beg us to find joy in our status as dry and flooring shined buyers.
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Fiddle with the intersections between ficto-biography, found text and obscure science. Packaged in the dust bowl landscapes of the Oklahoma panhandle.
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A collection of related digital poems, all attached to objects, exploring our fascination and near religious reliance on household machines.
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