Excerpt from the Art Gallery of New South Wales' website]]> Abstract of artists' interview by Sean O'Brien in Art Talk's podcast]]> Description from Boonscafe, an Art review blog based in Singapore]]> Description from The Centre for Contemporary Canadian Art's website (CCCA)]]> Artist Statement
Banalities for the Perfect House is a collaborative installation & performance work premiered at Sydney's Performance Space theatre on Sept 9 2005. The work posits the house as a condition through which we perceive the world - the city an extension of grid-like structures viewed through the frame of an open window. The performance space is arranged with wooden frames, boards and barricades resembling, in abstract form, a housing construction site. Each surface is rendered with text creating an immersive environment that can literally be read, and heard as speech.
Source of Artist Statement]]> Linz, Rainer]]> The Cross Art Projects website, an initiative for Contemporary Art and Curatorial Platforms]]> Description from Lux: Notes for an electronic writing website]]> Teri Hoskin, Ensemble Logic + Choragraphy
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Iconica is an artificial world made of language, populated by lifeforms whose bodies are made of media encoded with different systems of representation. The artificial life model that generates the appearance and behaviour of this world is based on an iconic language which may be combined using grammatical rules to create an endless number of possible meanings. Trans'forms is an abbreviation of the term 'transitional forms' from evolutionary theory. This term refers to the inbetween states that occur when one species evolves into another new species. The new lifeforms depicted above apply this concept to digital media, capturing transitional forms in visual languages as they evolve and adapt to electronic space.
Description from Vimeo]]> Artist Statement
Think about Ludea as a 21st century version of the board game Ludo. On the streets of Melbourne three warring cultures struggle for territory: Neo-Materialists use traditional forms of communication such as words. Post-Symbolics communicate only through images, and Post-Humans are reliant on machines for communication. Each tribe gathers resources and tags in colour - Neo-Materialist orange, Post-Symbolic green and Post-Human blue. Victory goes to the clan that achieves the widest domain. Ludea is a micro-nation seeping into our own world and visible for the first time.
Description from Vimeo]]> ]]> ]]> Artist Statement
Colony is part artificial lifeform, part icon of a digital media landscape. The weathered totems use light and sound to communicate with one another in response to human presence. Affect the colour and sound patterns of the artwork by walking through the environment or playing the totems with your iPhone.
Description from Vimeo]]> Artist Statement
Autograf is an asemic writing system that generates tags by recombining marks and gestures used in graffiti tagging. The languages generated by this process are both familiar and alien its tags look like letters but remain indecipherable. It is constantly and rapidly reinscribing itself as if being generated by a gang of autonomous mecha-graf artists. The tags consume and erase one another and those that survive reproduce with one another to create stylistic hybrids. The processes behind this interaction are modelled on an experimental ecosystem made of language tags have energy, they live and die, replicate, and may steal or give energy to their neighbours. This ecosystem is sonified the generated soundtrack reflects the ebb and flow of energy in the system.
Description from Vimeo]]> Artist Statement
The World Machine originates in Ludea. Its function is to transmutate the city streets to provide a suitable habitat for Ludean lifeforms. At its core are seven tags that appear in scenes that are at once familiar and alien simultaneously read by humans and machines augmenting and mutating urban space.
Description from Vimeo]]> Artist Statement
The nine signs for Ogaki in this work originate in Japan during a residency in September 2010 at IAMAS an Art & Science research institute in Japan. During this month I surveyed the small town of Ogaki via bicycle and identified locations suited to digital intervention. Decoding the space, its history and inhabitants to provide context for a new set of codes. These codes were embedded in a work entitled noemaflux developed on site during my time in Japan. This work is an interactive work that creates new experiences of urban space and different ways of seeing the city. The title expresses this meaning.
Description from Vimeo]]> Artist Statement
Noemaflux describes an act of shifting perception. The work is centered on an augmented reality that enables different ways of seeing the city. Participants use AR markers and generative writing systems to create an experience of abstract virtual art in urban environments.
Source of Artist Statement]]> Artist Statement
The Urban Codemakers operated in Guildford Lane between August 2010 and February 2011. Their urban renewal project sought to rezone the city through play. It consists of three guilds, street signage, 100+ blog posts, four blogs, a street game, 768 IDEOTAGs, a public demonstration, a public information video in Federation square, a series of academic articles, and three urban planning proposals for the City of Melbourne.
Description from Vimeo]]> Source of Description]]>