Electronic Arts in Australia Continuum The Australian Journal of Media and Culture Volume 8 No 1 1994 Zurbrugg, Nicholas (ed)
Place Published: Australia
Edition: 1st Edition
Date Published: 1994
Illustrator: b&w and colour illustrations
Size: 8vo
Volume 8 No 1 1994 of Continuum art journal; an overview of Electronic Arts in contemporary Australian art practice, with contributions by Henri Chopin (on Chris Mann), Arf Arf, Linda Dement, Brian Langer, Stelarc, Adam Wolter, Nicholas Zurbrugg, and many others; colour and b&w illustrations throughout.
I offer a very critical account of technology and of technology ‘s impact on the world. I’m not the only one to do this – everybody speaks of technology in this way. But now having reconsidered technology … I’m beginning to formulate another hypothesis … In other words, there’s a difference of vision. Let’s say that the rather critical or pejorative vision of technology represents a first position.Now, from a second position, I’m more interested in seeing technology as an instrument of magic … Up to now I think that technology has been analysed in too realistic a way … it has been typecast as a medium of alienation and depersonalisation. That’s what we’ve done, and that’s what we’re continuing to do in analyses of virtual reality – it’s possible to continue forever in this sort of direction.
But I sense now that a sort of reversal of focus is taking place … I’ll always continue to offer a radically critical analysis of media and technology – one’s obliged to do this. But it’s also necessary to identify another sort of analysis – a more subtle form of analysis than that one.
– Jean Baudrillard (Paris, 4 June, 1993)
Archive for December, 1992
Electronic Arts in Australia
Thursday, December 3rd, 1992
Contents
| I offer a very critical account of technology and of technology ‘s impact on the world. I’m not the only one to do this – everybody speaks of technology in this way. But now having reconsidered technology … I’m beginning to formulate another hypothesis … In other words, there’s a difference of vision. Let’s say that the rather critical or pejorative vision of technology represents a first position.Now, from a second position, I’m more interested in seeing technology as an instrument of magic … Up to now I think that technology has been analysed in too realistic a way … it has been typecast as a medium of alienation and depersonalisation. That’s what we’ve done, and that’s what we’re continuing to do in analyses of virtual reality – it’s possible to continue forever in this sort of direction.
But I sense now that a sort of reversal of focus is taking place … I’ll always continue to offer a radically critical analysis of media and technology – one’s obliged to do this. But it’s also necessary to identify another sort of analysis – a more subtle form of analysis than that one. – Jean Baudrillard (Paris, 4 June, 1993) |
Contents
INTRODUCTION: Contemplating Electronic Arts
PETER ANDERSON – Tim Gruchy: Electronic Media Art, Popular Culture and the Experimental Avant-Garde
ARF ARF Interviewed by Nicholas Zurbrugg
ROS BANDT Technology in Australian Sound Installations: Three Recent Approaches
WARREN BURT Installation at Experimenta: Fighting the “So-What” Factor in Electronic Art
WARREN BURT Thoughts on Physicality and Interaction in Current Electronic Music and Art
WARREN BURT Collaborating with Amanda Stewart- Interviewed by Nicholas Zurbrugg
PETER CALLAS Interviewed by Nicholas Zurbrugg
SUSAN CHARLTON – Six Degrees of Freedom: Apres Orlan
HENRI CHOPIN – Concerning Chris Mann
JOHN CONOMOS – Rethinking Australian Video in the Nineties
GRAHAM COULTER SM TH – Exploring the Technological Other: Robyn Stacey and Rosemary Laing
DIRK DE BRUYN Tex
t – Texture – Gesture
LINDA DEMENT – Interviewed by Glenda Nalder
LINDA DEMENT The Tales of Typhoid Mary Strip #4
LYN GALLACHER Of Course: A Grammatical Tech Check
ERIC GIDNEY & TONI ROBERTSON Computer Communications for Visual Designers
JOHN GILLIES Interviewed by Nicholas Zurbrugg
JAMES HARLEY & SHIRALEE SAUL A.I.P.: An Installation Publication
LEIGH HOBBA ‘Between the glaze and the surface’ – Five Uneasy Fragments
BETH JACKSON – Self-Inscription in the Work of Doppio Teatro, Tracey Moffatt and Linda Dement: An Interpretation of Feminist Use of Technology according to Deleuze’s Writings on Masochism
ANNE KIRKER – Bashir Baraki and Pat Hoffie: Extending the Vernacular of Prints
FELONIUS KRANK The Snuff-Jazz Conspiracy
BRIAN LANGER Video Art and the Australian International Video Festival
BRIAN LANGER – Chronology of the Australian International Video Festival
ANNE MARSH Bad Futures: Performing the Obsolete Body
ADRIAN
MARTIN Hold Back the Dawn: Notes on the Position of Experimental Film in Australia 1993
ANDREW MCLENNAN A Brief Topography of Australian Sound Art and Experimental Broadcasting
CATHIE PAYNE Visible Spaces, Electronic Records: John Conomos and Tracey Moffatt
SIMON PENNY Working in Electronic Media
TONI ROSS – Portrait of the Artist as Photocopier: Jane Richens
SAM SCHOENBAUM – The Electronic Paws of Jill Scott
JILL SCOTT Paradise Tossed
BILL SEAMAN The Emergence of New Electronic Forms in Australian Art – Rodney Berry. John Colette, Linda Dement, Phillip George, Joyce Hinterding, Jon McCormack, Stelarc, VNS Matrix
ZOE SOFIA Technoscientific Poeisis: Joan Brassil, Joyce Hinterding, Sarah Waterson
STELARC – Interviewed by Martin Thomas: “Just Beaut to Have Three Hands”
URSZULA SZULAKOWSKA – Rose Farrell and George Parkin: Art History and “Primitivism” in Contemporary Australian Performance Photography
DAVID TAFLER – Does the Outback Represent the Centre? Tracing Electronic Art Tracks across Australia
VNS MATRIX AND VIRGINIA BARRATT – Interviewed by Bernadette Flynn
LINDA WALLACE 2000 Thunderstorms: Joyce Hinterding
JOHN WALLER – Interviewed by Nicholas Zurbrugg
LARRY WENDT Sentient Percussion: Ernie Althoff’s Music Machines
ADAM WOLTER “So you want to be a computer artist”?