Archive for 2008
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Albedo of Clouds
JANINE RANDERSON, 2008.
The Albedo of Clouds is an interactive experiment in the form of a conversation between three cloud observers: an artist, a sound artist and a meteorological satellite. As well as mediating between different modes of cloud observation, the subjective nature of cloud gazing is investigated in terms of how different technologies ‘see’ clouds, and how clouds might sound.
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1980s Home Coding…
MELANIE SWALWELL, 2008.
From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
Swalwell investigates this highly experimental practice that was a significant part of the reception and culture of early home computers. Her informants exemplify early relations to technology where the “probing of possibilities provided a base for invention”. -
Old Noise, New Sounds…
SU BALLARD, 2008.
From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
Su Ballard looks at New Zealand artists who have challenged the ‘silent contemplation’ of artworks through their use of sound in gallery spaces. Ballard describes how these artists have explored the ‘cultural battle’ between sound and image to create “new sounds” in contemporary art. -
Interdisciplinary Moments…
ANDREW CLIFFORD, 2008.
From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
Clifford recalls moments in New Zealand art where new technologies have fostered collaboration or crossover between visual arts and music, dance, theatre, screen culture and science. -
The Graph as Landscape…
JULIAN OLIVER, 2008.
From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
Oliver discusses the development and reception of Packet Garden, a ‘walk in graph’ where users can generate a garden each day that becomes “a personalisation of the unseen life of the network”. -
New Data…
LISSA MITCHELL, 2008.
From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
Mitchell discusses why we need to think beyond assumptions underlying the practice of cultural preservation in order to document and care for digital art. To “outwit oblivion and obsolescence”, according to Mitchell, gallery professionals and artists must re-examine how they participate in the care, storage, interpretation and display of artworks.