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- Digital (4)
- Noise (4)
- Spaces (4)
- Art (3)
- Emergence (3)
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- Installation (3)
- Susan (3)
- Al (2)
- Antarctica (2)
- Anthony (2)
- Aotearoa (2)
- Bodies (2)
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- Cone (2)
- Describing (2)
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- Essay (2)
- Et (2)
- Exhibition (2)
- Flickering (2)
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- Material (2)
- Mccall (2)
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Articles 1 - 30 of 33
Full-Text Articles in Social and Behavioral Sciences
Introduction: The Aotearoa Digital Arts Reader, Stella Brennan, Su Ballard
Introduction: The Aotearoa Digital Arts Reader, Stella Brennan, Su Ballard
Su Ballard
A sampler containing many voices and visions-histories, critiques and calls to arms- this book has developed out of a particular networked community. A network both evokes and elides. For as Danny Butt asks in his contribution to this book, "How do we think what is not connected?" Or, for that matter, how can we know what (or who)we do not know? Do we as editors have a responsibility to make definitions, despite our awareness that any definition is partisan? Have we not already done so? Can we describe what is digital, what it means to make art on, influenced by, …
Heimo Lattner, Su Ballard
Beyond The Surface: Susan Ballard, Kim Pieters, Seraphine Pick And Maryrose Crook, Su Ballard
Beyond The Surface: Susan Ballard, Kim Pieters, Seraphine Pick And Maryrose Crook, Su Ballard
Su Ballard
Extracts from Catalogue essay: Pages and paintings generate spaces of activity, where basic white is always stung by experience. In Beyond the Surface, three painters and one writer present these visual spaces as fragments that unfold before the viewer. Travelling between the paintings and words in this exhibition, we find ourselves in seemingly exotic places and other worlds, watching fleeting half-lives which are often pervaded by the perfume of earlier thoughts or memories. Pick’s shelf of Earthly Possessions offers an archive of yet another kind. These Possessions may be disguised in white paint, but unlike most found objects they do …
Mutable Aesthetics: Emergence In Digital Installation, Su Ballard
Mutable Aesthetics: Emergence In Digital Installation, Su Ballard
Su Ballard
In order to make the claim that the aesthetic specificities of digital art practices are about more than their technologies, this paper contends that the micro- and macrocosmic realms of information theory are applicable and useful in the field of art history. In his introduction to The Digital Dialectic, Peter Lunenfeld presents the impact of the digital on representational media as the recasting of 'everything' as 'digital information.' Consequently, everything can be 'stored, accessed, and controlled by the same equipment' (Lunenfeld 2000, xvi). For Lunenfeld, the digital does not merely represent an aesthetic, or a process, but operates from 'similarity …
Audible, Su Ballard
Pixel Focus, Su Ballard, Nathan Thompson, Peter Stapleton
Pixel Focus, Su Ballard, Nathan Thompson, Peter Stapleton
Su Ballard
No abstract provided.
Swarm And Flicker - Exhibition Catalogue Essay, Su Ballard
Swarm And Flicker - Exhibition Catalogue Essay, Su Ballard
Su Ballard
Locusts have no need for network technologies. For a locust to connect iphones, facebook and twitter are irrelevant. A day can start off pretty normal but in overcrowded conditions suddenly something totally new can be imagined and a swarm can amass momentum. Scientists now think that it is the overproduction of serotonin that causes this transformation and inspires the locusts to become mutually attracted, to gather, breed and eat.
Virtual Affection: Bodies And Installation Spaces, Su Ballard
Virtual Affection: Bodies And Installation Spaces, Su Ballard
Su Ballard
Discourses of the digital and their central concerns with issues such as duration, sensation, interactivity, immersion and affect offer new positions from which to view and articulate contemporary installation art. The digital as used here refers broadly to installations that have passed through a digital environment (such as an editing suite or a computer), or are simply informed by digital presence. Digital installation involves many aspects, including - but not limited to - space, light, time, viewer, projection, apparatus, objects and shadows, and as such is a machine operating across different thresholds. Like Alice's experiences in Wonderland, or Dorothy in …
Performing Visual-Bodies, Su Ballard
Antipodean Media Ecologies: Journeys To Nowhere And Back, Su Ballard
Antipodean Media Ecologies: Journeys To Nowhere And Back, Su Ballard
Su Ballard
In summer 2005 the Association of Freed Times (AFT) published an article in Artforum. "El Diaro del Fin del Mundo: A Journey That Wasn't" described environmental damage to the Antarctic ice shelf and the subsequent mutations occurring within the Antartic ecosystem. One of these mutants is rumoured to be a solitary albino penguin living on an uncharted island near Marguerite Bay. The article documents French artist Pierre Huyghe's journey to find the island and its mysterious inhabitatnt, and forms the first part of an event that culminated in a musical on the Wollman ice rink in New York's Central Park, …
"Whakaruruhau", Su Ballard
"Whakaruruhau", Su Ballard
Su Ballard
"In 1997 the whare at Araiteuru marae was destroyed by arson. In 2003 the whare was rebuilt. Through an interdisciplinary use of dance, performance, video, sound, light, collected stories and memories Louise Potiki Bryant explores three integrated aspects of the Araiteuru marae: the importance of the wharenui to the community and to the individual; the mauri or life force of the whare; and, the relationship of the whare to the human body. Whakaruruhau is the shelter, the space within which Bryant moves, tells the story of a community, and in particular takes us to the story of Emma Potiki Grooby …
Nonorganic Life: Encounters Between Frequency And Virtuality In Antarctica, Su Ballard
Nonorganic Life: Encounters Between Frequency And Virtuality In Antarctica, Su Ballard
Su Ballard
This paper is not about Antarctica at all. In many imaginaries Antarctica exists as a virtualized yet real utopia. It is a place known through material productions that oscillate between the fictional and the scientific. The discovery of the Don Juan Pond lead scientists towards life formed by brine-derived nitrates (a kind of molecular self-organization by non-carbon sources) and onwards to the possibility of life on Mars. If it is autonomous, can reproduce and evolve, it must be life, mustn’t it? Amidst complex computational models, nonorganic matter is not static; it changes and tying it to either nature or culture …
Entropy And Digital Installation, Su Ballard
Entropy And Digital Installation, Su Ballard
Su Ballard
What would it mean if communication were exact? That, in spite of the real, material, spaces of message, channel, format, filters, modulations, mediation, and plain old error, it might be possible to exclude all noise and see through to some pure space of connection and transmission. Despite my curiosity, I suspect the result would be disappointingly dull, or simply redundant. The search for perfect communication is as pointless as trying to find an audio space not infected with electromagnetic waves, or a gallery space where only one work is apprehended at a time. Our communications spaces are always already determined …
Html Colour Codes, Su Ballard
Html Colour Codes, Su Ballard
Su Ballard
The HTML Color Codes exhibition features a selection of internet based artwork that address the topic of digital color. The central question that the exhibition poses is whether or not artists working with the internet are in fact limited to a "ready-made" color palette, a premise that many artists working with film, photography, and mass produced, standardized paint sets have assumed. The rationale for this question stems from theories of perception that argue that color is a not ready-made object found in a paint set or machine, but rather it is an experience that results from a complex process of …
Nonorganic Life: Frequency, Virtuality And The Sublime In Antarctica, Su Ballard
Nonorganic Life: Frequency, Virtuality And The Sublime In Antarctica, Su Ballard
Su Ballard
How do we understand what it means to live on a planet? First, we might examine the qualities of a planet: spherical, rotating around an axis, revolving around a star (in the case of our Earth, the sun). Perceived according to these properties, it becomes clear that certain locations on the surface of this sphere are subject to different conditions of life. For example, due to the rotation of the Earth, most locations on its surface are subject to a 24-hour cycle of light and dark. However, two places, the axis points of the Earth's rotation, experience a vastly different …
Flickering Affect, Su Ballard
Et Al. That's Obvious! That's Right! That's True!, Su Ballard
Et Al. That's Obvious! That's Right! That's True!, Su Ballard
Su Ballard
A review of an installation by et al. for Christchurch Art Gallery, Te Puna o Waiwhetu. July 23 - 22 November 2009.
Seeing Things, Su Ballard
Distraction And Feedback: Sound, Noise And Movement In Aotearoa New Zealand, Su Ballard
Distraction And Feedback: Sound, Noise And Movement In Aotearoa New Zealand, Su Ballard
Su Ballard
If sound is a material and digital media have lead images toward a realm where they engage materiality at a deeply coded level, then it is only logical that at some point sound and image will meet on similar ground. In Aotearoa New Zealand artists playing with and shifting the distinct materialities of sound and image enabled by, and in response to, digital technologies have generated significant bodies of work. Much of this work does not only cross the boundaries of sound and image but blurs their material distinctions. This short essay focuses on some recent installations by artists Nathan …
Emergence: The Generation Of Material Spaces In Anthony Mccall's "Line Describing A Cone", Su Ballard
Emergence: The Generation Of Material Spaces In Anthony Mccall's "Line Describing A Cone", Su Ballard
Su Ballard
Anthony McCall's solid light film Line Describing a Cone (1973)is about the emergence of dimensionality in space. This paper uses Line Describing a Cone to discuss emergence as a material algorithmic process occurring across the media of informatic systems and installation art. Evolutionary models of emergence trace patterns, whether behavioural, spatial or genetic. Line Describing a Cone suggests the emergence of a new kind of mobilized viewer within gallery spaces who does not necessarily 'evolve' but who (through interruption and noise)becomes an interactive emergent part of the material processes of the work. Noise travels and generates the excess dimensionality within …
Cloudland: Digital Art From Aotearoa New Zealand, Su Ballard, Stella Brennan, Zita Joyce
Cloudland: Digital Art From Aotearoa New Zealand, Su Ballard, Stella Brennan, Zita Joyce
Su Ballard
The Maori name now used for New Zealand is Aotearoa, ‘Land of the Long White Cloud’, a description of the form of islands glimpsed from the ocean, their mountains obscured by the vapour gathering around their peaks. Cloudland draws on this duality of the solid and insubstantial to address the instability of place and its definitions, the permeability of boundaries and the connections between people and place.
Time-Based Art: An Introduction, Su Ballard
Aotearoa Digital Arts Emerge, Su Ballard, Stella Brennan
Aotearoa Digital Arts Emerge, Su Ballard, Stella Brennan
Su Ballard
No abstract provided.
Information, Noise And Et Al, Su Ballard
Information, Noise And Et Al, Su Ballard
Su Ballard
At their most simplistic, there are two means for shifting information around - analogue and digital. Analogue movement depends on analogy to perform computations; it is continuous and the relationships between numbers are keyed as a continuous ordinal set. The digital set is discrete; moving one finger at a time results in a one-to-one correspondence. Nevertheless, analogue and digital are like the two companions in Serres' tale. Each suffers the relationship of noise to information as internal rupture and external interference. In their examination of historical constructions of information, Hobart and Schiffman locate the noise of the analogue within its …
Embedded Ecologies: Teaching Digital Theory In Art And Design, Su Ballard, C Mccaw
Embedded Ecologies: Teaching Digital Theory In Art And Design, Su Ballard, C Mccaw
Su Ballard
We are both researchers in a traditional sense and also design and art practitioners. We work in an environment where our students make things as well as study theory. Our hypotheses surround our experiences, both as academic 'makers' and through our observations in the classroom. Our position is, that if practice and theory are integrated and embedded within art and design educational experience, meaning is brought to theory and thoughtful positioning to practice. There is a wide range of literature on the theory/practice relationship within art school environments. We draw on this material but in many ways diverge from it …
The Geekosystem: Adam Hyde And Julian Priest, With David Merritt, Su Ballard
The Geekosystem: Adam Hyde And Julian Priest, With David Merritt, Su Ballard
Su Ballard
Many of us have memories, now reduced to nostalgic reminiscence, of the first time we persuaded our family’s Sinclair ZX Spectrum to move a glowing green pixel a centimetre or two to the left. At this moment we experienced the magic of programmed motion. Too quickly these early machines disappeared into obsolescence and the desire for faster and more became the dominant feature of human computer relationships, as we succumbed to the lure of the next techno-gadget. In the early twenty-first century it is essential to think about the technological footprints we are leaving in our wake as we continuously …
Emergence: The Generation Of Material Spaces In Anthony Mccall's "Line Describing A Cone", Su Ballard
Emergence: The Generation Of Material Spaces In Anthony Mccall's "Line Describing A Cone", Su Ballard
Su Ballard
This paper begins from a belief that all media are material, and that in their specificity time-based media can introduce us to different kinds of relationships and experiences across material surfaces and forces within gallery spaces. To this end, it will demonstrate how a 16mm film installation within a gallery space presents materiality as emergent. The paper focuses on an artwork that draws on installation's cinematic legacy Line Describing a Cone by Anthony McCall (1973). Line Describing a Cone is currently undergoing a renaissance of sorts possibly because it invokes a particularly affective interactive experience that echoes many works being …
It's A Small World After All: Susan Norrie's Enola, Su Ballard
It's A Small World After All: Susan Norrie's Enola, Su Ballard
Su Ballard
This essay explores the movements of cinema as it is refashioned within an art gallery space. In addition it charts a number of research ideas as they find themselves manifest alongside Australian artist Susan Norrie’s digital video installation ‘ENOLA’ (2004). The essay engages with a current argument in new media theory surrounding the influence and relevance of the cinematic apparatus for analysis of new media, and suggests that although both cinema and new media can be understood through shared aspects of movement, duration, and sound, to reference cinema directly in a digital gallery installation also introduces a number of problematic …
Susan Norrie - Exhibition Catalogue Essay: Taking Time, Su Ballard
Susan Norrie - Exhibition Catalogue Essay: Taking Time, Su Ballard
Su Ballard
In ENOLA this shifted perception is multiplied many times over. We see the camera as it sees, we see the visitors to the themepark looking at the world below them as they step carefully between its buildings, we watch the tour guides watching that scene, we see the spaces of the installation, we see the stools which stand mutely before the screen, we see ourselves amidst others watching the screen. At no point do any of these levels of vision refer back to reality, but instead keep us aware of the multiple and material structures of the architectures of the …
Flickering Affects, Su Ballard
Flickering Affects, Su Ballard
Su Ballard
All digital work is made and viewed in the glow of the flicker: the image moves, our eyes move, our body enters into some digital space. Whether or not a screen is present, the viewer of digital installation art is implicated within this flickering affect. This paper discusses three installation works by New Zealand artists informed by digital practice. I argue that an affective viewing experience can be examined through the semantics of the flicker.