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Articles 1 - 18 of 18
Full-Text Articles in Social and Behavioral Sciences
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 …
Audible, Su Ballard
Pixel Focus, Su Ballard, Nathan Thompson, Peter Stapleton
Pixel Focus, Su Ballard, Nathan Thompson, Peter Stapleton
Su Ballard
No abstract provided.
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
"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 …
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 …
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.
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 …
Information, Noise, Et Al., Susan Ballard
Information, Noise, Et Al., Susan Ballard
Su Ballard
Divided into three sections, Error brings together established critics and emerging voices to offer a significant contribution to the field of new media studies. In the first section," Hack," contributors explore the ways in which errors, glitches, and failure provide opportunities ...