Monthly Archives: September 2014

Kate Murphy

Here is an video excerpt, with no sound, stripped bare of any post production but quite beautiful because it captures the training of a mind. It doesn’t seem that much, its a simple routine but it is being assimilated and the intent grows on the children’s faces, it does not diminish. The fact that the camera stays long enough through the performance to go through the lapse in concentration and the self correction. I think Kate Murphy gets some aspects of a religious upbringing or training down pat.

If I compare this to Rineke Dijksta where the time of the going in and out of self correction is similar, but the theme and narrative here is not at all abstracted. In this case that allowed me to focus on the strength of ritual, even in a school hall. In that sense it is more documentary in style, but not fully…

Below it is a link to Vimeo for Prayers of a Mother, here the central image is of the mothers hands holding a prayer book & rosary and we hear her prayers for her family. They are specific and personal. On the other four screens there are the faces of the grown children and as she prays we see their facial expressions cutting across a gamut of emotions.



what if was here: a city-wide augmented reality installation

a little rant

I am sometimes drawn to programming based new media art, not necessarily because of the outcome, partly for the process but mostly for the philosophy of open source. As I stand today I do not have much skill in any area of new media art, I am learning of course, but the philosophy that is openly demonstrated of collaboration is something that I believe is central to why there is art in the first place. It is to provide an invitation into a debate, whether held privately or it expands, that to me is a massive reason to bother trying to create. it is also to give the viewer or participant a valid place in that debate, because they are drawing that up in their minds.

I must admit that sometimes when I see the outcome of something using Cinder, or Processing etc, I don’t always appreciate it as much more than a product that looks pretty cool, often beautiful. But that is only looking at the outcome devoid of the process. I must also admit that I find it hard to separate the process and the outcome and often the outcome (the finished piece) leads me to research more, not just because I have a journal to do. It is because somehow the output reflects something of the process behind it. The difficulty I find is that some applications seem like they are coding examples of what other techniques have explored previously if they are based on direct signal data. Its a crude example but if coding can manipulate a signal in a similar way that a magnet could?? But if we appreciate the code itself it changes. Also I don’t know if expectations for exploration in new media art allow reconceptualising over and over with each advance in technology but still basically exploring the same roads. I sometimes feel major shifts when looking into some works from appreciation to anger back to appreciation and so forth because these arguments come forward in nearly everything I look at.

Is this like knowing how good brushes are made? Or more like understanding Jackson Pollack’s methodology? Maybe it is a bit of both because we are now a data driven society and in some ways trying to have an anthropomorphic approach may be foolish if gone too far, we should look at the base instincts of ourselves (not just bad ones but basic pushes) and see how they may resemble a program like approach.

I have tried a little bit of processing and will continue to do so. The aspect I find vital is the sharing of knowledge and the possibility of attainable art in everyone’s home that can ask a question. Starting from a level my 10 yo will involve himself with right up to a massively scholarly approach. I think of great importance is the recognition that this is now representative in some way of the backbone of most of our communication, even within my own family software is used several times daily to communicate with each other, let alone the wider society and government.

Scott Kildall

Scot Kildall appears to enjoy analysing networks, to me the mapping of ideas or movement in a continuing theme. Some research on big data has brought about ideas that initially appear science or future systems based.

His current residency is at Impakt based in the Netherlands, which previews and discusses contemporary media culture and innovative audiovisual arts in an interdisciplinary context. His work there is titled Equity Bot, and will add to their online component of their festival this year. Here the concept is to explore how publicly sharing the tools the market traders etc use in their investments would affect the average investor. The algorithms he has developed and is developing have also looked for correlatioequity_bot_logon between public sharing of sentiment (such as with twitter) and fluctuations in various stocks. Whereas Ann-Katrin Krenz has explored aspects of this idea in a largely visual way and distilled it down to a simple visual barometer, Scott Kildalls approach appears to be diving into the complexity of the argument and it seems maintaining the complexity. After reading his blog on his research so far and now I have a link to the Impakt site, it will be interesting to see the final direction of his exploration.

impakt residency

This video displays his love of data and its representation. It was part of the Urban Data Challenge Hackathon (data visualisation) San Francisco. I find this work interesting because at first glance it just looks like a graph on time lapse, but on closer look the ppm scale appears to flex along with the CO and CO2 and I had to question why are they doing this? Is it really posing a question of showing how a problem can be visually condensed to remain pretty but still let us know?

I like his work, what I have seen of it so far. It makes me want to research what he is on about, so to me it is more educational but that may be because I lack knowledge of many of these areas, if I were an insider how would I approach the art? It is interesting for me to think on that, if it is with appreciation then he wins on two fronts.

The Life of Pooh maps the underground flushing systems for sewerage in San Francisco. It also analyses the general water structure of the city. This has an interactive component, which is more useful if you know San Francisco, he also created 3D printed sculptures based on the networks he discovered. I imagine this work to be largely suited to a museum or council site, not that I have anything against pooh but it seems interesting in that context largely due to the limitations of the interface usability on a home pc screen which required scrolling and expanding/compressing to see the map clearly. It is educational, to me the art is implied, a basis is the knowledge of the systems or ideas it represents.

pri_002 sewerworks_front

I found his blog very generous in the way it is written because he lets you in on what he is thinking at the moment, including dead ends.

Scott Kildall’s Blog

Ian Haig

Ian Haig works across a range of media. Its not subtle and has a strong basis in social media and our patterns of use and how we steer it toward evolving into a part of us. His work also addresses the integration of life and the machine.


The video below goes to an external Vimeo Link, Meat Friends on The  Internet,  about our oversharing, stripping off the external and looking inside.


Meat friends on the internet, Ian Haig, 2014 from ian haig on Vimeo.

The icon for a blank Facebook profile is re-configured to appear as a head consisting of visceral meat, layers of fat and tissue. This newly imagined Facebook profile is grounded not in the non body of a virtual place marker but the individual profile as bodily materiality. There is also a  barcode you can scan that goes to the icon.

Facebook over sharing of information depicted as the skinned human body, sound by Ph2

He explores the idea that noting fully dies thanks to the internet (and technology), whilst this has always been true if someone took the time to keep a record of your words for posterity and people bothered to remember, now we are self publishing and authoring new lives with greater agility. Its all done around pretty graphic means. I don’t think this is all bad (for example one of my favourite artists Gordon Hookey is one of my favourites because its clear).







In men of the Internet, he is introducing us to a newly adapted human species, the Computer Nerd,  again looking at biological and technological fusion and adaptation as the nerds spend more and more time at their computers.



Ann-Katrin Krenz

Ann- Katrin Krenz combines programming and geographically specific data to her work which brings the experience of each piece away from the screen. Here is a link to her website:


The benefit of her works is that the effect of the software is addresses. Floating About is based on a game where they take a pocket data projector outside at night and project onto a wall, as they move locations the projections change. The projections are based on data feeds relevant to their location and also the surface of the wall effects the image displayed. I found this work interesting because the image looked different from what is seen on a screen, the similarity of the layour has changed, it is on a rough surface, it is not squared off but elliptical. The images/data being relevant to where they were  was not as obvious to me as the concept.  That may be due to my current technical issues. There is a different video of this set out in the context of a group out at night employing this technology as a fun game against surfaces in the city that they come across (here it is basically demonstrating the app in isolation). In the video the participants of the game were happy. I think it was a plus coming across this. It is about a willing interaction and response to information that in my view of the video was not fully understood by the participants but was instead turned into a game of fun images. That does not make it sinister in and of itself but maybe there should be some thought into understanding what the data means when we play along. It also shows our role as data.

Movie scenes we were asked to share as a class

For a scene to show humanity based on only a couple of poignant movements and really little else as far as the main character goes, we can’t see that much that we recognise as far as facial expression apart from the eyes quivering, the slow movement and the responses of the other cast members. The final scene in the Fly (1986) play it without the sound, there is so much information in this scene but really it is very straight forwardand uncluttered.


I remembered this as being something I found totally disconcerting as a kid in the cinemas. Once they were running it was OK but the concept that filled me with fear was the carousel, and also the frozen food. I don’t really know why but it had a bigger effect than any of the popular horror or thriller movies that I saw (which wasnt that many as I think many were 18+ but they were popular then). It was Logans Run, the carousel scene especially.

The timing was obviously important, some off to a good start to getting up to the top, all the cheering to go higher to touch the apex and be saved, and treating the body explosions like a missed goal. The nod to religion in the robes and the disrobing to reveal fully covered people in a society full of side split minidresses adding to the formality and sense of “hope”. Looking at the imagery now, we are used to this and more I guess. The sense of celebration in the crowd, the masked faces. There were not that many in the carousel, they didn’t seem to explode fully so I wonder if bits fell down to the ground.


Saturday Night Fever, especially this clip. This shows the emporers clothes, the priming of body and peronality and feelings and the mix in the line dance was brilliant.

We Need to Talk About Kevin, the scenes where Kevin crushes his cereal each bit at a time, meticulously. Time is suspended but it is in real time.

Aroha Groves

I first posted about Aroha Groves on the blog which was set up as an additional diary to the lecture notes I took during an excellent course at UniSA (probably my favourite course to date because it is helping me broaden my scope). She had won a Highly Commended in a Telstra award for her game installation on Second Life titled connections2. It is quite an eye opener to read her statement behind it.

Connections2 – Artist Perspective

(My Indignart blog is a bit limited, before submitting the final link I started deleting some of my writing because I thought of the suggested word count in the assessment plan- a formality in a visual based course, everything is counted as word equivalence)

Since then I have seen a beautiful range of her work. I have included a link to her site here, the comprehensiveness of the site is very generous:

Her latest video work posted is Parad-Ice (2014)

I enjoy the contemporary relevance and accessibility of her work, we are appreciating what is around today and with today’s eyes. Through this we gain an appreciation of the beauty and connections still alive, and the current threats, but without any removal or diminishment through time. It is beautiful work but despite this it is not safe, the messages the artist is conveying are clearly accessible.

Lost in a Virtual Mouse Maze

I am grateful for this timely blog as the motivations are comprehensively explained in the video and it uses a platform that is accessible to all which I think is an option that makes new media art so important. Yay thank you Cristopher Healey I will try to honestly steal

Christopher Healey

Video of a project I collaborated on with Kyle Chihosky  & Ryan Stern for our first term new media studio class led by Dr. David Harris Smith (of hitchbot fame).

This was done on the MacGRID, which uses an open source version of the Second Life Platform. It was fun and interesting to work with a virtual world, but also somewhat glitchy. For example, we could not get video to stream properly through objects. Also, at one point I had a fleet of large white stapler clouds floating in one area and this caused the entire platform to crash. Eeessh – sorry everyone. (It looked really cool though!)

Still, I would love to keep working on art installations in there. It’s like a giant sandbox of the imagination.

This project was very rewarding for me conceptually and academically. It introduced me to some of the concepts in Negri and Hardt’s …

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Susan Aldworth

On Sept. 17th there is an exhibition coming up called Sleuthing the Mind (check link below)

Sleuthing the Mind – 17 September 2014.

I can’t see a video on this but the concept looks great. I wish I was in N.Y., I wish it was after the 17th and I could see a bit more about it.


Looking at other things Susan Aldworth has done the approach has been well researched and it appears incredibly sincere. Her approach leaves just as much room for questioning as Lenore Malen, but from a very different angle. Sometimes like going back to childhood type mind wanderings.

Susan Aldworth – Lines of thought from Barney Quinton on Vimeo.

Short film by Susan Aldworth. Music by Barney Quinton



Susan Aldworth : The Portrait Anatomised from GV Art on Vimeo.

Looking through her work and her approach I feel kind of blown away, a bit in awe of her heart.