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7-16 June 2013

 Da Contents H2

July 24 2013
Past-present tensions
Keith Gallasch, Naala-Ba (Look Future), Carriageworks and ISEA2013

July 3 2013
Data noise & the limits of dance
Keith Gallasch, Myriam Gourfink & Kaspar Toeplitz, Breathing Monster

June 26 2013
Nailing the virtual
Virginia Baxter, Keith Gallasch, The Portals

Night work
Keith Gallasch, Embodied Media, Night Rage

Palpable virtualities
Keith Gallasch, Paula Dawson, Holoshop: Drawing and Perceiving in Depth

The big connect
Somaya Langley, The Portals

Transformational walking
Anne Phillips, Long Time, No See?

June 18 2013
Musical multiverses
Gail Priest, Polysonics

Rainbow over ISEA
Keith Gallasch, Electric Nights

realtime tv @ ISEA2013: Zydnei, Troy Innocent

June 17 2013
If a system fails in a forest, is anybody listening?
Urszula Dawkins, If a system fails in a forest…, 107 Projects

June 16 2013
In the digital age, love your stationery obsession
Urszula Dawkins, Durational Book

Painting by algorithms
Keith Gallasch, Ernest Edmonds: Light Logic

June 15 2013
Home, sweet home
Urszula Dawkins, disSentience, Sleeth, SelgasCano, Tin Sheds

Pop up pleasure zones
Gail Priest, Electronic Art Pop-Ups, The Rocks

June 14 2013
Aural ecologies, mechanical and musical
Urszula Dawkins, EchoSonics, UTS Gallery

June 14 2013
Heck, baby, I shoulda seen it comin…
Urszula Dawkins, The Very Near Future, Alex Davies

More than meets the eye
Virginia Baxter, Keith Gallasch, Point of View

New tools and old skool grammars
Gail Priest, Macrophonics II

realtime tv @ ISEA2013: The very near future, Alex Davies

Start by leaping off a small stool
Urszula Dawkins, ISEA Closing Keynote Address: Julian Assange

June 13 2013
A curative dose of spontaneity
Lauren Carroll Harris, pvi collective, Deviator

M e d i a a r t t h e n a n d n o w
Darren Tofts, Catching Light, Campbelltown Arts Centre

Olfaction, decay & speculation
Gail Priest, Raewyn Turner & Brian Harris, Ian Haig, Nandita Kumar, Verge Gallery

Riding the theta waves
Urszula Dawkins, Theta Lab, George Poonkhin Khut and James Brown

Run for your lives [2]
Keith Gallasch, Running the City, COFA, UNSW

To re-map and reclaim
Lisa Gye, Mapping Culture [panel]

Turning the media back on itself
Lisa Gye, Mark Hosler, Adventures in Illegal Art

June 12 2013
Outside the labyrinth…looking in at someone waving
Urszula Dawkins, SoundLabyrinth, Mark Pedersen and Roger Alsop

realtime tv @ ISEA2013: semipermeable (+), SymbioticA

Run for your lives [1]
Keith Gallasch, Marnix de Nijs, Run Motherfucker Run

June 12 2013
The uncanny in the gallery
Keith Gallasch, Mari Velonaki, Simon Ingram, Petra Gemeinboeck & Rob Saunders, Artspace

June 11 2013
realtime tv @ ISEA2013: EchoSonics, UTS Gallery

The science and art of tangible things
Urszula Dawkins, Synapse: A Selection, Powerhouse

Touch me there
Gail Priest, ISEA Artist talks: Siu, Baumann, Velonaki

June 10 2013
Being Stelarc
Gail Priest, Stelarc: Meat, Metal, Code: Engineering affect and aliveness

Life and death, and the membranes inbetween
Urszula Dawkins, semipermeable (+), SymbioticA

realtime tv @ ISEA2013: Catching Light, Campbelltown Arts Centre

June 9 2013
'Pure' experience, in the round
Urszula Dawkins, Pure Land, iCinema

Data lives
Gail Priest, Genevieve Bell, Mark Hosler, Paolo Cirio & Alessandro Ludovico

realtime tv @ ISEA2013: Velonaki, Ingram, Gemeinboeck & Saunders, Artspace

June 8 2013
Knowing your place in Cartesian space
Gail Priest, Ryoji Ikeda, datamatics [ver 2.0]

Stars and starlings, pixels and picknickers
Urszula Dawkins, Ryoji Ikeda, datamatics [ver 2.0] & test pattern


Thea Baumann, Hologram Holiday part of Metaverse Makeover Thea Baumann, Hologram Holiday part of Metaverse Makeover
photo Russell Shakespeare
We increasingly entrust machines with our sensual augmentation, constantly allowing them to see and hear for us. However beyond the functional—the moving of objects or handling of hazardous material—we can’t yet entrust them to really touch for us.

Forgive my naïve psychologising but it seems as though both seeing and hearing involve a two-part process, the split allowing space for machine mediation. A machine can record information and show it to us by proxy and then we can see/hear and process it. However with touch it seems as though the recording and the processing are simultaneous and more tightly entwined—our skin actually needs to be in contact in the moment, not presented with a ‘recording’ of the touch. Or is it that perhaps we don’t yet know how to make this touch recording?

Eric Siu

Visiting Hong Kong artist Eric Siu has developed a quite beautiful workaround for this dilemma. In Touchy, , he encourages actual touch between humans but the results are recorded in visual format. Siu has designed a helmet camera with mechanical shutters over his eyes so that when wearing it he is essentially blind. That is until someone touches him (while also placing a hand on a specially wired light bulb). This contact completes a circuit and the shutters spring open revealing Siu’s most beguiling eyes. If you keep touching for 10 seconds, a photo will be taken which can be viewed on the screen at the back of the helmet. Despairing of a world where people are physically shut off, communicating remotely via small screens, Siu is intent on bringing “connection back into reality.” He offers a simple equation: human + social device (ie camera) = happiness. And from his video documentation this appears to be true.

Thea Baumann

Thea Baumann’s Metaverse Makeovers employs a similar equation. She has devised an augmented reality experience for nail bars offering manicures and toxic fume highs. Baumann and collaborators Ben Fern and Shian Law have created nail decorations that are also QR Codes. The human touch of having your nails done can thus be extended into a quasi-magical visual experience, viewed either via personal hand-held devices or on screens in the salon. The fantastical content that appears once the nails have been scanned has been designed in consultation with “nail bar communities.” Baumann has actually attracted investors to this project; Metaverse Makeovers is now a transmedia company concentrating on the Asia-Pacific marketplace to further develop a range of Augmented Reality products for fashion, design and leisure industries. Maybe mediated fingernails are getting us closer to mediated fingertips.

Mari Velonaki

In aesthetic contrast is Mari Velonaki’s Diamandini an ivory-hued interactive robot which responds to the presence of people, approaching or retreating, or hanging around, depending on learned behaviours. Diamandini is being developed over five years as an ARC research project with Velonaki and her team, in particular David Silvera-Tawil, now exploring how touch can be built into her systems utilising specially developed artificial skin emedded with electrodes. Perhaps we are closer to those touch recordings than I thought. (Mari Velonaki also has a work in the Artspace exhibition see realtime tv.)

As I was pondering the theme of this article I came across a Charlie Sofo video work titled Touch, exhibited as part of Experimenta’s Speak to Me. While on a residency in Dunedin, Sofo filmed himself exploring his new environment using his hands—fingertips running over woodgrain, concrete, wire and plants. It’s highly evocative of the memory of touch but it illustrates the kind of tactile muteness to which I allude—the simulation is not yet stimulation. In my fantasies of the future I see a world where Sofo’s artwork will utilise Velonaki and Silvera-Tawil’s artificial skin. I’ll not only be able to see but actually feel that blade of Dunedin grass.

ISEA/Vivid artist talks: Click touch connect; Distributed enablers in the new grid, 9 June; Speak to Me, Experimenta, Powerhouse Museum, 8 June – 21 August;

This article first appeared on RT's ISEA2013-in RealTime blog

© Gail Priest; for permission to reproduce apply to [email protected]

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