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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, Ben Ferns, Shian Law , Metaverse Makeovers Thea Baumann, Ben Ferns, Shian Law , Metaverse Makeovers
courtesy the artists
Metaverse Makeovers

On the precinct skirting the outdoor urban screen at The Concourse in suburban Chatswood, the Portals project has set up a virtual nail salon. Two young local manicurists are on hand to paint our fingernails and to install the special accessory that will allow us entrée to the Metaverse.

Seated on a couch, we glimpse some possibilities of our augmented reality status as another of the team waves his iPad over our nails to demonstrate their new capabilities: suddenly fish swim from our fingertips, flowers unfold, glowing baubles explode in coloured flashes. Move a finger slowly and a shiny ball will follow. It’s decidedly blingy, but fun.

Thea Baumann, Ben Ferns and Shian Law are the creative team behind Metaverse Makeovers. Splitting her time between Australia, Tokyo and Shanghai, Baumann is onsite at Chatswood searching on her iPad for Law who’s in Darwin with Lia Tabrah, the fashion designer responsible for the fetching Hologram Hostess outfit worn by Law. The costumes around as at The Concourse are a riotous blend of kaleidoscopic patterns in pink and yellow lycra, worn with platinum or pink wigs. Telematic communication flows wildly in this little corner of an otherwise formal plaza. While a line of high school musicians files into the theatre, Annette Shun Wah’s live interview with Baumann is followed by a blast from Darwin where the team appears to be wrestling a green plastic crocodile. Meanwhile, a pop up reminds us that Julian Assange will address the ISEA multitudes tonight and Creative Producer Ricardo Peach is running us through the other four Portals projects featured this week at the Concourse on his app-packed smart phone.

Through The Portals with Ricardo Peach:
Distributed Empire

Peach explains that “Distributed Empire [Justin Clemens, Christopher Dodds & Andrew Nash] is a kind of portraiture work where people upload photographs of themselves or their heroes to an app that sends the image into the Distributed Empire network that sources similar faces, morphing yours with others into a new portrait that evolves over time.

“Adam told me that for the four-day event the algorithms themselves will decide what the aesthetic will be for this mass portrait in the end. It’s sonified with a composition that Adam made for it. But he’s also developing an algorithm that will use the data from your face to generate a ‘sound sculpture.’

“The face has changed so much over the last few days. It started off quite realistic and then has become quite abstract. I think it’s become quite cubist at the moment.

“You load yourself up, see yourself appear on the big screen and then you morph with other faces. When you go to you’ll also be able to see other people’s faces who have uploaded themselves onto this sonic, visual sculpture. You can see people taking pictures of themselves here in Darwin and in Sydney…anywhere really.

“Adam’s also been uploading famous portraits as well, the Mona Lisa, the Madonna, also pop culture idols. Technically this work can evolve over years.”

Is Starlight a Wifi Signal?

Nancy Mauro-Flude, Nick Smithies, Crystal Thomas, Is Starlight a Wifi Signal? Nancy Mauro-Flude, Nick Smithies, Crystal Thomas, Is Starlight a Wifi Signal?
courtesy the artists
Peach tells us about Is Starlight a Wifi Signal? [Nancy Mauro-Flude, TAS; Nick Smithies, TAS; Crystal Thomas and Frontline Media, NT], a telematic performance between Hobart, Darwin and Sydney. “Nancy was in Hobart creating gestural movements with Crystal in Darwin. It’s a slow piece with a series of images and texts that evolve with [the artists] co-ordinating and working across a network to see how they react to each other while reconfiguring images and messages, including tweets to the stars from the audience via the hashtag #starlight. People in Darwin experienced it very differently from people in Sydney and Hobart.

“Nancy is questioning how we can negotiate with each other now that we ubiquitously work across networks. What does it mean for us in our personal relations and how we see each other? The work is a complex philosophical piece, very beautifully done. Quite poetic. I’ve uploaded a longer version on Facebook.”

Mauro-Flude writes in the catalogue, “We have always navigated by the stars, and now as a species, we regularly and increasingly, habitually use networked communication systems (GSM, Bluetooth, Wifi, RFID, QR, AR, radio). These omnipresent transmissions and signals are a new kind of fictional species that exist with/in us. What is happening on the level of the machine now information technologies are building new habitats, cosmographies and cosmologies?”

Shadow Net

Jimmy McGilchrist, Matt Ditton, Tom Killen, Tyler Solleder and Johan Dreyer, Shadow Net Jimmy McGilchrist, Matt Ditton, Tom Killen, Tyler Solleder and Johan Dreyer, Shadow Net
courtesy the artists
Peach shows us video of intersecting, moving shadows, generated by people passing by a camera or by consciously performing in front of it. Some are in Sydney, some in Darwin but all are on the big screens in both cities. “In Shadow Net by Jimmy McGilchrist (SA, NSW) and Matt Ditton (VIC), people dancing on a green mat in front of X-Box Connects in separate locations appear as shadows onscreen, one blue, one red. They can see each other’s movement. Where their shadows overlap the colours turn green, creating icons [elsewhere on the screen] which when activated by movement generate sound, creating a sonic environment. There’s more of rumba sound if you hit the bottom squares.

“[The participants] look at the big screen and they don’t see the difference between themselves and their shadow. They communicate gesturally and also sonically.”

The artists write on Facebook: “Through these shadows, strangers across vast distances are asked to create their own, virtual relationships, and to contemplate the impact of anonymity and intimacy in our ever expanding, highly networked world.”

Enquire Within Upon Everybody

“In writer Chris Rodley and hybrid media artist Andrew Burrell’s Enquire Within Upon Everybody,” says Peach, “you tweet #enquire Sydney or #enquire Darwin and then your tweets appear at the top of the screen, scrolling. Overnight, the artists work to develop a narrative from questions from the day before; that then appear on the right hand side of the screen. Questions appear like, ‘What is the meaning of life?’ The work automatically searches for all the things that are happening on Twitter at that moment. It recognises similar words and comes back to you with an answer. Obviously people tweet about their religion a lot—so God featured very heavily today. We had a lot of ‘God bless you, you’ll be fine” answers. One of the questions that came up was ‘Is marriage [only] between a man and a woman?’ And the answer that came back very clearly was ‘Yes, definitely.’ As Andrew said, ‘It may not be the answer you want to hear but it’s the answer that seems to be out there in the universe.’”

As The Portals catalogue puts it, Burrell and Rodley are “exploring the poetics of search: the creative possibilities of filtering and recombining online data through search queries…inciting questions about the un/reliability of digital information and the im/possibility of uniqueness in networked environments, where almost everything we want to say is always, already being said by someone else.”

Kinds of connectedness

From what we saw of and heard about The Portals [see also Somaya Langley’s response], it’s clear that its works are very much about realising the expressive power of shared play—with images, sound, data flow and live performance—that can come with experimentation with digital networks across vast distances. This is art-making which doubles as social engagement for participants professional and amateur, and passersby, beyond the limits of conventional discourse.

The Portals, Producer Ricardo Peach, The Concourse, Chatswood, 8-16 June

© Virginia Baxter & Keith Gallasch; for permission to reproduce apply to [email protected]

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