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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


Paula Dawson, Hyperobject, My Homeland (detail), 2013, production still for holographic digital print Paula Dawson, Hyperobject, My Homeland (detail), 2013, production still for holographic digital print
courtesy the artist
I’m staring down into the dark depths of a pool in which unrecognisable organic forms drift peacefully or their tendrils propel them past each other or into the bottomless dark. Actually, I’m look at the glass surface of a low, metre-square box on a gallery floor, but so convincing is the three-dimensional realisation of these luminescent life-like forms that I happily suspend disbelief, encouraged by the absence of the hard edges of 3D filmmaking.

I’m told by an art student invigilator that the tendrilled creatures are apparently constructed from 3D scans of the life-lines of human hands. More surprising is the news that the technology employed to realise this fantasia is adapted by hologram artist Paula Dawson from US military equipment designed to recognise and learn topography in war-torn Iraq and Afghanistan.

Paula Dawson, Hyperobject, My Homeland, 2013 installation, Holoshop exhibition Paula Dawson, Hyperobject, My Homeland, 2013 installation, Holoshop exhibition
courtesy the artist
Creatures appearing in another screen, this one hanging from a wall, ease gently in and out of the frame, their delicacy and transparency belying a near palpable sense of solidity.

Nearby there’s an opportunity to play with a device emanating from an Australian Research Council funded project, with Dawson as one of its team of international investigators. It aims to “forge a set of innovative technologies and processes for creating realtime 3D digital content for holograms and other 3D display systems with virtual tools which enable the direct hand-drawing of subjects, mark by mark.” Manipulating the pen, which is held by flexible armature, feels distinctly odd when a 2D egg-shaped image on the screen ‘feels’ three-dimensional as I move the pen across it. This digitally generated tactility is an intriguing dimension of the Holoshop project.

This show, which includes Dawson’s helium-neon laser holograms, delights in its play with perception and its suggestion of the creative and other possibilities of the strangely named Holoshop. Yet again there is a sense of the uncanny in an ISEA2013 exhibition.

Paula Dawson, Holoshop: Drawing and Perceiving in Depth,
UNSW College of Fine Arts, 7-16 June

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

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