If we are entangled with lights, with carbon, and with moths we cannot draw analogies.
We are thinking about a widening of the circle, an awakening of new ways of imagining and visioning the world.
What might be found at the limit edge of these assembled monuments?
Feminist visual art scholarship transforms and re-shapes worlds within worlds, whether real or imagined.
Now we are in the midst of the sixth great extinction, defence is simply not going to be enough.
although it may be true that iron cannot be penetrated by an ‘equally coarse body’, in-fact ‘subtle bodies such as fire’ can completely transform it.
The machine is not all nice (but then again neither is nature) both include carbon emitting poisons, and climate changing events.
The symposium will ask how we might begin to match the scale of our thought with that of the catastrophe around us.
The art gallery is a stationary assemblage that enables transformation. The objects and situations that are presented within its walls are forever transitory.
The seminar considers the contribution that artistic practice in the network can make to social and environmental change
Bagnall’s works do not just demonstrate machinic vision but prefigure a move in contemporary art from the stable aesthetic object to the unstable and impure real-time process of machine aesthetics.
The artist and his painting machine have become a very particular assemblage of flows.
The camp will think about the affective encounter within environmental transformation.
‘if my memory serves me right..’ at the National Gallery, Canberra
Thinking about an ecosophical approach to contemporary art that considers NZ bird extinctions.
CAST provides a vehicle for critical interdisciplinary exchange within the broad field of contemporary arts.
This exhibition offers a speculative map for the future histories of media, machines and humans.
Everyday fear has lead to habitual uncertainty, and the Christchurch earthquakes occurred in a location that was already well acculturated to a neoliberal concept of risk.
Perhaps in 1972 this was the right place to leave the art machine: bashing at the operations of modernity…
Increasingly complex laws of compensation, cause and effect replaced the deodand, but the nonhuman objects and their crimes did not go away.
Before I went, I had heard stories of the dis-function that had permeated this Biennale. For many it had became a record of how collaboration can never be…
The spell of the city remained outside in the dreamspace of travel.
Paik’s works bring together a commitment to indeterminism, a deep knowledge of information systems, and a playful attention to the materials of communication.
All night silence: Live experimental sound in New Zealand public art galleries. At its best, experimental sound in public gallery spaces activates the gallery, and leaves listeners with a profound experience of all night silence.
Does the robot machine now patrolling the major galleries of the world suggest new methods for engaging with art, accidental spaces of machinic vision, New Aesthetics?
I thought about events, stillness and affect beyond the object.
What is accidental about documentary? How should the accident be documented? In what ways is the accident productive of new aesthetics and new ways of thinking?
an unfortunate list of questions
The start of a series of new lists, this one begins with disciplining.
I was asked to make a list of New Zealand media artists currently doing interesting things. This is only a beginning.
the first emperor penguin spotted in the wild in New Zealand in 44 years
absolute must-have-read-by-the-time-you-leave-art-school texts
gaps in time and special kinds of historico-material objects
Antarctica is provisional; nonorganic life formed through frequency and virtuality.
As we enter into this communal space the oscillations of abstraction become clear.
Moving into the ‘new normal’ that is our near future.
a list of postgraduate projects
The future we must consider is closer to hand than it has ever been.
I will ammend our records accordingly
what are the most important social/ political and aesthetic events of the twenty-first century?
The smell is, of course, molecular.
Enola simultaneously miniaturieses and displaces the histories and expectations of cinema.
The wow factor is the selected images that are at gigapixel quality, in the galleries though the same digital debris appear as out on the road.
Digital Literacy is not about teaching something that is separate to what the students do, rather, it applies across all visual arts disciplines.
What drives art into the twenty-first century? Why keep making objects, images, events, experiences?
The longitude wars are not over yet; From afar they look like children with guns.
This remote conversation will test the materials of digital networks, hosts and remote relays to enable an open discussion of the materiality of the digital.
A screen grab of digital art in Aotearoa New Zealand.
Immediacy determines the kinds of experiential engagements that propel me to write.
This essay weaves together a discussion of the viewer experience of three of et al.’s recent installations with a consideration of the histories of informatics on which they draw.
The talk examines the ecological, economic, political, and technological history of utopian dreams.
Teaching in Electronic Arts, Photography and Art History
PSN Electronic play The Substation as part of etherradio curated by Zita Joyce for Cloudland: Digital Art from Aotearoa at ISEA Singapore, July 2008.
PSN Electronic play “10 years of bad sleep” at the Dunedin Public Art Gallery in support of Chris Watson. 8 October 2009.
The restraint of the contrivance. On my first visit, a man beside me got extremely agitated and started shouting at the screen, swearing in German, “it is all nonsense”.
thinking about photography and the digital figure
Steichen won many prizes for his cross-breeding of Delphiniums and at one time planted 5 acres of his Connecticut home with the flowers.
Engagements with Erewhon suggest an ongoing commitment to a potential future elsewhere and to the construction of media histories that are embedded in concrete locations.
Gallery Machines traces a critical art history of the tensions, resonances and disruptions found in the encounter between new media, sound, image and the art gallery.
Max Bellamy layers a mythic-biology with an acute awareness of what it means to exist in a hyper-real world.
… after all Brittney Spears made her debut on the Mickey Mouse Club.
It is a comfortable fiction to say that we know precisely where one thing begins and another ends.
ENOLA makes a final slip from the grasp of cinema, and becomes a vision machine.
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.
This was not the familiar smell of daphne, lilac, or jasmine. It was heady, monstrous.
…in this exhibition, we find ourselves in seemingly exotic places and other worlds, watching fleeting half-lives.