Issue 70

Welcome to 2009 as we celebrate ANAT’s 21st anniversary year. ANAT has evolved a great deal from its 1984 origin as a research-based project of the Experimental Art Foundation, to becoming a legally and financially autonomous national arts organisation in 1988. (more…)

Singapore has turned me into a Formalist. I moved to the nation-state after teaching and making art at UCLA where my students and I were creating films about radical left-wing politics, (more…)

A carefully constructed placement of a screen can bring a difficult piece of video art into a framework that becomes comprehensible to the uninitiated. (more…)

Warning: this article contains mild nudity.
David Lynch’s screed against films on cell phones has been largely played for laughs but it speaks to a curious chasm (more…)

Soft light from the high ceiling at prestigious Spiral Hall in Aoyama, Tokyo, reflects on the white wings of a seagull-shaped M-02J jet glider. (more…)

In the short time span of a few months the media landscape of Los Angeles has undergone a major transformation:
(more…)

The Living Screen is a moving image installation by Bio-Kino (Tanja Visosevic, Guy Ben-Ary and Dr. Bruce Murphy) that anticipates a new interplay between spectator and screen. (more…)

When was the last time you held a building in your hand? Project Blinkenlights enables viewers to do just that, only they must bring their mobile phones. (more…)

The dome of the sky is one of the most influential objects on the evolution of human thought. (more…)

Classification Pending is a permanent public artwork in the Bremer River, Ipswich Parklands, Queensland with modified versions also appearing temporarily in the canvases of the Ooka River (Yokahama) and The Thames (London). (more…)

In September 2008 Matthew Gingold received ANAT’s Professional Development Travel Grant funding which allowed him to travel from Melbourne, Australia (more…)

In today’s high-tech world, and with 2009 being ANAT’s 21st anniversary year, our Emerging Technology (ET) labs have never been more necessary. (more…)

Sound in the public space is still very much a frontier, where the lines are drawn by multiple authorities and exposure to the “public” challenges sound artists with a whole new set of issues and dynamics. (more…)

In his editorial, Scott Hessels writes about his recent embrace of new forms of screen-based content creation and delivery compared to his earlier approach where content was king. (more…)