locative media

For three days in January 2004, a Masterclass with Blast Theory (UK) was held at the well-equipped Technology School of the Future, Hindmarsh SA. Participants from across Australia spent their time discussing previous works of Blast Theory and their place within the gaming performance and art realms; learning the basics of various handheld technologies, their uses and restrictions; formulating game structures and rules using mapping, instructive clues or messages, visual indicators and performance. (more…)

Futuresonic produced its first festival in 1996, primarily celebrating the famous Manchester music scene. Over the years the festival has integrated visual and interactive works, leading to this year’s 50/50 music and media art split. (more…)

In March and April 2004 I travelled to Helsinki for PixelACHE 2004 DIY Electronic Arts Festival: Audiovisual Architecture. During the first weekend of the festival I caught the ferry to Stockholm with 15 artists and crew to present a solo exhibition and performance at Sauna Gallery, participated in artists’ talks at CRAC (Creative Room for Art and Computing) and attended audiovisual club nights at Metro Club and legendary experimental music venue Club Fylkingen. (more…)

The theme for Transmediale 04 was Fly Utopia—there is hope there is no hope. This offered interesting conceptual territory in terms of cultural theory and worried at the ongoing question as to the purpose and value of art, particularly digitally and electronically mediated art. Do the tools media artists use serve as formidable weapons in a techno-dystopic world, or do they allow us to escape into collective utopian imaginings? (more…)

A 3-way discussion led by Maria N. Stukoff with Jen Southern and Drew Hemment, January 2005 (more…)

Currently a Research Fellow at The Banff Centre in Canada, 25 year old Australian media artist and digital game designer Anita Johnston boasts an impressive folio of art-based games, projects that persistently explore the dialogue between overlaid and enhanced realities. (more…)

Anyone who has taken an interest in the practice of field recording has probably noticed the extremes that artists have gone to in the past ten to fifteen years to document difficult and remote locations. (more…)

“If you approach somebody you don’t know, he might be a great poet, or great inventor, or… Anyway, the unknown is the richest field of all, because the unknown has no limits, no frontiers”[1]. (more…)