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Cameron's work is based on interaction with natural forces and the elements. He has devised many ways of producing a kind of collaboration between artist and nature. This is evident in the series of Wind Drawing Machines.
Professor Tony Brooks is a visionary practitioner in computer mediated assistive technology for simulated interactive 3D environments facilitating artistic expression for therapeutic and rehabilitative outcomes, amongst other things.
Associate Professor Paul Thomas, currently holds a joint position as Head of Painting at the College of Fine Art, University of New South Wales and Head of Creative Technologies, Centre for Culture and Technology, Curtin University of Technology.
I'm a lighting designer, project manager and freelance thinker.
I work in Brisbane, Australia.
I'm developing interactive location based media for public spaces and events.
For many years, artist and researcher Tracey Meziane Benson has focused on notions of national identity, tourism, borders and identity as themes within her creative practice. Primarily, she uses the www and digital data projections and video as mediums.
Marian Pastor Roces, founded and curated the Museo ng Kalinangang Pilipino at the Cultural Center of the Philippines.
My art practice is often concerned with the subjective response to the whiplash speed regarding changes that takes place in the world, especially change within the medical sciences.
Antonio Giacomin was born in Trieste in 1974. He has been working with video since 1993, the year in which he participated in the Locarno Videoart Festival with La Rosa. His first experimental feature-length film, 0, dates from 2002; it is a mixture of video, theatre, music and performance.
Romain di Vozzo is a political artist and a keynesian art entrepreneur involved in public art production, painting, video art design, digital art, installations and objects production. He operates through the critical company DI VOZZO S.A.S, created in 2008.
Dvora Morag is an Israeli painter, photographer, and installation artist whose mixed-media work deconstructs the private-public, present-absent dichotomy.
mitumBACK is a global transdisciplinary project resting upon two basic approaches
firstly we have the artistic approach - mitumBACK - a label trans fair -here we try to connect people directly with the clothing we brought back with our new emancipatory strategies using label mitumBACK
I am a digital artist working in the area of atmospheric science. I have collaborated with scientists in the area of micro-meteorology and remote sensed imagery.
Colombian artist, working mainly in collective action including scientists in areas like neuroscience, molecular biology and astronomy. Education in environment and human talent has also been complemented with performance by the artist.
FoAM is a research group and a transdisciplinary laboratory for holistic and speculative cultures.
In my research I explore and evaluate concepts and methodologies from those sciences, which pursue a synthetic approach, with regard to their applicability to art and design.
nancy mauro-flude [sister O, s.g. ballerina] practices multinodal, translocal collaborations, virtual kinship communities, and media mergering, (entwining incongruent sensory codes, signs and knowledge's together).
Media theoretician, artist and member of the feminist cyber collective “Old Boys Network“. Germany.
I am a photographic artist, writer and videographer working in the marine environment, highlighting fine art values and anthropomorphic values in nature. I particularly work with macro marine imagery in the intertidal areas of Australia's remote Kimberley coast.
Wayne Ashley is a program director, producer, and curator with eleven years developing and implementing hybrid projects with nationally and internationally recognized artists and cultural institutions.
The chimaera series consisted of various mixed media constructions of variable sizes utilising repetitive components made with a variety of media and readymade objects including scientific lab ware and included;
Oil encaustic linen canvas chalk white board maker genetically modified corn flour as baby powder genetically modified sunflower oil watch glasses glass test tubes thermo plastic film clear acrylic and mild steel push pins cast shadows reflections movement sensor lighting glass etching
The work aimed to position the viewer as part of a new chimaera
artfunding: Besen Foundation supported the exhibition 'Respond Red or Blue' at the Royal Melbourne Hospital.
sciencefunding: In kind support and material support from the Radiology department at the Royal Melbourne Hospital and later at the RMIT Radiology sciences faculty in Bundoora was tremendous. As was the support of technically knowledgable staff in order to create the images, i could not oppporate the technology and required there expertise.
Also the medical illustration unit at the RMH and many other staff.
Through images, text, fingerprints and DNA sequencing (from hair samples of the subjects) a series of abstract layers of identity will be woven together to create the fascia for the identity chamber. The physical chamber, a tent-like construction, made from semi-transparant tensioned latex, can be entered and walked through by viewers, while the visual translations of identity are projected onto the chambers walls. A metaphorical recombination takes place, identity becomes an elastic (en)coded building process.
Los Días y Las Noches de Los Muertos is a ghost work of counter-memories, tracing thresholds of impossibilities beyond the blank gaze of pan-capitalism. A drifting carnival of five micro-stages recombines the newest blue-eyed sons of star wars, top-sight trajectories of power and capital, and the living dead who name themselves Zapatistas.
Geoderma is a 3D video and installation project that developed into a major exhibition first shown as a Festival of Perth event at the Perth Institute of Contemporary Arts, in Western Australia in 1998.
The work took a year and a half to complete and is the collaborative efforts of three artists: Brian McClave, David Carson and George Millward.
Geoderma then toured Australia between 1998 and 2001 with funding from Art on the Move and the Australia Council
StellrScope, a body of work by ACT artist Eleanor Gates-Stuart, celebrates wheat innovation over the last century, from William Farrer’s pioneering work on wheat breeding to present-day research on food futures. Using source material including Farrer’s own notebooks, it explores the links
between art and science, and tells the story of the Canberra region’s connection to Australia’s major food crop.
Eleanor Gates-Stuart, Science Art Fellow at CSIRO, exhibits her intriguing artworks ‘Hot Seeds: the Scithetic Dimensions’ produced whilst in residence at CSIRO.
The body of work explores the scientific innovation of wheat across CSIRO’s Plant Industry, Bioinformatics and its Food Futures Flagship, celebrating the legacy of William Farrer through to present day.
The paraphernalia of a rootless existence, such as sleeping bags and tents, are rolled to form soft-sculptural planters. These incubating seedbeds support the growth of 100 plants native to Western Australia. Each vessel is fitted with a tag identifying the scientific and common name. Another tag references a UWA-related research publication title drawn from any faculty and collectively forming a temporary nursery and library annex that reflects a rapidly changing environment and associated fields of knowledge.
Gilbee’s oeuvre entails a complex exploration of human existence that often borders on the ineffable. The ethereal and somewhat ephemeral nature of her materials complements this sensibility while enhancing an intrinsic poeticism in her work. While this exhibition continues her investigation of ‘interior’ worlds - on both physical and psychological levels – the work shifts towards an exploration of the relationship(s) that exist between consciousness and the creative impulse through emotions such as fear, anguish and desire.
'Shadows are a corset for light. When forms emerge unknown they dance on our field of perception, igniting imaginary landscapes and projections of desire.' Tara Gilbee
'Cold Light' is a series of photographic images that explore the quality of light as manipulated through photography. The artworks are large and invite the viewer to make their own meaning from the shapes and forms that shimmer from the page.
Eleanor Gates-Stuart is one of 5 selected artists to work with the Electric Canvas in showing architectural projections on Canberra’s Parliamentary Triangle. These include: The National Library of Australia, the Museum of Australian Democracy at Old Parliament House, the National Gallery of Australia, the National Portrait Gallery and Questacon – The National Science and Technology Centre.
Eleanor draws on her science art interests and historical artefacts from the NLA.
The Impact by Degrees exhibition presents perspectives by Australian media artists who, through collaborations with scientists, environmentalists and designers as well as an extensive engagement with Australia’s unique
environment, have developed cultural responses to the most urgent for humanity challenge—Climate Change.
Impact by Degrees is the key cultural event within the Embassy of Australia, Washington DC in the lead up to the UN Framework Convention on Climate Change, Conference of the Parties in Copenhagen 2009.
In this year’s edition, we are focusing on different ethical perspectives of Science and Art collaborations, particularly in relation to the Life Sciences. We have thought of 3 distinct moments of reflection to discuss the differences, similarities, cross sections, juxtapositions in artists and scientists’ objectives, sensibilities and background knowledge.
1) Hybrids will present some projects that deal with different subjects, a portrait of life, and human, animal and cellular interactions
2) Reflections will be centred on laboratory experiences
Collaborative project with Shu Lea Cheang, 'Moving Forest'; a 12 hour 5 act sonic and visual performance to be intervened by an expandable citywide operatic manoeuver with public wifi and mobile technology. Derived from Kurosawa's film version of Macbeth (Throne of Blood, 1957).
Linda works with Processing (open source software) to generate flying arrows from mobile phone and web connections and splattered blood stains from input from scrying boards that pick up the invisible ever present electro magnetic fields our appliances and devices produce.