STELLA BRENNAN and SU BALLARD (eds), 2008.
A comprehensive anthology, The Aotearoa Digital Arts Reader provides a snapshot of digital art practice in Aotearoa New Zealand with essays, artists’ pageworks and personal accounts that explore the production and reception of digital art.
ESSAY by PHIL DADSON, 2006
Some years back, having written a few sound stories of my own, I began collecting anecdotes from sound artists and experimental instrument builders I met with whilst travelling in the USA. Each artist would be asked to tell a yarn about a sound experience imprinted on their memory that may have influenced the direction or path they were to take as artists.
PAPER by SU BALLARD, 2006
Presentation given at Transmediale Berlin reflecting on the development of ADA the facilitation of digital practice; the ways that these histories are being recorded and constructed; and the kinds of relationships that might be emerging across public and gallery spaces.
SIMON MILLS interviews SEAN CUBITT, 2006
for Frame Journal
At the heart of it all is communication, and the actuality of communication is mediation: the fact that all communication is mediated, takes a shape in matter and energy, space and time, and now in entropy and emergence.
ESSAY by ROBERT LEONARD, 2004
for STELLA BRENNAN’s exhibition Tomorrow Never Knows.
Brennan’s digital print reproduced an aerial view of a gigantic geodesic dome on fire, a plume of dark toxic smoke billowing from its pre-fab acrylic panels. It could have been a riff on Ed Ruscha’s The Los Angeles County Museum of Art on Fire (1965-8), except that Brennan’s fantastic image was for real.
ESSAY by ADAM HYDE, 2004
while Digital Artist in Residence at Waikato University
It needs to be said that sharing music online has been going on for a very long time. Perhaps the first substantial example of this was with the sharing of Tracker files over Bulletin Boards.