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  • MARCUS WILLIAMS AND SUSAN JOWSEY, 2007. Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008. Photographs of the artists’ skin are mapped onto digitally constructed forms, which are then subject to a range of mutations.

    Corticosteroid

    MARCUS WILLIAMS AND SUSAN JOWSEY, 2007.
    Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
    Photographs of the artists’ skin are mapped onto digitally constructed forms, which are then subject to a range of mutations.

    August 29th, 2008
  • LUKE DUNCALFE, 2008. Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008. Duncalfe plays with a CAPTCHA, an acronym for ‘Completely Automated Public Turing Test to tell Computers and Humans Apart’.

    Untitled

    LUKE DUNCALFE, 2008.
    Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
    Duncalfe plays with a CAPTCHA, an acronym for ‘Completely Automated Public Turing Test to tell Computers and Humans Apart’.

    August 29th, 2008
  • BRITT BUNKLEY, 2005. Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008. Mushroom mixes mundane bricks and mortar with intimations of the annihilating power of atomic technology.

    Mushroom

    BRITT BUNKLEY, 2005.
    Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
    Mushroom mixes mundane bricks and mortar with intimations of the annihilating power of atomic technology.

    August 29th, 2008
  • LISA REIHANA, 2007. Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008. "To ensure my work has resonance and meaning, I need to find a cultural approach to technology."

    Kawhia & Kete #1, 22, 20 and 83

    LISA REIHANA, 2007.
    Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
    “To ensure my work has resonance and meaning, I need to find a cultural approach to technology.”

    August 29th, 2008
  • AARON AND HANNAH BEEHRE, 2007. Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008. "Not quite a velvet painting and certainly not a screensaver, Postcards for Garland Briggs introduces us to the virtualised world found in the spaces between the screen and the canvas".

    Postcards for Garland Briggs

    AARON AND HANNAH BEEHRE, 2007.
    Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
    “Not quite a velvet painting and certainly not a screensaver, Postcards for Garland Briggs introduces us to the virtualised world found in the spaces between the screen and the canvas”.

    August 29th, 2008
  • RAEWYN TURNER, 2008. Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008. Information gathered from the colour of the lush, enchanted and contaminated landscape of New Plymouth, New Zealand, was translated and transformed into a fragrance.

    Perfumes for Fear. No 1. Green

    RAEWYN TURNER, 2008.
    Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
    Information gathered from the colour of the lush, enchanted and contaminated landscape of New Plymouth, New Zealand, was translated and transformed into a fragrance.

    August 29th, 2008

 

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