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  • LEON NARBEY, 1970. Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.

    A Film of Real Time: A Light Sound Environment

    LEON NARBEY, 1970.
    Artist Pages from The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.

    August 29th, 2008
  • JANINE RANDERSON, 2008. From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008. Janine Randerson explores how new media art is “enmeshed with the old”.

    Sampling Tradition: The Old in New Media

    JANINE RANDERSON, 2008.
    From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
    Janine Randerson explores how new media art is “enmeshed with the old”.

    August 29th, 2008
  • ADAM HYDE, 2008. From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008. Hyde explains why he believes free software should be accompanied by free documentation or user manuals, and sets some parameters for identifying and developing good quality documentation.

    Why you should learn to love free documentation

    ADAM HYDE, 2008.
    From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
    Hyde explains why he believes free software should be accompanied by free documentation or user manuals, and sets some parameters for identifying and developing good quality documentation.

    August 29th, 2008
  • EU JIN CHUA, 2008. From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008. Should we consider short Internet movies a form or genre? Eu Jin Chua explores the unique qualities of streaming Internet films - often fuzzy, fragmented or re-edited with “unpolished amateurism”, and shaped by the necessities and constraints of transmitting over the Web.

    A Minor Cinema

    EU JIN CHUA, 2008.
    From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
    Should we consider short Internet movies a form or genre? Eu Jin Chua explores the unique qualities of streaming Internet films – often fuzzy, fragmented or re-edited with “unpolished amateurism”, and shaped by the necessities and constraints of transmitting over the Web.

    August 29th, 2008
  • STELLA BRENNAN & STEPHEN CLELAND, 2008. From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008. Brennan and Cleland explore the complex relationship between Internet art and contemporary art galleries, and recall some important onsite and online initiatives and exhibitions that have developed out of New Zealand’s gallery spaces.

    Onsite and Online

    STELLA BRENNAN & STEPHEN CLELAND, 2008.
    From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
    Brennan and Cleland explore the complex relationship between Internet art and contemporary art galleries, and recall some important onsite and online initiatives and exhibitions that have developed out of New Zealand’s gallery spaces.

    August 29th, 2008
  • JACQUIE CLARKE, 2008. From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008. The development and growth of The Big Idea, New Zealand’s largest creative sector community website, is considered by Clarke in terms of a “localised digital social ecology”.

    The Big Idea

    JACQUIE CLARKE, 2008.
    From The Aotearoa Digital Arts Reader, ed. Brennan and Ballard, 2008.
    The development and growth of The Big Idea, New Zealand’s largest creative sector community website, is considered by Clarke in terms of a “localised digital social ecology”.

    August 29th, 2008

 

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