A N N E T T E W E I N T R A U B U S A
The ALL NEW GEN images presented for TISEA are the first part of
a worl< in progress towards an interactive installation. ALL NEW
GEN cri-tiques a highly influential form of technology — the
'Gameboy' hand held computer games, originally developed by the
Japanese company Nintendo. 'Gameboys' have been on the market now
for several years, gaining immense popu-larity with children and
(in particular) adolescent boys. In the 'Gameboy' worlds
exemplified by Nintendo's Donkey Kong and Super Mario and Sega's
Sonic Hedgehog the rationale is simple — there is a hero and an
enemy (or more precisely, a hero who engages with multiple
manifestations of enemies and hazards).
ALL NEW GEN is a new contender on the mar-ket, a 'Gamegirl'
whose enemy is the computer terminal "Big Daddy Mainframe", the
essence of a futuristic omnipotent military-industrial com-plex.
With her posse of Homegirls, ALL NEW GEN's mission of sabotage is
to act as a virus in the terminal, infiltrating and corrupting the
databanks. She is the modem of Big Daddy's discontent, the ultimate
mercenary of slime.
In ALL NEW GEN VNS Matrix continue their commentaries on the
relationship of the body to computers, ethics and technological
develop-ment and the representation of gender roles in popular
culture. VNS Matrix are Virginia Barratt, Francesca da Rimini,
Julianne Pierce and Josephine Starrs. The ALL NEW GEN installa-tion
will be exhibited in late 1993.
AUSTRALIAN CENTRE FOR PHOTOGRAPHY Monday 9th November - Saturday
28th November
Work in exhibition: All New Gen, 1992 5 lightboxes with backlit
transparencies
My work is about the visual language of architecture. I use this
language to represent a world of frag-ments — remnants marked by
traces of urban history in disintegration and regeneration. I am
using imagery which evolves out of basic architectural structures
and ornamentation. This vocabulary of forms began as a means of
exploring pictorial structure but it has taken on other meanings
for me. Architecture imagery, with its resonances and associations,
has become a means of creating a continuum between tti past and
present; this work has become a reflection on change, creation and
destruction.
In this series Disintegration/Reconstruction, I am working with
an image of the dissolving city. The disintegrating and evanescent
forms in these images are layered and stratified. I wanted this
composit imagery to create a continuity between disparate forms and
to reflect the discontinuity, rupture and devastation of the urban
environment. Through these common elements of the architectural and
ornamental vocabulary, are interwoven contrasts of embellishment
and abandonment, connection am dislocation, beauty and ugliness,
past and present, identity and anonymity.
This work incorporates photographic fragments of historical and
contemporary structures as well as corf elements of architectural
language. I use altered photo fragments in which architectural
conventions (sucI as window, column, arcade, frieze, vault, facade,
and figurative ornament) are dematerialised, combined and layered.
I also include vernacular artefacts of urban environments in the
form of signage and frag-ments of type. Superimposed over this
collage of fragments are transparent linear pattern elements whic
imply the grid of the city, architectural plans, and cloth patterns
— the 'fabric of the city'.
The composites are accomplished through use of a computer; the
photo fragments are digitised, then altered, manipulated and
repainted. Software enables me to selectively pick up parts of a
photo graphic image, to dissolve, process or manipulate that image,
changing brightness, contrast, resolution and sharpness. I repaint
these fragments, changing their focus, detail, edge and texture,
and incorporate pattern elements which are transparently floated
over the architectural elements.
I have chosen to work in a pixelated, low resolution mode,
instead of using the capacity of the soft-ware to create
photo-realistic images. The broken and fragmented quality of the
images is consisten with my content and I like the contrast between
the broken quality of the image seen close up and its more
photographic reading at a distance. Additionally, the pixel/grid
element represents a tie between my art in traditional media and
the signature imprint of the computer.
The images,in this series were output as tiled and laminated
laser prints (79.7 x 119.4 cm and 73.7 X 97.8 cm). The grid of
tiled pages which are laminated onto a single sheet also
reintroduces a element of the patterning grid and repetition of the
urban environment. Alternatively, some of the images in this series
have been output as one colour photo-lithographs (29.2 x 35.8
cm).
ARS MULTIPLICATA Monday 9lh November - Friday 13th November
Work in exhibition: Lifeline, 1992 Sic Transit, 1992
Edification, 1991 Encaved, 1991 Scaffold/Strata, 1991 77.5 x
117.5cm
DIRECTOR Ross Harley
COORDINATOR Alessio Cavaliaro
TISEA COORDINATING COMMITTEE CHAIRS MichelleAndringa P E R F O R
M A N C E Alessio Cavaliaro R A D I O Rebecca Coyle P A P E R S A N
D P A N E L S Paula Dawson P O S T E R S E S S I O N S Tim Gruchy T
E C H N I C A L Ross Harley P U B L I C A T I O N S Jon McCormack E
L E C T R O N I C T H E A T R E Bill Seaman W O R K S H O P S Gary
Warner E X H I B I T I O N S
Cultural Diversity in the Global Village: The Third
International Symposium on Electronic Art
editorial
Alessio Cavaliaro. Ross Harley, Linda Wallace and McKenzie
Wark
published by The Australian Network tor Art and Technology
Sydney, 1992 designed by Mark Boxshall, Al Cairis, Annette
Tesoriero, Evan Yabsley, Zero Plus Communication Design.
printed by Complete Design
ISBN 0.646-11930 © the contributors printed in Australia
SPONSORSHIP DIRECTOR Maura Walsh-Seaman
MEDIA RELATIONS DIRECTOR Josephine Grieve
EXHIBITIONS MANAGER Charlie Revai
TECHNICAL COORDINATORS Tim Gruchy Michael Grucliy
VISITORS COORDINATOR Michelle Taylor
INTERNATIONAL ADVISORY COMMITTEE Yoshiyuki Abe, Photomedia
artist, Japan Annick Bureaud, Director Art-El, France Shalom
Gorewitz, Director School of Contemporary Arts, Ramapo
College, USA Theo Hesper, Co-founder ISEA, Netherlands Susan
Kirchman, Director of Educational Programs Texas A&M
University, USA Brenda Laurel, VR Writer, USA Ray Lauzzana,
Professor Media Studies, Utrecht College of the
Arts, Netherlands Roger Malina, Executive Editor, Leonardo, USA
Simon Penny. Artshow Chair, SIGGRAPH 93 USA Wim van der Plas,
Co-founder ISEA, Netherlands Henry See, Hypermedia Artist, Canada
Roman Verostko, Program Chair, FISEA 93 USA
SUBCOMMITTEES
P E R F O R M A N C E Michelle Andringa, Virginia Barratt, Sarah
Miller
P O S T E R S E S S I O N S Rebecca Coyle, Paula Dawson
P U B L I C A T I O N S
Alessio Cavaliaro, Ross Harley, Linda Wallace, McKenzie Wark
R A D I O Alessio Cavaliaro, Gary Warner T E L E C O M M U N I C
A T I O N S Phil Bannigan, Anna Couey, Sue Harris
W O R K S H O P S Peter Charuk, Linda Johnson, Bill Seaman
with thanks to: Scott Art, Virginia Barratt. Noel Burgess,
Jonathan Cohen, Susi Cooper, Federico Costa, Steven Crane, Zana
Dare, Al Ferguson, Jason Gee, Jasmine Guffond, Mathew Johnson,
Stephen Jones, Sophea Lerner, Victor Lynn, Lucille Martin, lain
MacDougall, Simon Maddison, Melinda Menning, Simeon Nelson, lain
Reed, Fiona Robson, Kim Scanlon, Michael Strum, Ben Suthers,
Michele Taylor, Russell Way, Neil Wing, Peter Woodford-Smith
AUSTRALIAN FILM TELEVISION AND RADIO SCHOOL Anne Gilhooley, Kari
Hanet
UNIVERSITY OF NEW SOUTH WALES COLLEGE OF FINE ARTS David Barnes,
Joe Bass, Adrian Hall, Ken Reinhard, Ron Southall, Office of
Research and Development in Art and Design: Elizabeth Ashburn,
Margare': Holliday, Richard McMillan, Julie Wiggins
UNIVERSITY OF TECHNOLOGY, SYDNEY, CENTRE FOR SOUND AND IMAGE,
DEPARTMENT OF MEDIA PRODUCTIONS AND STUDIES Sarah Gibson
AUSTRALIAN BROADCASTING CORPORATION, RADIO Roz Cheney, Tony
Collins, Rosie Cross, Virginia Gordon, John Jacobs, Tony McGregor,
Andrew McLennan, Christine Papengelis, Robin Ravlich
ARS MULTIPLICATA Susan Shehadie
ART GALLERY OF NEW SOUTH WALES Alisa DeTorres, Victoria Lynn,
Maura Walsh-Seaman
AUSTRALIAN CENTRE FOR PHOTOGRAPHY Deborah Ely, Wayne
Tunnicliffe
BLACK Micaela Dwyer, Andrew McPhail, Alan White
INSTITUTE OF MODERN ART, BRISBANE Nic Tsoutas
IVAN DOUGHERTY GALLERY
Felicity Fenner, Beverley Fielder, Jennifer Hardy, Nick
Waterlow
METRO TELEVISION LIMITED Ian Andrews, Peter Giles, Kate Ingham,
Vincent Sheehan MUSEUM OF CONTEMPORARY ART David Watson, Di
Misird|ieff
PERFORMANCE SPACE Billy Crawford, Sarah Miller, Penny Thwait
POWERHOUSE MUSEUM Matthew Connell, Jesse Shore
ROSLYN 0XLEY9 Tony Oxiey, Roslyn Oxiey. Suhanya -̂̂ fell
ROYAL BOTANIC GARDENS SYDNEY Danielle McMiles
SYDNEY OPERA HOUSE Anna Grega
CHAIR ADMINISTRATIVE ASSISTANT Gary Warner Nicole Martin
-7 E L E C T R O N I C T H E A T R E Jon McCormack, Gary
Warner
E X H I B I T I O N S Deborah Ely, Robyn Stacey. Gary Warner
P A P E R S A N D P A N E L S Thomas J. Wedderburn-Bisshop,
Rebecca Coyle, Ross Harley, Philip Hayward, Gary Warner
All information supplied by the contributors was correct at the
time of publication.
Travel and Accommodahon Arthur Cooke, Sherllyn Robinson
