13 W/S: The End is the Beginning

[Drawing by Austin Kleon]

In this final week of classes, you are asked to set up a ‘proof of concept’ for your group projects during the workshop (8.30 – 11.30). You will be asked to present and discuss this ‘proof of concept’ in the last hour of the class (11.30 – 12.30). The objective of the exercise is to be prepared for installing and presenting a fully realised prototype for assessment scheduled for Wednesday 22nd June at the Digital Media Centre.

The rationale of the Media Art Project in MEDA301 is to create a viable project that can be extended and fully realised with more time (and for those of you who will carrying on with MEDA302, this will potentially be your graduating piece). So as you present your prototype/ sketch in situ, you will document, reflect and project: What more needs to be done? What other skills need to acquired? What is my vision for this project?

You are advised to document this ‘proof of concept’ and annotate your findings, thoughts and reflection in your blog in a meaningful way.

11W/S: Iteration, Invention, Innovation

In weeks 11 and 12, all groups will continue with their tests as a way to build their projects. This process will be iterative rather than linear.

Iteration is not simple repetition: in an iteration, the output is fed back into the input producing new output that is fed back into the input ad infinitum.

From iterations, come invention and innovation.

Jo is away at the International Symposium of Electronic Arts in Hong Kong for the next couple of weeks and will post recordings of events and exhibitions from the conference to the Medadada.net from there. Mat will be at the helm.

Continue reading

10S/W: Media Art Project—How to work better

[Peter Fischli David Weiss: How to Work Better Exhibition at the Guggenheim Museum, New York]

This week’s lab will be devoted to working better through beginning a series of testing as a way to build your media art projects.

The groups that have emerged in the past few weeks are:
1. Exploring the Digital in the Analogue


2. Finding Affect: exploring intensities in media modes

3. Concrete Immersion: Immersion beyond/before the VR

4. Mirroring and Identity

5. Projection mapping

6. Sensing, immersion, responsiveness and meditative: experience through new media devices
Daniel De Fillippo

7. Figurative sound: Sonification of data and experience
Harrison J


8. Future Cinemas and Critical Media
Harrison V


If your prezi is not in the above notes, you need to post the address as a comment below.

If I put you in the wrong group, miss your out, or you have changed the name of your project, please advise me on the correct information.


Some further references:

Michele Gondry is a filmmaker who made some amazing music videos for The Chemical Brothers, The White Stripes, Daft Punk amongst others. This studio visit while Gondry was making a work on Noam Chomsky Is the Man Who Is Tall Happy? To make this work, He has chosen to use 16mm for his platform of animation. Have a look at this video and make note of how fluidly he moves between media platforms and solves problems. The making process is a series of problem-solving. This is relevant to all projects.

Heather Dewey-Hagborg is a New York-based artist who creates 3d portraits of anonymous people from their DNA traces embedded in discarded materials such as cigarette butts, chewing gums and hair found in public places. The process involved contemporary biotechnological techniques that have now become more accessible to a broader range of people. Amongst other things, her works call into the question the ideas of codes and encoding in physical personal materials.

Emily and Brittney’s investigation into finding the digital in the analogue may find this of interest in informing the conceptual framework of the project.

The installation works by Scenocosme (artists Gregory Lasserre and Anais met den Ancxt) presents systems within which audience interactive with objects, systems, and each other. In the work Light Contact (2010) audience is required to touch the metal ball at the same time as touching another human (make contact with his/ her skin) – oftentimes another audience, a stranger. The circuit formed as a result of contact then transforms into fluctuating audio and visual signals that permeate the environment.

This work may be of interest to Daniel/ Deniz/ Keely/ Courtney group on sensing.


Workshopping the workshop
You are free to use the lab areas (G.05 and G.04), the gallery, and the black boxes to set up your tests for class. A good measure would be to conduct and document at least one test per week.

You can get equipment and gear from Glenn during class times. If you need specialised equipment and have problem accessing these, please speak to Mat or myself.

At the end of each class, we will gather and discuss each group’s work.

All tests and progress need to be documented and posted to your blog with annotations and discussions as part of your critical reflection portfolio.

If you have any concerns, please speak to Mat or myself.

09 S/W Why Make?

[The Creators Project features the practice Olafur Eliasson]

In the remainder of the session, we will use MEDA301’s 4-hour class as our research laboratory. With the eight ideas that began developing in week 8, we will be pushing towards a testing and prototype stage with the fully formed experiments ready by week 13, and fine-tuned presentations delivered for the end of session assessment.

In the interview video above, Olafur Eliasson articulates some very interesting thoughts about the role of art in society, and most significantly, why make things.  Continue reading

MEDA 301 Guest lecture/ 08L: Sue Healey

[On View – Live Portraits at Carriageworks Sydney 2015, Photos by Gregory Lorenzutti & Heidrun Lohr]

Multi-award-winning choreographer, filmmaker and installation artist, Sue Healey will present a guest lecture for MEDA301 in week 8. Some of you may remember Sue from her guest lecture in MEDA201 last year. Sue began her practice as a dancer and choreographer. Through the moving image and installation as platforms, she continues to extend dance and explore movement in space. Her recent film The Golds won Diamond award at IPAMA, Indonesia 2015 and will screen in Lincoln Centre New York, Dance on Camera Festival 2016. Her latest work On View, having had two successful seasons in Melbourne and Sydney, is currently touring Australia. In 2015, she led an International Workshop on Dance on Screen for M+ in Hong Kong.

In this guest lecture, Sue will be focusing the intersection between dance and screen (filmmaking) within contemporary sociocultural and economic contexts. She will also exploring the collaborative aspect of practice.

All students are welcome to attend.

04L: What is a Practitioner? Guest lecture by Greg Appel

In week 4, filmmaker and videographer Greg Appel has been invited to present a guest lecture in MEDA301 on his practice framed by the questions: What makes a practitioner? What does it mean to be a practitioner? What does it take to be a practitioner?

Greg is best known in Australia as a producer and director of social history documentaries with titles including the ABC TV series Long Way to the Top. He has recently directed and produced many short documentaries on artists and exhibitions for the Art Gallery of New South Wales. He is also an experienced producer of radio programs.

Greg will be discussing his practice in the evolving media landscape in exhibition, distribution and employment of screen media. You can find out more about his work on his website.