Siteworks 2016

The annual Siteworks at Bundanon is on next weekend. I am pleased to say that Dr. Agnieszka Golda and myself (Jo Law) will be presenting a new collaborative work at the event. It will be great to see you there.

From noon til late
Camping $10 per person (kids under 12 free).

Find out more here.


Aki Inomata, Why Not Hand Over a ‘Shelter’ to Hermit Crabs? series, 2009–16

Week 4 will be excursion week for all MEDA subjects. We are off to see New Romance: Art and the Posthuman, and Telling Tales: Excursions in Narrative Forms at the Museum of Contemporary Art, as well as Julian Rosefeldt’s Manifesto in the Art Gallery of New South Wales.

It has also come to my attention that there are some interesting exhibitions and events at the Powerhouse Museum at Ultimo that may of interest. In addition to Sydney Science Festival (11 – 21 August) that has many associated events with an art/ science flavour including: Continue reading

Welcome to MEDA Spring 2016

Moon Kyungwon EL FIN DEL MUNDO 2012 2-channel digital video, HD, colour, sound 13:35 minutes

A warm welcome back to all MEDA students to Spring session 2016.

In this Spring session, MEDA102: Computational Media, MEDA202: System, Play and Interaction (Electronic Arts), and MEDA302: Media Arts Projects, are on offer at the Digital Media Centre, Innovation Campus. You can find out the time-table of the subjects here.

During this session, MEDA classes will go on excursions to three exhibitions: New Romance: Art and the Post-human at the Museum of Contemporary Art, and Julian Rosefeldt’s Manifesto and Seven Artists from the John Kaldor Family Collection at the Art Gallery of New South Wales. 

Subject outlines and assessment details are available from this site (as well as from Moodle). As in previous years, links to lectures, workshop notes, reference materials, student works and more will be housed on here on MEDAdada – accessible via the menu on the right. All subjects will also have related Moodle sites.

If you have any questions regarding meda subjects (enrolment, requirement, content etc.), please contact Jo Law.

Appropriating new technologies to serve an aesthetic exploration

One of the oft-presented definitions of media art is as the appropriation of (often new) technologies to serve an aesthetic intent that is unrelated to the original design.

Many media artists have explored / experimented with 3D printer technology. But the below video must be one of the most genuinely interesting I have seen. Instead of understanding 3D printers as machines that produce physical forms, this work appropriates the physical mechanism of a 3D printer (a ‘head’ that can move along the X Y Z axes) to sort rocks!

Notice that the machine has a very dominant sonic presence. Whilst sound itself plays little to no role in printed 3D forms (unless one is printing out a 3D musical instrument, of course), this work recognises that 3D printers and their mechanisms introduce a whole array of sonic artefacts into our everyday life experiences.

Similarly, the work expresses the pervasive presence of a highly organised grid system. In this case this grid system is used to classify pebbles. But one might imagine how 3D printers create forms which are inherently subscribed to cartesian grid systems, simply because their provenance explicitly depends on it.

Some biases of contemporary digital media explained

“If you’re an app, how do you keep people hooked? Turn yourself into a slot machine.”

1*BNOfmUQ2nTRVPVe0CHx7ewThis article is well worth a read. It explains, from the view of an insider (a Google design ‘ethicist’), how the digital media we take for granted is heavily loaded with biases. Some of those biases are consciously designed (usually to serve a commercial interest) and some of those biases are accidental.


Media Arts and Politics

Some of you may know about the current political situation of Hong Kong with Occupy Central and the Umbrella Movement making international headlines at the end of 2014. Before the city ceased to be a British Colony and its sovereignty returned to China, it was written into the city’s Basic Law that all systems Hong Kong will remain unchanged for 50 years (from 1997). This has been interpreted as a kind of ‘expiry date’ and has been a continuous source of contention in the territory.

This media art work 2047 Countdown shown on the ICC tower since Tuesday 17th May (after ISEA’s Open Sky project opened on Monday night). The artwork was exhibited to deliberately coincide with the visit of Zhang Dejian (a top official from Beijing) to the city. Read more about the controversial artwork here.

How can media artworks effectively address current politics?