"Yes, there is a chance, there is room, but only very little. The 'to come' will come in the form of new technology, this has always been so, but is more so now. Technology has a 'blind and cruel' set of powers. The struggle is not to reject technology and not to be buried by technology. How do we and how will we organise inscription in a hyper tech world?" Jacques Derrida, 'Themes from Recent Work', Public seminar at the Seymour Centre, University of Sydney, Friday 13th August 1999.

'lux, n. [L., light.] In electricity, the unit of intensity of illumination, being the illumination given by a standard candle at the distance of 12.7 inches.' An obsolete usage also brings dislocate: 'lux, v.t. To luxate; to dislocate, from the Latin luxare, to dislocate' and from the Greek, 'loxos, slanting. To displace or remove from its proper place, as a joint; to put out of joint; to dislocate'. (Websters Dictionary, 1953). And then of course there is LUX, pure white flaked soap invoking the dream of TV memories; long blonde hair, pale blue mohair pullovers and baby hug-me-tights. This brings another obsolete word, lavation from lavare, L., to wash, to cleanse. Something about mourning and a possible impossible - aporia; a chance to think about what 'possibility' means. Deliverance through language moving toward an affirmative techne, the small chance of technology...


is an array of texts by local and international writers and artists whose practices extend to online digital environments. The works published here were originally exhibited as text on paper at Adelaide's Contemporary Art Centre of South Australia; a publically funded art space committed to contemporary visual art practises.

lux is writing/noting for electronic places, whether this be an actual digital environment (works that may be realised in the now-future), or a way of approaching/generating an electronic sensibility, the place of singular and collective imaginations.

The assumption is that writing can be electric and is electric with or without the digital. lux assumes a textuality that exists always-already before the screen and acknowledges a continuum of a particular writing practice. "This kind of writing with no exchange or market value, with no "useful purpose"..." (Verena Andermatt Conley in her introduction to, Helene Cixous, 'reading with Clarice Lispector'). This is a writing reading that constantly slips the structuring principles of frame and narrative; a poetics that extends across art forms (artists and muscians write), and academic disciplines, eg., poetic philosphers like Helene Cixous, Jaques Derrida and Gregory Ulmer, Linda Marie Walker. This practice translates well into and from digital mediums, particularly online vehicles and environments like email, hypertext (WWW), IRC (Internet relay chat) and MOO's (online text based environments that fold over into flesh world existence).
Each artist/writer was asked to contribute a text considering the following limits:
The text can be anything generated by a keyboard in black and white. The reason d'entre here is to present an immediate isomorphic simplicity of form to the viewer on entering the physical and virtual space. The purpose is to disrupt the immediate variations in colour and form that makes the work 'about' something before it has the chance to insist on an electricity via the marks on the paper, on the screen: perhaps to shift an expectation of an easy 'thrill'. One must sometimes work to glean a mean(ing)s. Can the limit be broken via the text without the colour of colour: with a keystroke?

The text should 'fit' three white sheets of paper measuring 27 x 20, literally the size of a "15 inch" computer screen. This limit was imposed to exploit a curiousity about how much (if at all) the size of a page or a screen determines punctuation, pace and timing when writing for online environments: to see how writing in and for these environments affects thinking, (design as writing), when brought back to desk top publishing. In this case, the horizontal plane (strata), is a consideration, as is the sequential arrangement of the papers. The emphasis is on a reading writing practice that generates an electric relationship between the text, the reader/ writer and the location.

Teri Hoskin 10.9.1999
Curator for lux

Thanks to the Director of CACSA, Linda Marie Walker, for the opportunity to curate a text exhibition. In the Gallery: thank you to Michael Wolff (painter) for his colour sensibilities; and to Dylan Everret and Sonja Porcaro (installation artists) for assistance with installation. Special thanks to to <pbxo>pretty boy crossover, Jason Sweeney and Cailin Burns for the 'slow,dark,seductive' electronica music at the opening. And, specila thanks to my brother, Daniel Hoskin.
Web Design by Teri Hoskin with assistance from Megan Rainey
Exhibition documentation: Stephen Gray