trace (or) spatial cinematics ARCHIVE |  PROPOSITION | PROGRAM


Presenters …
Francesca da Rimini
Ross Gibson
Kathi Holt-Damant
Teri Hoskin
Andy Petrusevics

Convenor …
Steve Loo
Program Director, LLS School of Architecture & Design
Francesca Da Rimini

Rough Trade: My Own Private Netmonster

Netmonster is a generative social software developed by the artist group Mongrel in 2004. Programmable search strings, (underpinned by 60,000 lines of open source code and Perl libraries), are periodically sent out to fetch payloads from the internet, dynamically rendering vast collages which can then be remotely entered and manipulated. Rough Trade is a Netmonster, programmed to retrieve data on free trade, HAARP and uranium, seeking connections between capital, weather warfare and metal trading.

Combining search bots, data visualisation tools, image harvesting techniques and TMO (Textually Modified Organisms) production, Netmonster offers access to the dematerialised zones of the Matrix in the Age of Permawar.
dollyoko @
Ross Gibson

Flows of Force

It's taken us long enough to understand how architecture and cinema are fundamentally concerned with flows of force rather than just structures with meaning. Now, what are digital systems doing to that understanding?

LIFE AFTER WARTIME, a story-engine for personal computer, made in collaboration with Kate Richards.
Dr Kathi Holt-Damant

Spatial trajectories (after de Certeau)

Architecture suffers from, or is enhanced by, Tschumi's spatial paradox. This means the physical experience of architectonic space is subject to individual responses. The conception of space can never be abstracted so that all viewers have the same experience. The opportunity that cinema has over architecture is the ability to frame what we actually perceive of architectonic space. Cinematic editing techniques offer additional opportunities to focus the viewers' attention on what is important. The sequential nature of cinema contributes to sequences or units viewed in a particular order. If the same sequence or events are viewed over again and again in different orders, the meaning will necessarily change.
Teri Hoskin

Looking at European trees

There is no direct correspondence possible between the event and the archive: if the archive is remainder and the event is experience and correspondence is a direct correlation between specific times, places, and already-defined things. Both Derrida and Deleuze tell us this, differently. For Deleuze this non-correspondence is the virtual, it is duration and past. For Derrida it is the trace. Contrary to communcationalist fears this doesn't mean there is no possibility of speaking to each other, or hearing the other. It'sjust that the time of sending and taking is of a different order. I'm going to talk briefly about the way language operates in the first instance as a spatial coordinator, and the potentialities and conundrums of using a small set of images (photographs) from a museum guidebook in the context of writing/design with the limits of browser/small screen environments.

Looking at European Trees
Andy Petrusevics

OTTO / Beat the Chef

I will talk about how I make things things in the light of what I call "The Brian Eno Method" which allows and prefers the controlled accident. It involves recognising the parameters of the brief and then letting creative accidents occur, modifying and editing the results through to a finish. The process is more interesting for me than the finish, often I use montage and conjoin radically opposing ideas to achieve a result. It is a method I have naturally used in making art for some time and have also moved into influencing the outcome of work made at the ABC by myself and others.
  In 1991 Francesca da Rimini co-founded VNS Matrix, making A Cyberfeminist Manifesto for the 21st Century, and computer games All New Gen and Bad Code. The online exploits of her character GashGirl in her 1997 novel FleshMeat detail the early days of internet fever. Other collaborative digital works include the award-winning pond of dead girls in dollspace, a counter spectre to Big Daddy Mainframe in Los Días y Las Noches de los Muertos, Liberation Range, a catalogue of weaponised body adornments, and Warmunger, a data harvesting engine and poetry generator. Her current project Rough Trade uses Netmonster, a generative social software developed by Mongrel - part search engine, part data visualisation tool. Programmed initially to glean grains of net corn - "free trade", "IMF" and "HAARP"; seeds which mutated and germinated, becoming other, becoming Blake's dark satanic mills, becoming spooky weather warfare systems, becoming toxic metals, becoming GMO, becoming string theory vibration, becoming the informatics of genocide, becoming prophecy, becoming monster, and ultimately, becoming embryo.
dollyoko @
Ross Gibson is the Research Professor of New Media & Digital Culture at the University of Technology, Sydney. From 1999 to early 2002 he was Creative Director for the establishment of the Australian Centre for the Moving Image at Federation Square in Melbourne. Ross Gibson makes books, essays and films. He also produces multimedia environments and ICT systems for museums and public spaces. His books include: The Diminishing Paradise (1984); South Of The West (1992); The Bond Store Tales (1996); Exchanges (1996, Editor); Seven Versions Of An Australian Badland (2002); and Remembrance + The Moving Image (2003, Editor). His Films Include: Camera Natura (1985), Dead to the World (1991) and Wild (1993). His major exhibitions include 'Remembrance + The Moving Image', 'Street X-Rays', and 'Crime Scene.'

LIFE AFTER WARTIME, a story-engine for personal computer, made in collaboration with Kate Richards.
Dr Kathi Holt-Damant is a senior lecturer at the School of Geography, Planning and Architecture, University of Queensland. She has also lectured at the University of Melbourne, Deakin University and RMIT University. Kathi's PhD at RMIT University on spatial constructs in architecture and film, which included a stint as visiting scholar under Professor Kenneth Frampton and Dean, Bernard Tschumi at Columbia University, NY. Kathi is also a practising director of Holt Damant Associates and a founding partner of Bureau (Melbourne and NY), together with Mark Damant and Thomas Leeser, which focusses on experimental projects in architecture, interior and urban design, and multimedia installations. Teri Hoskin has been editor and designer for the eWRe (Electronic Writing Research Ensemble) since 1997. She is in the final stages of a PhD at the School of Architecture & Design, UNISA. Her dissertation takes an experimental approach toward the translation between print technology and digital connectivity. In two parts (print and web) it examines structure - of interiorities (and thus exteriorities) and their forces in terms of philosophical lineage, architectural metaphors, aesthetics, event and poetics.
Net art/writing, curatorial & design projects include Ensemble Logic + Choragraphy (1998); meme_shift (1999- ...); Noon Quilt 1998; Ensemble Logic (book) 2000; Verve: the other writing 2000 Adelaide Festival of Arts; for Linda Marie Walker Archaeology of Surfaces (2003)
Andy Petrusevics is a conceptual artist from the 80's who abandoned the gallery in the 90's for the prospects of a wage in Television. An Pop artist who simulated being a graphic designer and ended up being a set designer. A set designer who was lured to variety theatre and is now writing a dada agitprop cabaret. There are no full circles for Andy, he just seems to drag everything along with him. He is still painting, but now also make pop video's, and currently has one showing at the Art Gallery of South Australia in Everyday Addictions as part of the 2005 Adelaide Film Festival. Andy is a designer of performance art cabaret and movies. OTTO is a performance art character who appeared at The Weimar Room in the Berlin Kabaret show for 9 months and with whom I have made 8 movies since 2000, presented a show in the Adelaide Cabaret Fringe in 2004 and for future development have written a 55 minute Agitprop Musical which we are talking to the Festival Centre about with view to mounting it. He is also designer of programs responsible for titles and set design at the ABC TV in Adelaide.