Author: Mike Leggett

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Pathscape: Indexing Audio-Visual Media

The contemporary burgeoning usage of digital movies, photos, audio and text, their distribution through networks both electronic and physical will be considered in the context of a convergence of these media with a popular interest in personal and community history and identity. An interactive multimedia prototype Pathscape will be described and evaluated; and further practice-based research approaches to author-defined storage and retrieval systems will be described.

Paper presented at the ACM Creativity & Cognition conference, Goldsmiths College, London, 2005.

2005
Mike Leggett

Towards a metadesign approach for building indigenous multimedia cultural archives

The paper was written by a colleague at the University of Technology Sydney in response to the Pathscape prototype, a subsequent seminar and encountering the thoughts of Gerhardt Fischer on the notion of metadesign.

Dyson, L.E. & Leggett, M.G. 2006, ‘Towards a metadesign approach for building indigenous multimedia cultural archives’, Annual ANZSYS conference, Katoomba, Australia, December 2006 in Proceedings of the 12th ANZSYS Conference, Sustaining Our Social and Natural Capital, ed Attwater, R., Merson, J., ISCE Publishing, Mansfield, USA, pp. 82-87.

2006
Laurel Dyson & Mike Leggett

Sheepframes

The Soho Weekly News, October 1976, following a screening of Sheepman & the Sheared at Millenium Film Workshop, New York City, at the conclusion of a two-month tour of North America with a program of films and videos.

1976
Daryl Chin

Brunel’s Dream

The installation was made following a period of collaborative work with the playwright John Downie. The mechanics of light production explored aspects of the innovative life of the 19th Century English civil engineer, Isambard Kingdom Brunel. The production of Brunel’s Dream was directed by Downie with a company of final year students from the Drama Department of the University of Bristol. In the main installation, a roll of 16mm film threaded progressively through a line of six synchronised projectors rigged behind a screen suspended above the performance area. Commencing to the left of the stage, the images of countryside passing, as if from a train window, increased in apparent speed; after 8-mins the images on the film faded from view to the right of the stage. Other projections included a matrix of slide back-projected images on the lower screen of the steel plating sides of the Great Britain steamship, then undergoing restoration in a Bristol drydock, following retrieval from the Falkland Isles; a slide projection of the image of a white circle on black, enabled the re-creation of Anthony McCalls ‘Line Describing a Cone’ using smoke to make the beam visible and into which the action continued.

1983
8-mins

How Artists Fit Into the Research Process

The study collects, compares and synthesises existing knowledge from specific sources about artists and creative designers working within research processes. The emphasis is on collaboration, evaluation and reflective practice. In Transactions, Leonardo International Journal for Art, Science and Technology, Vol 43, N2, pp 194-195.

2010
Ernest Edmonds & Mike Leggett

The Filmmaker and Multimedia

The paper was a contribution to the zeitgeist through a publication – pp12 and 13 – produced by postgraduate research students at the College of Fine Art, University of NSW, of whom I was one at the time. The article discusses several interactive artworks current at the time and the issues surrounding them, concluding: “Clearly the aesthetics developing around interface design are as crisis ridden as the politics emerging around who will and who will not use the Internet and its services.”

1995 c.
Mike Leggett

Outside the Grounds of Obscenity and Inside the Grounds of Hyde Park

The installation ran over the period of a weekend at the Serpentine Gallery, Hyde Park, London as part of The Video Show, a seminal event for artists and activists who were the early adopters of the new media of the 1970s, low-bandwidth video. Documentation for the installation has since been lost but one of the downloadable PDFs is an attempt to recall the essential operation and procedures. During 2008, the tape held in the Scottish Film and TV Archive and the Centre for Visual Research, Rewind archive, University of Dundee, as the residue tape used in a CCTV installation during The Video Show was digitised. Using this it was possible to revise the schema of connections between cameras, screens, switcher and video tape recorders, see the sketch copied in the PDF. However, this may not be the definitive explanation; this would be achieved if a copy of the Notes made at the time for the public, could be found!

The installation used two cameras, two Video Tape Recorders (VTR) and five video monitors. An insert edit strategy was applied over the duration of the installation, occurring on a Saturday and Sunday. The view is through the windows of the Serpentine Gallery on the east side looking towards Exhibition Road running through Hyde Park.

1975
2 – days

An Overview of Shoot Shoot Shoot

‘An Overview of Shoot Shoot Shoot – the first decade of the London Filmmakers Co-operative and British avant-garde film 1966-76’ was published in the online journal Senses of Cinema following the reviewer’s visit to Tate Gallery, London where the extensive program curated by Mark Webber was premiered before a world tour lasting several years. Later, a DVD boxed set of the program was made available.

The reviewer’s enthusiasm for the program was marred by some errors and misunderstandings about which I corresponded on email. A PDF, a link and the correspondence are available.

2002
George Clark

New Media and New Images

Published in the Melbourne magazine STORM in July 1995, the article was based on an introductory paper given to a seminar held at the Art Gallery of New South Wales at the beginning of the year. The paper considers the impact of new technologies on artists’ practice and the influence artists can have whilst exploring these tools, on audiences of scientists and audiences for art.

1995
Mike Leggett