Category: Chapter

In, ‘Interacting: Art, Research and the Creative Practitioner’, ed. L. Candy and E. Edmonds; Libri Publishing, Faringdon, Oxford, UK (2011).

…..in Expanded Cinema: Art, Performance, Film, (2011) Tate Publishing, London, ed A.L. Rees, Duncan White, Steven Ball, David Curtis.

An interesting, well researched and well written chapter in this essential book.

The final version of an earlier conference paper with the same name, in ‘REWIND, British Artists’ Video in the 1970s & 1980s’, edited by Sean Cubitt and Stephen Partridge, published by John Libbey.

“This chapter recalls film, video and photographic
records of performance
events from the 1970s, emerging today
as objects of permanence: of the gestural,
ephemeral and spontaneous. Does restoration
of analogue media from the period into the
digital domain and the reconstruction of live
performance extend performances as objects
of study? As objects, are the ideas of these
artists compromised? Are context, place and
presence central to the experience of these
earlier works? What part does the discourse at
the time play, when it is retrieved, relived, reframed?”

‘Interacting: Art, Research and the Creative Practitioner’, ed. L. Candy and E. Edmonds; Libri Publishing, Faringdon, Oxford, UK (2011).

“In the computer-based digital domain, interaction with video is becoming an everyday occurrence. Breaking away from our traditional regard for moving images organised along the linear principles of the filmic tradition we can now use motion pictures relationally, linking across and along shots and sequences. The artist and interaction designer can thereby share the making of the experience of the work with the audience, the active participant. In so doing, the creative experience is shared.

My experience as an artist working with film, video and performance was based on levels of audience engagement ranging from the reflexive to the physically active. The experience of a durational artwork relies on both short and long-term memory and the anticipation of its process of change. Aesthetic issues of this kind helped form the conceptual foundations discussed in this chapter.”

Leggett and Dyson are non-indigenous Australians interested in the potential of designing new media applications that are sensitive to and productive for indigenous peoples. Their research has focussed on development of new media systems that reflect indigenous world-views, particularly with relation to established knowledge-sharing protocols. They demonstrate that there is no one-size-fits-all solution to culturally-specific knowledge systems, but questions of control and governance are critical. A key area for further exploration is a praxis of design framed to enable culturally-specific philosophies of representation that lead into new interface paradigms.

Place: Local Knowledge and New Media Practice. Newcastle on Tyne, UK, Cambridge Scholars Publishing; editors BUTT, D., BYWATER, J. & PAUL, N.