The Legart Archive
‘The artist Hollis Frampton describes the experience of using video for the first time in the late 1960s: “I made a piece, a half-hour long, in one continuous take. Then I rewound the notation and saw my work right away … some part of my puritanical filmmaker’s nature remains appalled to this day. The gratification was so intense and immediate that I felt confused. I thought I might be turning into a barbarian; or maybe even a musician.”
ARTLINK Issue 21:3 | September 2001: “Through a process of active lobbying by various people around the country in the mid-eighties, the funding and institutional support for art and technology practice in Australia began to materialise. Some key figures in this push were Stephanie Britton, Louise Dauth and Gary Warner who saw the Australian Network for Art and Technology (ANAT) come into existence. The progress of the Australian new media arts scene is here documented from these early years and the various initiatives and supportive programs and events through to what is now the fundamental arts and cultural practice of the twentieth century. Artists Maria Miranda, Norie Neumark and Mari Velonaki are featured.”
Real Time (Sydney) #71: “Introducing the computer and its various applications to the arts scene was bootstrapped with the hosting of TISEA (Third International Symposium of Electronic Art) in Sydney in 1992 — listed in the Timeline context section of the book — and the author Darren Tofts picks up creative developments from around then until 2005.”
Radical Light – alternative film and video in the San Francisco Bay Area 1945-2000. Steve Anker, Kathy Geritz, Steve Seid (eds) for Leonardo journal
ARTICLE in LEONARDO 45(1):70-71 · JANUARY 2012 “Some seventy contributors: curators, critics, managers, artists and filmmakers themselves, are wrangled into a compendium that more than adequately describes the scene. As an artist filmmaker myself who screened work in North America during a tour in the mid-1970s, the vigour of activity in San Francisco left vivid memories. “
LEONARDO, Vol. 43, No. 5 (2010) “As an academic with the University of Amsterdam and Curator with the Dutch Film Museum the author brings a wealth of knowledge both theoretical and practical. Consolidated under the International Federation of Film Archives (FIAF) in 1938, the field is a site of rivalries, jealousies and disagreements which the author negotiates by laying out the principle approaches taken by the archivist and the technician.”
LEONARDO NOV 2009 “Camouflage technology emerges as the reader works through the book, picking out detail from the background of seemingly endless anecdotal biography entertainingly presented, though of curiosity value to any but the serious researcher.”
'Situated Cinema' at Artspace, Sydney by Solomon Nagler & Alexandre Larose.
'The visibility of the projected image is an issue of physical and cognitive events meeting in space. Situated in the gloom of the gallery are references to cinema, a cultural form until recently regarded purely as a conveyor of story-telling based entertainment, both popular and classical; and cinema as a place, the bricks and mortar where such encounters occur … three screens capture the projected image, one visible, a second invisible and another out of action (a different kind of signification, more later).' RealTime #120. More in link at left….
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.
‘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.
For Photofile #68
“Brad Miller and Mackenzie Wark have collaborated to produce dimensional aphorisms: “High Fidelity: the complete relationship – to love and to lie; to be loved and deceived”. At the appropriate rollover the voice reiterates: “to love and to lie; to be” as a coda of the original – until the mouse rolls off, returning some attention to the richly crafted backdrop. This is a visual backdrop with full stereophonic accompaniment, employing the full gamut of sampled and electro-synthesised loops, prepared with contributions from Jason Gee, Derek Kreckler and Brendan Palmer.
The visual backdrop over which each aphorism hovers is the digital equivalent of a medieval tapestry. These are mostly flat surfaces which have been texture value-added in Photoshop, (with some algorithmic conclusions to Mandelbrot’s work on Fractals). There are also surfaces directly re-purposed from Miller’s earlier seminal work, Digital Rhizome including the ‘infini-d worm hole’ three-dimensional forms that featured so centrally in that hypercarded piece. In an encounter with Rhizome, an early exploration of hypermedia (now called multimedia), it is soon realised that whilst the sequence is the unique result of how each interaction proceeds, the process of interacting is learnt to influence progress but not ‘control’ it. This is the case too with Planet. “