3. Re:live 2009
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Following the success of the previous MAH conference, Re:line includes papers, panels and posters on the histories of digital, electronic and technological media arts. With the theme of Re:live we are especially interested in expanding the range of topics to include sustainability, live arts and the technological arts of life, both organic and nonorganic. How do the media arts change? Through innovation, accident, discovery, mutation or crisis? How did contemporary media arts come to look and sound like they do? What options and potentialities and eccentricities in the history of media have been lost or overlooked or suppressed? What hopes have been realised and which dashed? What is the history of speculation on alternate histories, and how have they altered the course of media art history?
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The City as a Projection Space
Contemporary viewers’ reception of moving image based performances is undoubtedly affected by traditional cinematic experience [which refers to a dark, sound insulated room with fixed seats and a rectangular screen]. Since ... -
Art-Science connections for the visualisation of minerals: historical precedents for media arts
The Making of Rocks: ‘By what furnaces of fire the adamant was melted, and by what wheels of earthquake it was torn, and by what teeth of glacier and weight of sea-waves it was engraven and finished into its perfect form, ... -
The Relocation of Theatre: Making UNMAKEABLELOVE
This paper addresses the histories of liveness and performance and of the life of machines by articulating theoretical positions on Samuel Beckett’s prose work The Lost Ones in relation to a recent new media work UNMAKEABLELOVE ... -
A New Performativity: Wearables and Body-Devices
In their relatively short history, wearables and body-devices have evolved from cyborg-like extensions and utilitarian solutions aimed at enhancing efficiency, to poetic representations and experiences that give form to ... -
ARS ELECTRONICA re:shaping a city’s cultural identity
30 years ago the first Ars Electronica festival took place in Linz, Austria. Ars has grown to be one of the most influential Media Art festivals and centers worldwide. But while much has been written about it, and still ... -
Relationship of art and technology: Edward Ihnatowicz’s philosophical investigation on the problem of perception
At the earliest stage of computer’s history more and more scientists as well as artists were vividly interested in the usage of advanced technology which was available that time. I would like to show that Ihnatowicz’s ... -
Relive the Virtual: An Analysis of Unplugged Performance-Installations
Can retro media make us relive the virtual from digital media? Following McLuhan’s thesis that the proper characteristics of a medium are revealed through remediation, it could well be that retro media re-enacting digital ... -
Writing media art into (and out of) history
This paper will review the context of the development of interactive media art within Australia in the 1990s. It is particularly interested in the conditions that enable arts practices to galvanize into an arts culture. ... -
Abandon Normal Devices – they don’t seem to work
This institutional presentation of recent FACT programs including Human Futures. Climate for Change and Abandon Normal Devices (AND Festival), new forms of Cultural Leadership will be explored. This will also be an opportunity ... -
Telematic Practice and Research Discourses: Three practice-based research project case studies
This Paper focuses on the production, documentation and preservation of the authors telematic practicebased research in the interactive media arts. This reflects a timely practice review with significant implications on ... -
Haunted profiles; social networking sites and the crisis of death
How do perceptions of death shift or alter in relation to newly emerging technologies? In this paper I look at examples of mourning rituals, namely online memorials using social networking sites, through the looking-glass ... -
The Stage as Organism: Liveness, Dynamics and Expression in Early Twentieth Century Scenography
The histories of liveness entwining theater and media technologies have traditionally emphasized the tension between the mediated (not real time) and the live (that which takes place in its moment of presence). These ... -
The Black Box
In societies where industrial conditions of production prevail, the artist’s equipment tends to become a black box. The photographic camera and the computer, for instance, are essentially black boxes. The contemporary ... -
Nanoart: First Steps Beyond the Columns of Hercules
As in the last century, with all the “-isms” and other nouns and adjectives with which various artistic movements were described, both contemporaneously by the participants, and later by historians and critics, the term ... -
Transactional Art as a Form of Interactive Art
Interactive media, especially the internet, are often used in an economic context where interactions are actually transactions. We focus on artists who apply economic principles and coin those works as “transactional arts”. ... -
Executable Cinema: demos, screensavers and videogames as audiovisual formats
The digitisation of the multilayered cinematographic apparatus turns the cinematographic image into an extension of the projecting system, making the movie impossible to be separated from the rendering mechanism in both ... -
Lifebox Immortality & How We Got There
A paper in two parts. After a brief introduction from an art historian from the far future, a contemporary (2009) author discusses a near-future exosomatic technology called the lifebox. Unlike the dreams of the “hard” AI ... -
Early Video Art as Private Performance
The adoption of video by artists responded to the affordance of immediacy and portability for the making of a motion picture recording. In the early 1970s in England, the potential of this facility was as novel as it was ...
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