Wayfarer v 2 – Urban Agents’ is a locative social media event, converging gameplay, creative intervention and site. It premiered in Melbourne at the Victorian Arts Centre in November 2009. see www.wayfarer.net.au Urban Agents screen grab‘
Shakespeare’s Macbeth interpreted in Second Life
FOUL WHISPERINGS, STRANGE MATTERS brings Shakespeare’s world renowned and extraordinarily influential play Macbeth into a virtual worlds environment. This is an appropriate, timely use of pop culture as an adaptive bridge between classic texts and new media technology. The poetic use of metaphor, image and symbol that permeate Shakespeare’s language can be brought to 3D life using the online world as a discursive design space where visitors experience the motivations and emotional journey of character, and explore and make personal sense of the universal themes of Shakespeare. In Foul Whisperings, Strange Matters a prelude at the arrival grove sets the tone for the visitors’ exploration of seven scenes depicting Macbeth’s journey. Visitors engage with the participatory potential of Second Life to remake, co-create and mash-up Shakespeare. Foul Whisperings, Strange Matters’ inworld roleplay studios enable visitors to take part in group play and workshops that are exploratory, spontaneous and performative. A virtual world is a flexible, living, real time environment where things can change, appear and disappear and visitors can interact with real agency. Foul Whisperings is a fabulous cutting edge example of the potential of online media to breath life into old texts, taking classic narratives to new realms of possibility with diverse, unexpected and educational outcomes – off the page onto the virtual stage! DOWNLOAD A PDF ABOUT THE PROJECT
I am humbled to say I have longtime professional and personal experience of Aboriginal Australia. I’ve worked in several communities teaching media production for the AFTRS and MetroScreen, and mentoring media producers and artists. For the most part I have eschewed driving Aboriginal content, seeing it as the right of indigenous people to tell their own stories. I did however direct a video for the NPWS NSW in 1999, ‘Inard Oongali’ about seven female elders from Toomelah working with the late Carol Kendall, OAM who was one of the original authors of the ‘Bringing Them Home’ report. During my time at the Museum of Sydney I interviewed and edited extensive oral history interviews of local Aboriginal people who identify with original Sydney tribal groups. This video is installed in the museum; and I worked collaboratively with the photographer Michael Riley on a video about Redfern called ‘Guwanyi’.
In 2017 I produced the fulldome video ‘Wiradjuri Murriyang’ by Wiradjuri artist, Scott “Sauce” Towney and astronomer Trevor Leahman, funded by Arts OutWest Local, Lands Services and the Big Skies Collaboration and by The Regional Arts Fund, an Australian Government initiative that supports sustainable cultural development in regional, remote and very remote Australia. In 2016 I produced the WebGL (online VR) Indigenous student engagement project for Badanami Centre, WSU, with director Jarrad Hodges.
Crying Man 4 was a collaboration with Melbourne artist Lyndal Jones, and an extension of Lyndal’s Crying Man series. Installed at Artspace Sydney, Crying Man 4 was developed during a residency at the Artspace studios.Media: 3 channels of video; sync sound; flown double sided screens
This solo photographic show at Australian Centre for Photography explores the metaphysical conundrum of ‘nature’ in a post nature age. Examining our sifting relationships to the natural world, The Uncertainty Principle references Heisenberg’s early 20Cth axiom in a meditation on movement, perception and the annihilation of time and space in our current technological age. The photos are semi transparent when seen front on and opaque when viewed from the side, creating an affect that embodies the theme. Media: digital photographs on voile; wall painting.
sub_scape is a real-time generative system for manipulating data streams. The system samples, folds and re maps one data set onto another. The data sets comprise numerical data, and data streams of video and audio. Using elegant rules, sub_scape generates poetic ecologies of sound and image. What emerge from the system are aesthetic complexes and evolving patterns, along with anomalies, turbulence and recursive effects. The system exhibits confluence, paradox, metaphor and commentary, arising from the intriguing combinations of source data and formal strategies. sub_scape is housed in a periscope object for single visitor use. The periscope has an in-built screen. The visitor sits to view the display. By turning the periscope horizontally, the visitor changes the data flows and effects. There have been 3 iterations of sub_scape – sub_scapeBALTIC at ISEA2004 Helsinki; sub_scapePROOF at Australian Centre for the Moving Image (ACMI) 2005 for PROOF: the act of seeing with one’s own eyes; and sub_scapeMACHINIMA. Media: subscape software; video/audio feed; real time effects; aluminium periscope with audience interactivity. DOWNLOADsub_scape.pdf www.subscape.net
Life After Wartime is a suite of multimedia artworks by Kate Richards and Ross Gibson. Based on 3000 archival scene-of-crime images from Sydney and thousands of evocative texts by Gibson, each iteration within the suite uses various design and interaction techniques to engage its audience.The suite comprises: Crime Scene – 1999-2000 – Justice & Police Museum Sydney and touring; Darkness Loiters – 2000 – an interactive story engine; Life After Wartime CD-ROM – 2003 – exhibited nationally and internationally, for sale through the artists, funded by the Australian Film Commission. Life After Wartime live with The Necks – Adelaide Fringe Festival 2001 and Sydney Opera House 2003 – a live improvised event with world renowned jazz trio The Necks; Street XRays – 2005 – Gibson’s re-photography installation at ACMI. Bystander – 2007 – a 5 channel interactive and immersive video installation at The Performance Space@CarriageWorks Sydney 2007. For more information on the projects www.lifeafterwartime.com DOWNLOADarticle.pdf
Part of the Life After Wartime suite, Bystander is a 5-channel interactive software system. The work is installed in a 7-metre-wide pentagonal frame comprised of five projection-screens and surround sound audio which visitors enter – up to 10 at once. All round them, a spirit-world of images, texts and sound gets composed in response to their movement, mass and attentiveness. The room is a kind of performative story-generator haunted by Sydney’s recent past. Depending on the behaviour of visitors, a variable and volatile world of audiovisual narrative evolves endlessly but cogently. Bystander exhibits emergent behaviours – complex narrative, aesthetic and semantic patterns emerge out of simple, elegant rules and interface.
Wayfarer is a realtime game and multimedia event for four performers, four audience groups and passersby.Using their voices, each audience group will direct performers to explore and undertake a series of tasks inside the new and largely unknown Carriageworks building, hidden from the audience’s view. The audience will track their performer’s progress via streamed video, audio and locative data on large exterior projection screens.
Wayfarer is a truly hybrid concept, where live and mediated performance, urban choreography, tactical media, parkour, neo-situationist strategies, gameplay and site specificity come together in a volatile mix.