Events
Exhibitions and Performances |
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Ernest Edmonds Shaping Form, 2007 - Computer Construct
CONNY DIETZSCHOLD GALLERY |
SYDNEY | COLOGNE
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ERNEST EDMONDS - (UK/AUS)
RELATED EVENT
Correspondences in Sound and Vision WITH GUESTS Andrew Brown, Andrew Sorensen, Andrew Johnston, and Ben Marks. WHEN Sunday, 30 September 6 - 8.30 pm WHERE Bay 20, Carriageworks, 245 Wilson Street, Eveleigh HOW Tickets available through Carriageworks and Moshtix from Thursday 13 September, 2007. COST Adults: $25 Students: $20--- Also showing at Conny Dietzschold Gallery
ALF LÖHR - (GERMANY)
CONNY DIETZSCHOLD GALLERY | SYDNEY | COLOGNE
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2 Danks Street | Sydney Waterloo
NSW 2017 | Tel: +61 2 9690 0215 | Fax: +61 2
9690 0216 Email: This email address is being protected from spam bots, you need Javascript enabled to view it
URL: www.connydietzscholdgallery.com Opening hours: Tue - Sat 11 - 5 pm
Correspondences in Sound and Vision
CURATOR AND CO-ORDINATOR Deborah Turnbull Performances PORT HACKINGby Ernest Edmonds and Mark Fell Port Hacking is a generative audio-visual performance work first performed at Sparks: the launch event of the Creativity and Cognition Studios in Sydney, November 2003. DC_RELEASE by Ernest Edmonds and Mark Fell DC_Release is a generative audio-visual performance work presented for the first time in Australia. The first performance was in the Corcoran Gallery in Washington DC, April 2007. BIOGRAPHIES Ernest Edmonds works in the constructivist tradition and first used computers in his art practice in 1968. He was also a pioneer in the de- velopment of practice-based PhD programmes in art and technology in he UK. His work is concerned with color and minimal forms, particularly in the context of time and interaction. He first showed an interactive ork with Stroud Cornock in 1970 and first showed a generative video piece in 1985. He has exhibited throughout the world, from Moscow to LA. Artists Bookworks recently published his book “On New Constructs in Art”. He is Editor-in-Chief of the Leonardo Journal’s Transactions, which publishes high-quality original reports on new developments in art and technology. He is an invited contributor to the digital art exhibition “Speculative Data and the Creative Imaginary” to be held at the National Academies of Sciences Gallery, Washington DC, June-August 2007. Ernest Edmonds is Professor of Computation and Creative Media at the University of Technology, Sydney Australia, where he runs a multi-disciplinary practice-based art and technology research group, the Creativity and Cognition Studios. Mark Fell is an inter-disciplinary artist and curator living and working in Sheffield,UK. His work explores new technologies, sound, image and interaction, bringing together an interest in electronic musics, contemporary art, avant-garde practice, contemporary philosophies of language and computer science. Fell has performed and exhib- ited extensively at many major international festivals and institu- tions including Sonar (Barcelona), Mutek (Montreal), Siggraph (Los Angeles), Powerhouse (Sydney), ACMI (Melbourne), ISEA (Paris), Hong Kong National Film Archive, The Barbican (London), Schirn (Frankfurt), Volksbuhne (Berlin), Liquid Room (Tokyo). His published sound works quickly placed him at the forefront of new digital musics with critically acclaimed releases on Mille Plateaux (Frankfurt), Or (London), Line/12k (New York), and raster-noton (Berlin). Fell also works as curator (including Lovebytes Sheffi eld, Sightsonic York), computer programmer in digital arts. Awards and nominations include Ars Electronica, Quartz award for research in music, and Euro Asia foundation. Guests
aa-cell
BIOGRAPHIES Andrew Sorensen is an independent software developer and an active performer and composer of electronic music. Andrew has spent much of the past two years focused on Live Coding performance practice working on the tools and ideas that enable him to explore code as a medium for real-time expression. Andrew is the author of the Impromptu audio/visual programming environment.
Andrew Brown
is an Associate Professor in Computational Arts at the Queensland
University of Technology (QUT) and Research Manager at the Australasian
CRC for Interaction Design (ACID). Andrew's expertise is in
technologies that support creativity, algorithmic music and art, and
the philosophy of technology. His current research focuses on adaptive
media arts. He is an active computer musician and a builder of
software tools for dynamic digital content.
PARTIAL REFLECTIONS
BIOGRAPHIES
Andrew Johnston
has a background in both music and computing. As a trombonist, he has
performed professionally with many ensembles, including the Melbourne
and Sydney Symphony Orchestras, the Australian Opera and Ballet
Orchestra and many others. He also has experience and academic
qualifications in computing and is currently working as a Lecturer in
the Faculty of Information Technology at the University of Technology
Sydney. Through works such as Spheres of Influence, he seeks to
combine his knowledge of the aesthetic, cultural and collaborative
practices of music with technical skills to produce well crafted and
artistically interesting artworks. Spheres of Influence By Andrew Johnston and Benjamin Marks Dates of Exhibition: 25 July–27 September 2006 Performance and artists talks Monday 7 August, 2006, 6-7:30pm At the Powerhouse Museum Education Rooms This special performance event is taking place as part of Design Sydney. The installation will also be open in Beta_Space. Following the performance Andrew Johnston and Benjamin Marks will discuss the axis where art and technology intersect in their collaboration, followed by a Q & A and some light refreshment. Benjamin Marks will also be performing Spheres of Influence at The Studio in The Sydney Opera House on Tuesday 8 August as part of a concert by Ensemble Offspring. Further tour dates and contact information. |
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aa-cell
are an Australian-based live coding duo - Andrew Brown and Andrew
Sorensen - who have been invited to perform around Australia and in
Europe and the USA. Their work involves semi-improvised musical
performances where they build the software for a piece during
performance from a blank slate using the 
Partial Reflections
is an interactive performance in which live audio affects animated
virtual sculptures. The work exists as a composed work for solo
trombone, but also as an art installation for public participation. The
performance presents a unique audio-visual composition in which
sounds and visuals merge to create a duet between the senses. The
installation provides a playful and creative environment in which
audiences can experience the sound of their voice transformed into
evocative patterns of movement and sound (see | Next > |
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