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The Games Studio at UTS, housed in the Faculty of Engineering and IT and in association with the Creativity and Cognition Studios, is one of the partners hosting the Australian International Animation Festival, screening across 4 venues at UTS on October 17 and 18, 2008. This year’s program was selected from more than 2,000 submissions and 30 countries – a remarkable response from filmmakers and producers around the world. The range of styles, genres and techniques is testament to the vibrancy and relevance of creative animation. Festival organisers have worked hard to try and reflect that incredible diversity in their final selections and to bring a true snapshot of the inspiring international animation scene to the big screen. More at the website.


Ernest Edmonds Shaping Form, 2007 – Computer Construct


Digital painting – New media installations

OPENING Saturday 15 September 2007 3 – 5 pm – all welcome!
EXHIBITION DATES 15 September – 31 October 2007

an ACID/CCS/Carriageworks event

Correspondences in Sound and Vision
A live performance  by Ernest Edmonds and Mark Fell

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

Paintings on paper and canvas

ALF LÖHR Drawing you Closer 2005, 

acrylic on canvas, 200 x 160 cm


2 Danks Street  |  Sydney Waterloo NSW 2017  |  Tel: +61 2 9690 0215  |  Fax: +61 2 9690 0216



Opening hours: Tue – Sat   11 – 5 pm




Correspondences in Sound and Vision
An ACID/CCS/Carriageworks performance  by Ernest Edmonds and Mark Fell
General Information

WITH GUESTS Andrew Brown, Andrew Sorensen, Andrew Johnston, and Benjamin Marks
WHEN Sunday 30 September, 2007 -  6:30-8.30pm
WHERE Bay 20 – Carriageworks – 245 Wilson Street – Eveleigh -Sydney
HOW Tickets available through Carriageworks and Moshtix from Thursday 13 September, 2007
COST Adults: $25  Students: $20


by 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.

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 theCorcoran Gallery in Washington DC, April 2007.

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.


Andrew Brown and Andrew Sorensen

aacell2aa-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 Impromptu environment.  The music created by aa-cell includes elements of electroacoustic sound art, minimalism and electronic dance music.  In these performances Sorensen and Brown explore emergent combinations of various fundamental computational processes they have found to be effective across a range of styles.  These include probability, period functions, set theory and a healthy dose of recursion.  In the tradition of improvisation, their works emerge anew at each performance as aa-cel interact with each other, the audience, and the performance context.


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.

Andrew Johnston and Benjamin Marks

spinner-stillPartial 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 Spheres of Influence on the Beta_spacewebsite).  With practice, they may even  be able to play the virtual sculpture as if it were a musical instrument – an extension of the voice.


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.

Benjamin Marks is a composer and musician based in Brisbane. He is a member of ELISION Ensemble and specializes in the performance of contemporary music, including collaborations with visual artists (Keith Armstrong, Adam Donovan) and free improvisation (Particle Moves, and with John Rogers as part of TULP). Ben currently teaches trombone and runs various ensembles at the Queensland Conservatorium of Music Griffith University and also teaches trombone at the Queensland University of Technology. He has lectured at Adelaide University and the Victorian College of Arts.

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.


The Creativity & Cognition Conference series began in 1993 and has evolved into a lively multidisciplinary event combining research and practice. Rigorous research is expanding as theoretic foundations are emerging and goals become more well-defined. Successful practice manifests itself in a growing array of creativity support tools for discovery and composition by software and other engineers, diverse scientists, product and graphic designers, architects, new media artists, musicians, educators, students, and many others. We believe that deeper understanding of creative processes and improved support tools can make more people more creative more of the time.Creativity & Cognition 2007 is focused on theme of cultivating and sustaining creativity: understanding how to design and evaluate computational support tools, digital media, and socio-technical environments that not only empower our creative processes and abilities, but that also encourage and nurture creative mindsets and lifestyles. Read our call for submissions.

The conference will also feature an elegant evening reception,panel discussion, and three-month long exhibition on new media arts at the National Academy of Sciences to celebrate the dialogue among technology, science, and arts.

generative arts practice 2005

Visit the symposium site

The symposium will focus on research issues in the practice of the generative arts. These issues fall in areas such as art making, art theory, digital media and human-computer interaction.

It will address recent research and future directions in generative art practice, considering issues such as:

  • The specific nature of generative practice
  • New generative forms
  • The usability and appropriateness of generative technologies
  • New devices and software for generative arts
  • Practice-based research results
  • Historical studies of generative art practice

The discussions will draw on practice-based research, human-computer interaction studies, software research as well as art theory. Attendance will primarily depend on the acceptance of refereed contributions, which will be published in a Workshop Proceedings. An exhibition will form an integral part of the meeting. This will show artworks, games and other systems germane to the meeting. Some of the work with be shown in Beta_Space at the Powerhouse Museum, Sydney.

engage 2006

ENGAGE: Interaction, Art and Audience Experience

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The experience of the audience is at the heart of interaction and, in particular, interactive art. Computer-based interactive artworks come into being and exist in their full form when they are used. They cannot be understood only as objects, but must be thought of as time-based experiences, or periods of engagement. There is an increasing interest from practitioners and researchers in the field of interactive art in learning more about audience experience from theoretical, empirical and applied perspectives. This symposium will review the latest work in this area and future directions for the field, drawing together different disciplinary approaches and perspectives including artist led research, curatorial and museological approaches, theoretical and art-historical research, human-centred design perspectives.

interactive entertainment 2005

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The computer game and interactive entertainment industry is now a multi-billion industry driving new computer technologies and defining a new set of cultural conventions. The lack of game-specific academic conferences has prevented many academics from fully embracing game development as a serious field of study. As a result, although current research in games and interactive entertainment is published in a wide range of specialised conferences/journals, there is limited collaboration between researchers from different academic fields.

The Australasian Conference on Interactive Entertainment is a cross-disciplinary conference that will bring together researchers from artificial intelligence, cognitive science, media studies, drama, HCI, psychology, interactive media, cultural studies, graphics, audio, as well as researchers from other disciplines working on new game specific technologies or providing critical analysis of games and interactive environments.

The conference will accept different submission types that present new scientific ideas, improvements to existing techniques or provide a new ways of examining, designing and using computer games.

creativity & cognition 5 (2005)

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Creativity and Cognition has evolved into an ever increasingly mature field of research and practice since its starting points in the early 1990s. Creativity and Cognition 2002 revealed a growing strength that can now be demonstrated in the 2005 conference. The main theme of the 2005 conference is the creative process and the creation of artefacts: understanding creative practice, art works employing digital media and creativity support tools.

interactive entertainment 2004

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The computer game and interactive entertainment industry has grown to become a multi-billion industry pushing the limits of current computer technology on multiple fronts in a relatively brief period.

The aim of the Workshop on Interactive Entertainment is to bring together academic and industry researchers, developers, designers and practitioners to discuss research and development issues in interactive entertainment and computer games. In particular the conference wishes to investigate the design and engineering of mass market interactive entertainment.

interaction ’04

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The symposium will focus on the emergence of art, communication, information and entertainment systems using interactive environments and media in museum, gallery and other public spaces. It will address recent research and future directions in art and design, spanning the areas of

  • Innovative interactive devices and systems
  • Creative practice employing interactive environments
  • Social and cultural theory about interaction

The discussions will draw on digital art practice, computer game developments, human-computer interaction as well as social and cultural theory. Attendance will primarily depend on the acceptance of refereed contributions, which will be published in a Workshop Proceedings. An exhibition will form an integral part of the meeting. This will show artworks, games and other systems germane to the meeting. It is planned to make the exhibition open to the public. Three Keynote speakers will make public presentations to set the tone and direction of the meeting. The symposium will be organised so that the contributions and discussions lead to a significant book on the subject that will both summarize the state of the art and point forward to future research and practice.

expertise in design ’03

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We identified relevant topics for the workshop as including: cognitive style, situated cognition, reflective practice, expert vs. novice behaviour, strategic knowledge, tacit knowledge, knowledge-based systems, knowledge support systems, and computational representations of expertise and knowledge working. This intention to encompass both the ‘natural’ and the ‘artificial’ cognition research approaches to understanding design thinking also reflects one of the original intentions in the first meeting in the series. In selecting papers from those submitted, we were biased towards those reporting empirical work or formal, explicit modelling. In the event, the ‘artificial’ end of the research spectrum is less represented in the proceedings than the ‘natural’. This is simply a reflection of the number and quality of the different types of papers we received.

creativity & cognition 4 (2002)

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This fourth conference will focus on how artists, scientists and technologists are developing the next generation of creative tools and also how these tools are being, or will be, used to create new concepts and artefacts. It will also focus on research or conceptual work relevant to the goal of improving our understanding of creative processes and the creation of artefacts: artworks employing digital media.

Topics and Themes include:

  • Intersections and correspondences between art, science, and technology
  • Theories and Studies of creativity and cognition
  • Digital media in the creative arts
  • Computers as creativity machines
  • Computers as catalysts for human creativity
  • Interactions between artists and scientists
  • Impact of new technology on thinking and action in art and science
  • Scenarios for the future of creative arts
  • Artefacts from computer/human interactions
  • Methodologies and approaches in the development new creative tools

archived links to conference sites

CCS Launch: Sparks
Creativity & Cognition 3 (1999)
Creativity & Cognition 2 (1996)
Creativity & Cognition 1 (1993)