91成人版抖音
UNSW Centre for Interactive Cinema Research

Publications

A boomerang

Selected Publications
    • Thurow, S (2019).听Performing Indigenous Identities on the Contemporary Australian Stage: Land, People, Culture. Advances in Theatre and Performance Studies Series. London/New York: Routledge.
    • Kenderdine, S. (2011).听PLACE-Hampi: Inhabiting the Panoramic Imaginary of Vijayanagara. Heidelberg: Kehrer.
    • Anderson J., Marshall C., Yip A. (eds.) (2016).听The Legacies of Bernard Smith: Essays on Australian Art, History and Cultural Politics. Sydney: Power Publications.
    • Thwaites, D. (ed.) (2013).听Critical Animalia: A Decade Between Disciplines. Sydney: Critical Animals.
    • Del Favero, D. & Thurow, S. (2020). Human-Machine Co-Agency in Art. In W. Tschapeller & C. Jauernik (eds.),听Towards an Intra Space听(pp.tbc). Schriftenreihe Academy of Fine Arts, Vienna, vol. 25. Berlin: Sternberg Press.
    • Del Favero, D., Thurow, S. & Frohne, U. (2020). Artificial Intelligence and a New Dialogical Commons?. In W. Tschapeller & C. Jauernik (eds.),听Towards an Intra Space听(pp.tbc). Schriftenreihe Academy of Fine Arts, Vienna, vol. 25. Berlin: Sternberg Press.
    • Yip, A, Dredge, P, Gerard-Austin, A & Ives, S (2020). Henry VR: Designing Affect-Oriented Virtual Reality Exhibitions for Art Museums. In H. Lewi (Ed.),听The Routledge International Handbook of New Digital Practices in Galleries, Libraries, Archives, Museums and Heritage Sites. London: Routledge.
    • Pailthorpe, B. (2016). Spatial Operations. In L. Slade (ed.),听Sappers & Shrapnel: Contemporary Art and Art of the Trenches. Adelaide: Art Gallery of South Australia/Thames & Hudson.
    • Thwaites, D. (2012). Anish Kapoor: Public Sculpture. In E.A. McGregor (ed.),听Anish Kapoor 鈥淟iving Catalogue鈥. Sydney: Museum of Contemporary Art.
    • Thwaites, D. (2011). A Machiavellian Beauty: Ruling by Love and Fear. In G. Simpson (ed.),听Exploring the Critical Issues of Beauty. ebook: The Inter-Disciplinary Press.
    • Barker, T. (2011). Aesthetics of the Error: Media Art, the Machine, the Unforeseen and the Errant. In M. Nunes (ed.),听Error: Glitch, Noise, and Jam in New Media Cultures. New York: Continuum.
    • Kenderdine, S., Del Favero, D. & Brown, N. (2008). 鈥楶LACE-Hampi: Co-Evolutionary Narrative & Augmented Stereographic Panoramas,
      Vijayanagara, India鈥 in Kalay, Y. (ed.),听New Heritage: New Media & Cultural Heritage, Oxfordshire: Routledge, pp. 275-93, LP0669163 (2006-2008).
    • Del Favero, D. (2006). 鈥業mmanence & Eventfulness鈥, in McQuire, S. (ed.),听Conversations: The Parallax Effect. Sydney: iCinema. pp. 6-8, DP0209550 (2002-2004).
    • Del Favero, D., Brown, N., Shaw, J. & Weibel, P. (2005). 鈥楾_Visionarium: Towards a Dialogic Concept of Digital Narrative鈥, in Flachbart, G. (ed.),听Disappearing Architecture. Basel: Birkh盲user. pp. 144-51, DP0345547 (2003-2005).
    • Del Favero, D., Brown, N., Shaw, J. & Weibel, P. (2005). 鈥楾_Visionarium: The Aesthetic Transcription of Televisual Databases鈥, in Frohne,
      U. (ed.),听Present Continuous Past: Media Art 鈥 Strategies of Presentation, Mediation & Dissemination. Vienna/New York: Springer. pp. 33-48, DP0345547 (2003-2005).
    • Del Favero, D., Brown, N., Shaw, J. & Weibel, P. (2003). 鈥業nteractive Narrative as a Multi-Temporal Agency鈥, in Shaw, J. (ed.),听Future Cinema: Cinematic Imaginary After Film, Cambridge:听MIT听Press, pp. 312-15.
    • Del Favero, D. (2001). 鈥楧igitally Expanded Forms of Narration鈥, in Del Favero, D. (ed.),听LOCATIONS, Karlsruhe/Sydney:听ZKM听and iCinema, pp. 8-9.
    • de Belen, R.A.J., Bednarz, T., Sowmya A. & Del Favero, D. (2020) 鈥淐omputer vision in autism spectrum disorder research: a systematic review of published studies from 2009 to 2019鈥,听Translational Psychiatry, Volume 10, Article number: 333.
    • Del Favero, D., de Belen, R.A.J. & Bednarz, T. (2019). 鈥淐ombining Mixed Reality and Internet of Things: An Interaction Design Research on Developing Assistive Technologies for Elderly People鈥. In听Human Aspects of IT for the Aged Population. Social Media, Games and Assistive Environments (291-304). Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics). Orlando: Springer.
    • Thurow, S. (2018). 鈥溾橬amatjira鈥: Beyond the Script 鈥 Visual and Performative Aesthetics as Conduits for the Communication of Western Arrernte Ontologies,鈥澨Australasian Drama Studies听73 (Special Issue Turangawaewae / A Place to Stand: Situating Contemporary Indigenous Performance in Australasia (and Beyond)): 130-59.
    • Thwaites, D. (2018). 鈥淪pectres of French Theory: Australian Translations in the Work of Alex Martinis Roe and Shaun Gladwell,鈥澨Australian and New Zealand Journal of Art听18.1.
    • Yip, A. (2017). 鈥淩eview: The National 2017: New Australian Art,鈥澨Australian and New Zealand Journal of Art听17.2:256-60.
    • Zhuang, Z., Pagnucco, M. & Zhang, Y (2017). 鈥淚nter-Definability of Horn Contraction and Horn Revision鈥.听Journal of Philosophical Logic听46(3): 299鈥332.
    • Dredge, P., Howard, D., Morgan, K., & Yip, A. (2017). 鈥淯nmasking Sidney Nolan鈥檚 Ned Kelly: X-ray Fluorescence Conservation Imaging, Art Historical Interpretation and Virtual Reality Visualisation,鈥澨Australian and New Zealand Journal of Art听17.2: 147-61.
    • Yip, A. (2017). 鈥淭he Ekphrasis Engine: Towards a New Industry Architecture for Digital Art Historical Practice in the Age of the Virtual,鈥澨Australian and New Zealand Journal of Art听17.2: 135-46.
    • Thurow, S. (2017). 鈥淩esponse to the Metamaterial Turn: Performative Digital Methodologies for Creative Practice and Analytical Documentation in the Arts,鈥澨Australian and New Zealand Journal of Art听17.2: 238-50.听DOI: 10.1080/14434318.2017.1450071.
    • Yip, A. (2017). 鈥淢etadata and the Rhizome of Museum Practice,鈥 _Artlink: Australian Contemporary Art Quarterly 37.1: 34-39.
    • Yip, A. (2017). 鈥淭atsuo Miyajima: Connect with Everything,听MCA听Australia | Time, Light, Japan: Japanese Art 1990s to Now, Art Gallery of听NSW,鈥澨鼳rtlink: Australian Contemporary Art Quarterly听37.1: 72-76.
    • Yip, A. (2017). 鈥淰irtual Reality and the Museology of Consciousness,鈥澨鼳rtlink: Australian Contemporary Art Quarterly听36.4: 42-47.
    • Thwaites, D. (2017). 鈥淒anto, Derrida and the Artworld Frame,鈥澨Derrida Today听10.1: 67-88.
    • Dredge, P., Ives, S., Howard, D.L., Spiers, K.M., Yip, A. & Kenderdine, S. (2015). 鈥淢apping Henry: Synchrotron-Sourced X-ray Fluorescence Mapping and Ultra-High-Definition Scanning of an Early Tudor Portrait of Henry听VIII鈥.听Applied Physics A: Materials Science and Processing听121: 789鈥800.
    • Thwaites, D. (2012). 鈥淵oshua Okon: An Uncomfortable Kind of Humour,鈥澨Das Superpaper听25: 58-60.
    • Brown, N., Barker, T. & Del Favero, D. (2011). 鈥淧erforming Digital Aesthetics: The Framework for a Theory of the Formation of Interactive Narratives鈥,听Leonardo听44.3: 212-19.听DOI:10.1162/LEON\a\00165. DP0556659 (2005-2009).
    • Del Favero, D. (2005). 鈥淗ow One Might Live: The 51st Venice Biennale鈥,听Art Monthly: 3-9.
    • Del Favero, D. (1995). 鈥淪cenario Urbano鈥,听Art and Design: 20-29.
    • Del Favero, D. (1995). 鈥淧rima Facie鈥,听Active Reactive: 41-45.
    • Del Favero, D. (1987). 鈥淟inea di Fuoco鈥,听Photofile: 16-19.
    • Del Favero, Dennis, Thurow, Susanne & Wake, Caroline 2020, 鈥楧ialogical Aesthetics 鈥 Reconfiguring Theatrical Spaces through Dig- ital Technology 鈥, K. Dreckmann, M. Butte & E. Homberg (eds.),听Technologien des Performativen听(357-65). Bielefeld: transcript, LP170100471 (2018-2021).
    • Del Favero, D. & Barker, T. (2010). 鈥楽cenario: Co-Evolution, Shared Autonomy & Mixed Reality鈥,听9迟丑听滨贰贰贰听滨苍迟别谤苍补迟颈辞苍补濒
      Symposium on Mixed & Augmented Reality 2010 鈥 Arts, Media & Humanities Proceedings      , pp. 11-18.听DOI:10.1109/ISMARAMH. 2010.5643299, DP0556659 (2005-2009).
    • Kuchelmeister, V., Shaw, J., McGinity, M., Del Favero, D. & Hardjono, A. (2009). 鈥業mmersive Mixed Media Augmented Reality Application
      & Technology鈥,听Advances in Multimedia Information Processing 鈥撎齈CM听2009_, vol. 5879,听DOI:10.1007/978-3-642-10467-1\109, LP0669163 (2006-2008).
    • Kenderdine, S., Shaw, J., Del Favero, D. & Brown, N. (2008). 鈥楥o-Evolutionary Narrative & Virtual Heritage鈥,听New Heritage Proceedings, pp. 35-44, LP0669163 (2006-2008).
    • McGinity, M., Shaw, J., Del Favero, D., Kuchelmeister, V. & Hardjono, A. (2007). 鈥楢VIE: A Versatile Multi-User Stereo 360掳 Interactive
      VR Theatre鈥,听Proceedings of the 2007 Workshop Emerging Display Technologies: Images and Beyond: The Future of Displays and Interaction, doi:10.1145/1278240.1278242.
    • Thurow, S. (2019). Capabilities and Limitations of Collaboration in the Artistic Process. In听Elasticity conference, Performance Studies International, University of Calgary, Canada, July 4-7.
    • Thurow, S. (2019). Digital Technologies as Conduit for the Communication of Indigenous Australian Heritage. In听Body of Knowledge: Art and Embodied Cognition Conference, Deakin University, Melbourne, June 27-29.
    • Thurow, S., Del Favero, D., Wake, C., Pagnucco, M., Williams, K., Scott-Mitchell, M., Wallen, L. & Schostakowski, B. (2019). iDesign 鈥 New Capabilities for Set Design. In听PQ Talks @ Prague Quadrennial of Performance Design and Space, Industrial Palace & Exhibition Grounds, Prague, Czech Republic, June 7-15. LP170100471, 3 years.
    • Thurow, S. (2018). Big hART 鈥 Processes of Care in Art-Making. In听Aesthetics, Politics & Histories. The Social Context of Art, Art Association of Australia and New Zealand, Royal Melbourne Institute of Technology, Melbourne, Australia, December 5-8.
    • Thurow, S., Yip, A. & Ong, A. (2018). iDesign: New Paradigms for Collaborative and Immersive Theatre Design. In听OzViz 2018, Expanded Perception & Interaction Centre, The University of New South Wales, Sydney, Australia, November 22. LP170100471, 3 years.
    • Del Favero, D., Thurow, S., & Wake, C. (2018). Dialogical Aesthetics 鈥 Reconfiguring Theatrical Spaces Through Digital Technology. In Theatre & Technology Conference, Society for Theatre Studies, Institute for Media & Culture Studies, Heinrich-Heine-Universit盲t, D眉sseldorf, Germany, November 8-11.
    • Del Favero, D. (2018). 鈥楢I & Advanced Creativity: An Emerging Horizon鈥,听Digital Humanities Australia, University of South Australia, Adelaide, Keynote Presentation, LP170100471 (2018-2020).
    • Thurow, S. & Del Favero, D. (2018). 鈥業ntra_Space 鈥 Exploring the Actor through Artificial Intelligence鈥 presented at Actors and Acting in the Twenty-First Century Conference, Australasian Drama Studies Association, Victorian College of the Arts, Melbourne, June 26-29.
    • Thurow, S. (2017). 鈥業 Am Eora: Nation-Building on the Postcolonial Stage鈥, presented at Performing Belonging in the 21st Century Conference, Australasian Drama Studies Association, Auckland University of Technology, Auckland, New Zealand, June 27-30.
    • Thurow, S. (2016). 鈥楶erformed Resilience!? Identity Construction in Contemporary Australian Intercultural Theatre Practice鈥, presented at Resilience: Revive, Restore, Reconnect Conference, Australasian Drama Studies Association, University of Southern Queensland, Toowoomba, June 21-24.
    • Thwaites, D. (2015). 鈥楾he False Continuities of Ryan Trecartin鈥 presented at the Australasian Society for Continental Philosophy Conference,听UNSW, Sydney, 2 鈥 4 December.
    • Del Favero, D. (2015). 鈥楢esthetics & Machine Intelligence鈥,听Libidinal Circuits: Scenes of Urban Innovation听III,听FACT, Liverpool, UK, DP0556659 (2005-2009).
    • Del Favero, D. (2014). 鈥楾ransactions in 3D Space: Database or Narrative Events?鈥,听3D-Symposium Beyond: Designing for the Future,听ZKM, Karlsruhe, Germany, DP0556659 (2005-2009).
    • Del Favero, D .(2013). 鈥楢esthetics & Artificial Intelligence鈥,听Beyond 3D Festival: 3D-Symposium Parallax, University of Art and Design, Karlsruhe, Germany, DP0556659 (2005-2009).
    • Thurow, S. (2013). 鈥楾heatre as Strategic Intervention into Racist Discourses Affecting Australian Cultural Relations 鈥 Big hART Inc.鈥檚 Namatjira鈥, presented at Reconfiguring Anti-Racism: Tolerance, Harmony, Inclusion or Justice Conference, Deakin University, Melbourne, December 9-10.
    • Thurow, S. (2013). 鈥業ndigeneity and Transcultural Communities: Big hART Inc.鈥檚 Namatjira鈥, presented at Challenging Boundaries: Postcolonial Narratives and Notions of the Global Conference, Association for Anglophone Postcolonial Studies, Georg-August Universit盲t, G枚ttingen, Germany, October 9-11.
    • Thurow, S. (2013). 鈥業ndigeneity and Transcultural Communities: Big hART Inc.鈥檚 Namatjira鈥, presented at In the Balance: Indigeneity, Performance, Globalization Conference, Centre for International Theatre and Performance Research, Royal Holloway University, London, UK, October 24-27.
    • Thwaites, D. (2013). 鈥楳utating Assemblages: The Deterritorialization of Tradition in the Ceramics of Park Young-Sook and Yeesookyung鈥 presented at The First International Deleuze Studies in Asia Conference, Tamkang University, Taipei, Taiwan, May 31鈥揓une 2.
    • Thwaites, D. (2011). 鈥楢 la Recherche du Temps Perdu: The Contemporary Taste for Lomography and Vinyl Records鈥 at Annual Conference for the Australasian Society for Continental Philosophy, La Trobe University, Melbourne, Australia, December 12鈥15.
    • Del Favero, D. & Pagnucco, M. (2011). 鈥楢rtificially Intelligent Aesthetics鈥,听NIEA听Experimental Arts Double Conference,听UNSW, Sydney, DP0556659 (2005-2009).
    • Barker, T., Del Favero, D. & Hardjono, A. (2010). 鈥楳emory Processes & Frontier Technology鈥,听War Literature & the Arts Conference, Air Force Academy, Colorado Springs,听USA, DP0556659 (2005-2009).
    • Thwaites, D. (2010). 鈥楢rt and Political Economy: Deconstructing Kant鈥檚 Aesthetic Hierarchies鈥 at The 2nd 鈥楧errida Today鈥 International Conference, Kingston University, London, UK, July 19-21.
    • Del Favero, D., Brown, N., Shaw, J. & Weibel, P. (2007). 鈥楨xperimental Aesthetics & Interactive Narrative鈥,听Australian Council of University Art & Design Schools Conference,听UNSW, Sydney, DP0556659 (2005-2009).
    • Del Favero, D. (2006). 鈥業nteractive Narrative & Memory鈥,听Inviting Horror Conference, V2 Institute, Amsterdam, Netherlands.
    • Del Favero, D. (2005). 鈥楾he Aesthetic Transcription of Televisual Databases鈥,听Present Continuous Past Conference, University of the Arts, Bremen, Germany, DP0345547 (2003-2005).


  • Dennis Del Favero


    Neil Brown, Dennis Del Favero, Jeffrey Shaw, Peter Weibel


    James Donald


    Mark W. Peters, Barry Drake


    Keir Smith


    Dennis Del Favero, Neil Brown, Jeffrey Shaw, Peter Weibel


    Matthew McGinity, Jeffrey Shaw, Volker Kuchelmeister, Ardrian Hardjono, Dennis Del Favero


    Timothy Barker


    Timothy Barker


    Volker Kuchelmeister


    Volker Kuchelmeister


    Dennis Del Favero and Timothy Barker


    Neil C.M Brown, Timothy Barker, Dennis Del Favero

Past Events

  • International Symposium
    Including Launch of the Publication听Un_Imaginable

    Un_imaginable is the first instalment in the听ZIP听Digital Arts Edition series jointly produced by the iCinema Centre, Sydney, the听ZKM听Karlsruhe and the University of Pittsburgh. This new editorial cooperation envisages the production over the next five years of three publications encapsulating the latest research on topics of central importance to media arts. The launch of the Un_imaginable issue is combined with a one-day symposium at听ZKM听Karlsruhe and an exhibition of the听DVD-artworks at听ZKM听Karlsruhe and the Ivan Dougherty Gallery Sydney.

    ZKM听Media Theatre,听ZKM, Karlsruhe

    2 July 2008

    Ivan Dougherty Gallery, Sydney

    15 August 2008 2pm to 5pm

  • Within the framework of technologies developed at the iCinema Centre, internationally acclaimed theorists and practitioners describe and deliberate recent advances in immersive and narrative exchange between human & place, human & machine agent, human & human.

    UNSW听Kensington Campus Kensington.

    21st September, 2007

  • The goal of this series is to present papers from leading international and local scholars, along with听UNSW听postgraduate and postdoctoral researchers, to address issues of relevance to the converging fields of digital media and cinema.

    2007鈥2008

    听

  • Foreign Correspondents: Female Epistolary Voice-Over in War Films, presented by Susie Walsh-Weirman

    Nottingham University

    8/07/2004 鈥 10/07/2004

  • Hochschule der Kuenste, Bremen

    14/05/2004 鈥 15/05/2004

  • Artspace and Ivan Dougherty Gallery, Sydney

    22/11/2001 鈥 15/12/2001

  • Cinemedia at Treasury Theatre, Melbourne

    30/11/2001 鈥 01/12/2001

Books

Edited by听Dennis Del Favero, Ursula Frohne, Peter Weibel

2008

DVD-Video:听(English/German with English subtitles)听DVD听artworks by Dennis Del Favero, Korpys / L枚ffler, Susan Norrie and Peter Weibel

Book:听(c.180 pages) texts by Inke Arns, Jill Bennett, Ursula Frohne, Boris Groys, Adrian Parr, Paul Patton, Sabine Sielke and Terry Smith

听published by Hatje Cantz, Germany

Un_imaginable听is the first instalment in the听ZIP听Digital Arts Edition series jointly produced by the iCinema Centre, Sydney, the听ZKM听Karlsruhe and the University of Pittsburgh. This new editorial cooperation envisages the production over the next five years of three publications encapsulating the latest research on topics of central importance to media arts. The launch of the听Un_imaginable听issue is combined with a one-day symposium at听ZKM听Karlsruhe and an exhibition of the听DVD-artworks at听ZKM听Karlsruhe and the Ivan Dougherty Gallery Sydney.

Recent occurrences in different spheres of life such as the ecological through to the psychological have redefined our notion of the unbelievable. While maintaining continuities with a long history of the irreal, this new unimaginary confronts us with radically diverse realities, reformulating the condition and expression of life itself. Digital imagery plays a critical role in this reformulated notion, since it presents itself not only as a medium but also as a limit of contemporaneity. The听Un_imaginable听project invites a range of artists and writers to investigate this new unimaginary and explore the unique qualities of its terrain.

Jill Bennett

2008

Book and听DVD

Published by听ZKM/UNSW听Press

This book is a comprehensive analysis of the ground-breaking听T_Visionarium听media art project developed by Neil Brown, Dennis Del Favero, Jeffrey Shaw and Peter Weibel at the iCinema Centre, Sydney, in collaboration with听ZKM, Karlsruhe. It reveals how this immersive interactive environment generates new insights into the workings and consumption of televisual media, extending the boundaries of both art and media studies. Using contemporary theory to analyse gesture and emotion in art and media, Jill Bennett鈥檚 text explores the dynamics of new media narratives, demonstrating how both TV and media art operate in a transnarrative dimension where media images take on their own life.

鈥淪ituating听T_Visionarium听in terms of wider cultural shifts, the book is a 鈥榰ser鈥檚 guide鈥, both to听T_Visionarium, and to screen culture in general. Jill Bennett鈥檚 鈥榞uide鈥 to the kinds of discoveries possible in the complex space created by听T_Visionarium听opens up questions about what media art can do. Drawing in particular on knowledge of the televisual genre of forensic detection, and of affect and gesture, Bennett traces the lineaments of听T_Visionarium, with unpredictable and often unimaginable results.鈥 Associate Professor Anna Gibbs, School of Communication Arts, University of Western Sydney.

Curator and Editor:听Dennis Del Favero听and听

Design and Software:听

2001

Book &听DVD-ROM

Published by Hatje Cantz, Germany

This is the first听DVD-ROM听in the听ZKM听Digital Arts Edition, published by听ZKM听and the Centre for Interactive Cinema, presenting new works by Australian and European artists. The individual works address the specific challenges of interactive narrative conception and design.

The works in听(dis)听LOCATIONS听explore a multi-dimensional concept of narrative. This dynamic form of narrative is profoundly dialogic in character. Mikhail Baktin鈥檚 concept of the dialogic illustrates how fictional characters, for example, those in Dostoyevsky鈥檚 novels, are able to speak without subjection to the single authorial control of their creator. Baktin terms this a 鈥榞enuine polyphony鈥. The arrival of digital systems permits this polyphony to be an emergent property generated by the viewers鈥 interaction with the author鈥檚 narration.

(dis)听LOCATIONS,听DVD-ROM听& Book,听ZKM听digital arts edition

ISBN听3-7757-1087-6

Works 鈥 Artists:

  • Place Urbanity 鈥 a psycho-ethnographic portrait of Melbourne听鈥 Jeffrey Shaw
  • The Panoptic Society听or听Immortally in Love with Death听鈥 Peter Weibel
  • Sweet Stalking听鈥 Ian Howard
  • Defile听鈥 Susan Norrie
  • Pentimento听鈥 Dennis Del Favero
  • Their Things Spoken听鈥 Agnes Heged眉s

(dis)听LOCATIONS听Book

This book includes essays by authors including Jill Bennett, Lev Manovich and Peter Weibel which comment upon the featured works and analyze theoretical aspects of interactive cinema and digital communications media.

Essays:

  • Jeffrey Shaw 鈥 (dis)LOCATIONS听Introduction
  • Dennis Del Favero 鈥 鈥淒igitally Expanded Forms of Narration鈥
  • Lev Manovic 鈥 鈥淧ost-media Aesthetics鈥
  • Anna Munster 鈥 鈥淣ew Media as Old Media: Strategies for Dislocation and Relocation鈥
  • Peter Weibel 鈥 鈥淧ost-Gutenberg Narrations鈥
  • Jill Benett 鈥 鈥淣otes on Memory, Narration and New Media鈥
  • Ursula Frohne 鈥 鈥淪how & Tell. The Discursive Idea of Things鈥
  • Charles Green 鈥 鈥淭he Art of Friction鈥
  • James Donald 鈥 鈥淭he World Turned Upside Down鈥
  • Ursula Frohne 鈥 鈥淗orror Vacui鈥

Jill Bennett

2004

Hardback book of 150 pages with embedded听DVD

Published by听UNSW听Press, Sprengel Museum Hannover: Sydney, Hannover.

in co-operation with iCinema Research Centre,听UNSW

听

Fantasmi听presents a richly illustrated analysis of leading Australian new media artist Dennis Del Favero鈥檚 works from 1994 to 2004, by art historian Jill Bennett. Deep Sleep听DVD-ROM, the first in the iCinema digital monographs series, is incorporated into the听Fantasmi听dual book and听DVD听publication.

鈥淥ne of Dennis Del Favero鈥檚 most memorable works, Quegli Ultimi Momenti, dates from twenty years ago. It screened the Australian Centre for Photography in 1984 and, through the use of sound, text, still and moving image, it vividly created the world of migration, the creation of the diaspora, particularly its inevitable, unavoidable sense of loss. The richness of awareness of what had been left behind, and by contrast the unknown into which the protagonists were propelled, remains profoundly moving. The installation, complex yet coherent, with content masterfully allied to form, was, with the great benefit of hindsight, illuminating the very core of so much of the artist鈥檚 continuing concerns; of the impact on the individual of events both beyond their control and beyond their conscious understanding. We, as the viewer, become enmeshed in each of his works by a world that we enter at our own risk, and from which we can never emerge unscathed.

The bulk of Del Favero鈥檚 oeuvre emerges from real events, involving footage from a variety of media sources spliced together to form fractured narratives that jar the nerves, and are presented on multi screens that dislocate the conventional relationship between viewer and moving image. There is no need to duplicate here Jill Bennett鈥檚 detailed studies of each piece, but it is important to clarify their combined role within the genre. Conflict, the meeting of demands, desires, beliefs and impositions that are so utterly incompatible, is surely at the heart of Del Favero鈥檚 creativity. Memory and loss are two crucial additional foundation stones, as they intertwine with the various ways in which ideology, passion, lust, impotence, greed and power dictate human actions. Del Favero chooses to dwell on the darker nature within, not to obscure, as with so much artistic endeavour, but to reveal its revelatory and utterly disturbing continuity. This representation of the 鈥漝iscontent in culture鈥 (S. Freud, 1930), which is normally suppressed or subliminated in art, makes the art of Del Favero so relevant. Links from the present are constantly drawn with so many past eras and manifestations, through reference to music, art, the written and spoken word, and the history of ideas.
This remarkable overview of a most productive era encompasses the realist based works Pieta, Coming Apart, Requiem, Cross Currents, Angelo Nero, Pentimento, Deep Sleep, as well as the fictional Sottovoce. They constitute, when experienced collectively, the most disturbing and moving representation of the crisis of communication that afflicts our world today. There are indeed few artists alive so determined and so capable of maintaining our vigilance."

Nick Waterlow, Director, Ivan Dougherty Gallery,听UNSW, Sydney

Peter Weibel, Chairman and听CEO,听ZKM听Centre for Art and Media, Karlsruhe

Scott McQuire and Nikos Papastergiadis

2006

DVD/Book

Published by听UNSW听Press

Conversations:The Parallax Effect听critically interprets the experimental Distributed Multi-User Virtual Environment Conversations, 2004-2006, by听Dennis Del Favero, Ross Gibson,听听and听.

The publication evaluates the potential for an immersive multi-modal interactive narrative experience to deal with the complexity of historical events; in this instance, the escape, recapture, trial and hanging of Ronald Ryan at Pentridge Prison, Melbourne in 1967. Ryan was the last person publicly executed in Australia. The authors argue that the experimental artwork allows viewers 鈥渢o inhabit the landscape of the escape, to experience the confusion of the crime scene first hand; then it enables us to encounter the key protagonists of the subsequent trial [鈥. Instead of being presented with 鈥榝acts鈥, viewers are asked to negotiate the historical landscape themselves, to draw conclusions from their encounter with both the scene of the disputed events and the opinions of the characters who dominated their aftermath.鈥

The accompanying听DVD听documents the听Conversations听demonstrator as presented at the Powerhouse Museum, Sydney.

The Anarchive Series: Digital Archives on Contemporary Art

Curated by Anne-Marie Duguet

2007

DVD听video/DVD-ROM

Published by Anarchive

Anarchive n掳4:听Jean Otth 鈥 on the Council of Nicea

In accordance with the principle of the Anarchive collection, of which this is the fourth title, 鈥淛ean Otth 鈥 on the Council of Nicea鈥 is all at once an original creation, as well as a database of his work. This听DVD-ROM听is the annotated catalogue of his video works. Although Jean Otth is one of the pioneers of video art in Switzerland, he has also worked with other media as well, such as painting, photography, and the computer. These other works are presented here.

After studying art history and philosophy at the University of Lausanne, Jean Otth attended the art school of Lausanne. From then on, his artistic trajectory, still influenced by the practice of painting, became closely tied to the emergence of new technologies. He is one of the pioneers of video art in Switzerland in the early 1970鈥檚, and his works were soon seen in numerous exhibitions both in Switzerland and abroad (for instance Dokumenta 6 in Kassel). In the 1980鈥檚 he began to employ the computer in his works, not only for its instrumental possibilities, but for its aesthetic dimensions as well. Jean Otth taught at the Cantonal Art School of Lausanne from 1979 to 2002.

Today he pursues a work that mixes the real and the virtual and explores their interaction. This is accomplished through the creation of installations, often including the projection of images on objects. While constantly questioning the media that he uses, and at times even takes as a subject matter, Jean Otth produces borderlines works that test the observer and provoke desire through covering-up, reframing, and shifting. The spectator is thus invited to participate in sensitive, singular experiments in which the figure is threatened with disappearance 鈥 where that which can be represented is but a question.

鈥淛ean Otth 鈥.on the Council of Nicea鈥 is composed of two dvds:

  • A听DVD听video, playable on any dvd player, contains 20 of the artist鈥檚 videos (in their totality and excerpts).
  • A听DVD-ROM听(for Mac or PC) that enables access, in an interactive way, not only to the videos (60 pieces), but also to filmed documentation of the video installations (28 pieces), as well as a significant body of visual documentation of works realized in other media (930 reproductions).

Thirteen short video pieces, created especially for this project, illustrate the different problematics that run through the work of Jean Otth, such as mimesis, electronic disturbance, obliteration, projection, tautology. Finally, a selection of the artist鈥檚 writings, as well as numerous critical texts about his work, are accessible in this database, and are in printable form (57 texts).

Credits

  • Author and artistic director:听Jean Otth
  • Editorial and scientific direction:听Anne-Marie Duguet, Paris
  • Programming and interactive concept:听Marc G枚ring 鈥淓lectron Libre鈥, Lausanne and Adrien Cater
  • Graphic concept:听Werner Jeker, 鈥淟es Ateliers du Nord鈥, Lausanne
  • Authors of the texts:听Ren茅 Berger, Edmond Charri猫re, Anne-Marie Duguet, Lysianne L茅chot-Hirt, Genevi猫ve Loup, Michel Th茅voz, J枚rg Zutter, Jean Otth
  • Translation:听Douglas Parsons
  • Sound:听Christian Pahud

This听DVD-ROM听was produced thanks to private patronage and the support of Pro Helvetia swiss arts council, the Cultural Fund of the City of Lausanne, the Canton of Vaud, and the Vaud Academic Society.
The Center for Contemporary Images- St. Gervais in Geneva, and AktiveArchive in Bern both participated in the production of this work.

Price : 39 鈧

ISBN听978-2-9518132-1-2

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