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			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_imgs/39/61/68/15126861391_lg.jpg">Staging Change, Installation Site 1, Vrystaat Kunstefees International Arts Festival/Tsa-Botjhaba, South Africa, July 2018, (Image iFlair)</a>
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					<a href="/homeartworks/staging-change">
					<span class="inner">
						<h2 class="Block">Staging Change</h2>
						<div class="Block">
							Unity in Diversity						</div>
					</span>
					</a>
				</div>
			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_imgs/42/03/34/1963403421_lg.jpg">Change Agent, 2018, Durban Art Gallery, ISEA 2018, (Image Christo Doherty)</a>
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					<a href="/homeartworks/change-agent">
					<span class="inner">
						<h2 class="Block">Change Agent</h2>
						<div class="Block">
							Art + International Development						</div>
					</span>
					</a>
				</div>
			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_imgs/17/66/21/29102166171_lg.jpg">Future-Future?, 2017, Caleb Motshabi Township Sunrise, South Africa (Image Keith Armstrong)</a>
				<div class="rsABlock">
					<a href="/homeartworks/future-future">
					<span class="inner">
						<h2 class="Block">Future Future?</h2>
						<div class="Block">
							Go Their Own Way						</div>
					</span>
					</a>
				</div>
			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_imgs/63/31/28/35192831631_lg.jpg">Are We The One? 2017, A walker begins the guided walk, at the same time as their mystery partner. (Image courtesy Artshouse)</a>
				<div class="rsABlock">
					<a href="/homeartworks/are-we-the-one">
					<span class="inner">
						<h2 class="Block">Are We The One?</h2>
						<div class="Block">
							walking new futures						</div>
					</span>
					</a>
				</div>
			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_vids/13/95/18/31721895131_lg.jpg">Over Many Horizons documentation video</a>
				<div class="rsABlock">
					<a href="/homeartworks/over-many-horizons-omh">
					<span class="inner">
						<h2 class="Block">Over Many Horizons (O|M|H)</h2>
						<div class="Block">
							solo exhibition, 2016						</div>
					</span>
					</a>
				</div>
			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_imgs/38/86/52/32785286381_lg.jpg">O'Twellang, 2017, in Exhibition 'The Mesh', Stegmann Gallery, South Africa (Image iFlair)</a>
				<div class="rsABlock">
					<a href="/homeartworks/otswellang">
					<span class="inner">
						<h2 class="Block">O_Tswellang</h2>
						<div class="Block">
							implement change 						</div>
					</span>
					</a>
				</div>
			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_imgs/49/30/03/3360330491_lg.jpg">Inter-State, 2017, in Exhibition 'The Mesh', Stegmann Gallery, South Africa (Image iFlair)</a>
				<div class="rsABlock">
					<a href="/homeartworks/inter-state">
					<span class="inner">
						<h2 class="Block">Inter-State</h2>
						<div class="Block">
							between worlds						</div>
					</span>
					</a>
				</div>
			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_imgs/44/02/45/15164502441_lg.jpg">Shifting Dusts, 2017, in Exhibition 'The Mesh', Stegmann Gallery, South Africa (Image iFlair)</a>
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					<a href="/homeartworks/shifting-dusts">
					<span class="inner">
						<h2 class="Block">Shifting Dusts</h2>
						<div class="Block">
							decay and renewal						</div>
					</span>
					</a>
				</div>
			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_vids/19/14/18/9801814191_lg.jpg">Seasonal documentation video</a>
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					<a href="/homeartworks/seasonal">
					<span class="inner">
						<h2 class="Block">Seasonal</h2>
						<div class="Block">
							periodic disturbance						</div>
					</span>
					</a>
				</div>
			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_vids/48/00/82/31288200481_lg.jpg">Uncanny Intimacy at Object Gallery, Australian Design Centre, Sydney, Aug-Sept 2015</a>
				<div class="rsABlock">
					<a href="/homeartworks/uncannyintimacy">
					<span class="inner">
						<h2 class="Block">Uncanny_Intimacy</h2>
						<div class="Block">
							Coexistence, A Design Opportunity						</div>
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					</a>
				</div>
			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_vids/78/18/27/34472718781_lg.jpg">Overviews the thinking and outcomes of the Black Nectar Project. (Camera and edit Sam James. Courtesy of Bundanon Trust).</a>
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					<a href="/homeartworks/black-nectar">
					<span class="inner">
						<h2 class="Block">Black Nectar</h2>
						<div class="Block">
							charting courses through seasons of change, animality and imagination						</div>
					</span>
					</a>
				</div>
			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_imgs/58/79/81/40738179581_lg.jpg">Long Time, No See? 2014, Cube Visualisation Centre Brisbane (Image Keith Armstrong)</a>
				<div class="rsABlock">
					<a href="/homeartworks/long-time-no-see">
					<span class="inner">
						<h2 class="Block">Long Time No See</h2>
						<div class="Block">
							sustaining new stories for future path-making						</div>
					</span>
					</a>
				</div>
			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_vids/16/54/48/2894854161_lg.jpg">Light Of Extinction, at Thingworld, Media Art China, National Gallery of China</a>
				<div class="rsABlock">
					<a href="/homeartworks/light-of-extinction">
					<span class="inner">
						<h2 class="Block">Light of Extinction</h2>
						<div class="Block">
							an era of permanent darkness						</div>
					</span>
					</a>
				</div>
			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_imgs/48/69/85/3738569481_lg.jpg"></a>
				<div class="rsABlock">
					<a href="/homeartworks/finitude">
					<span class="inner">
						<h2 class="Block">Finitude</h2>
						<div class="Block">
							time (left) is finite						</div>
					</span>
					</a>
				</div>
			</div>
			<div class="rsContent">
				<a class="rsImg" rel="npc" href="/img/lib_imgs/46/01/88/5098801462_lg.jpg">Intimate Transactions (v3): 2005-8, Intimate Transactions: Shared Body Group. (Image Stuart Lawson)</a>
				<div class="rsABlock">
					<a href="/homeartworks/intimate-transactions">
					<span class="inner">
						<h2 class="Block">Intimate Transactions</h2>
						<div class="Block">
							In the permanent collection of ZKM, Germany						</div>
					</span>
					</a>
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				<a href="/homeartworks/grassland-community-of-care">
					<img src="/img/lib_vids/97/97/28/38642897971_tn.jpg" />
					<h3>Grassland Community of Care</h3>
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				<a href="/homeartworks/analog-intelligence">
					<img src="/img/lib_imgs/10/12/56/26265612102_tn.jpg" />
					<h3>Analog Intelligence</h3>
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				<a href="/homeartworks/forestartintelligence">
					<img src="/img/lib_vids/27/45/81/21368145272_tn.jpg" />
					<h3>Forest_Art_Intelligence</h3>
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				<a href="/homeartworks/common-thread">
					<img src="/img/lib_imgs/04/07/11/24951107042_tn.jpg" />
					<h3>Common Thread</h3>
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			<div class="item feature">
				<a href="/homeartworks/carbondating">
					<img src="/img/lib_imgs/16/73/18/41271873161_tn.jpg" />
					<h3>Carbon_Dating</h3>
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			<div class="item feature">
				<a href="/homeartworks/camphora-breath-work">
					<img src="/img/lib_imgs/06/95/33/27943395062_tn.jpg" />
					<h3>Camphora (Breath Work)</h3>
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				<a href="/homeartworks/uramat-mugas-uramat-story-songs">
					<img src="/img/lib_imgs/17/09/70/39227009171_tn.jpg" />
					<h3>Uramat Mugas (Uramat Story Songs)</h3>
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				<a href="/homeartworks/elegy-for-lifeanthem-for-artifice">
					<img src="/img/lib_imgs/36/92/39/31933992362_tn.jpg" />
					<h3>Elegy for Life_Anthem for Artifice</h3>
				</a>
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				<a href="/homeartworks/staging-change">
					<img src="/img/lib_imgs/39/61/68/15126861391_tn.jpg" />
					<h3>Staging Change</h3>
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			<div class="item feature">
				<a href="/homeartworks/change-agent">
					<img src="/img/lib_imgs/42/03/34/1963403421_tn.jpg" />
					<h3>Change Agent</h3>
				</a>
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			<div class="item feature">
				<a href="/homeartworks/future-future">
					<img src="/img/lib_imgs/17/66/21/29102166171_tn.jpg" />
					<h3>Future Future?</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/are-we-the-one">
					<img src="/img/lib_imgs/63/31/28/35192831631_tn.jpg" />
					<h3>Are We The One?</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/over-many-horizons-omh">
					<img src="/img/lib_vids/13/95/18/31721895131_tn.jpg" />
					<h3>Over Many Horizons (O|M|H)</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/otswellang">
					<img src="/img/lib_imgs/38/86/52/32785286381_tn.jpg" />
					<h3>O_Tswellang</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/inter-state">
					<img src="/img/lib_imgs/49/30/03/3360330491_tn.jpg" />
					<h3>Inter-State</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/shifting-dusts">
					<img src="/img/lib_imgs/44/02/45/15164502441_tn.jpg" />
					<h3>Shifting Dusts</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/seasonal">
					<img src="/img/lib_vids/19/14/18/9801814191_tn.jpg" />
					<h3>Seasonal</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/uncannyintimacy">
					<img src="/img/lib_vids/48/00/82/31288200481_tn.jpg" />
					<h3>Uncanny_Intimacy</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/black-nectar">
					<img src="/img/lib_vids/78/18/27/34472718781_tn.jpg" />
					<h3>Black Nectar</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/long-time-no-see">
					<img src="/img/lib_imgs/58/79/81/40738179581_tn.jpg" />
					<h3>Long Time No See</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/light-of-extinction">
					<img src="/img/lib_vids/16/54/48/2894854161_tn.jpg" />
					<h3>Light of Extinction</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/finitude">
					<img src="/img/lib_imgs/48/69/85/3738569481_tn.jpg" />
					<h3>Finitude</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/intimate-transactions">
					<img src="/img/lib_imgs/46/01/88/5098801462_tn.jpg" />
					<h3>Intimate Transactions</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/translucent-kinship">
					<img src="/img/lib_imgs/21/42/60/35536042211_tn.jpg" />
					<h3>Translucent Kinship</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/groundwork">
					<img src="/img/lib_imgs/31/18/03/18570318311_tn.jpg" />
					<h3>Groundwork</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/eremocene-age-of-loneliness">
					<img src="/img/lib_imgs/26/97/61/20486197261_tn.jpg" />
					<h3>Eremocene (Age of Loneliness)</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/seven-stage-futures">
					<img src="/img/lib_vids/80/53/94/12419453805_tn.jpg" />
					<h3>Seven Stage Futures</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/re-future">
					<img src="/img/lib_imgs/74/70/78/1967870741_tn.jpg" />
					<h3>Re-Future</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/temporal">
					<img src="/img/lib_vids/76/08/65/14166508762_tn.jpg" />
					<h3>Temporal</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/dark-cartographies">
					<img src="/img/lib_vids/44/52/62/21626252441_tn.jpg" />
					<h3>Dark Cartographies</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/pitfall">
					<img src="/img/lib_vids/58/20/02/5950220581_tn.jpg" />
					<h3>Pitfall</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/night-rage">
					<img src="/img/lib_vids/61/10/02/22740210611_tn.jpg" />
					<h3>Night Rage</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/re-introduction">
					<img src="/img/lib_imgs/21/01/60/14106001211_tn.jpg" />
					<h3>Re-Introduction</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/remnant-emergency-artlab">
					<img src="/img/lib_imgs/15/15/51/1675115153_tn.jpg" />
					<h3>Remnant Emergency Artlab</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/the-remnant">
					<img src="/img/lib_imgs/72/80/35/25433580721_tn.jpg" />
					<h3>The Remnant</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/the-sun-gives">
					<img src="/img/lib_imgs/48/43/73/17427343481_tn.jpg" />
					<h3>The Sun Gives</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/knowmore-house-of-commons">
					<img src="/img/lib_imgs/74/66/27/21702766741_tn.jpg" />
					<h3>Knowmore (House of Commons)</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/lighter-than-tai">
					<img src="/img/lib_imgs/85/73/96/11399673851_tn.jpg" />
					<h3>Lighter Than Tai</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/lie-of-the-land">
					<img src="/img/lib_imgs/54/08/30/6123008541_tn.jpg" />
					<h3>Lie of the Land</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/fundamental-sounds">
					<img src="/img/lib_vids/90/65/44/1274465901_tn.jpg" />
					<h3>Fundamental Sounds</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/the-last-generation">
					<img src="/img/lib_imgs/25/89/86/36788689252_tn.jpg" />
					<h3>The Last Generation</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/sounds-of-the-suburb">
					<img src="/img/lib_imgs/08/68/06/4080668081_tn.jpg" />
					<h3>Sounds of the Suburb</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/in-step">
					<img src="/img/lib_vids/28/93/58/7435893281_tn.jpg" />
					<h3>In Step</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/whisper-our-futures">
					<img src="/img/lib_imgs/09/25/50/34175025091_tn.jpg" />
					<h3>Whisper Our Futures</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/why-fundamentalism">
					<img src="/img/lib_imgs/38/08/13/39101308381_tn.jpg" />
					<h3>Why Fundamentalism?</h3>
				</a>
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			<div class="item">
				<a href="/homeartworks/shifting-intimacies">
					<img src="/img/lib_vids/21/63/23/27072363211_tn.jpg" />
					<h3>Shifting Intimacies</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/subcon">
					<img src="/img/lib_imgs/64/92/61/10176192641_tn.jpg" />
					<h3>Subcon</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/party-25">
					<img src="/img/lib_imgs/44/16/24/23762416441_tn.jpg" />
					<h3>Party 25</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/tree-of-fortune">
					<img src="/img/lib_imgs/61/30/37/36323730611_tn.jpg" />
					<h3>Tree of Fortune</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/unbearable-lightness">
					<img src="/img/lib_vids/62/44/95/11599544621_tn.jpg" />
					<h3>Unbearable Lightness</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/grounded-light">
					<img src="/img/lib_imgs/32/72/71/25687172321_tn.jpg" />
					<h3>Grounded Light</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/transact-fleshskinbone">
					<img src="/img/lib_imgs/19/89/25/16302589191_tn.jpg" />
					<h3>Transact Flesh/skin/bone</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/flow">
					<img src="/img/lib_imgs/49/08/75/21847508491_tn.jpg" />
					<h3>Flow</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/access-all">
					<img src="/img/lib_imgs/59/79/22/35962279591_tn.jpg" />
					<h3>Access All</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/transaction">
					<img src="/img/lib_vids/71/49/88/28898849711_tn.jpg" />
					<h3>Transaction</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/golden-circle">
					<img src="/img/lib_vids/88/52/26/8412652881_tn.jpg" />
					<h3>Golden Circle</h3>
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				<a href="/homeartworks/elektrosonic-interference">
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					<h3>Elektrosonic Interference</h3>
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					<h3>Transit Lounge</h3>
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				<a href="/homeartworks/liquid-gold">
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					<h3>Liquid Gold</h3>
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			<div class="item">
				<a href="/homeartworks/live-art-incubator">
					<img src="/img/lib_imgs/21/03/61/26456103211_tn.jpg" />
					<h3>Live Art Incubator</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/stop-jabiluka">
					<img src="/img/lib_vids/61/30/37/36323730611_tn.jpg" />
					<h3>Stop Jabiluka!</h3>
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			</div>
			<div class="item">
				<a href="/homeartworks/public-relations">
					<img src="/img/lib_imgs/43/09/78/21037809431_tn.jpg" />
					<h3>Public Relations</h3>
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					<h3>Number 14</h3>
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			<div class="item">
				<a href="/homeartworks/uncertain-circle">
					<img src="/img/lib_vids/11/71/92/39379271111_tn.jpg" />
					<h3>Uncertain Circle</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/liquid-architecture">
					<img src="/img/lib_vids/28/96/53/38085396281_tn.jpg" />
					<h3>Liquid Architecture</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/escolas-de-samba">
					<img src="/img/lib_vids/89/13/04/41960413891_tn.jpg" />
					<h3>Escolas De Samba</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/the-final-frontier">
					<img src="/img/lib_imgs/38/50/98/16859850381_tn.jpg" />
					<h3>The Final Frontier</h3>
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			'feature_sub_title' => 'More Than Human Persons',
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			'title' => 'Grassland Community of Care',
			'page_title' => 'Community of Care',
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			'content' => '<p><strong>WHAT: </strong>4k video, 20-minute animation, 4k, 50 inch wall mounted monitor, media player, stereo audio.</p>
<p><em>Grassland Community of Care/(More Than Human Persons)</em> seeks to bring native plants to the forefront of our collective imaginations: advocating for a radically increased awareness of their lives, and questioning how our own lives and societies must now re-learn how to intersect and engage with theirs. <br />&nbsp;<br /><em>Human &lsquo;communities of care&rsquo; are formed voluntarily; inspired by shared interests, passions or concerns, and developed through interpersonal advocacy and encouragement. Members work together with a sense of common purpose and spirit of altruism, engaging empathetic listening and engaged learning. Together they create shared understandings that transcend their differences and imagine and enact direct and indirect supporting actions. Slowly they find places and ways to better engage and cooperate, accelerated by the inexplicable joy and delight of being in the company of ..(wild grasses).</em> </p>
<p>Grassland Community of Care/(More Than Human Persons) instead asks, what might a &lsquo;community of care&rsquo; look like for Australia&rsquo;s endangered native grasses and grasslands, if we reconsidered them as being central to life? It approaches this speculative investigation through abstract, ultra-close observations of these enigmatic flowering plants, both living and preserved &ndash;&nbsp; intimating the presence, power, activity and agency of these &lsquo;non-human persons&rsquo; that so profoundly shape our own practices of living, being and doing.</p>
<p><em>And along the way a community makes their passion and actions known to others - who are then encouraged to join their loose alliance, forever changing outlooks and attitudes on the place and importance of .. (Australia&rsquo;s native grasses).&nbsp;</em> </p>
<p>&lsquo;Grassland Community of Care/(More Than Human Persons)&rsquo; was inspired by the goodwill and interpersonal engagement that underpinned the Carbon_Dating (carbondating.art)art project &ndash; a long-term interdisciplinary project that sought to develop a &lsquo;community of care for grasses and grasslands&rsquo;, incubated through the warmth, depth and energetic drives of the project&rsquo;s artist/carer team who each spent time growing, nurturing and learning from Australia&rsquo;s native grasses.</p>
<p>This artwork was inspired by, and included in the touring exhibition for the larger project <a href="https://www.carbondating.art/" target="_blank">Carbon_Dating</a>: a complex interdisciplinary project initiated in 2022 as&nbsp;a series of networked, experimental artworks situated throughout Queensland, that sought to shift attitudes towards the diverse Australian native grasses that grow in those regions. The outcomes of that project (Stage 2) were then curated into a touring exhibition by Beth Jackson and Jo-Anne Driessens, and presented both in Beijing, China and throughout the Queensland regions during 2023-5. Community of Care was included in that exhibition.</p>
<p><strong>WHERE:</strong></p>
<ul>
<li>Dogwood Crossing Gallery, Miles, QLD, 23 March &ndash; 11 May 2024</li>
<li>Warwick Art Gallery, Warwick, QLD, 13 June &ndash; 13 July 2024</li>
<li>Redland Art Gallery, Cleveland, QLD, 11 August &ndash; 29 September 2024</li>
<li>Caloundra Regional Gallery, Caloundra, QLD, 18 Oct &ndash; 8 December 2024</li>
<li>Tablelands Regional Gallery, Atherton, QLD, 17 January &ndash; 25 February 2025</li>
<li>Qantas Founders Museum, Longreach, QLD, 15 March &ndash; 15 June 2025</li>
<li>Bundaberg Regional Art Gallery, Bundaberg, QLD. 18 July &ndash; 7 September 2025</li>
</ul>
<p><strong>FIRST NATIONS CONSULTANTS/COLLABORATORS:&nbsp;</strong>Uncle Bennett (Kuku Yalanji), Cairns Qld, Robin Derksen (Kamilaroi), Miles, Qld, Jo-Anne Driesens (Koa (Guwa), Kuku Yalangi, Yimithirr), Northen Rivers (NSW) &amp; Melissa Stannard (Yuwaalaraay, Gamilaraay and Koama), Uncle Brian Warner (Kabi Kabi) and Kilagi Nielsen (Papua New Guinea) Sunshine Coast, Qld.</p>
<p><strong>SCIENCE CONSULTANTS:&nbsp;</strong><br />Prof.&nbsp;<a href="https://staff.qut.edu.au/staff/jennifer.firn" target="_blank">Jennifer Firn</a>&nbsp;(Ecological Science/Plant Biology)</p>
<p><strong>FUNDING:</strong> <br />The 2024-5 Carbon_Dating exhibition tour is supported by the Queensland Government through Arts Queensland, assisted by QUT School of Creative Practice, International Art Services (IAS), Native Seeds Pty Ltd, Artfully, and Embodied Media.</p>',
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			'title' => 'Analog Intelligence',
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			'content' => '<p><strong>WHAT:<br /></strong>An initial outcome of the forthcoming <a href="/homeartworks/forestartintelligence">Forest/Art Intelligence Project (FAI)</a> (2024-6) which aims to return a currently cleared block of land back to high conservation-value forest at Samford Ecological Research Station (SERF), near Brisbane, Australia. As the forest ecology slowly returns to health, a symbiotic, experimental artwork is being developed across the entire site. When realised it will have both local and on-line presence and include a full scientific analysis of the site&rsquo;s ongoing revegetation status.</p>
<p>This video installation speaks to the projects&rsquo; first tentative steps &ndash; into uncovering and bringing to attention the extraordinary natural intelligences of a land in self-repair after decades of clearing, providing the inspiration for a non-extractive, hybrid art-science work capable of growing and evolving with the forest, whilst also actively benefitting it.</p>
<p>Analog Intelligence explores the future artwork site by land, air and soil, speaking poetically to early findings into conceiving loosely coordinating site-wide artworks, able to bring the forests&rsquo; regeneration process to public focus, whilst finding and occupying their own intelligent, beneficial &lsquo;niches&rsquo; within that re-emerging forest ecology.</p>
<p>This first outcome of the R&amp;D phase was developed during the initial six months of the long-term FAI project, supported by a prestigious ANAT Synapse Art-Science residency (2024) and a creative development grant from Creative Australia (2024-5). The project is supported by the Australian Network for Art and Technology (ANAT), Samford Ecological Research Facility (SERF) and the NCRIS-enabled Terrestrial Ecosystem Research Network (TERN) and Dr. Dmitry Bratanov and Gavin Broadbent, Research Engineering Facility, Office of Research Infrastructure, QUT, Brisbane, Australia.</p>
<p>Visual data set collected/processed by Dr. Dmitry Bratanov and Gavin Broadbent, Research Engineering Facility, Office of Research Infrastructure, QUT, Brisbane, Australia. Collaborating Science Team:&nbsp;Dr David Tucker,&nbsp;Dr Gabrielle Lebbink,&nbsp;Dr Eleanor Velasquez and&nbsp;Marcus Yates. Further supported by&nbsp;A/Prof Caroline Hauxwell.</p>',
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			'content' => '<p><strong>WHAT:</strong><br />Forest Art Intelligence (FAI)&nbsp;aims to understand how to develop art forms capable of growing and evolving alongside a regenerating forest, whilst also actively benefiting that forest&rsquo;s health: in collaboration with Samford Ecological Research Facility (SERF) and the&nbsp;Terrestrial Ecosystem Research Network (<a href="http://www.tern.org.au/" rel="noopener" target="_blank">TERN</a>).</p>
<p>The extraordinary intelligences that underpin natural systems is currently inspiring and directing the development of our experimental sci-art process. Our aim is to understand how to develop art forms capable of growing and evolving alongside a regenerating forest, whilst also actively benefiting that forest&rsquo;s health. We are developing embedded artworks, comprised of ecological materials, capable of slowly finding, and then occupying, their own intelligent &lsquo;niches&rsquo;, within the forest&rsquo;s ecology - a speculative form we call an &lsquo;Art Intelligence&rsquo;. Outcomes will include both these Art Intelligences, the regenerated forest, an ongoing scientific survey of botanical and biodiversity changes, and a series of external hybrid art works suitable for touring exhibition. &nbsp;</p>
<p>Our art+science team have secured unprecedented permission to restore a currently cleared block of land back to high conservation-value forest at the partner's site, Samford Ecological Research facility (SERF). As the forest ecology is slowly returning to health, we are investigating how to develop symbiotic, process-based artworks across that entire site. We imagine &lsquo;Art Intelligences&rsquo; are capable of growing &amp; evolving with the forest whilst occupying their own intelligent, ecological &lsquo;niches&rsquo; within that emerging forest &ndash; with the forest itself being the project&rsquo;s &lsquo;meta-artwork&rsquo;.&nbsp;</p>
<p>Our project&rsquo;s actions, &amp; our on-site creations are therefore intended to directly benefit the forest through both 'performing' ecological functions, whilst also encouraging public engagement with the forest's processes of intelligent natural regrowth.&nbsp;(See the project's&nbsp;<a href="http://armstrong2024.blog.anat.org.au/">ANAT 2024 developmental blog</a>, and&nbsp;<a href="https://forestartintelligence.wordpress.com/">2025 developmental blog</a>).</p>
<p><strong>WHO:</strong>&nbsp;Collaborating Science Team: Dr David Tucker (QUT Landscape Ecologist), Dr Gabrielle Lebbink (QUT Freelance Plant and Invasion Ecologist), Dr Eleanor Velasquez (TERN Education and Training Manager at Terrestrial Ecosystem Research Network TERN Australia) and Marcus Yates (QUT/SERF Site Technician). Further supported by A/Prof Caroline Hauxwell (QUT Microbiologist and Agricultural Biotechnologist).</p>
<p><strong>PARTNERS:</strong>&nbsp;FAI is supported by the Australian Government through Creative Australia, its arts funding and advisory body, Samford Ecological Research Facility (SERF) and the NCRIS-enabled Terrestrial Ecosystem Research Network (TERN) and QUT. In 2024 it was supported by the ANAT Synapse residency program/the Australian Network for Art and Technology (<a href="http://www.anat.org.au/" rel="noopener" target="_blank">ANAT</a>),&nbsp;</p>
<p><strong>INITIAL OUTCOMES:&nbsp;</strong></p>
<ul>
<li>Artwork 1 -&nbsp;<a href="/homeartworks/forestartintelligence">'Analog Intelligence' (2024) for ISEA 2024</a></li>
<li><a href="https://www.qut.edu.au/research/why-qut/infrastructure/samford-ecological-research-facility/engaging-science-trail/stop-6-opening-to-cleared-pasture" rel="noopener" target="_blank">Stop on the SERF Engaging Science Trail</a></li>
<li><a href="http://armstrong2024.blog.anat.org.au/2024/06/outcomes-2-serf-science-trail-launch/" rel="noopener" target="_blank">Public presentation</a>&nbsp;at the SERF open day</li>
<li><a href="http://armstrong2024.blog.anat.org.au/">ANAT 2024 developmental blog</a></li>
<li><a href="https://forestartintelligence.wordpress.com/">2025 developmental blog</a></li>
</ul>
<p><strong>Further Details (@March 2025)</strong><br />FAI&rsquo;s project&rsquo;s primary artwork outcome is a native forest slowly re-growing on Country at SERF in SEQld. Since 2023 that forest (or more correctly &lsquo;grassy woodland biome&rsquo;) has begun to recover after 100 years of being slashed back to pasture. As the forest cycles through yet unknown states of recovery, the project&rsquo;s art-science team are conducting ongoing, ritual caring actions for that forest - in service of Country&rsquo;s needs (e.g. inoculation of soil materials/burning/weeding and botanical surveys). Set within that forest, a range of embedded artwork outcomes are/will uncover/speak to the resonances of that Country - suggested through alternative image and narrative.</p>
<p><strong>Scientific Observations</strong><br />The entire site, some of its non human inhabitants and its atmospheres above ground, are being periodically recorded/imaged - aerially and terrestrially using photo, laser and video, according to periodic and repeatable scientific protocols. Sub-surface soil sampling is also investigating the changing diversity of fungi and other microorganisms. Ambient audio of nonhumans is also being sampled across the entire site 24/7. Together all these collated, time-based, monitoring approaches will record and assess the site&rsquo;s evolution with scientific accuracy.</p>
<p>The site also comprises Art Intelligences (AI), Art Intelligence Accelerators (AIA) and Art Intelligence Interpreters (AII).</p>
<p><strong>Art Intelligences (AI)</strong>&nbsp;= Experimental artworks, embedded within the forest site, compatible with, &amp; allied with the profound, natural intelligences of the forest (the meta-artwork) as it repairs and re-grows. These hybrid installations across the site &nbsp;&lsquo;evolve with&rsquo; and &lsquo;learn from&rsquo; the evolving forest whilst directly benefitting its growth. &nbsp; Ais might also evoke awe and encourage public engagement with the forest&rsquo;s fluxes of intelligent natural regrowth. AIs are placed at principal, representative sites, and therefore stand in as proxy for the entire forest development. The first of these can be&nbsp;<a href="http://armstrong2024.blog.anat.org.au/2024/10/art-intelligence-installation/" rel="noopener" target="_blank">seen here</a>.</p>
<p><strong>Art Intelligence accelerators (AIA)</strong> = Additional/embellishing, creative elements added to Art Intelligences to enhance and accelerate local ecological processes &ndash; therefore intended primarily for non-humans. For example these may add additional benefit or encouragement to certain organisms to be and become, &nbsp;that in turn will further aid forest recovery.</p>
<p><strong>Art Intelligence interpreters (AII)</strong>&nbsp;= Elements that create additional layers of engagement with the Ais, and their hosting forest, intended predominantly for human audiences (art and otherwise). Interpreters &nbsp;may be accessed both locally and/or remotely &ndash; (e.g. &nbsp;they may involve on-site translations in light sound &amp; vibration and forms of online observation). Aii interpreters may also draw data from the existing on-site scientific observatory instruments &nbsp;(eg. scientific standards such as laser scanners, &lsquo;acoustic observatory&rsquo; stations, veg-change cameras &amp; carbon sequestration soil/air probes), and may also employ an analog material palette of &lsquo;lively materials&rsquo; capable of detecting &amp; registering changes above &amp; below the soil in colour, light, movement &amp; growth (including absorbent flexing woods and metals, reflective materials, sensitive litmus papers, continually circulated water &amp; seed banks) as well as networked analog sensor systems accessible remotely.</p>
<p>"The world is not like a computer; computers are like the world&rdquo;. Computers are part of nature: They are our creations. (James Bridle, 2022).</p>
<p>Hence whereas the entire site &nbsp;is an experimental artwork &ndash; &nbsp;these added elements AIs + AIAs further activate the site with AIIs then encouraging further human observation and engagement.</p>',
			'extra_links' => '<p><a href="https://forestartintelligence.wordpress.com/">2025 Developmental Blog</a><a href="http://armstrong2024.blog.anat.org.au" target="_blank">.<br />ANAT 2024 Synapse Blog<br /></a><a href="https://isea2024.isea-international.org/analog-intelligence/" target="_blank">ISEA 2024 - Analog Intelligence Artwork Link</a><a href="http://armstrong2024.blog.anat.org.au" target="_blank"><br /></a><a href="https://www.anat.org.au/program/2024-anat-synapse-residencies/" target="_blank">ANAT Synapse 2024 overview page&nbsp;<br /></a><a href="https://www.qut.edu.au/research/why-qut/infrastructure/samford-ecological-research-facility/engaging-science-trail/stop-6-opening-to-cleared-pasture" target="_blank">SERF Engaging Science Trail</a></p>',
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			'title' => 'Common Thread',
			'page_title' => 'Common_Thread',
			'sub_title' => '',
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			'content' => '<p><strong>WHAT:<br /></strong>Common Thread&rsquo;&nbsp;presents slow, mysterious passages through thickly forested landscapes, comprised solely of silver-grey dots and lines; whilst effected sounds of those forests commingle with the distant voices of a myriad species. Set within those uncanny landscapes, indistinct 3D forms enigmatically appear and disappear, intimating an extraordinary complexity. The work reflects upon how might we re-imagine conceptions of colonised&nbsp;landscapes&nbsp;in ways that could motivate settler cultures to respect their infinite complexities.</p>
<p>The work arose from my ongoing residency at Samford Ecological Research Facility (SERF) in Queensland, Australia &ndash; on Yuggera, Jinibara, Kabi Kabi &amp; Waka Waka Country - protecting a remnant block of forest isolated within a patchwork quilt of surrounding farmed land, typifying the perilously fragmented, disconnected state of Australia&rsquo;s habitats. It is a place active with scientific research of all kinds, much of which aims for better ecological futures &ndash; by seeking to predict more 'efficient' forms of conservation and production.</p>
<p>Common Thread,&nbsp;is based upon 3D-laser scanned &lsquo;Point Cloud&rsquo; imagery of walks through that forest, using a technology that at first glance might appear to capture its complexity. But &lsquo;Nature_Cultures&rsquo; ( a synthesis of nature and culture that recognises their inseparability) cannot be captured by digital scans. SERF, as a place rich in Indigenous, social, cultural/scientific histories, cannot be represented solely by the terse point cloud dots of digital scanning. Much is lost in such &lsquo;ultra-accurate&rsquo; representations - that say little to of the spirit and meaning of that place.&nbsp;This loss parallels the lack of understanding of place and Country that we, the recent settlers of Australia&rsquo;s unceded Indigenous land demonstrate &ndash; underscoring our profound misunderstandings of how to live well within such complexities</p>
<p>Australia: unceded lands of&nbsp;the oldest continuous culture on&nbsp;earth -&nbsp;a culture in which everyone has&nbsp;personal responsibility to everything&nbsp;-&nbsp;where&nbsp;everyone&nbsp;knows&nbsp;their relationship to trees, rocks, sky, people, animals,&nbsp;plants, water.. How little of this its recent settlers understand - about how to live well within such complexity. And so, Australia&rsquo;s (stolen) lands have been routinely devastated.</p>
<p>My on-site research examined the cultural meanings of such conservation reserves within rapidly urbanising landscapes, asking how we might draw upon them to imagine, seek and image the very different futures we now need to develop together.</p>
<p><strong>WHERE: </strong><br />1: <strong>&lsquo;Possibles',&nbsp;ISEA 2022</strong> <strong>(27th International Symposium of Electronic Art)</strong>,&nbsp;Recinte Modernista de Sant Pau, Carrer de Sant Antoni Maria Claret, 167, <strong>Barcelona, Spain</strong>,&nbsp;June 9-30, 2022 curated by Vicente Matallana from the '.NewArt { foundation;}'<br /><a href="https://isea2022.isea-international.org/event/artwork-common-thread/">https://isea2022.isea-international.org/event/artwork-common-thread/</a></p>
<p>2: <strong>'Digital Jewels of the .NewArt { collection;}. Part Two', Novtec festival </strong>in association with Alliance Fran&ccedil;aise<strong>, Nov 9-24 2022, Lima, Per&uacute;.<br /></strong><a href="https://www.aflima.org.pe/artes-visuales/novtec-exposiciones/#/" target="_blank">https://www.aflima.org.pe/artes-visuales/novtec-exposiciones/#/</a></p>
<p><strong>3:&nbsp;&lsquo;<a href="https://v2.nl/events/the-newart-collection-at-v2_">THE NEWART { COLLECTION;} AT V2</a>_&rsquo;,&nbsp;V2_Lab For The Unstable Media, Eendrachtsstraat 10, Rotterdam, Netherlands, </strong>Feb 9th - March 5th 2023,<strong>&nbsp;</strong>curated by Florian Weigl.</p>
<p>4.<strong>&nbsp;<a href="https://www.circulobellasartes.com/exposiciones/hiperobjetos/">Hiperobjetos</a></strong>&nbsp;-&nbsp;Sala Picasso,&nbsp;<strong>C&iacute;rculo de Bellas Artes&nbsp;de Madrid,</strong> <strong>Madrid,</strong> 11th Sept - 17th November 2024, Curated by Eloy Mart&iacute;nez de la Pera &amp; Jaime de los R&iacute;os.</p>
<p><strong>The work has also been acquired for the BEEP, NewArt { collection;}, Spanish/Catalan Media Art Collection.<br /></strong></p>
<p><strong>WHO:</strong><br />Dr. Dmitry Bratanov, Senior Research Engineer (RPAS and Automation), Research Engineering Facility, QUT</p>
<p><strong>PARTNERS:</strong><br /><a href="https://www.qut.edu.au/institute-for-future-environmentas/facilities/samford-ecological-research-facility" target="_blank">SERF</a>&nbsp;(Samford Environmental Research Facility), Lorrelle Allen + Site Technician Marcus Yates<br /><a href="https://research.qut.edu.au/environment/projects/common-thread-where-science-and-art-entwine/" target="_blank">QUT Centre for the Environment</a><br />Prof.&nbsp;<a href="https://staff.qut.edu.au/staff/jennifer.firn" target="_blank">Jennifer Firn</a>&nbsp;(Ecological Science/Plant Biology) &nbsp;</p>
<p>Visual data set collected and processed to registered point cloud by Dr. Dmitry Bratanov and Gavin Broadbent, Research Engineering Facility, Office of Research Infrastructure, QUT, Brisbane, Australia.</p>
<p>Audio sources: Australian Acoustic Observatory: A Network to Monitor Biodiversity&nbsp;Project Team, with funding from the Australian Government through the Australian Research Council (LE170100033) (2018). Brisbane, QLD: QUT [<a href="http://www.acousticobservatory.org" target="_blank">www.acousticobservatory.org</a>].&nbsp;Data is licensed under the&nbsp;<a href="https://creativecommons.org/licenses/by/4.0/" rel="noreferrer noopener" target="_blank">CC BY 4</a>&nbsp;Licence.</p>
<p>This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body</p>',
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			'content' => '<p><strong>WHAT</strong>: <strong>ALSO SEE: &nbsp;<a href="https://www.carbondating.art/" target="_blank">www.carbondating.art</a>&nbsp;(Project specific website)</strong><br />Stage 1 of&nbsp;<a href="https://www.carbondating.art/" target="_blank">Carbon_Dating </a>was initiated in 2022 as&nbsp;a series of networked, experimental artworks situated throughout Queensland, that sought to shift attitudes towards the diverse Australian native grasses that grow in those regions. The outcomes of the project (Stage 2) were then curated into a touring exhibition by Beth Jackson and Jo-Anne Driessens, and presented both in Beijing, China and throughout the Queensland regions during 2023-5.</p>
<p><strong>Stage 1</strong>&nbsp;of the project was enacted over a 5-month period in 5 Queensland locations (Cairns, Miles, Gold Coast, Sunshine Coast and Somerset). Each site involved the establishment and care of a local iconic native grass planting/artwork comprised of two species, with species tailored to that local bioregion (Oct-2022-Feb 2023). At each site we engaged with local community members and consulted with First Nations experts. Each location also had a principal carer/artist or team who received both a grass garden kit and an artwork called the &lsquo;Interweaver&rsquo;. The Interweaver&rsquo;s functions were to: present ongoing images from the projects' remote grass garden (which contained the project's chosen 6 species) located in Samford, Qld and to provide inspirational prompts to the carers about their emerging experiences growing native grasses. These were delivered on printed cards prepared by the project's 'Grassland Community of Care Coordinator', in order to encourage a relationship building process between the carer(s) and their grasses. All sites of this distributed artwork were made visible to online audiences at&nbsp;<a href="http://www.carbondating.art" target="_blank">www.carbondating.art</a>. Through these processes&nbsp;a Queensland-wide Grassland community of care interest group was &nbsp;developed - which also came together to share resources at HOTA, Gold Coast in December 2022 for a First Nations led Yarning Circle.</p>
<p><strong>Stage 2:</strong>&nbsp;Involves a tour comprised of 8 gallery exhibitions (2024-5) both in Australia and China that reflect upon the processes and the art, science and culture of human-native grass relationships and presented commissioned works from each of the artist/carers.</p>
<p><strong>WHO:</strong><br />Collaborators have included:<br /><a href="https://donnadavisartist.weebly.com/" target="_blank">donna davis</a>: Co-Director, Co-producer, Lead Artist (<a href="http://www.donnadavisartist.blogspot.com.au	" target="_blank">blog link</a>)<br />Andrea Higgins: Regional Development and Marketing, Artist<br /><a href="https://www.artfully.com.au" target="_blank">Beth Jackson</a>:&nbsp;Curator<br />Jo-Anne Driessens: Curator<br /><a href="https://www.danieleconstance.com.au" target="_blank">Daniele Constance</a>: Socially Engaged Artist<br /><a href="https://www.uts.edu.au/staff/tania.leimbach" target="_blank">Tania Leimbach</a>: Institute for Sustainable Futures/Eco-critical writer<br />Luke Lickfold: Sound Artist</p>
<p><strong>WHERE:<br data-w-id="54283f65-73b5-ba5a-6ae5-92f6dbccec49" data-wf-id="[&quot;54283f65-73b5-ba5a-6ae5-92f6dbccec49&quot;,&quot;LineBreak&quot;]" />6th Art and Science International Exhibition</strong>,&nbsp;<br data-w-id="2db34aef-1afc-a71f-6116-fbc84f68796a" data-wf-id="[&quot;2db34aef-1afc-a71f-6116-fbc84f68796a&quot;,&quot;LineBreak&quot;]" />National Communication Centre for Science and Technology, Beijing, China.<br data-w-id="879f596a-71df-7390-41f7-08867a8e4bf8" data-wf-id="[&quot;879f596a-71df-7390-41f7-08867a8e4bf8&quot;,&quot;LineBreak&quot;]" />Dec 30th, 2023&nbsp;&ndash;&nbsp;Mar 31st, 2024 (COMPLETED)<br data-w-id="b9481523-84bc-e848-0180-0598bcaf680c" data-wf-id="[&quot;b9481523-84bc-e848-0180-0598bcaf680c&quot;,&quot;LineBreak&quot;]" />&nbsp;<br data-w-id="46494bf3-a217-2c15-a7ea-7fd9e33cc3bf" data-wf-id="[&quot;46494bf3-a217-2c15-a7ea-7fd9e33cc3bf&quot;,&quot;LineBreak&quot;]" /><strong>Dogwood Crossing Gallery, Miles, QLD &nbsp;</strong><br data-w-id="a1b3a1d8-d148-3ba5-d297-68025c65540d" data-wf-id="[&quot;a1b3a1d8-d148-3ba5-d297-68025c65540d&quot;,&quot;LineBreak&quot;]" />23 March &ndash; 11 May 2024<br data-w-id="84d2a692-0c5f-03bc-4778-55539a4f4c76" data-wf-id="[&quot;84d2a692-0c5f-03bc-4778-55539a4f4c76&quot;,&quot;LineBreak&quot;]" />&nbsp;<br data-w-id="93239c97-b072-e324-e1d1-7b102b4c6d5a" data-wf-id="[&quot;93239c97-b072-e324-e1d1-7b102b4c6d5a&quot;,&quot;LineBreak&quot;]" /><strong>Warwick Art Gallery, Warwick, QLD&nbsp;</strong><br data-w-id="2aa92eee-0c82-1502-f494-f8fe93ef6e1b" data-wf-id="[&quot;2aa92eee-0c82-1502-f494-f8fe93ef6e1b&quot;,&quot;LineBreak&quot;]" />13 June &ndash; 13 July 2024<br data-w-id="e41cf58e-0cf4-6295-273f-61e3c0e61c3c" data-wf-id="[&quot;e41cf58e-0cf4-6295-273f-61e3c0e61c3c&quot;,&quot;LineBreak&quot;]" />&nbsp;<br data-w-id="1693e01e-04e8-131d-0dbc-40262959685f" data-wf-id="[&quot;1693e01e-04e8-131d-0dbc-40262959685f&quot;,&quot;LineBreak&quot;]" /><strong>Redland Art Gallery, Cleveland, QLD</strong>&nbsp;<br data-w-id="da43a309-321c-8f82-9129-61ee2c9f6635" data-wf-id="[&quot;da43a309-321c-8f82-9129-61ee2c9f6635&quot;,&quot;LineBreak&quot;]" />11 August &ndash; 29 September 2024<br data-w-id="efb15400-fc03-c376-9600-63bd453c96f9" data-wf-id="[&quot;efb15400-fc03-c376-9600-63bd453c96f9&quot;,&quot;LineBreak&quot;]" />&nbsp;<br data-w-id="340c5c2c-53cd-5ca1-4042-2d3fe4e00ee2" data-wf-id="[&quot;340c5c2c-53cd-5ca1-4042-2d3fe4e00ee2&quot;,&quot;LineBreak&quot;]" /><strong>Caloundra Regional Gallery, Caloundra, QLD&nbsp;</strong> &nbsp;<br data-w-id="91ca171d-b04a-096b-17dd-29ca31df8045" data-wf-id="[&quot;91ca171d-b04a-096b-17dd-29ca31df8045&quot;,&quot;LineBreak&quot;]" />18 Oct &ndash; 8 December 2024<br data-w-id="ba09e140-5dee-5cb4-029e-490cc597affc" data-wf-id="[&quot;ba09e140-5dee-5cb4-029e-490cc597affc&quot;,&quot;LineBreak&quot;]" />&nbsp;<br data-w-id="15768569-ae09-330a-c5ec-b6b164e34b65" data-wf-id="[&quot;15768569-ae09-330a-c5ec-b6b164e34b65&quot;,&quot;LineBreak&quot;]" /><strong>Tablelands Regional Gallery, Atherton, QLD</strong><br data-w-id="03266709-cb03-17cc-b810-7bb699aecb18" data-wf-id="[&quot;03266709-cb03-17cc-b810-7bb699aecb18&quot;,&quot;LineBreak&quot;]" />17 January &ndash; 25 February 2025<br data-w-id="a6fd6df1-aaeb-0060-3a86-fc2c72c5fdd1" data-wf-id="[&quot;a6fd6df1-aaeb-0060-3a86-fc2c72c5fdd1&quot;,&quot;LineBreak&quot;]" /><br data-w-id="07189b82-e946-5c7d-ff3d-9619d1151180" data-wf-id="[&quot;07189b82-e946-5c7d-ff3d-9619d1151180&quot;,&quot;LineBreak&quot;]" /><strong>Qantas Founders Museum, Longreach, QLD&nbsp;</strong><br data-w-id="f5423852-78e9-c6f9-16dc-f13cbfe21626" data-wf-id="[&quot;f5423852-78e9-c6f9-16dc-f13cbfe21626&quot;,&quot;LineBreak&quot;]" />15 March &ndash; 15 June 2025<br data-w-id="7ba6fb86-ee00-dc93-1645-1754da5067ec" data-wf-id="[&quot;7ba6fb86-ee00-dc93-1645-1754da5067ec&quot;,&quot;LineBreak&quot;]" />&nbsp;<br data-w-id="fc758e98-9965-45c7-5c79-6c50b83a1e9f" data-wf-id="[&quot;fc758e98-9965-45c7-5c79-6c50b83a1e9f&quot;,&quot;LineBreak&quot;]" /><strong>Bundaberg Regional Art Gallery, Bundaberg, QLD&nbsp;</strong><br data-w-id="411fa195-258d-3f23-6967-64324294e245" data-wf-id="[&quot;411fa195-258d-3f23-6967-64324294e245&quot;,&quot;LineBreak&quot;]" />18 July &ndash; 7 September 2025</p>
<p><strong>INTERWEAVER CARERS/ARTISTS:&nbsp;</strong>Merinda Davies (Gold Coast, Qld), Delissa Walker (Kuku Yalanji) (Cairns, Qld), Sharron Colley + Hilary Coulter (Miles, Qld), Liz Capelin,&nbsp;Bianca Bond, Melissa Stannard, Kilagi Nielsen and Mia Hacker, in consultation with traditional owner Uncle Brian Warner&nbsp;(Sunshine Coast), Pipier Weller + Jason Murphy (Jinibara) (Somerset, Qld).</p>
<p><strong>FIRST NATIONS CONSULTANTS/COLLABORATORS:</strong>&nbsp;Uncle Bennett (Kuku Yalanji), Cairns Qld, Robin Derksen (Kamilaroi), Miles Qld, Jo-Anne Driesens (Koa (Guwa), Kuku Yalangi, Yimithirr), Gold Coast, Qld &amp; Melissa Stannard (Yuwaalaraay, Gamilaraay and Koama), Uncle Brian Warner (Kabi Kabi) and Kilagi Nielsen (Papua New Guinea) Sunshine Coast, Qld.</p>
<p><strong>SCIENCE CONSULTANTS:&nbsp;</strong><br />Prof.&nbsp;<a href="https://staff.qut.edu.au/staff/jennifer.firn" target="_blank">Jennifer Firn</a>&nbsp;(Ecological Science/Plant Biology)<br />Prof. Peter Grace (Ecological Science/Soil Sciences)</p>
<p><strong>PARTNERS:<br /></strong>Northsite Contemporary Arts, Cairns (Director Ashleigh Campbell), Dogwood Crossing Gallery, Miles (Director Anne Keam) + DC Gallery Committee, Dulacca State School, Miles (Principal Kylie Parnaby), HOTA Gold Coast (Engagement Curator Sam Creyton) with thanks to Sarah Lewis, The Condensery, Toogooloowah (Director Rachael Arndt), Caloundra Regional Gallery (Director Jo Duke), Third Nature (Liz Capelin Director), QUT - (<a href="https://www.qut.edu.au/institute-for-future-environmentas/facilities/samford-ecological-research-facility" target="_blank">SERF</a> (Samford Environmental Research Facility), Centre For the Environment, Office of e-Research, Research Infrastructure, More Than Human Futures Group &amp; CIESJ Faculty, School of Creative Arts, Brisbane).&nbsp;Native Seeds Pty Ltd&nbsp;<a href="http://www.nativeseeds.com.au" target="_blank">nativeseeds.com.au</a> have supplied and advised us re: native grass seed and plantings. Tel: 1300 473 337 E:&nbsp;<a href="mailto:enquiries@nativeseeds.com.au">enquiries@nativeseeds.com.au</a>. ReBul packaging have assisted us with cutting of cardboard garden beds</p>
<p><strong>FUNDING:</strong> <br />The 2024-5 Carbon_Dating exhibition tour is supported by the Queensland Government through Arts Queensland, assisted by QUT School of Creative Practice, International Art Services (IAS), Native Seeds Pty Ltd, Artfully, and Embodied Media.</p>
<p>Between 2019-23 this project was assisted by the Australian Government through the Australia Council, its arts funding and advisory body.&nbsp;It was also supported by the Queensland Government through Arts Queensland, Regional Arts Development Fund (RADF). The Regional Arts Development Fund is a partnership between the Queensland Government: Cairns Regional Council; Western Downs Regional Council; City of Gold Coast Council; Somerset Regional Council; and ArtsCoast as part of Sunshine Coast Council&rsquo;s RADF program to support local arts and culture in regional Queensland.&nbsp;<br data-w-id="f231158d-f833-9019-c8ba-e52cce6cb391" data-wf-id="[&quot;4fc0b730-bf94-3a06-ddb3-89429db92703&quot;,&quot;f231158d-f833-9019-c8ba-e52cce6cb391&quot;,&quot;LineBreak&quot;]" /><br data-w-id="aa62e912-652f-bb3e-63c0-d1c42471475e" data-wf-id="[&quot;4fc0b730-bf94-3a06-ddb3-89429db92703&quot;,&quot;aa62e912-652f-bb3e-63c0-d1c42471475e&quot;,&quot;LineBreak&quot;]" />Thanks also to QUT (School of Creative Practice, QUT Office of eResearch and Samford Ecological Research Facility). NorthSite Contemporary Arts, Cairns; Dogwood Crossing Gallery, Miles; HOTA, Gold Coast; The Condensery, Toogooloowah; Caloundra Regional Gallery, Caloundra; Native Seeds Pty Ltd and ReBul Packaging.</p>
<p><strong>FURTHER CONTEXT:</strong><br />We chose to focus on Australian indigenous grasses because - as plants, and then &lsquo;minor ones&rsquo; at that for many of us - we typically disregard them, or consider them uninteresting, weedy or dull; forgetting how dependent we are upon them for our wellbeing: in fact they are a supercritical part of a system that powers animal feeding, provides the wheat and oats (grasses) we eat daily and produces a great proportion of the air we breathe. Like this copious amounts of oxygen they give us in return for our exhaled carbon dioxide, grasses remain invisible to most of us. We also find them hard to differentiate - therefore remaining mostly oblivious &nbsp;to their perilous state. The Australian State of Victoria now has&nbsp;<a href="https://www.sbs.com.au/nitv/article/2020/03/15/reclaiming-victorias-flowering-native-grasslands">less than 1%</a>&nbsp;of its flowering grassland ecosystems intact. This loss of grasslands is attributable to all forms of development including widespread conversion to imported pasture grasses and cereal (i.e. imported grasses) - crops which then rapidly escaped the farm gate. Furthermore native grasses disappeared under heavy grazing from hard-hoofed animals that compacted once friable soils. The widespread use of superphosphate fertiliser also created conditions unfavourable to native grasses that typically throve in poor and aged soils. And so - as with so many other species, these richly biodiverse communities have been quietly colonised out of existence in most Australian states.</p>
<p>Recent&nbsp;<a href="https://phys.org/news/2016-12-new-study-shows-plants-can.html" target="_blank">scientific research</a>&nbsp;has &nbsp;shown that plants express equivalences of memory, sentience and learning. However talking them up on the basis that they may be &lsquo;more like us&rsquo; won&rsquo;t necessarily lead to us respecting them on their own terms. Could we ever envisage plants, like grasses as more than objects for human use? &nbsp;Is there a different way to think of grasses - as something much more than mere objects for our use, pleasure or gain? Could they even be thought of as having their own &lsquo;self-hood&rsquo;, or capacity to act or intervene on their own terms? Its worth noting that such concepts are common within numerous traditional societies.&nbsp;&nbsp;<a href="http://www.carbondating.art" target="_blank">Carbon_Dating</a>&nbsp;therefore sets out to ask, through an experimental art-science process and in consultations with Australian First Nations practitioners, artists and experts, how might we be able to build a new form of respect and care for the &lsquo;more than human&rsquo;, world of native grasses.</p>
<p><strong>EXTENDED CREATIVE RATIONALE:<br /></strong>Science and &lsquo;plant neurobiology&rsquo; now tell us that plants, and thus grasses, appear to possess their own unique versions of what we term &lsquo;consciousness&rsquo;, &lsquo;intelligence&rsquo;, &lsquo;memory&rsquo; and &lsquo;awareness&rsquo;. These findings challenge our deep-seated anthropocentric, romanticised associations around plants, calling for a new ecological empathy, kinship and solidarity with them. This resonates with the &lsquo;vegetal being&rsquo; and &lsquo;consciousness&rsquo; writings of philosophers Luce Irigaray, Michael Marder, Prudence Gibson and Giovanni Aloi from Critical Plant Studies, multi-species advocates such as&nbsp; Donna Harraway and Anna Tsing, and the braided, entwined wisdoms imaged by Indigenous scientist/writers such as Wall-Kimmerer and Tyson Yunkaporta.&nbsp;</p>
<p><strong>Two Speeds of Grass</strong><br /> Grass: this most widely spread of the flowering plant families, seems to pop up almost everywhere, especially after rain - and yet many of us remain almost entirely&nbsp; &lsquo;blind&rsquo; to its lives - or even its names; regarding it as at best utilitarian, a visual background, a nuisance to be slashed, or just plain boring. In Australia, a small number of introduced grasses have been able to flourish at extraordinary levels, almost everywhere - particularly in pastures, as commercial crops, and as garden lawns, routinely smothering, or at best living very well in almost every type of bioregion. As one of the most deliberately redistributed and cultivated plants across the globe, their presence underpins our food security and amenity, regulates our climate and provides us with vast amounts of oxygen. &nbsp;</p>
<p>The extraordinary success, dynamism and adaptability of grasses have allowed them to go on take root, albeit unintentionally, far and wide beyond the farm gate, causing profound changes in landscapes - and not surprisingly posing an huge array of critical conservation challenges. Correspondingly many native grasses have done it tough. With little or no protection against the cloven animals of the first settlers, those introduced herbivores, rapidly ate them out. Steadily replaced by fertilised pasture, and pushed out of creek lines, savannahs and forests, their profusion has now mostly gone, or approaches extinction in many regions. Many of us would no longer recognise a native grassland if we saw one, and if so might likely, incorrectly, bemoan its lack of trees. And so, whilst they might be hanging on in rare protected corners of the landscapes, like railway cuttings or country grave yards, without our interest or care going forward, the future of diverse grasslands in Australia (and the world) looks truly grim.</p>',
			'extra_links' => '<p><strong>RECENT LINKS</strong><br />Main project website <a href="https://www.carbondating.art/" target="_blank">https://www.carbondating.art/</a><br />Other Gallery Links (<a href="https://thecondensery.com.au/the-carbon-dating-project/" target="_blank">The Condensery</a>, <a href="https://hota.com.au/news/carbon-dating-project" target="_blank">HOTA</a>, <a href="https://northsite.org.au/event/artist-talk-carbon_dating/" target="_blank">Northsite Contemporary Arts</a>)</p>
<p><strong>OLDER LINKS</strong><a href="http://www.carbondating.art" target="_blank"><br /></a>Early fomative presentation, 'Aerial Pitfalls for Synapse Art+Science', 2018.&nbsp; Event <a href="/resource_files/Spectra-2018-Symposium-Program-2.pdf" target="_blank">details<br /></a>Podcast discussing collaborations with Tania Leimbach <a href="https://www.podomatic.com/podcasts/versatilist/episodes/2018-11-18T08_05_33-08_00" target="_blank">(11/18)</a></p>
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			'title' => 'Camphora (Breath Work)',
			'page_title' => 'Camphora (Breath Work)',
			'sub_title' => '',
			'brief' => null,
			'content' => '<p><strong>WHAT:<br /></strong>Camphora (Breath Work) is a gallery installation that seeks to draw connections between material worlds and the molecular odours they emanate; reminding us how aromas trigger a powerful recognition of our inseparable connections and participation within the wider ecosphere. The work consists of three elements: a carved slab of milled 'unfinished' Camphor Laurel wood, mounted just off the ground and inscribed with a complex array of organic patterns reminiscent of grass roots, alveoli and sub-bark insect trails;&nbsp;a copper dish on a stand containing Camphor Laurel wood chips, emanating a rich odour; and on the wall behind a printed poem. (See below).&nbsp;</p>
<p><strong>WHERE:<br /></strong>Exhibited as part of "<a href="https://lowanadavies.com/olfactory-ecologies-1" target="_blank">Catch a Whiff (Olfactory Ecologies)</a>"<br />Curated by <a href="https://www.lowanaskye.com/cv" target="_blank">Lowana Skye Davies</a><br />The Old Lockup Gallery, IN | artist run initiative <br />4 First Avenue Maroochydore 4558, March 24-27, 2022, 10am-2pm<br /><a href="http://www.theoldlockup.net/" target="_blank">www.theoldlockup.net</a>&nbsp;| Instagram: <a href="https://www.instagram.com/in_ari/" target="_blank">@in_ari</a> | Facebook: <a href="https://www.facebook.com/hashtag/inxolu/" target="_blank">@INxOLU</a></p>
<p><strong>CONTEXT:<br /></strong>Many years ago I inherited a Cinnamomum Camphora (Camphor Laurel) tree in our Australian yard - which was subsequently felled as a &lsquo;Category 3&rsquo; urban weed. Its spare slabs (i.e., those not already turned into stairs, bench tops or furniture) remain, years later, stacked in the shadows of my studio, lying inconspicuously amongst forgotten artworks, raw materials and dust.&nbsp;</p>
<p>Yet still today, breaking the skin of one of those ageing Camphora&rsquo;s slabs calls forth a stupendous cascade of invisible oily molecules: a heady odour that leaves me &lsquo;gasping with breath&rsquo;. Involuntarily I&rsquo;m drawn to nose-breathe, despite the headiness - maybe triggered by sensory memories of applied analgesics, repellents or past life cleaning products. Temporarily I find myself lost to Camphora's wickedly vaporous toxicities, eclipsed in a heady do or die moment of involuntary, yet precarious &lsquo;breath work&rsquo;.&nbsp;</p>
<p>Breath work &nbsp;&ldquo;breathing in through the nose and out through the mouth&rdquo; - is an olfactory experience that recalls our inseparable connections and participation within the wider ecosphere (what Tim Morton calls the &lsquo;<a href="https://cyberbiomes.org/lexicon/symbiotic-real" target="_blank">symbiotic real</a>&rsquo;). Whilst textbook breath work may often assume neutral or &lsquo;clean&rsquo; air aromas, its effects may become more vivid in the presence of coveted fragrances or heady perfumes that calm and ground the body and promote focus.</p>
<p>The artwork Camphora (breath work) presents one of these lost slabs, its skin, scarred rhythmically with a rapidly spinning blade to reveal all its heady aromas - suggesting the marking, tunnelling, and gouging of burrowing insects (although normally not in this their most repellent, malodorous of foods). Accompanied by a printed poem and a dish of freshly minted Camphor chips emanating heady scents, gallery visitors are invited to engage in their own silent, breath work - becoming quietly enveloped within the lingering aromas of Camphora's rhythmically scarified form.&nbsp;</p>
<p><strong>PRINTED TEXT:</strong><em><br />Lie back on concrete</em><br /><em>Feel the power of a whole planet pulling you into its core</em></p>
<p><em>If it's raining, open your mouth and swallow a piece of cloud</em><br /><em>If it&rsquo;s windy, inhale scents drifting in the evening breeze.</em><br /><br /><em>Draw upon those aromas, as deeply as you can</em><br /><em>Feel them becoming part of your body</em><br /><em>Atmospheres that once passed through bats, dragonflies and cats</em><br /><em>the exhalation of seaweed and trees</em><br /><br /><em>With your back on the ground</em><br /><em>facing the celestial vault</em><br /><em>feel the world turn</em></p>
<p>(Adapted from an extract by Nahum, 2021, The World&rsquo;s Turn)</p>',
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			'slug' => 'uramat-mugas-uramat-story-songs',
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			'title' => 'Uramat Mugas (Uramat Story Songs)',
			'page_title' => 'Uramat Mugas (Uramat Story Songs)',
			'sub_title' => '',
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			'content' => '<p><strong>WHAT?</strong><br />A large-scale, four-year (2018-22) international collaboration inspired by the ceremonial practices of the PNG Uramat Baining clan for <a href="https://www.qagoma.qld.gov.au/whats-on/exhibitions/apt10?gclid=EAIaIQobChMIgf-1iujL9AIVNZhmAh0GHAztEAAYASAAEgKMevD_BwE&amp;artist=uramat-mugas-uramat-story-songs" target="_blank">Asia Pacific Triennial (APT10)</a>, QAGOMA (Queensland Art Gallery and the Gallery of Modern Art), Brisbane. The APT is QAGOMA&rsquo;s most internationally-significant event and has attracted 3 million viewers since its initiation in 1993.</p>
<p>Public outcomes were a 580m2 installation, over 2 rooms in GOMA&rsquo;s premier gallery for their globally-significant &nbsp;triennial. Conceptually audiences journeyed through Uramat day &amp; nighttime activities &amp; ceremonies, engaging &nbsp;their pantheon of spirit figures. Room 1&rsquo;s day masks were contextualised by 5 channels of village life &amp; dance &nbsp;video, presented on tapa (bark) cloth plus 45 &lsquo;digital canvas&rsquo; elements organised in sweeping lines. Renowned &nbsp;musician David Bridie&rsquo;s soundtrack presented the Uramat bamboo drumming orchestra, chants &amp; sounds of &nbsp;village life. The night masks in blacked out room 2 were contextualised by sound and dance imagery projected &nbsp;on dual scrims, periodically lit in the dark space behind. Computer control coordinated all aspects of the work. &nbsp;This unique layering method was designed to restrict normative mask viewing in accordance with Uramat taboo &nbsp;directives &ndash; a significant decolonising method that transformed normative museum display models, fully &nbsp;respecting the spiritual entities implicit in the masks through virtual return to ples (place). Its key contribution was developing an appropriate exhibition design/display methodology for culturally sensitive artefacts through immersive experience &amp; digital installation methods.</p>
<p>The project was initiated by QAGOMA Senior Curator Ruth McDougall &amp; Jo Kenny in 2016. The late Gideon Kakabin, presented QAGOMA with 70 Uramat objects in 2018 including the Qawat (Kavat) fire dance, &amp; daytime (Madaska) masks. I was invited to begin work in 2018 with QAGOMA, Kakabin&rsquo;s clan group and local PNG filmmakers as installation artist &amp; visual director &ndash; ultimately an extensive &nbsp;4-year exhibition design role - leading the methods of image presentation &amp; completing all image &nbsp;production. Our team worked consistently to decolonise this approach to display, notably of the fire dance &nbsp;masks, consistent with Uramat tradition, practice and cosmology. We premiered the work at APT10, Dec. 2021.</p>
<p>The works international significance is indicated by: inclusion in the Southern Hemisphere's most important Asia Pacific art survey show; scale (multi-year collaboration (2018-2022)); an Australian Cultural Diplomacy Grant ($60,000) for travel/work completed in PNG &amp; Australia funding additional cultural &amp; youth engagement exchanges, a suite of gallery programs, talks&nbsp; presentations &amp; PNG outreach (2021-2023); &amp; support by the Indigenous Uramat Identity Group of East New Britain, PNG &amp; QUT as a APT10 &lsquo;Major Partner&rsquo;. The 240pp. colour catalogue with essays from Tarun Nagesh, Reuben Keehan &amp; Ruth McDougall is collected by the Australian National Library. With audiences of over 3 million since 1993, APT10&nbsp; runs 4 Dec-25 April 22 with significant critical press assured. The work will tour nationally/internationally, including PNG in 2023-5. Further reviews are in process.</p>
<p><strong>TEAM:</strong> Keith Armstrong: Visual Director/Installation Artist, David Bridie (Sound artist)&nbsp; Ruth McDougall, (Curator), Jo Kenny (Creative producer), Lazarus Eposia, (Uramat elder/representative), the late Gideon kakbin (elder/author), Uramat mask artists, PNG film crew.</p>
<p><strong>SHOWINGS:</strong><br />1: (Asia Pacific Triennial APT10, Qldg Art Gallery and the Gallery odf Modern Art (QAGOMA), Southbank, Brisbane, Dec 4 2021- April 25 2022. </p>
<p><strong>PARTNERS:</strong> QAGOMA, QUT CIESJ School of Creative Arts.</p>',
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			'slug' => 'elegy-for-lifeanthem-for-artifice',
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			'title' => 'Elegy for Life_Anthem for Artifice',
			'page_title' => 'Elegy for Life, Anthem for Artifice',
			'sub_title' => '',
			'brief' => null,
			'content' => '<p>Presented for the&nbsp;<a href="https://www.enad.tsinghua.edu.cn/ART___SCIENCE/TASIES_2019.htm" target="_blank">5th International Art and Science Symposium and Exhibition</a>, 2019, the work Elegy for Life, Anthem for Artifice is viewed from a secret vantage point, where audiences quietly witness a pair of uncanny, ambiguous, life-forms, evolving and performing their private lives, forever entwining and parting ways, safely incubated within a pitch-black void. Seemingly alive and aware, this pair of flowing, rippling intelligences confound, delight, chill and inspire. And at the same time their powerful sounds echo and reverberate around the space, evolving wave upon wave: building the elegy soundtrack for our &lsquo;old life&rsquo;, re-imagined anew - in a powerful &lsquo;anthem for artifice&rsquo;.</p>
<p>Elegy for Life: Anthem for Artifice examines how artificial life-forms may, in the future, counteract the 'extinction of human experience' we sense today, as millennia-old species slip away into extinction. How can we now begin to re-imagine our futures, whilst acknowledging that profound loss? How might arts and sciences, in cooperation, help us to evolve and morph through dark ecologies towards unfamiliar new lights? How might the entwining of art and science help us re-imagine our &lsquo;next life&rsquo;?</p>
<p>The artwork Elegy for Life: Anthem for Artifice emerged out of a ten year long engagement with marine and terrestrial scientists, artificial life scientists, writers and artists &ndash; in a powerful expression of the power of collaboration - when art meets science in the age of AI. The work speaks to how we might better imagine sustaining modes of development that are based in consultation, contribution and mutual benefit for all species, both organic and synthetic.</p>
<p><strong>SHOWING:</strong><br />1: 5th International Art and Science Symposium and Exhibition, (AS-Helix: The Integration of Art and Science in the Age of Artificial Intelligence), National Museum of China, Nov 1-30, 2019. Curated by Lu Xiabo.</p>
<p><strong>TEAM:</strong> Keith Armstrong: artistic direction and construction, Luke Lickfold: generative sound composition/coding.</p>
<p><strong>PARTNERSHIPS:</strong>&nbsp; QUT Creative Lab and Visual Arts. Special thanks to Julie Dean.</p>
<p><strong>MORE:</strong> Elegy for Life, Anthem for Artifice builds upon the originating work&nbsp;<a href="/homeartworks/eremocene-age-of-loneliness">Eremocene (Age of Loneliness)</a> - first shown to broad acclaim at teh 2017 Ars Electronica Festival in Linz, Austria.</p>',
			'extra_links' => '<p>Link to <a href="https://www.enad.tsinghua.edu.cn/ART___SCIENCE/TASIES_2019.htm" target="_blank">Chinese site</a>&nbsp; <a href="https://www.enad.tsinghua.edu.cn/info/1090/1470.htm" target="_blank">promotional video</a><br />Excerpt from<a href="/resource_files/Exhibition_Catalogue.pdf" target="_blank"> Exhibition Catalogue</a> (pdf)<a href="/resource_files/Exhibition_Catalogue.pdf" target="_blank"><br /></a>Excerpt from <a href="/resource_files/Conference_Catalogue.pdf" target="_blank">Symposium Program</a> (pdf)<a href="/resource_files/Exhibition_Catalogue.pdf" target="_blank"><br /></a><a href="/resource_files/Exhibition_Catalogue.pdf" target="_blank"><br /></a></p>',
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			'slug' => 'staging-change',
			'old_filename' => null,
			'title' => 'Staging Change',
			'page_title' => 'Staging Change',
			'sub_title' => '',
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			'content' => '<p>Staging Change comprised two audiovisual installations, a poetry slam and a community led festival, curated into the 2018 Vrystaat&nbsp;Kunstefees International Arts Festival/Tsa-Botjhaba,&nbsp;South Africa - Africa&rsquo;s premier arts festival, featuring significant experimental &amp; public art components. Each event incorporated a mobile stage-cum-artwork as a framing device &amp; performance platform, mapped with realtime video projections, augmented by sound, themed around the African concept of Ubuntu &amp; regenerative futures; speaking to community links, compassion, solidarity &amp; ecological justice. Nobel Laureate Desmond Tutu states, &ldquo;You&nbsp;can't be&nbsp;human all by yourself, &amp; when you have this&nbsp;quality, Ubuntu, you are known for your generosity&rdquo;. An accompanying performance poetry slam brought together a large cross-section of the Southern African political poetry community, focussed around Ubuntu, land rights &amp; ecological justice. Staging Change occupied three prominent locations within the festival grounds.</p>
<p>The fourth, offsite Staging Change event was held north of the City of Bloemfontein: the Diversity in Ubuntu Meraka Festival. A Meraka in local Sotho language means a place or veld where people of different cultures come together &amp; share their values. The translation in the Koisan language is ike/xarra/ke which means diverse people unite. This day long community-led celebration of diverse cultural heritages was developed with NPO Start Living Green, led by Anita Venter, building upon achievements &amp; lessons gleaned from our shared work in informal settlements between 2015-18. It involved multiple performances, a marketplace, traditional Basthoto (Lesthoto) horse displays, idea exchanges &amp; building &amp; permaculture demonstrations, all designed to actively share cultural practices between elders &amp; the youths. Following a co-mentoring process we had instigated over preceding years, local resident Mme. Mary Mofana directed the festival, ensuring strong community ownership &amp; empowerment. We also brokered connections to the Pan African Creative Exchange network which exposed her &amp; her performers to leading artists from around the African continent. The festival launched Mme. Mary&rsquo;s newly-formed NPO we had mentored her to conceive &amp; direct, Lesedi Multi-Purpose Community Development Village, which included a multi-purpose community building constructed from Post Natural building techniques pioneered together in prior projects since 2015. A collaboration MOU was signed with University Free State community affairs department for future sponsorship &amp; the mobile Stage was formally handed over to the community.</p>
<p>Staging Change&rsquo;s events capitalised upon ongoing community development projects, bringing Ubuntu into practice, handing control, funding &amp; strategic development to local communities to stage celebrations of their own design. Through these empowering actions, &amp; by providing skills building, finance &amp; necessary connections, Staging Change positively situated and framed local indigenous cultural heritage &amp; arts within South African contemporary arts &amp; culture practice. Lesedi Village now operates as an indigenous culture centre hosting workshops &amp; events, &amp; the Ubuntu Meraka has become an annual festival, fostered though long term connections brokered with the International Arts Festival and University of the Free State.</p>
<p><strong>SHOWINGS:</strong><br />1: Installation and Poetry Slam, Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba, UFS, Bloemfontein, South Africa, Jul 12th, 2018, Curated by Ricardo Peach and Angela DeJesus. Poetry Slam conceived by Pieter Odendaal.<br />2: Installation, Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba, UFS, Bloemfontein, South Africa, Jul 13th, 2018, Curated by Ricardo Peach and Angela DeJesus.<br />3: Ubuntu in Diversity Meraka, 129 Vlei Ave, Roodewaal, Bloemfontein, South Africa, July 14th, 2018, 10.00-15:00. Directed by Mme. Mary Mofana. (An official event of Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba).</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Dr. Anita Venter (NGO collaborator, Qala Phelang Tala), Adriaan Du Pleiss (Production/Design assistance), Mme. Mary Mofana (Meraka Director), Velili Phantsi (Event Compere), Thabang Mofokeng, Re-Future Cultural Ambassador/HOT Rural Workers Collective, Botshabelo Township, South Africa.</p>
<p><strong>PARTNERSHIPS:</strong>&nbsp;Programme for Innovation in Artform Development (PIAD) -&nbsp;<a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, Dr. Ricardo Peach, University Free State,&nbsp;<a href="http://www.ufs.ac.za/econ/departments-and-divisions/centre-for-development-support-home" target="_blank">Centre Development Support</a>,&nbsp;<a href="https://www.facebook.com/Qala1Tala/" target="_blank">Qala Phelang Tala</a>, Dr. Anita Venter. Angela De Jesus and Min&eacute; Kleynhans. The&nbsp;<a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation</a>,&nbsp;<a href="http://www.fwo.be/en/" target="_blank">The Flanders Foundation</a>,&nbsp;<a href="https://research.qut.edu.au/creativelab/" target="_blank">QUT Creative Lab</a>, change Agents Mokoena and Ellen Maphalane. This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by a part time Associate directorship of&nbsp;<a href="https://research.qut.edu.au/creativelab/" target="_blank">QUT's Creative Lab </a>Research Centre. Special thanks also to Prof. Greg Hearn, Prof. Terry Flew, Prof. Mandy Thomas, Prof. Gavin Sade, A/Prof. Bree Hadley, Prof. Gene Moyle and Stuart Taylor. Special thanks also to doctoral students Christine Scoggin and Pieter Odendaal.</p>',
			'extra_links' => '<p><a href="https://woodfordfolkfestival.com/programme/2018-programme-explore/artist/keith-armstrong/" target="_blank">ReFuture Artist Talk: Woodford Festival: New Years Eve, 2018</a><br />Printed catalogue excerpts | <a href="/resource_files/my%20bit_SC.jpg" target="_blank">1</a> | <a href="/resource_files/PIAD%20bit%202.jpg" target="_blank">2</a> | <a href="/resource_files/guests%20bit%202a.jpg" target="_blank">3</a> |<br /><a href="https://www.vrystaatkunstefees.co.za/en/staging-change-a-re-future-project-2/" target="_blank">Website excerpt</a><br />Staging Invite (<a href="/resource_files/Staging%20Change%20VSK_%20A5%20Pamphlet_Double%20sided-01%20new%20logos.pdf" target="_blank">English</a>) | (<a href="/resource_files/Staging%20Change%20VSK_%20A5%20Pamphlet_Double%20sided-02%20new%20logos.pdf" target="_blank">Sesthoto</a>)<br />Poetry Slam <a href="/resource_files/Staging%20Change%20poetry%20session%20poster%20comp.jpg" target="_blank">Invite</a><br />Ubuntu Meraka <a href="/resource_files/Mandela%20Day%20Event-%2014%20July-%202018%20draft%20pogramme.pdf" target="_blank">Draft Program<br /></a>Culture and Climate Justice <a href="https://issuu.com/sholehjohnston/docs/culture_and_climate_justice_south_a" target="_blank">Public Policy Outcome</a><br /><a href="http://www.panafricancreativeexchange.co.za" target="_blank">Pan African Creative Exchange</a></p>',
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			'content' => '<p>&lsquo;Change Agent&rsquo; is an exhibition of twelve works, that presents learnings from a series of arts-led, development focussed projects I participated in during 2016-17 in Bloemfontein, Manguang, South Africa. It is presented for <a href="http://www.isea-international.org/isea2018/" target="_blank">ISEA 2018</a>, Durban, South Africa, in the main curated program, at Durban Art Gallery. The festival's theme &lsquo;Intersections&rsquo; positions creative technological innovation as an activist engagement into public space and public practice in African contexts. This exhibition of electronic sculptures, videos and interactive works examines the innovative cultural practices I witnessed and helped foster through media arts-thinking and action in the townships, showcasing the transformative power of cooperative, creative action for the festival&rsquo;s local and international audiences.</p>
<p><strong>SHOWINGS:</strong><br />1: Change Agent, Gallery 2, <a href="http://www.isea-international.org/isea2018/" target="_blank">ISEA 2018, Intersections</a>, curated main program "Other Realities', Durban Art Gallery, Durban, South Africa, June 25th&ndash;Aug 1st, 2018, Curated by Marcus Neustetter.</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Dr. Anita Venter (NGO collaborator, Qala Phelang Tala), Adriaan Du Pleiss (Production/Design assistance),&nbsp;Thabang Mofokeng, Re-Future Cultural Ambassador/HOT Rural Workers Collective, Botshabelo Township, South Africa.</p>
<p><strong>PARTNERSHIPS:</strong> Programme for Innovation in Artform Development (PIAD) - <a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, Dr. Ricardo Peach, University Free State, <a href="http://www.ufs.ac.za/econ/departments-and-divisions/centre-for-development-support-home" target="_blank">Centre Development Support</a>, <a href="https://www.facebook.com/Qala1Tala/" target="_blank">Qala Phelang Tala</a>, Dr. Anita Venter. Angela De Jesus and Min&eacute; Kleynhans, <a href="http://www.museumsonline.co.za/view.asp?pg=museums&amp;pgopt=item&amp;ItemID=7" target="_blank">Johannes Stegmann Art Gallery</a>, University of the Free State, South Africa, The <a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation</a>, <a href="http://www.fwo.be/en/" target="_blank">The Flanders Foundation</a>, Durban Art Gallery (Thulani Makhaye), <a href="https://research.qut.edu.au/creativelab/" target="_blank">QUT Creative Lab</a>, Change Agents Mokoena and Ellen Maphalane, Mary Mofana and Velili Phantsi, Michael Sebeso. The parent project, <a href="http://embodiedmedia.com/homeartworks/re-future">Re-Future</a> was presented as part of the Programme for Innovation in Artform Development (PIAD), an initiative of the Vrystaat Art Festival and the University of the Free State. This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by a part time Associate directorship of <a href="https://research.qut.edu.au/creativelab/" target="_blank">QUT's Creative Lab Research Centre</a>. Special thanks also to Prof. Greg Hearn, Prof. Terry Flew, Prof. Mandy Thomas, Prof. Gavin Sade, A/Prof. Bree Hadley, Prof. Gene Moyle and Stuart Taylor. Special thanks also to doctoral students Christine Scoggin and Pieter Odendaal who are also working on other aspects of Re-Future.&nbsp;</p>
<p><strong>MORE</strong>: In 2016-17 I was invited to become a lead media artist for PIAD (The Program For Innovation in Artform Development). I made three funded visits to South Africa of around 6 months in total. During my first visit South African residents Mokoena and Ellen Maphalane invited me to become &lsquo;embedded&rsquo; within a transdisciplinary team of South African township residents &amp; international development workers, facilitated by Dr. Anita Venter, director of the South African NGO Qala Phelang Tala. Our task became to reimagine &amp; facilitate Ellen and Mokoena to build a creative, no-cost house to replace their existing tin shack, located in the informal settlement (township) of Caleb Motshabi, on &lsquo;waste&rsquo; ground in -5 to +40 degree temperature extremes. All materials should be recycled or scavenged.</p>
<p>Throughout this collaborative process the Maphalanes&rsquo; confidence grew as they were put in charge of design, project management, and skills training for a range of volunteers and selected unemployed youths residing locally and in Botshabelo (rural town 60 km from Bloemfontein). By the end of December 2016, the replacement house and roofing was completed. Roofing material was donated by international sponsors who had been following the Maphalanes&rsquo; journey on social media. The Maphalanes continued to improve their replacement house after the roof has been constructed. Imagery was recorded using drone and terrestrial photography and video. We then worked with the same change agents to instigate three celebratory community-run visual/performance festivals (&lsquo;merakas&rsquo;) under the title &lsquo;Seven Stage Futures&rsquo;, designed to encourage and empower other township residents to initiate their own similarly life-changing projects.</p>
<p>Ultimately their completed home stands as a beacon of possibility in comparison with its neighbouring shacks. &lsquo;Change agents&rsquo; Ellen and Mokoena have subsequently been hired to train others in building practices &amp; also have earned much needed income from their creative skillsets.&nbsp; Flow on benefits include local funding support, land tenure, new arts-led initiatives and&nbsp; community empowerment.</p>
<p>The project taught me how I might &lsquo;attach&rsquo; my practice temporarily to subjects &amp; problems that normally belong to other disciplines. Slowly I began to see how to reinvent my media art practices to encourage &amp; motivate powerful, strong, committed residents, and together we gained new insights from each other&rsquo;s methods that allowed us to co-devise this new building processes we named &lsquo;post-natural&rsquo;.</p>
<p>The project was supported by the Program for Innovation in Artform Development and local community NGO Qala Phelang Tala (Start Living Green!) These two organisations, who have built significant trust within local communities, invited me to work with them as an &lsquo;embedded creative&rsquo; within three local South African townships.</p>
<p><strong>Related Prior Projects</strong><br /><a href="/homeartworks/future-future">Future-Future? Exhibitions</a> (207/18)<br />(<a href="/resource_files/FF-catalogue_2017_sm.pdf" target="_blank">Future-Future? catalogue</a>)(8.4MB).<a href="/homeartworks/otswellang"><br />OTswellang</a> shown in solo shows <a href="/homeartworks/over-many-horizons-omh">Over Many Horizons</a> and The Mesh, Vrystaat Arts Festival, South Africa, 2017.</p>
<p>Change-Agent?&nbsp;is the fourth major outcome arising from the Re-Future project - which aims to initiate a series of transdisciplinary, intercultural collaborative works designed with, or inspired by the journeys of re-futuring, pioneered by the township residents of Bloemfontein/Manguang, South Africa. The project operates at the intersection of media art, sustainability, community development and creative action, reflecting how the legacies of apartheid, population pressure, economic and environmental decay, compounded by limited access to education, services, secure housing and policing services have routinely rendered so many in the majority world a 'lost cause'. Here lie very different leaders - pioneering 'change makers' creating their own images; of their own making.</p>',
			'extra_links' => '<p>ISEA 2018, '<a href="http://www.isea-international.org/isea2018/" target="_blank">Intersections</a>' Web.<br />ISEA Durban wrapup <a href="/resource_files/ISEA2018DURBANwrapup.pdf" target="_blank">report</a><br />Related ISEA article in <a href="http://www.makery.info/en/2018/07/03/digifest-un-festival-en-afrique-du-sud-pour-hacker-la-vie/" target="_blank">Makery.info</a><br />Re-Future - Related past projects:&nbsp; Summary Document</p>
<ul>
<li><a href="/homeartworks/future-future">Future-Future? Exhibitions</a> (207/18)&nbsp; (<a href="/resource_files/FF-catalogue_2017_sm.pdf" target="_blank">exhibition catalogue/essays</a>) (8.4MB)</li>
<li><a href="/homeartworks/otswellang">OTswellang</a> - in solo shows <a href="/homeartworks/over-many-horizons-omh">Over Many Horizons</a> (2016) and The Mesh, Vrystaat Arts Festival, South Africa (2017)</li>
<li><a href="/homeartworks/seven-stage-futures">Seven Stage Futures</a> - Change agent directed, festivals (2017)</li>
<li><a href="/homeartworks/re-future">Re-Future</a> - the originating project (2016-onwards)</li>
<li><a href="https://issuu.com/sholehjohnston/docs/culture_and_climate_justice_south_a" target="_blank">Culture and Climate Justice: Public Policy Outcome</a></li>
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			'content' => '<p>The &lsquo;Future-Future?&rsquo; exhibition is inspired by my sustained engagement within South African communities (2016-17), supported by the Program for Innovation in Artform Development and local community NGO Qala Phelang Tala (Start Living Green!) These two organisations, who have built significant trust within local communities, invited me to work with them as an &lsquo;embedded creative&rsquo; within three local South African townships. (<a href="/resource_files/FF-catalogue17notOutlined.pdf" target="_blank">Download catalogue</a>)(8.4MB).</p>
<p>Whilst there I worked with the NGO <a href="https://www.facebook.com/Qala1Tala/" target="_blank">Qala Phelang Tala (Start Living Green!)</a>led by Dr. Anita Venter, and several local residents (change agents) to help imagine and build improved, low cost &lsquo;shack replacement&rsquo; structures. I then worked with the same change agents to instigate three celebratory community-run visual/performance festivals (&lsquo;merakas&rsquo;) under the title &lsquo;Seven Stage Futures&rsquo;, designed to encourage and empower other township residents to initiate their own similarly life-changing projects.</p>
<p>This fieldwork inspired me to initially produce a reflective media artwork <a href="/homeartworks/otswellang">OTswellang</a> for the solo shows <em></em><a href="/homeartworks/over-many-horizons-omh"><em>Over Many Horizons</em></a>, at UTS Gallery, Sydney, 2016 and <em>The Mesh, Vrystaat Arts Festival</em>, South Africa, 2017. (That work is also included in this show). I am now building upon those outcomes in this major exhibition, <em>Future-Future?</em>.</p>
<p><strong>SHOWINGS:</strong><br />1: <a href="http://www.riddochartgallery.org.au/future-future/" target="_blank">Future-Future?</a>, Solo exhibition, Riddoch Art Gallery, Mt Gambier, South Australia, Nov 17th-Jan 20th, 2017, Curated by Melentie Pandilovski.<br />2: <a href="http://www.artmuseum.qut.edu.au/exhibit/2018/transboundaries.jsp" target="_blank">Transboundaries: Art + Connection</a>, QUT Art Museum, Brisbane, 7 April 2018 - 3rd June 2018</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director)</p>
<p><strong>PARTNERSHIPS:</strong> Riddoch Art Gallery, Mt Gambier City, (Melentie Pandilovski (Dir.), Serena Wong, Linda Walker, Talie Teakle), Programme for Innovation in Artform Development (PIAD) - <a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, Dr. Ricardo Peach, University Free State, <a href="http://www.ufs.ac.za/econ/departments-and-divisions/centre-for-development-support-home" target="_blank">Centre Development Support</a>, <a href="https://www.facebook.com/Qala1Tala/" target="_blank">Qala Phelang Tala</a>, Anita Venter, Angela De Jesus, <a href="http://www.museumsonline.co.za/view.asp?pg=museums&amp;pgopt=item&amp;ItemID=7" target="_blank">Johannes Stegmann Art Gallery</a>, University of the Free State, South Africa, The <a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation</a>, <a href="http://www.fwo.be/en/" target="_blank">The Flanders Foundation</a>, Change Agents Mokoena and Ellen Maphalane, Mary Mofana and Velili Phantsi, Thabang Mofokeng, HOT Rural Workers Collective, Botshabelo Township, South Africa, Adriann Du Pleiss(Stage builder), Percy, Michael Sebeso. The parent project, <a href="/homeartworks/re-future">Re-Future</a> is presented at part of the Programme for Innovation in Artform Development (PIAD), an initiative of the <em>Vrystaat Art Festival</em> and the <em>University of the Free State</em>.&nbsp; Kindly supported by The <em>Andrew W. Mellon Foundation</em> and The <em>Flanders Foundation</em>.This project has been kindly assisted by the Australian Government through the <em>Australia Council</em>, its arts funding and advisory body. Keith Armstrong is supported by a part time Associate directorship of <em>QUT's Creative Lab Research Centre</em>. Special thanks to doctoral students Christine Scoggin and Pieter Odenaal who are working on Re-Future. Special thanks to Prof Greg Hearn Prof Terry Flew, Prof Mandy Thomas, Nigel Oram, Blair Walkinshaw and QUT Precincts.</p>
<p><strong>MORE:</strong> The exhibition&nbsp;Future-Future? begins with the powerful provocation:&nbsp; "There is no time to complain, the only remaining time is to start implementing change. If not we will perish". Ha ho na nako ea ho chacheha ka mohono, nako e setseng ke ea hore re fetohe eseng moo re tla timela. These words were contributed both in English and South African (Sesotho) languages by Thabang Mofokeng, a South African 'change agent' and leader of the HOT Rural Workers Foundation. His call is profound. His people, and environment are suffering significantly under the weight of the consumption of his country&rsquo;s wealth and resources in all its forms, both historical and contemporary.&nbsp; So what kind of future-for-a-future is possible?</p>
<p>Whilst the affluent may typically think about a future in terms of maintaining or increasing an already unjust share,&nbsp;Thabang&rsquo;s people may wonder, is there is any kind of future at all - in a world where their basic needs of education, housing, health and welfare are far from being met. However many in his community still have something that has been widely lost in the rush to create a profoundly&nbsp;brand of unsustainable future - solidarity, purpose and meaning, rooted within their melting pot of ancient cultures. Can we assume it is these strengths which have kept them proud, strong and alive in conditions of hardship, all these years after apartheid officially finished - still in conditions that many of us would find entirely unimaginable and untenable.</p>
<p>Future-Future?&nbsp;focusses upon uncovering and promoting these paradigms of change and transformation.&nbsp; Such transformations maybe lie beyond our own lexicon, because words do not imagine that kind of hunger and beyond our routine desires, because they have nothing at all to do with the refinement of an existing luxury. Future-Future? instead encourages paradoxical desires -&nbsp;stimulated by (&lsquo;under-cover&rsquo;) change agents, who are quietly transforming their 'future for a future&rsquo;. Their desire is focussed - positive dwelling, powerful culture and transformative purpose - working to 'give time back to the future'.</p>
<p>Future-Future?&nbsp;is the third major outcome arising from the Re-Future project - which aims to initiate a series of transdisciplinary, intercultural collaborative works designed with, or inspired by the journeys of re-futuring, pioneered by the township residents of Bloemfontein/Manguang, South Africa. The project operates at the intersection of media art, sustainability, community development and creative action, reflecting how the legacies of apartheid, population pressure, economic and environmental decay, compounded by limited access to education, services, secure housing and policing services have routinely rendered so many in the majority world a 'lost cause'. Here lie very different leaders - pioneering 'change makers' creating their own images; of their own making.</p>',
			'extra_links' => '<p>Download Show Catalogue (<a href="/resource_files/FF-catalogue17notOutlined.pdf" target="_blank">On Screen Version 8.4MB</a>) - Essay by Melentie Pandilovski, edited by Linda Walker. <br />Riddoch Gallery, exhibition <a href="http://www.riddochartgallery.org.au/future-future-2/" target="_blank">Online link </a><br />Printable Show Catalogue (Reordred to print, ie not for on-screen use) (<a href="/resource_files/FF17-printable%20booklet.pdf" target="_blank">Larger version 12.8MB</a>)<br /><a href="/resource_files/ffnewspaper536.pdf" target="_blank">Article </a>in <em>The Border Watch</em> newspaper, Fri Nov 17, 2017<br />This work is referenced in an <a href="https://vimeo.com/267502017" target="_blank">interview around the Transbounadries</a> show, 2018.<br />Related prior projects <a href="/homeartworks/seven-stage-futures">Seven Stage Futures</a> and <a href="/homeartworks/re-future">Re-Future</a></p>',
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<p>Based loosely on the idea of a date, each participant is initially asked to give a little bit of personal information, and then actually speak volumes about themselves through how they choose to care for their 'date's future experience. After walking in parallel universes, but never far away from each other, both daters can ultimately&nbsp;choose to then meet in person -- if what they have experienced tells them that maybe "We Are The One".</p>
<p>The components of this work are eminently tourable - and fit in a decent sized brief case 15cm x 46cm x 34cm and weighs about 7 kgs. See promotional video <a href="https://vimeo.com/162482942" target="_blank">here</a>. Please contact <a href="mailto:keith@embodiedmedia.com">Keith</a>.</p>
<p><strong>TEAM:</strong> <strong>Keith Armstrong</strong>: Co-director,<strong> David Finnigan</strong>: Co-director, <strong>Steve Berrick</strong>: App Programmer, <strong>Robert Henderson</strong>: Futuring Designer, <strong>Arthouse, Melbourne</strong>: Producers.</p>
<p><strong>SHOWINGS:</strong><br /><strong>1: </strong><a href="http://fola.com.au/program/one/" target="_blank"><strong>version 1</strong>: Festival of Live Art (FOLA), 2016, Artshouse, Melbourne</a>, 2-5 Mar &amp; 9-11 Mar 2016<br /><strong>2: version 1</strong>: <a href="http://www.melbourne.vic.gov.au/arts-and-culture/arts-house/whats-on-arts-house/Pages/in-your-hands.aspx" target="_blank">In your Hands, Artshouse, Melbourne</a>, 20-21 May 2017<br /><strong>3:</strong> <strong>version 1:&nbsp;</strong><a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1173" target="_blank">Vrystaat&nbsp;Kunstefees/Arts Festival/</a>Tsa-Botjhaba, UFS, Bloemfontein, South Africa, 18-22 July 2017<br /><strong>4: version 2:</strong>&nbsp;<a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1173" target="_blank">Vrystaat&nbsp;Kunstefees/Arts Festival/</a>Tsa-Botjhaba, UFS, Bloemfontein, South Africa, 18-22 July 2017</p>
<p><strong>PARTNERS:</strong> <a href="http://www.melbourne.vic.gov.au/artshouse/Pages/Default.aspx" target="_blank">Artshouse</a>, <a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://staffprofiles.ci.qut.edu.au/" target="_blank">Queensland University of Technology, Creative Industries</a>, <a href="http://pvicollective.com" target="_blank">PVI Collective</a>,&nbsp;<a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1173" target="_blank">Vrystaat&nbsp;Kunstefees/Arts Festival/</a>Tsa-Botjhaba, UFS. This project has been supported by the Digital Theatre Initiative of the Australia Council For the Arts.</p>
<p><strong>WHY?</strong><br />Are We The One? shines a gentle light upon social relations and shared imaginaries, suggesting that aesthetic, performative engagements can be a powerful means of making sense of our worlds and ourselves.</p>
<p>Our goal is to create an experience that is simple, surprising and provocative, and with the potential of being lovely. We want participants to think first about what their their phone is asking them to do, then about themselves and their preferences, and ultimately about the other unknown person and what they might want or need, and finally to consider the how this relates to the larger world around them.</p>
<p>The work builds upon David and Keith&rsquo;s practices of building non-didactic participatory arts experiences. Our work encourages creative reflection and action around cultural conditions that frame contested domains - such as climate, ecology, systems and futuring.&nbsp;</p>',
			'extra_links' => '<p><a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1173" target="_blank">South African Presentation</a>, (Version 2) 2018<a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1173" target="_blank"><br />South African Presentation</a>, (Version 1) 2017<a href="https://vimeo.com/162482942" target="_blank"><br /></a>Vrystaat Festival, <a href="/resource_files/AWTOFestivalCatalogueExtracts.pdf" target="_blank">main program entry</a>, South Africa, 2017<a href="https://vimeo.com/162482942" target="_blank"><br />Artshouse Promotional Video</a> <br />Review in <a href="http://www.realtimearts.net/article/131/12206" target="_blank">Realtime 131</a> (<a href="/resource_files/RealtimeAWTOExcerpt.jpg" target="_blank">file</a>)<br />Coverage in <a href="http://www.smh.com.au/entertainment/theatre/festival-of-live-art-review-hidden-worlds-and-popup-tea-rooms-emerge-in-participatory-festival-20160310-gnf8ed.html" target="_blank">Sydney Morning Herald</a>, March 10th, 2016 (<a href="/resource_files/SMH%20article.jpg" target="_blank">file</a>)<br />Coverage in <a href="http://www.theatrepeople.com.au/the-festival-of-live-art-fola/" target="_blank">Theatre People</a>, March 10th (<a href="/resource_files/TheatrePeopleExcerpt.jpg" target="_blank">file</a>)<a href="http://2016.fola.com.au/program/one/" target="_blank"><br />Festival of Live Art 2016</a>, 2-4 March from 5pm till dark, 5th March 2pm-dark and 9-11 March. (<a href="/resource_files/FOLA_online.jpg" target="_blank">file</a>)<br />Arthouse 2017 Printed Calaogue <a href="/resource_files/artshouseAWTOIYH.pdf" target="_blank">Excerpt</a><br />Arthouse 2016 Printed Calaogue <a href="/resource_files/catalogue_sm.jpg" target="_blank">Excerpt</a><br />Realtime Article on the <a href="http://www.realtimearts.net/article/issue126/11898" target="_blank">Funding initiative</a> involved, In Your Hands, Digital Theatre Fund (<a href="/resource_files/awto_funding_article_RT.jpg" target="_blank">file</a>)<br />Related former project: <a href="/homeartworks/long-time-no-see">Long Time, No See?</a><a href="http://valuesandframes.org" target="_blank"><br /><br /></a></p>',
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			'title' => 'Over Many Horizons (O|M|H)',
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			'content' => '<p><strong>ABOUT:</strong><br /> Over Many Horizons (O|M|H) is an interactive, experiential 'whole of gallery' exhibition that investigates the mesh of environmental, social and cultural ecologies that form our worlds, asking how might we re-imagine our place and actions within those networks as &lsquo;re-futuring&rsquo; - i.e. acting in ways that &lsquo;give time back&rsquo;, rather than &lsquo;take time away&rsquo;, from the future.</p>
<p>Audiences navigate the works non-linearly, encountering robotically controlled kinetic light works, telescopic tunnels of ethereal imagery and sound and gently pulsing, ambiguous surfaces. The exhibition dovetails with a range of&nbsp;specially curated participative events and art-science-humanities discussions that ask, why is today&rsquo;s environmental crisis a crisis of &lsquo;us&rsquo;, and how must we therefore evolve?</p>
<p>Over Many Horizons (O|M|H) therefore necessarily spans art, science and the humanities, and initiates a collaboration UTS Marine and <a href="http://www.uts.edu.au/staff/william.gladstone">Life Sciences</a>, Professor William Gladstone - marine biologist and Head of School of Life Sciences, The <a href="http://www.livingdata.net.au">Living Data</a> program with Lisa Roberts, the UTS Institute For Sustainable Futures (Tania Leimbach) and curator/artist An Marosszeky. In all of these ways Over | Many | Horizons (O|M|H) seeks to shine a light upon the silent, shadowy barriers of cultural misunderstanding that prevent us from re-inventing ourselves as a future-sustaining species.</p>
<p><strong>LIST OF WORKS:</strong></p>
<p><strong></strong> <a href="/homeartworks/deep-ecology">Deep Ecology | Horizon 1</a></p>
<p><a href="/homeartworks/seasonal"> Seasonal | Horizon 2</a></p>
<p><a href="/homeartworks/otswellang"> O Tswellang | Horizon 3</a></p>
<p><a href="/homeartworks/shifting-dusts"> Shifting Dusts | Horizon 4</a></p>
<p><a href="/homeartworks/inter-state"> Inter State | Horizon 5</a></p>
<p><strong>SHOWINGS:</strong><br />1: Solo show, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Over Many Horizons</a>, UTS Gallery, Ultimo, Sydney, Aug 3rd - Sept 28th 2016, (An official event of <a href="http://www.scienceweek.net.au/over-many-horizons/?search-location-code=2000&amp;search-location-lat=-33.867139&amp;search-location-lng=151.207114&amp;search-location-name=SYDNEY+METRO&amp;search-location-type=P&amp;search-location=SYDNEY+METRO+2000+NSW&amp;search-date-start=Today&amp;search-date-end=All+dates&amp;text=armstrong&amp;audience=All+ages&amp;search-topic=&amp;search-events-count=1&amp;search-online-count=0" target="_blank">National Science Week</a>), Opening 6-8pm, August 2nd, 2016<strong>. </strong>Public programs detailed below.<br /><strong></strong></p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director),&nbsp; Contributions from Luke Lickfold (Sound Composition/MaxMSP Design), Lawrence English (sound) and many others (see links to individual works). Thanks also to prior collaborators, and inspirations drawn from Stu Lawson's visual designs.</p>
<p><strong>PARTNER COLLABORATORS:</strong><br />UTS Gallery (Tania Creighton (Curator) and Eleanor Zeichner (Assistant curator)), Living Data (Lisa Roberts), UTS Life Sciences (Prof. William Gladstone), National Science Week 2016, Sydney Science Week 2016, Sydney Design 2016, UTS Institute for Sustainable Futures, QUT Creative Industries, Dr. Ricardo Peach, Programme for Innovation in Artform Development (PIAD) - Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba, University Free State Centre Development Support, Qala Phelang Tala, Anita Venter, Angela De Jesus, Johannes Stegmann Art Gallery, University of the Free State, South Africa, The Andrew W. Mellon Foundation, The Flanders Foundation, Thabang Mofokeng, HOT Rural Workers Collective, Botshabelo Township, South Africa, Charlotte Vincent, Guy Webster, TC Howard, Vincent Dance Theatre.</p>
<p>This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.</p>
<p>Keith Armstrong is supported by a part time senior research role at QUT Creative Industries.</p>
<p><strong>FURTHER DETAILS:</strong><br />The exhibition both references and extends upon two decades of ecologically-engaged (ecosophical) practices and introduces an important new art-science collaboration.</p>
<p>Ideas will be embodied both by audience experience of the works and through public programs, developed in association with National Science Week. By drawing upon experts from the arts, marine science, cultural studies and politics who in normal situations may rarely interact, but who now share a common sense of urgency to engage with sustaining Australia&rsquo;s long-term social and environmental future, we will seek to deepen the intellectual framework for this exhibition, which is designed to trigger public engagement, debate and interaction.</p>
<p>The exhibition therefore invests in our collective capacities to discuss, disagree and seek fundamental cultural solutions to profoundly &lsquo;wicked&rsquo;, big picture questions such as Climate Change and marine biodiversity loss - apparently intractable questions that require us to confront social change, creativity and our species fundamental unsustainability, in radically new ways that are still difficult to imagine, discuss or enact.</p>
<p><strong>MORE ON PUBLIC PROGRAMS:</strong><br />These <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">programs</a>, produced by UTS Gallery in association with the School of Life Sciences and the Institute for Sustainable Futures at UTS, will comprise talks, artist-led workshops, and education activities, offered free to the general public throughout National Science Week and for the duration of the exhibition. These programs will offer audiences experience in processing and interpreting scientific data via artistic processes, hands-on workshops, educational programs on imaginative responses to science, and a talks series that explores the Sci-Art ideas in connection to the exhibition and future practices.</p>
<p>These <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">programs</a> trial innovative approaches to understanding science and social contexts, developing conversations across the divide between art and science, using the visual and experiential tools of arts practice to communicate complex ideas about the environment and its cultural dimensions. The program also fosters partnerships between the UTS as a research institution, UTS Gallery as a cultural organisation and the broader community.</p>
<p>LUNCHTIME TALK<br />When Options Run Out, What Can Art Do?<br />Wednesday 17 August, 1pm<br />Join us for a special lunchtime talk with artist Keith Armstrong on the research and practice behind his exhibition, Over Many Horizons.</p>
<p>PANEL DISCUSSION<br />New Horizons: Art For Complex Times<br />Thursday 18 August, 6pm<br />Despite decades of warning our species remains as unsustainable as ever. What if arts/science partnerships are the answer to help shift this deep-seated stasis? This panel brings together artists, theorists and scientists to ask the big question &ndash; how can we work together for climate sustainability? Speakers include: Keith Armstrong, Bill Gladstone, Jeremy Walker and Tania Leimbach.</p>
<p>WORKSHOP<br />Future Horizons<br />Saturday 20 August, 12 - 4pm <br />What does the future look like to you? Visit UTS Gallery for a drop-in workshop to share your vision, and to explore Over Many Horizons, an interactive exhibition that investigates the environmental, social and cultural ecologies that form our worlds and how we can create new paths to sustainability.</p>',
			'extra_links' => '<p><a href="http://www.realtimearts.net/article/134/12377" target="_blank">Review in Realtime 134<br /></a>Related <a href="/writingtheory/book-chapters/enabling-and-situating-artsscience-collaboration-and-collective-learning">book chapter</a> and <a href="/writingtheory/essays/improving-transdisciplinary-arts-science-partnerships">blog post</a><a href="http://www.realtimearts.net/article/134/12377" target="_blank"><br /></a><a href="https://www.podomatic.com/podcasts/versatilist/episodes/2018-11-18T08_05_33-08_00" target="_blank">Podcast about this project and other collaborations with Tania Leimbach </a><a href="https://www.podomatic.com/podcasts/versatilist/episodes/2018-11-18T08_05_33-08_00" target="_blank">(11/18) </a><br />UTS Gallery, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Exhibition Link</a><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"> &amp; Catalogue</a> with essay by Tania Leimbach<br />Advert in <a href="/resource_files/art_pub603.pdf" target="_blank">Vault</a> (print art and culture magazine)<br /><a href="http://art.uts.edu.au/index.php/category/over-many-horizons-keith-armstrong/" target="_blank">UTS Made Education Videos, Public Programs and Education/out reach</a><br />Video:<a href="https://vimeo.com/185185398" target="_blank"> Panel Discussion, Art For Complex Times, National Science Week, 2016</a><br />Audio: <a href="https://soundcloud.com/keith-armstrong/art-science-panel-omh-trim" target="_blank">Panel Discussion, Art For Complex Times, National Science Week, 2016</a><br /><a href="/resource_files/UTSG_OMH_print_invite%20v03.pdf" target="_blank">Print Invite</a><br /><a href="/resource_files/Invitation%20Keith%20Armstrong%20Over%20Many%20Horizons%20%20Tuesday%202%20August%206%20%208pm.pdf" target="_blank">Online Invite</a><br /><a href="http://www.altmedia.net.au/keith-armstrong-over-many-horizons/117369" target="_blank">Feature in Altimedia</a><br /><a href="http://www.artistprofile.com.au/keith-armstrong-many-horizons/" target="_blank">Announcement in Artist Profile</a><br />Sydney Science and Design Festivals, 2016 <a href="/resource_files/sydscifest437.pdf" target="_blank">program entry</a><br /><a href="/resource_files/Over%20Many%20Horizons%20opening%20Gladstone.pdf" target="_blank">Launch Lecture</a>, by Marine Biologist/Collaborator Prof. William Gladstone<br /><a href="/resource_files/UTS-GALLERY-FLOOR-PLAN11716.pdf" target="_blank">Gallery floorplan</a><a href="/resource_files/OMHspec_12Jul_2016.pdf" target="_blank"><br />Exhibition specification</a>&nbsp;</p>',
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			'title' => 'O_Tswellang',
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			'content' => '<p>A small-scale hybrid form, created from a matrix of miniature cut glass bottles, and glass-diffused text animations, accompanied by a wall poster, presenting the words in English and South African (Sesotho) languages of <a href="https://www.youtube.com/watch?v=mEE2FiqV-mU">Thabang Mofokeng</a>, a South African change agent and leader of the HOT Rural Workers Collective.</p>
<p><em>There is no time to complain, the only remaining time is to start implementing change if not we will perish.</em><br /><em> Ha ho na nako ea ho chacheha ka mohono, nako e setseng ke ea hore re fetohe eseng moo re tla timela.</em></p>
<p>O Tswellang, which translates to &lsquo;sustainability&rsquo;, was the first outcome from the long-term research project called <a href="/homeartworks/re-future">Re-Future</a>, which initiates a series of transdisciplinary, intercultural collaborative works designed with the township residents of Bloemfontein/Manguang, South Africa, working at the intersection of sustainability, community development and creative action.</p>
<p>During my initial trip to South Africa in 2016 I conducted extensive meetings with my collaborators to understand local conditions and needs, and learnt about the natural building processes being pioneered by the NGO Qala Phelang Tala (Start Living Green!), thereby meeting Mofokeng who discussed the related aspirations of his rural workers movement.</p>
<p>O Tswellang draws upon the vernacular of &lsquo;natural building&rsquo; pioneered by collaborator/host NGO Qala Phelang Tala in terms of its low costs, under construction sensibility and the use of glass bottles and light drawn from low power source sources. My long term aim is to initiate a series of collaboratively-developed mobile art experiences, that draw upon cheap local materials, ultimately presented as part of a roving empowerment-focused festival of &lsquo;natural building&rsquo;. These works seeks to embody both the urgency and promise that empowers local &lsquo;change agents&rsquo; in modern day South Africa to develop affordable, sustainable, livable dwellings made from easily obtainable materials such as old tyres, bottles, wood, mud and tin.</p>
<p>O Tswellang is therefore both an experiential artwork designed for galleries and festivals and a framing device for the <a href="/homeartworks/re-future">Re-future</a> project, which will seek to stimulate new networks of 're-futuring&rsquo; throughout some of the poorest informal settlements in the Free State of South Africa.</p>
<p><strong>SHOWINGS:</strong><br />1: Solo exhibition, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Over Many Horizons</a>, UTS Gallery, Ultimo, Sydney, Aug 3rd- Sept 28th 2016, (An official event of <a href="http://www.scienceweek.net.au/over-many-horizons/?search-location-code=2000&amp;search-location-lat=-33.867139&amp;search-location-lng=151.207114&amp;search-location-name=SYDNEY+METRO&amp;search-location-type=P&amp;search-location=SYDNEY+METRO+2000+NSW&amp;search-date-start=Today&amp;search-date-end=All+dates&amp;text=armstrong&amp;audience=All+ages&amp;search-topic=&amp;search-events-count=1&amp;search-online-count=0" target="_blank">National Science Week</a>), Opening 6-8pm, August 2nd, 2016<br />2: Solo exhibition, <a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1223" target="_blank">The Mesh, Stegmann Gallery</a>, Sasol Library, UFS, Bloemfontein, South Africa, Jul 17th- Aug 11th, 2017, (An official event of Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba), Opening 8pm, July 17th, 2017</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Thabang Mofokeng (Words)</p>
<p><strong>PARTNERSHIPS</strong>: <a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">UTS Gallery,</a> Curated by Tania Creighton and Eleanor Zeichner, <a href="http://staff.qut.edu.au/staff/armstron/" target="_blank">QUT Creative Industries</a>, <a href="http://www.scienceweek.net.au/over-many-horizons/" target="_blank">National Science Week 2016</a>, <a href="https://sydneyscience.com.au/event/over-many-horizons/" target="_blank">Sydney Science Week 2016</a>, <a href="https://sydneydesign.com.au/event/over-many-horizons/" target="_blank">Sydney Design 2016</a>, <a href="http://www.uts.edu.au/research-and-teaching/our-research/institute-sustainable-futures" target="_blank">UTS Institute for Sustainable Futures</a>, Dr. Ricardo Peach, Programme for Innovation in Artform Development (PIAD) - <a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, University Free State, <a href="http://www.ufs.ac.za/econ/departments-and-divisions/centre-for-development-support-home" target="_blank">Centre Development Support</a>, <a href="https://www.facebook.com/Qala1Tala/" target="_blank">Qala Phelang Tala</a>, Anita Venter, Angela De Jesus, <a href="http://www.museumsonline.co.za/view.asp?pg=museums&amp;pgopt=item&amp;ItemID=7" target="_blank">Johannes Stegmann Art Gallery</a>, University of the Free State, South Africa, The <a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation</a>, <a href="http://www.fwo.be/en/" target="_blank">The Flanders Foundation</a>, <a href="https://www.facebook.com/search/top/?q=thabang%20mofokeng&amp;filters_rp_author=me" target="_blank">Thabang Mofokeng, HOT Rural Workers Collective</a>, Botshabelo Township, South Africa. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.</p>
<p>The parent project, <a href="/homeartworks/re-future">Re-Future</a> is presented at part of the Programme for Innovation in Artform Development (PIAD), an initiative of the Vrystaat Art Festival and the University of the Free State.&nbsp; Kindly supported by The Andrew W. Mellon Foundation and The Flanders Foundation.This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by a part time senior research role at QUT Creative Industries.</p>',
			'extra_links' => '<p>Exhibited 2017, Johannes Stegmann Gallery,&nbsp;<a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1223" target="_blank">Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba</a>,&nbsp;South Africa,&nbsp;18 July-20 Aug.<br />The Mesh, Vrystaat Festival, <a href="/resource_files/TheMeshFestivalCatalogueExtracts.pdf" target="_blank">main program entry</a>, South Africa, 2017<br />The Mesh <a href="/resource_files/The%20Mesh%20Catalogue.pdf" target="_blank">Catalogue</a>, Vrystaat Festival, South Africa, 2017<br />The Mesh <a href="/resource_files/the%20mesh%20poster_sm.pdf" target="_blank">Poster</a>, Vrystaat Festival, South Africa, 2017<br />Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba, <a href="/resource_files/vis%20arts%20program%20Vrysaat_sm.pdf" target="_blank">Visual arts program catalogue</a>, South Africa, 2017<br />Event in <a href="http://www.scienceweek.net.au/over-many-horizons/?search-location-code=2000&amp;search-location-lat=-33.867139&amp;search-location-lng=151.207114&amp;search-location-name=SYDNEY+METRO&amp;search-location-type=P&amp;search-location=SYDNEY+METRO+2000+NSW&amp;search-date-start=Today&amp;search-date-end=All+dates&amp;text=armstrong&amp;audience=All+ages&amp;search-topic=&amp;search-events-count=1&amp;search-online-count=0" target="_blank">National Science Week</a>, 2016<br />Exhibition, 2016 at <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">UTS Gallery</a><br /><a href="http://www.realtimearts.net/article/issue134/12377" target="_blank">Review in Realtime 134</a><br /><a href="http://art.uts.edu.au/index.php/keith-armstrong-o_tswellang/" target="_blank">UTS authored education video</a><br />'Parent project' <a href="/homeartworks/re-future">Refuture</a></p>',
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			'title' => 'Inter-State',
			'page_title' => 'Inter-State',
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			'content' => '<p>The installation Inter-State integrates concepts of art, science and design &lsquo;re-futuring&rsquo; practices through two related works: a large-scale backlit print depicting a re-imagined scientific periodic table of elements, mounted in a hanging light box, and a scientifically-arcane microfiche viewer and headphone soundscape. Viewers can examine the imagery as a whole, or in forensic close up, by instigating slow scans across groups of &lsquo;elements&rsquo; on the microfiche reader.</p>
<p>Inter-State re-conceptualises the periodic table as a relational mesh of forms, contrasting its elemental reduction and tabular characteristics with Wu Xing&rsquo;s inherently circular five phases, and their generating and overcoming interrelationships. This is achieved by re-imagining each element as being part of a deeply related collection of codes, quotes, thoughts and pictorial impressions of non-linear processes and philosophies, inspired both by Tony Fry&rsquo;s re-futuring theories and the Wu Xing philosophies. The choice of the 1970&rsquo;s vintage reader also draws attention to the claimed cycles of &lsquo;necessary obsolescence&rsquo; that permeate and underline much contemporary design thinking.</p>
<p>In sympathy, the headphone sound is created in a 12-minute cycle with five passages, inspired by the Wu Xing&rsquo;s &lsquo;generative&rsquo; cycle of Wood-Fire-Earth-Metal-Water. Within each passage overlapping sounds suggest one of the five Wu Xing &lsquo;overcoming&rsquo; interactions, such as Water overcomes Fire. Each of the five passages concludes with a sonification of a relevant group of elements from the periodic table, using the atomic numbers of these elements of one group to control an audio synthesis process that morphs a so-called &lsquo;noisy sound cloud&rsquo;. The transforming of this process predominantly controls the energy in a frequency band of the successively chosen atomic numbers from the group, along with other correlated ongoing changes. In this way the implicit challenge of the destructive cycle becomes reflected in the somewhat tense, foreboding atmospheres of the sounds.</p>
<p>In all of these ways Inter-State actively contrasts and combines modern scientific ideas and processes of elemental organisation with the relational thinking of selected contemporary artists and philosophers and the ancient processes of the Wu Xing, seeking to embody the relational imperatives of an emergent re-futuring practice.</p>
<p><strong>TEAM:</strong> Keith Armstrong: Director, Roger Dean: Sound. Original imagery developed by Stuart Lawson. Quotes drawn from Tony Fry's Refuturing philosophies.</p>
<p><strong>SHOWINGS:</strong><br />1: Solo show, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Over Many Horizons</a>, UTS Gallery, Ultimo, Sydney, Aug 3rd- Sept 28th 2016, (An official event of <a href="http://www.scienceweek.net.au/over-many-horizons/?search-location-code=2000&amp;search-location-lat=-33.867139&amp;search-location-lng=151.207114&amp;search-location-name=SYDNEY+METRO&amp;search-location-type=P&amp;search-location=SYDNEY+METRO+2000+NSW&amp;search-date-start=Today&amp;search-date-end=All+dates&amp;text=armstrong&amp;audience=All+ages&amp;search-topic=&amp;search-events-count=1&amp;search-online-count=0" target="_blank">National Science Week</a>), Opening 6-8pm, August 2nd, 2016<br />2: Solo exhibition, The Mesh, Stegmann Gallery, Sasol Library, UFS, Bloemfontein, South Africa, Jul 17th- Aug 11th, 2017, (An official event of Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba), Opening 8pm, July 17th, 2017.<br />3. In <a href="/homeartworks/change-agent">Change Agent</a>, Gallery 2,&nbsp;<a href="http://www.isea-international.org/isea2018/" target="_blank">ISEA 2018, Intersections</a>, curated main program "Other Realities', Durban Art Gallery, Durban, South Africa, June 25th&ndash;Aug 1st, 2018, Curated by Marcus Neustetter.<br />4. &lsquo;The Art and Consequence of Collaboration&rsquo;, <a href="https://spectra.org.au/" target="_blank">Spectra 2018</a>, presented by Australian Network for Art and Technology (ANAT) with University of South Australia and Experimenta Media Arts, and support from Arts South Australia,&nbsp;SASA, Adelaide, S Australia. 4 - 26th October, 2018.</p>
<p><strong>PARTNERS:</strong>&nbsp;<a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">UTS Gallery,</a> Curated by Tania Creighton and Eleanor Zeichner, <a href="http://staff.qut.edu.au/staff/armstron/" target="_blank">QUT Creative Industries</a>, <a href="http://www.scienceweek.net.au/over-many-horizons/" target="_blank">National Science Week 2016</a>, <a href="https://sydneyscience.com.au/event/over-many-horizons/" target="_blank">Sydney Science Week 2016</a>, <a href="https://sydneydesign.com.au/event/over-many-horizons/" target="_blank">Sydney Design 2016</a>, <a href="http://www.uts.edu.au/research-and-teaching/our-research/institute-sustainable-futures" target="_blank">UTS Institute for Sustainable Futures</a>, <a href="http://staff.qut.edu.au/staff/armstron/" target="_blank">QUT Creative Industries</a>, Thanks to John Grosso, general manager, <a href="http://www.ebeamfilm.com" target="_blank">eBeam Film LLC</a>, CT, USA for production of 105mm microfiche transparencies, Programme for Innovation in Artform Development (PIAD), <a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, Angela De Jesus, <a href="http://www.museumsonline.co.za/view.asp?pg=museums&amp;pgopt=item&amp;ItemID=7" target="_blank">Johannes Stegmann Art Gallery</a>, University of the Free State, South Africa, The <a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation.</a></p>
<p>This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by a part time senior research role at QUT Creative Industries.</p>
<p><strong>MORE DETAILS:</strong> <br />Inter-State contrasts the historical tendency for the formal atomisation and structuring of knowledge with relational understandings of our world as a series of interactions and relationships between phenomena. Both ideas are incorporated into the work, simultaneously finding a balance between the related traditions of art and science. The visual form of the work mimics the periodic table that is central to science classification &ndash; whilst the content &lsquo;descriptions&rsquo; of each element suggest fundamentally relational models of understanding, thinking and acting. A powerful example of this relational process lies with the classic Wu Xing model that suggests how (e.g. Wood (木 m&ugrave;), feeds Fire (火 huǒ), creates Earth (土 tǔ), bears Metal (金 jīn) enriches Water (水 shuǐ) which in turn nourishes wood.</p>
<p>In many ways the periodic table resonates with ideas of human development and progress &ndash; and yet that progress, despite its successes has often proven insensitive to the underlying natural order that is now in many cases far out of balance. Hence the art-science artwork Inter-State suggests that by shifting cultures towards a profoundly relational ways of understanding (as epitomized by the Wu Xing), we may then be able to create more sustainable pathways towards long futures. Hence each imaginary element in the table draws us to reflect upon ideas and quotes from futuring philosophers and artists, who call us strongly to develop our relational imaginations.</p>',
			'extra_links' => '<p>Exhibited 2018, SAS Gallery, Adelaide in <a href="https://spectra.org.au" target="_blank">Spectra Art Science</a>&nbsp; <a href="/resource_files/Spectra-2018-Exhibition-Catalogue-1.pdf" target="_blank">Catalogue&nbsp; Digital</a> &nbsp; <a href="/resource_files/catsepectra609.pdf" target="_blank">Catalogue Analog</a>&nbsp; (<a href="/resource_files/SPECTRA%20artists.pdf" target="_blank">event summary</a>)<br />Exhibited 2017, Johannes Stegmann Gallery,&nbsp;<a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1223" target="_blank">Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba</a>,&nbsp;South Africa,&nbsp;18 July-20 Aug.<br />The Mesh, Vrystaat Festival, <a href="/resource_files/TheMeshFestivalCatalogueExtracts.pdf" target="_blank">main program entry</a>, South Africa, 2017<br />The Mesh <a href="/resource_files/The%20Mesh%20Catalogue.pdf" target="_blank">Catalogue</a>, Vrystaat Festival, South Africa, 2017<br />The Mesh <a href="/resource_files/the%20mesh%20poster_sm.pdf" target="_blank">Poster</a>, Vrystaat Festival, South Africa, 2017<br />Exhibited, 2016, 'Over Many Horizons, at <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">UTS Gallery</a><a href="http://www.realtimearts.net/article/134/12377" target="_blank">, Sydney, Australia.<br />Review in Realtime&nbsp; 134</a><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"><br /></a></p>',
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			'title' => 'Shifting Dusts',
			'page_title' => 'Shifting Dusts',
			'sub_title' => '',
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			'content' => '<p>In a darkened space a human form, spinning steadily in a fluid field, is projected against a white sand-strewn surface, inviting differing states of meditation, stillness and renewal. This video installation invites the viewer to meditate upon and witness the human body disintegrating and transforming whilst in motion.</p>
<p>Shifting Dusts is single channel video installation, presented in a darkened room, depicting a life-sized shadowy, ethereal body, floating and spinning continuously within a backlit petri dish-like circle that is also filled with an ambiguous mixture of fluids and solids. The imagery is projected onto a 1.9m diameter circular, white-sand covered wooden disc, mounted at ankle height. It is accompanied by a two channel experimental soundscape. Throughout the ten minute sequence the body moves from a state of apparent birth, eventually through to an image reminiscent of death, as a layer of granular dust slowly eats away and infuses itself deep into the imagery and increasingly &lsquo;granularised&rsquo; sound.</p>
<p>Shifting Dusts engages with the time of human lifecycles to remind us that both we and the world under our stewardship are literally and figuratively turning to &lsquo;dust&rsquo;. Whilst acknowledging decay, renewal and the transitional, cyclical natures of interrelated ecologies, the work also suggests advanced levels of human induced ecological degradation, now potentially beyond reparation. To achieve these sensibilities the timbre of the work, both in image, sound and physical context, invites differing audience states of meditation, exploration, stillness and play.</p>
<p>Shifting Dusts was achieved through developing new engagement and image making strategies for media arts practice, drawing on the application and re-envisioning of both kinetic and proprioceptive dance/performance knowledges, whilst promoting new opportunities to foster a better understanding of cultural and ecological co-dependencies.  </p>
<p><strong>SHOWINGS:</strong><br />1: Solo exhibition, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Over Many Horizons</a>, UTS Art Gallery, Ultimo, Sydney, (An official event of <a href="http://www.scienceweek.net.au/over-many-horizons/?search-location-code=2000&amp;search-location-lat=-33.867139&amp;search-location-lng=151.207114&amp;search-location-name=SYDNEY+METRO&amp;search-location-type=P&amp;search-location=SYDNEY+METRO+2000+NSW&amp;search-date-start=Today&amp;search-date-end=All+dates&amp;text=armstrong&amp;audience=All+ages&amp;search-topic=&amp;search-events-count=1&amp;search-online-count=0" target="_blank">National Science Week</a>), Aug 3rd- Sept 28th 2016, Mon-Fri 12-6pm, Sat 12-4pm. (Opening 6-8pm, August 2nd, 2016)<br />2:&nbsp; Solo exhibition, <a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1223" target="_blank">The Mesh, Stegmann Gallery</a>, Sasol Library, UFS, Bloemfontein, South Africa, Jul 17th- Aug 11th, 2017, (An official event of Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba), Opening 8pm, July 17th, 2017<br />3: In <a href="http://www.artmuseum.qut.edu.au/exhibit/2018/transboundaries.jsp" target="_blank">Transboundaries: Art + Connection</a>, QUT Art Museum, Brisbane, April 7th-June 3rd 2018, Curated by Kevin Wilson<strong></strong></p>
<p><strong>TEAM:</strong> <br />Keith Armstrong (Artistic director),&nbsp;Charlotte Vincent (Co-Artistic Director Vincent Dance Thetare), Guy Webster (Sound Director), Dancer TC Howard.</p>
<p><strong>PARTNERSHIPS:</strong><br /><a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">UTS Gallery,</a> Curated by Tania Creighton and Eleanor Zeichner, <a href="http://staff.qut.edu.au/staff/armstron/" target="_blank">QUT Creative Industries</a>, <a href="http://www.vincentdt.com/" target="_blank">Vincent Dance Theatre</a>, England, <a href="http://www.scienceweek.net.au/over-many-horizons/" target="_blank">National Science Week 2016</a>, <a href="https://sydneyscience.com.au/event/over-many-horizons/" target="_blank">Sydney Science Week 2016</a>, <a href="https://sydneydesign.com.au/event/over-many-horizons/" target="_blank">Sydney Design 2016</a>, <a href="http://www.uts.edu.au/research-and-teaching/our-research/institute-sustainable-futures" target="_blank">UTS Institute for Sustainable Futures</a>, Programme for Innovation in Artform Development (PIAD), <a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, Angela De Jesus, <a href="http://www.museumsonline.co.za/view.asp?pg=museums&amp;pgopt=item&amp;ItemID=7" target="_blank">Johannes Stegmann Art Gallery</a>, University of the Free State, South Africa, The <a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation.</a></p>
<p>This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by a part time senior research role at QUT Creative Industries.</p>',
			'extra_links' => '<p>Exhibited 2017, Johannes Stegmann Gallery,&nbsp;<a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1223" target="_blank">Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba</a>,&nbsp;South Africa,&nbsp;18 July-20 Aug.<br />The Mesh, Vrystaat Festival, <a href="/resource_files/TheMeshFestivalCatalogueExtracts.pdf" target="_blank">main program entry</a>, South Africa, 2017<br />The Mesh <a href="/resource_files/The%20Mesh%20Catalogue.pdf" target="_blank">Catalogue</a>, Vrystaat Festival, South Africa, 2017<br />The Mesh <a href="/resource_files/the%20mesh%20poster_sm.pdf" target="_blank">Poster</a>, Vrystaat Festival, South Africa, 2017<br />Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba, <a href="/resource_files/vis%20arts%20program%20Vrysaat_sm.pdf" target="_blank">Visual arts program catalogue</a>, South Africa, 2017<a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"><br />Over Many Horizons</a><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"><br /></a><a href="http://www.realtimearts.net/article/134/12377" target="_blank">Review in Realtime 134</a><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"><br />Advert in </a><a href="/resource_files/art_pub603.pdf" target="_blank">Vault</a><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"> (print art and culture magazine)<br /></a></p>
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			'feature_sub_title' => 'periodic disturbance',
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			'title' => 'Seasonal',
			'page_title' => 'Seasonal, 2016',
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			'content' => '<p>This interactive installation comprises a darkened circular room with a large circular dish/screen upon the floor, with multi-layer imagery of ultra-close up images of organic materials gliding across it, disappearing into the darkness. On the far wall another smaller oval dish has a series of diffused moving lights playing across it, accompanied by the sound of gently whirring motors. Each of these 3D-printed robotic light assemblies has organic materials mounted within its barrel, and through which light must pass, before it plays on the dish, causing complex, diffused revolving patterns. The sound track that travels around the perimeter of the room presents a mixture of found and processed nocturnal sounds of the South-Central Queensland/Australian bush at night, recorded during a time of seasonal change. Audience movements (disturbances) within the space are sensed and cause subtle changes in the video mixing, and in the sound mix&rsquo;s layering and panning, and in the pace of the robotic motors, all of which are computer controlled.</p>
<p>By drawing inspiration from the subtle transitions between what Europeans once named &lsquo;Summer&rsquo; and &lsquo;Autumn&rsquo; and the multiple seasons recognised by indigenous cultures, and by including audience &lsquo;disturbances&rsquo; within the work, Seasonal creates a compelling environment that wraps audiences in luscious, yet ominous atmospheres beyond sight and hearing. By amplifying and shining light upon a myriad of mysterious lives lived in blackness, the work presents a sensuous, deep engagement with nocturnal seasonal forms: whilst hinting at a far less comforting background increasingly framed by anthropogenic climate change.</p>
<p><strong>SHOWINGS:</strong><br />1: Solo exhibition, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Over Many Horizons</a>, UTS Art Gallery, Ultimo, Sydney, (An official event of <a href="http://www.scienceweek.net.au/over-many-horizons/?search-location-code=2000&amp;search-location-lat=-33.867139&amp;search-location-lng=151.207114&amp;search-location-name=SYDNEY+METRO&amp;search-location-type=P&amp;search-location=SYDNEY+METRO+2000+NSW&amp;search-date-start=Today&amp;search-date-end=All+dates&amp;text=armstrong&amp;audience=All+ages&amp;search-topic=&amp;search-events-count=1&amp;search-online-count=0" target="_blank">National Science Week</a>), Aug 3rd- Sept 28th 2016, Mon-Fri 12-6pm, Sat. 12-4pm. (Opening 6-8pm, August 2nd, 2016)<br />2:&nbsp; Solo exhibition, <a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1223" target="_blank">The Mesh, Stegmann Gallery</a>, Sasol Library, UFS, Bloemfontein, South Africa, Jul 17th- Aug 11th, 2017, (An official event of Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba), (Opening 8pm, July 17th, 2017)</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Lawrence English (Co-Director), Luke Lickfold (MaxMSP Design)</p>
<p><strong>PARTNERS:</strong><br /> <a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">UTS Gallery,</a> Curated by Tania Creighton and Eleanor Zeichner, <a href="http://staff.qut.edu.au/staff/armstron/" target="_blank">QUT Creative Industries</a>, <a href="http://www.scienceweek.net.au/over-many-horizons/" target="_blank">National Science Week 2016</a>, <a href="https://sydneyscience.com.au/event/over-many-horizons/" target="_blank">Sydney Science Week 2016</a>, <a href="https://sydneydesign.com.au/event/over-many-horizons/" target="_blank">Sydney Design 2016</a>, <a href="http://www.uts.edu.au/research-and-teaching/our-research/institute-sustainable-futures" target="_blank">UTS Institute for Sustainable Futures</a>, Programme for Innovation in Artform Development (PIAD), <a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, Angela De Jesus, <a href="http://www.museumsonline.co.za/view.asp?pg=museums&amp;pgopt=item&amp;ItemID=7" target="_blank">Johannes Stegmann Art Gallery</a>, University of the Free State, South Africa, The <a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation.</a></p>
<p>This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by a part time senior research role at QUT Creative Industries.</p>
<p><strong>MORE DETAILS:</strong><br />Seasonal was part of a long term research project with outcomes produced both in Australia and internationally, which aimed to create media works that could draw attention to that which we will lose when biodiverse worlds disappear &ndash; what biologist Robert M. Pyle called the &lsquo;extinction of human experience&rsquo;. The works were also informed by the deep scientific and practical understandings of landscape-wide seasonal change by collaborator Dr. Peggy Eby, our collaborating Behavioural Ecologist who has longstanding expertise in the nectar and pollen of flowering native eucalypts favoured by Australian flying foxes.</p>
<p>By tapping into the deeply interlocking seasonal cycles of environments that are themselves intimately linked with social, geographical &amp; political concerns, participating audiences become challenged to see the night, their locality &amp; ecologies in new ways, extending their personal limits of perception, imagery &amp; comprehension.</p>
<p>Seasonal seeks to embody both the risks of seasonal disturbance and the need to empower local &lsquo;change agents&rsquo; to develop sustainable lifestyles that work with and for the future. Seasonal is therefore both an experiential artwork designed for galleries and festivals and a framing device for &lsquo;Re-Futuring practices.</p>',
			'extra_links' => '<p>Exhibited 2017, Johannes Stegmann Gallery,&nbsp;<a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1223" target="_blank">Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba</a>,&nbsp;South Africa,&nbsp;18 July-20 Aug.<br />The Mesh, Vrystaat Festival, <a href="/resource_files/TheMeshFestivalCatalogueExtracts.pdf" target="_blank">main program entry</a>, South Africa, 2017<br />The Mesh <a href="/resource_files/The%20Mesh%20Catalogue.pdf" target="_blank">Catalogue</a>, Vrystaat Festival, South Africa, 2017<br />The Mesh <a href="/resource_files/the%20mesh%20poster_sm.pdf" target="_blank">Poster</a>, Vrystaat Festival, South Africa, 2017<br />UTS Gallery, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Exhibition Link</a><a href="/resource_files/OMH_Catalogue_final.pdf" target="_blank"><br />Exhibition Catalogue</a>, with essay<br /><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Review in Realtime&nbsp; 134</a><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"><br /></a><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"><br /></a></p>',
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			'feature_sub_title' => 'Coexistence, A Design Opportunity',
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			'title' => 'Uncanny_Intimacy',
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			'content' => '<p><strong>ABOUT:</strong> <em><br />"Coexistence seems to me to be an excellent design opportunity"</em>. Tom Rivard, 2011</p>
<p>Uncanny Intimacy charts an artists&rsquo; journeys towards ecological understanding. Use the mysterious inorganic &lsquo;telescope&rsquo;, to peer deep within a contemporary 'cabinet of {research} curiosities&rsquo;, witnessing diverse moments of insight and inspiration animated by the darkly compelling worlds of Australia&rsquo;s iconic flying foxes.</p>
<p>Uncanny Intimacy calls us to imagine a radical rethinking of ecological ethics.&nbsp; By understanding existence as innately coexistence, we are asked to contemplate how ecologies might be better understood, better conserved and made flourish.&nbsp;&nbsp;</p>
<p>Uncanny Intimacy presents a hybrid 'cabinet' of research 'curiosities', viewed through a mysterious form of in/organic 'telescope'. Peer inside, look around, and you'll witness compelling moments of insight and inspiration, collected from the heartfelt research and research journeys which framed my prior artworks.</p>
<p>Uncanny Intimacy pursues a curious retro-tech for our age of &lsquo;dark ecologies&rsquo;: dark places indeed, yet still laced with empowering lights: allowing audiences to travel through sci/art/design journeys - designed to engender a radical empathy for nature's unloved others. Collectively this work (about works) calls for a radical rethinking of ecological ethics, asking what needs to be better understood, re-connected, made intimate, made us, conserved and made flourish; both through imperative and a burning desire for coexistence?</p>
<p><strong>SHOWINGS:</strong> <br />In "Future Nature', Object Gallery, Australian Design Centre, 101-115 William Street, Darlinghurst, Sydney, Australia, 28th August 28th - 16 October 2015. Launch 6pm, Aug 27th, 2015.</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Luke Lickfold (Sound Composition/MaxMSP Design), Lucy Humphrey Architects (Presentation Environment Design), Tom Rivard (Curator). Thanks also to prior collaborators, and inspiration drawn from Stu Lawson's visual designs. Flying fox moving image by Carl Warner. Sound track voices, gathered at the <a href="http://www.earthlaws.org.au" target="_blank">Australian Earth Laws</a> Alliance leadership event Earth Futures (26th Sept 2014, RIversdale, Bundanon Trust, NSW) as part of <a href="https://bundanon.com.au/research-and-projects/siteworksXXX/siteworksprojects2014/" target="_blank">Siteworks 2014</a>, includes Tom Rivard, Brenda Croft, Jules Livingstone, Tess De Quincey, Janet Lawrence, Peggy Eby and Michelle Maloney. Video documentation Denis Beaubois.</p>
<p><strong>PARTNERS:</strong><br />The Australian Museum (Sandy Ingelby, Anja Divljan &amp; Dave Britton),&nbsp;The Australian Design Centre (Rhadi Bryant) and Lean Productions (Tom Rivard). Keith Armstrong is supported by a part time research role at QUT Creative Industries.</p>
<p><strong>DETAILED DESCRIPTION:</strong><em><br />&ldquo;.. this existence that is always coexistence. &nbsp;It's like finding out that the home you've been living in for decades is actually a hotel, and you are just a guest, and there are strangers coming in and out of the lobby&rdquo;</em>.&nbsp; Morton, Timothy</p>
<p>Uncanny Intimacy presents a hybrid 'cabinet of curiosities', formed from both illuminated objects and uncanny forms that appear within an organic 'telescope'. Peer inside, look around, and you'll be treated to dark layers of moving image, objects and sounds, that strangely emerge, circulate, fade and combine, allowing you to unravel heartfelt journeys into the art and science of ecologies.</p>
<p>What you will witness on the inside are brightest moments of insight and inspiration: collected from my research and research processes. Uncanny Intimacies' curious wooden 'telescope' mediates this vision through a retro-tech combination of modern, obsolete, reused and high tech elements - ironically suited to today's age of &lsquo;dark ecologies&rsquo;. By re-thinking dark places in an empowering light, audiences can travel themselves through a travelogue of science/art/design journeys designed to engender radical empathy for nature's unloved others.</p>
<p>Most curiously of all, you'll note in there an abiding obsession with the dark worlds of Australia&rsquo;s iconic flying foxes - our magnificent megabats and their micro bat cousins. The work celebrates soaring alongside these fine creatures - guided by generous teams of scientists and native wildlife rehabilitators who daily study, care and howl for their deaths by a thousand cuts. And yes, we are guilty of mistreating Australia's only flight capable mammals! Uncanny Intimacy's&nbsp; miniaturised and strangely manipulated images therefore suggest our extreme shortness of vision:&nbsp;whilst concurrently celebrating the artists and scientists that choose to go differently - into &lsquo;bat&rsquo; for the Chiropteran &lsquo;hand-wings&rsquo;.</p>
<p>We coexist more easily when it does not offend our limited sensory capacities. But the moment something strange enters our spectra of sight, hearing, smell or taste we start protesting. We are a speciesist nation at heart, forever uncomfortable with uninvited itinerants who move into our delineated patches of dirt. We fly at that which normally lives its lives wrapped in darkness, just outside of our view but within hearing and smell. We become unable to mourn our poor judgments, hastening deaths of the then disregarded. Flying foxes are thus particularly unloved for their tendency for communal conversation, musky attractants and a taste for arboreal foods in our replacement landscapes.</p>
<p>Uncanny Intimacies delaminates a journey of my circling around such questionings. Without suggesting solutions or turning points, the work presents as a revolving travelogue that speaks, gently, to the creative processes behind, beneath and beyond, presenting a loosely choreographed range of artefacts and references generated during the course of the investigations - contrasted with corresponding narratives and illustrating sources. &nbsp;These moments in motion are picked from along a temporal trajectory of the entire project, and sit neither as refined nor complete outcomes.&nbsp;They are but snapshots augmented and interspersed with materials (specimens, microscopy, archival drawings, etc.) from the Australian Museum.</p>
<p>Collectively this work (about works) calls for a radical rethinking of ecological ethics, asking what needs to be better understood, re-connected, made intimate, made us, conserved and made flourish; both through imperative and a burning desire for coexistence?</p>
<p><strong>LINEAGE:</strong> <br />Uncanny Intimacies' unique multiscreen 'viewing scope' allows you to perceive multiple layers of semi holographic image, emerging via your exploration - a strangely eccentric design that has evolved through many previous experiments into presentation forms (eg. <a href="/homeartworks/the-remnant">The Remnant</a>, <a href="/homeartworks/light-of-extinction">Light of Extinction</a>, <a href="/homeartworks/night-rage">Night Rage</a>, <a href="/homeartworks/finitude">Finitude</a>).</p>',
			'extra_links' => '<p><a href="/resource_files/FN%20Card_combo_sm.pdf" target="_blank">Exhibition Postcard<br /></a><a href="/resource_files/Future%20Nature%20invite.pdf" target="_blank">Exhibition Opening Invite<br /></a><a href="/resource_files/Future%20Nature_Set%20A%20Revision_27.07.15.pdf" target="_blank">Set Design by Lucy Humphrey </a>(pdf)<br /><a href="https://soundcloud.com/keith-armstrong/uncanny-intimacies" target="_blank">Installation Soundtrack by Luke Lickfold</a></p>',
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			'feature_sub_title' => 'charting courses through seasons of change, animality and imagination',
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			'date' => '2014-07-29',
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			'slug' => 'black-nectar',
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			'title' => 'Black Nectar',
			'page_title' => 'Black Nectar',
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			'content' => '<p>Black Nectar is a site-specific light &amp; sound installation, that asks audiences to take slow, sensory walks through the inky-blackness of Bundanon&rsquo;s forests at night, charting personal courses through seasons of change, animality and imagination &ndash; far beyond the blinding lights and howling tones of our contemporary existence.</p>
<p>Gathering during a time Europeans once named as &lsquo;spring&rsquo; audiences will leave the comfy lights and sounds of Bundanon&rsquo;s homestead area, to take powerful, personal, silent journeys into the long darks of night, heading ultimately towards the place of &lsquo;Black Nectar&rsquo;.</p>
<p>This most unusual of walks begins with impending darkness, and yet ultimately ends with the faintest, sweetest of glimmers &ndash; an en-lightening, re-sounding of our seasonal futures?<strong></strong></p>
<p><strong>WHERE:</strong><a href="http://www.bundanon.com.au/content/siteworks-2014-artworks" target="_blank"> Siteworks Festival 2014</a>, Sept 27-28th, Bundanon, NSW, Australia. Start at the bottom of the Amphitheatre track, on the edge of the forest.<br /><strong>WHEN:&nbsp;</strong> 7.00pm &ndash; 10.00pm<br />Follow up walk on&nbsp; Sunday morning, Sept 28th, 8.30am (as part of the &lsquo;Bio-blitz&rsquo; day), led by project collaborator Dr. Peggy Eby (flying fox specialist) &ndash;&nbsp; Peggy will lead us in retracing steps of the night before - and take interested audiences on a scientific journey through the same landscapes, with new eyes and understandings.</p>
<p><strong>IMPORTANT DETAILS:</strong> <br />Bring warm clothes and covered shoes suitable for walking on uneven ground. Please note that you will need to feel reasonably steady on your feet, as it will be darker than normal. However you will not be rushed, safety is our concern, and so we welcome one and all!<strong></strong> We will provide instruction to you before you set out, and red safety lights with which to navigate the track.</p>
<p>We do ask you to leave your bright torches either securely with us at the entrance to the walk or in your pockets, as bright flashes would ruin the experience for others .. and also in this case please leave your chatter at the bottom of the track - the 10-minute walk each way is made in silence &ndash; realities and basic needs of parents and others excepted.</p>
<p>We look forward to seeing you at Bundanon!</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Lawrence English (Co-Director), Luke Lickfold (MaxMSP Design), Dr. Peggy Eby, Consulting Behavioural Ecologist (UNSW/freelance), Heidi Millington (Consulting Ecologist/Artist)</p>
<p><strong>FURTHER BACKGROUND:</strong> <br />This new work is structurally grounded by a&nbsp;significant body of biological&nbsp;survey work undertaken over the past decades by behavioural ecologist Dr. Peggy Eby and her&nbsp;collaborators. Peggy&rsquo;s work seeks to understand the&nbsp;migration patterns of Grey&nbsp;Headed Flying Foxes as they move across Australia&rsquo;s eastern states, following the&nbsp;changing flowering patterns of their favoured native eucalypts, performing their critical task as one of our most significant long range tree pollinators. If we lose these nomadic Flying foxes, as is rapidly happening today, then so too goes much of our native hardwood forests across three states. Peggy has surveyed the site at Bundanon and identified it as a particularly attractive Flying fox feeding ground.</p>
<p>As with all ecological survey&nbsp;work,&nbsp;Peggy&rsquo;s work is at heart a profoundly complex study of interconnecting&nbsp;systems of animal, environment and&nbsp;culture. Black Nectar both continues a long art science dialogue with Peggy and other Flying Fox specialists originating in 2010 with the Remnant Artlab Bat-Human project, and builds strongly on our recent art science works <a href="/homeartworks/night-fall">Night Rage</a> for <a href="http://www.isea2013.org/events/synapse/" target="_blank">ISEA 2013 'Synapse-A Selection'</a>, Night Fall for the Queensland Museum and <a href="/homeartworks/light-of-extinction">Light of Extinction</a> for the National Museum of China.</p>
<p><strong>PARTNERS:</strong><br /><a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://www.arts.qld.gov.au" target="_blank">Arts Queensland,</a> <a href="http://staffprofiles.ci.qut.edu.au/">QUT Creative Industries</a> and <a href="https://www.bundanon.com.au/content/siteworks-2014" target="_blank">Bundanon Trust</a>. This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body and QUT Creative Industries. Keith Armstrong is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts.<br /><br /></p>',
			'extra_links' => '<p>Read <a href="http://www.realtimearts.net/article/issue124/11776" target="_blank">Review in Real time 24</a><br />Bundanon <a href="https://bundanon.com.au/timeline/siteworks/2014/" target="_blank">documentation</a><a href="/resource_files/siteworksprogs.pdf" target="_blank"><br />Siteworks 2014 Catalogues</a> (7 pages, pdf 7MB)<br />Peggy Eby, Collaborator and Flying Fox Specialist <a href="https://vimeo.com/109791780" target="_blank">Associated Tour Video<br /></a>Related <a href="/writingtheory/book-chapters/enabling-and-situating-artsscience-collaboration-and-collective-learning">book chapter</a> and <a href="/writingtheory/essays/improving-transdisciplinary-arts-science-partnerships">blog post</a></p>',
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			'content' => '<p><strong></strong>Long Time, No See? was a collaborative, online artwork designed to encourage particpants to walk in their local community or favoured places - on a journey of personal rediscovery - whilst also thinking about the forces that are shaping the future of those places and the world. The project was therefore a creatiuve approach to focussing Australian and global audiences upon what our long-term futures might be and asking how they might want to become involved in actively reshaping them. The project therefore sought to link the local and the everyday with the global and the distant future, generatively mapping the ever-changing relationships between each project participants' ideas and visions. The original version used a cutom phone App and onliner site to collect, collate and visualise all the responses. Whilst these resources no longer remain, a paper/based version of the experience can still be downloaded and run for groups - See the 4 links to the right.</p>
<p>The raw content for the artwork was created by members of the general public undertaking walks in their local communities, assisted by a custom Smartphone App that choreographed and recorded their creative processes and physical journeys. The online artwork then presented this content relationally along with other generative media and sound. In all of these ways the project engaged new audiences and participants to collaboratively 'design' pathways towards feasible and 'sustain-able' long term futures within their own favoured spaces. Participants in locations across Australia and the world each got the chance to share their visions of long futures, and be enabled to collaborate, imagine, reflect, learn and act for change through optional local workshop processes. See the project information pack we produced <a href="/resource_files/LTNS_Info.pdf" target="_blank">here</a>. The project was made available online with related APP and for two years at the <a href="http://www.thecube.qut.edu.au" target="_blank">Cube</a> Visualisation Centre in Brisbane Australia.</p>
<p><strong>PROJECT HISTORIC WEBSITES:</strong><a href="http://www.long-time-no-see.org" target="_blank"><br /></a>http://www.long-time-no-see.org <a href="http://www.thecube.qut.edu.au/project/long-time-no-see" target="_blank"><br /></a>http://www.thecube.qut.edu.au/project/long-time-no-see<a href="http://www.thecube.qut.edu.au/project/long-time-no-see" target="_blank"><br /></a>Downloadable APP<br /><a href="https://itunes.apple.com/au/app/long-time-no-see/id654701603?mt=8" target="_blank">https://www.facebook.com/groups/longtimenoseepilot</a><strong></strong></p>
<p><strong>WORKSHOP/SHOWINGS:<br />1: The Cube, Large-scale visualiation Centre,</strong> Science and Engineering Centre, Gardens Point campus, 2 George St, Brisbane, Australia.<strong><br />2: </strong>Victoria University&rsquo;s Centre of Cultural Diversity and Wellbeing, Social Technologies Lab, Footscray. Nicholson Campus Melbourne, 27 September, 2013.<strong><br />3: </strong>SCAPE Public Art Biennial Walk, Christchurtch New Zealand, conducted by Linda Carroli, 1st Oct 2013.<strong><br />4: </strong>'<a href="http://www.ada.net.nz/symposia/symposium2013/long-time-no-see/" target="_blank">Mesh Cities</a>', Keynote and Walk-shop, Aotearoa Digital Arts Network, Dunedin, New Zealand<strong></strong>, Sept 13-15th 2013.<br /><strong>5:</strong> <a href="http://www.isea2013.org/">ISEA 2013&nbsp;(Resistance is Futile)</a>, June 15&ndash;30th 2013 at ICE (Information and Cultural Exchange), Parramatta, Sydney,&nbsp;curated and produced by Carli Leimbach in association with ICE, ANAT, the Australia Council, QUT and ISEA International. Jonathan Parsons is Artistic Director of ISEA2013.<br />Opening at Riverside Theatre, Parramatta,&nbsp; Fri. 14th June, 5.30pm.<br />Artist talk on June 9th at the Museum of Contemporary Art, Sydney for VIVID 2013.<br /><strong>6:</strong> Online at www.long-time-no-see.org (no longer active).<br /><strong>7:</strong> Pre-launch at Balance-Unbalance Conference 2013, 1st June 2013.<br /><strong>8</strong>: Various workshops for QUT Staff/Students, 2013-15.<br /><strong>9</strong>: Noosa Biosphere, at Central Qld University, Sunday 25th May, 10am-4pm.<br /><strong>10:</strong> QUT LIbrary Staff, 100 Things Workshop, QUT Gardens Point, 2014.<br /><strong>11:</strong> Project presentation at <a href="https://balanceunbalance2015.sched.com/event/44f5a703f32c43c87b7f79c9a3582703?iframe=no&amp;w=i%3A100%3B&amp;sidebar=yes&amp;bg=no&amp;fbclid=IwAR1nwvHy655QABfNOpRbkdKK4BK8i08znt5-w5i7DiX7lOCszl1aVSUTZaI#.VRuV8lwwe1M" target="_blank">Balance-Unbalance Conference 2015</a>, Phoenix, Arizona State University, USA.</p>
<p><strong>TEAM: </strong>Keith Armstrong: Creative director<a href="http://harbingerconsultants.wordpress.com" target="_blank"> Linda Carroli</a>: Community engagement, writer and urban practitioner, <a href="http://www.kuuki.com.au/" target="_blank">Gavin Sade</a>: Interaction designer<a href="http://www.robert-henderson.net" target="_blank">, Robert Henderson</a>: Lead designer<a href="http://www.australysis.com/" target="_blank">, Roger Dean</a>: Generative sound artist, Petros Nyfantis: Software developer and Johnson Page (Front end development) and APP version Two developers Zac Fitzwalter and <a href="http://eatmorepixels.com.au" target="_blank">Eat More Pixels</a>. Thanks also to Tony Fry: Originating project mentor (2012)<strong>.</strong></p>
<p><strong>PARTNERS: </strong><a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council<strong> </strong>For The Arts</a><strong>, </strong>QUT Creative Industries, QUT Interaction and Visual Design, QUT Precincts/The Cube,<a href="http://www.thecube.qut.edu.au/project/long-time-no-see" target="_blank"> ISEA 2013</a>,&nbsp;<strong></strong><a href="http://www.embodiedmedia.com/#/page/what-is-embodied-media" target="_blank">Embodiedmedia</a>,&nbsp;ICE (Paramatta), <a href="http://harbingerconsultants.wordpress.com" target="_blank">Harbinger Consultants </a>and many others. Long Time No See? Is presented by The Cube, ISEA2013 and proudly supported by ICE.<strong> </strong>The <em>Long Time No See? </em>project was awarded a Broadband Arts Initiative grant by the Australia Council for the Arts in 2012. It has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body in collaboration with QUT Creative Industries.<strong></strong></p>
<p><strong>MORE:</strong> Long Time No See? (LTNS)&nbsp;is a speculative hybrid of art and design thinking and practice that urges participants to prepare for and instigate personal and collective journeys of 'futuring'. &nbsp;By first revealing how human designing has implicitly structured and designated much of what the future can now offer participants are asked to picture the future not as a void awaiting input, but rather as an perfect storm: full of much of the detritus of historical decision. This challenges them to think of themselves as pathfinders rather than pioneers, thereby setting their personal compasses in new ways that allow them to walk &lsquo;care&rsquo;-fully with the project; guided by an artists&rsquo; field book and a data gathering App. By challenging them to undertake a physical walk that also involves thinking, imagining and recording, LTNS? actively clears space for contemplation and potential futural actions. Participants then bring their considered contributions into a dialogue with others, aided by an online, relational visualisation. Returned walkers are able to map, connect, explore and discuss futuring in the work&rsquo;s supportive environment. &nbsp;Seen collectively, LTNS? emerges as a complex hybrid of participative process, contribution, visualisation and community discussion: an invitation to un-design that which is routinely presented to us as given.</p>',
			'extra_links' => '<p><a href="/resource_files/prospectus_booklet-1.pdf" target="_blank">Review/Essay in Earth Art, October 2014</a><a href="/resource_files/LTNS%20for%20ISEA079.pdf" target="_blank"><br /></a><a href="http://w.realtimearts.net/feature/search/11202" target="_blank">LTNS Review in Realtime, June 2013</a><a href="http://www.long-time-no-see.org" target="_blank"><br /></a><a href="https://www.facebook.com/groups/longtimenoseepilot">LTNS Facebook group</a><a href="http://www.long-time-no-see.org" target="_blank"><br /></a><a href="/resource_files/prospectus_booklet-1.pdf" target="_blank">Project Prospectus</a><a href="/resource_files/flyer_v1-1.pdf" target="_blank"><br />LTNS opening invite </a><a href="/resource_files/LTNS_Info.pdf" target="_blank"><br />LTNS Information pack</a><a href="http://www.isea2013.org/events/long-time-no-see/" target="_blank"><br />LTNS presented at ISEA 2013<br /></a><a href="/resource_files/LTNS%20for%20ISEA079.pdf" target="_blank">Promotion for ISEA 2013 in RealTime Journal</a><br /><a href="/resource_files/LTNS_NZ_slides.pdf" target="_blank">LTNS overview presentation slides</a></p>
<p><strong>Print Versions - allowing you to run a paper-based version of this project at any site<br /> </strong>(Please ignore references to the APP/online outcomes - these are no longer accessible due software version changes)</p>
<p><a href="/resource_files/compass_web_spreads.pdf" target="_blank">Long Time No See? 'Setting your compass' book, for on screen viewing</a><br /><a href="/resource_files/compass_book_print.pdf" target="_blank">Long Time No See? 'Setting your compass' book, for (paginated) printing to A4 paper</a><br /><a href="/resource_files/field_book_web_spreads.pdf" target="_blank">Long Time No See? 'Walkers field book', for on screen viewing</a><br /><a href="/resource_files/field_book_bookletprint.pdf" target="_blank">Long Time No See? 'Walkers fieldbook', for (paginated) printing to A4 paper</a><br /><a href="https://www.facebook.com/groups/longtimenoseepilot" target="_blank"><br /></a><strong>(Other original links: no longer accessible)</strong><br />LTNS Main Web Site <a href="/resource_files/MCA_pres.pdf" target="_blank"><br /></a>Download the IOS APP (no longer accessible)<br />LTNS Live at 'The Cube' Visualiation Centre, Brisbane (no longer accessible)<a href="https://itunes.apple.com/au/app/long-time-no-see/id654701603?mt=8" target="_blank"><br /></a>LTNS Participation Process Blog<a href="http://community.long-time-no-see.org/?p=400" target="_blank"><br /></a>Flyer for MCA Sydney/ VIVID Festival Talk<a href="http://www.long-time-no-see.org" target="_blank"><br /></a><a href="https://itunes.apple.com/au/app/long-time-no-see/id654701603?mt=8" target="_blank"><br /></a><a href="/resource_files/MCA_pres.pdf" target="_blank"><br /></a><br /><br /></p>',
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			'feature_sub_title' => 'an era of permanent darkness',
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			'title' => 'Light of Extinction',
			'page_title' => 'Light of Extinction',
			'sub_title' => '',
			'brief' => null,
			'content' => '<p>Presented for <a href="http://mediartchina.org/exhibitions/ensemble&ndash;parliament-of-things/light-of-extinction-au" target="_blank">thingworld: International Triennial of New Media Art</a>, National Museum of China ', Light of Extinction presents a diverse series of views into the complex antics of a semi-autonomous gaggle of robotic actants. Audiences initially enter into the 'backend' of the experience to be rudely confronted with the raw, messy operations of a horde of object-manipulating forms. Seen through viewing apertures these &lsquo;things&rsquo; deny any opportunity to grasp their imagined order. Audiences then flow on into the 'front end' of the work where now, seen through another aperture, the very same forms seemingly coordinate a stunning deep-field choreography, floating lusciously within inky landscapes of media, noise and embodied sound.</p>
<p>As one series of conceptions slip into extinction, so others flow on in. The idea of the 'extinction of human experience' expresses a projected fear for that which will disappear when biodiverse worlds have descended into an era of permanent darkness. &lsquo;Light Of Extinction' re-positions this anthropomorphic lament in order to suggest a more rounded acknowledgement of what might still remain - suggesting the previously unacknowledged power and place of autonomous, synthetic creation. Momentary disbelief gives way to a relieving celebration of the imagined birth of &lsquo;things&rsquo; &ndash; without need for staples such as conventional light or the harmonious lullabies of long-extinguished sounds. &nbsp;</p>
<p><strong>SHOWINGS:</strong> <br />V01: | Light of Extinction, thingworld: International Triennial of New Media Art, National Art Museum of China, June 11th - July 9th, 2014.</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Lawrence English (Co-Director), Michael Candy (Robotics/Rapid Prototyping Designer), Luke Lickfold (MaxMSP Design) and <a href="http://reprage.com/post/light-of-extinction/" target="_blank">Clinton Freeman</a> (Software Design)</p>
<p><strong>PARTNERS:</strong><br />&nbsp;<a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://www.arts.qld.gov.au/&lrm;" target="_blank">Arts Queensland</a>,<a href="http://staffprofiles.ci.qut.edu.au/"> QUT Creative Industries</a>, <a href="http://www.maap.org.au" target="_blank">MAAP</a>. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts&rsquo; and QUT Creative Industries.</p>
<p>MORE:<br />This work built off <a href="/homeartworks/night-fall">Night Rage</a> for <a href="http://www.isea2013.org/events/synapse/" target="_blank">ISEA 2013 'Synapse-A Selection'</a> and Night Fall for the Queensland Museum.</p>',
			'extra_links' => '<p><a href="/resource_files/thingworld_cat_combo_sm.pdf" target="_blank">Light of Extinction in Thingworld Catalogue&nbsp;</a> (8.4MB)<br /><a href="/resource_files/thingworld_Evite.jpg" target="_blank">Exhibition Invite</a><a href="/resource_files/Artlink%20LOI%20Review073.pdf" target="_blank"><br />Review in Artlink Magazine,Volume 34, No.3, 2014</a><a href="http://mediartchina.org/exhibitions/ensemble&ndash;parliament-of-things/light-of-extinction-au" target="_blank"><br />Official Website, thingworld: International Triennial of New Media Art</a><a href="/resource_files/Light_Of_Extinction_160414.pdf" target="_blank"><br />Light of Extinction Tech Spec, April 2014</a><a href="http://reprage.com/post/light-of-extinction/" target="_blank"><br />Light Of Extinction Open Source Coding Pages</a> by Clinton Freeman<a href="http://reprage.com/post/light-of-extinction/" target="_blank"><br /></a></p>',
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			'title' => 'Finitude',
			'page_title' => 'Finitude 2011 (v1), 2012 (v2 & 3)',
			'sub_title' => '',
			'brief' => '',
			'content' => '<p>An interactive installation with embodied interface, digital projection, multi-touch sensitive screen surfaces, interactive 3D gaming software, motorised dioramas, 4 channel spatial sound &amp; new furniture forms - investigating the cultural dimensions of sustainability through the lens of 'time'.</p>
<p><strong>SHOWINGS:</strong><br />V3: Solo Showing,&nbsp;Screen Space Gallery, Ground Floor, 30 Guildford Lane, Melbourne VIC 3000 Australia Oct 4 - 27, 2013. (open 12-6pm Thursday &ndash; Saturday). Essay by Paul Carter. <a href="/resource_files/Finitude%20Catalogue%202013.pdf" target="_blank">View Catalogue</a>.<br />V3:&nbsp; "<a href="http://www.enad.tsinghua.edu.cn/art_science/index.htm" target="_blank">Information, Ecology &amp; Wisdom</a>', <strong>3rd Art and Science International Exhibition and Symposium, National Science Museum, Beijing, China,</strong> November 2012.&nbsp;<br />V2:&nbsp;Gallery Artisan, 381 Brunswick St, Fortitude Valley, Brisbane, Australia.&nbsp;12th April - June 9th 2012.&nbsp;&nbsp;Curated by&nbsp;Kirsten Fitzpatrick.&nbsp;<br />V1: Mildura Palimpsest #8, 9-11th September, 2011,&nbsp;Room 22, Ka-rama Motel, Deakin Avenue,&nbsp;Mildura, VIC, Australia. Curated by&nbsp;Kristian Haggblom and Helen Vivian.</p>
<p><strong>TEAM:</strong>&nbsp;Keith Armstrong (Artistic director), Roger Dean (Composition), Stuart Lawson (3D Designer), Darren Pack (3D Programming) and consultants Dr. Tony Fry (Professor of Design Futures) Dr. Liz Baker (DPI, Australia).</p>
<p><strong>PARTNERS:&nbsp;</strong><a href="http://www.australiacouncil.gov.au/grants/assessment-reports/arts_organisations_major_performing_arts_and_key_organisations/pages/broadband-arts-initiative-may-2012">Australia Council For The Arts</a>, <a href="http://staffprofiles.ci.qut.edu.au/">QUT Creative Industries</a>,&nbsp;<a href="http://www.arts.qld.gov.au/">Arts Queensland</a>,&nbsp;<a href="http://www.milduraartscentre.com.au" target="_blank">Mildura Arts Centre</a>, <a href="http://www.artsmildura.com.au/palimpsest/" target="_blank">Mildura Palimpsest 2011</a>, James Cook University,&nbsp;<a href="http://www.maap.org.au/maap-media-bank/" target="_blank">MAAP Media Bank</a>, and <a href="http://www.artisan.org.au" target="_blank">Artisan</a>, The 3rd Art and Science International Exhibition, Beijing, and Symposium, Tsinghua University, Beijing.</p>
<p><strong>MORE:</strong> &nbsp;&nbsp;&ldquo;<em>Time is change, time is finitude. Humans are a finite species. Every decision we make today brings that end closer, or alternatively pushes it further away. Nothing can be neutral</em>&rdquo;.&nbsp;Tony Fry</p>
<p>Finitude (Mallee:Time) is a major new media/sculptural hybrid work premiered in 2011 in version 1 at the Ka-rama Motel for the Mildura Palimpsest #8 ('Collaborators and Saboteurs').&nbsp; Version 2 was shown at Gallery Artisan, Brisbane in May-June 2012. Each participant/viewer lies comfortably on their back. Directly above them is a semi-transparent Perspex screen that displays projected 3D imagery and is simultaneously sensitive to the lightest of finger touches. Depending upon the ever changing qualities of the projected image on this screen the participant can see through its surface to a series of physical dioramas suspended above, lit by subtle LED spotlighting. This diorama consists of a slowly rotating series of physical environments, which also include several animatronic components, allowing the realtime composition of whimsical &lsquo;landscapes&rsquo; of both 'real' and 'virtual' media.&nbsp;</p>
<p>Through subtle, non-didactic touch-sensitive interactivity the participant then has influence over both the 3D graphic imagery, the physical movements of the diorama and the 4 channel immersive soundscape, creating an uncanny blend of physical and virtual media.&nbsp; Five speakers positioned around the room deliver a rich interactive soundscape that responds both audibly and physically to interactions.</p>
<p><strong>VERSION 1, CONTEXT/THEORY:</strong>&nbsp;Finitude (Mallee: Time) is Version 1 of a series of presentations during 2012-14. This version has been inspired through a series of recent visits and residencies in the SW Victoria Mallee country. Further drawing on recent writings by post colonial author Paul Carter, the work&nbsp;is envisaged as an evolving &lsquo;personal topography&rsquo; of place-discovery. By contrasting and melding readily available generalisations of the Mallee regions&rsquo; rational surfaces, climatic maps and ecological systems with what Carter calls &ldquo;a fine capillary system of interconnected words, places, memories and sensations&rdquo; generated through my own idiosyncratic research processes,&nbsp;Finitude (Mallee Time)&nbsp;invokes&nbsp;a&nbsp;&ldquo;dark writing&rdquo; of place through outside eyes - an approach that avoids concentration upon what 'everyone else knows', to instead imagine and develop a sense how things might be.&nbsp;</p>
<p>This basis in re-imagining and re-invention becomes the vehicle for the work&rsquo;s more fundamental intention - &nbsp;as a meditative re-imagination of 'time' (and region) as finite resources: Towards this end, every object, process and idea in the work is re-thought as having its own &lsquo;time component&rsquo; or &lsquo;residue&rsquo; that becomes deposited into our 'collective future'. Thought this way&nbsp;Finitude (Mallee Time)&nbsp;suggests the poverty of predominant images of time as &lsquo;mechanism&rsquo; to instead&nbsp;envisage time as a plastic cyclical medium that we can each choose to &lsquo;give to&rsquo; or &lsquo;take away from&rsquo; our future. Put another way - time has become finitude.<br /><br /></p>
<p><strong><br /></strong></p>',
			'extra_links' => '<p><a href="/resource_files/Finitude%20Catalogue%202013.pdf" target="_blank">Finitude Catalogue</a>, Screenspace, Melbourne 2013<br />Read Interview with Lisa Gye - 'Returning Time to the Future'<br /> <a href="/Resources/ReturningTimeToTheFutureScan.jpg" target="_blank">(Paper Version)</a> (<a href="http://www.realtimearts.net/article/109/10675" target="_blank">Online Version)</a> in Realtime Issue #109 Jun-Julv 2012 pg. 18.<br />Finitude (v2), Invite, Artisan Gallery, Brisbane. (<a href="/Resources/DL2-F-web.jpg" target="_blank">PDF</a>)<br />Finitude (v2), DL Printed Invite, Artisan Gallery, Brisbane. (<a href="/Resources/Artisan-DL-Jan2012-d2.pdf" target="_blank">PDF</a>)<br />Finitude (v2), Setup Diagram. (<a href="/Resources/finitude-v2.pdf" target="_blank">PDF</a>)<br />Palimpsest #8 Exhibition Program (<a href="/Resources/Palimpsest-8-Program.pdf" target="_blank">PDF</a>)<br />Palimpsest #8 Flyer (<a href="/Resources/MilduraPalimpsest8FLYER.pdf" target="_blank">PDF</a>)<br />Local Press Cutting (<a href="/Resources/SUNRAYSIA-DAILY-SAT-SEPT-10-2011.jpg" target="_blank">PDF</a>) (<a href="http://www.sunraysiadaily.com.au/news/local/news/general/room-has-view-art-on-display-at-karrama-motel/2287056.aspx?src=rss" target="_blank">Weblink</a>)<br />Setup, Technical Diagram (<a href="/Resources/Finitude-Tech-Diagram.pdf" target="_blank">PDF</a>)</p>',
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			'title' => 'Intimate Transactions',
			'page_title' => 'Intimate Transactions (2005-8)',
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			'content' => '<p>A&nbsp;Dual Site Interactive Installation With Projections, Sound &amp; Furniture.&nbsp;Intimate Transactions is a new form of telepresence-based interactive installation that allows two people in geographically separate spaces to interact simultaneously using only their bodies. Each participant used a physical interface called a &lsquo;Bodyshelf&rsquo; and wore a sound vibration transmission device around their necks called a &lsquo;haptic pendant&rsquo;.&nbsp; By gently moving their bodies on this &lsquo;smart furniture&rsquo;, they instigate &lsquo;intimate transactions&rsquo;, which influence an evolving &lsquo;world&rsquo; created from digital imagery, multichannel sound and tactile feedback. This shared experience allows each participant to gradually develop a form of sensory intimacy with the other, despite the fact that they are geographically separated and cannot physically see or hear each other.<br /><strong></strong></p>
<p><strong>SHOWINGS:<br />16: Intimate Transactions is now held in the permanent collection of&nbsp;<a href="http://www.zkm.de" target="_blank">ZKM</a>, Karlsruhe Germany.<br /></strong>15: Solo Exhibition. Albury Regional Gallery, NSW, Australia and Dubbo Regional Gallery, NSW, Australia, 18th Sept-18th Oct, 2009.<br />14: Solo Exhibition. Rockhampton Art Gallery, Queensland, Australia and Gympie Art Gallery,Queensland, Australia, 26th Feb-21st March, 2009.<br />13: Solo Exhibition. Mildura Arts Centre, Mildura, Victoria, Australia and Frankston Arts Centre, Victoria, Australia, 11 Oct-26Nov, 2008.<br />12: Group Showing (Site 1), 28 Aug-27 Sept 2008,&nbsp;<a href="http://www.eaf.asn.au/2008/armstrong.html" target="_blank">Experimental Art Foundation</a>&nbsp;, Adelaide, South Australia &amp; (Site 2), Wagga Wagga Regional Arts Gallery, NSW, Australia.<br />11: Group Exhibition (Site 1),&nbsp;<a href="http://www.mediartchina.org/?q=beyond/intimate" target="_blank">Media Art China</a>&nbsp;(An Olympics Cultural Festival Event), 10 June- 3 July, 2008. (Site 1) National Art Museum of China (NAMOC), No. 1 Wusi Street, Dongcheng District, Beijing, 100010, P.R. China &amp; (Site 2) The Imperial City Art Museum, Beijing. (+ Site 3 located at CalPoly University, California, USA for two hours per morning).<br />10: Solo Exhibition (Site 1), 15-22 July, 2006, Brisbane 2006 International Arts Festival, The Block, QUT CI Precinct, Brisbane, Australia &amp; Solo Exhibition (Site 2), On Edge Arts Festival, KickArts at COCA (Cairns Centre For Contemporary Art), Cairns, Australia.&nbsp;<br />9: Solo Exhibition (Site 1), 4-6 June, 2007, California Nanosystems Institute (CNSI), University of California Santa Barbara (UCSB), Santa Barbara, USA &amp; (Site 2), California Polytechnic State University, Architecture Complex, San Luis Obispo, California, USA.&nbsp;<br />8: Dual Exhibition Sites at California Polytechnic State University, University Open Days, 18-22 April, 2007, San Luis Obispo, California, USA.&nbsp;<br />7: Solo Exhibition (Site 1), 15-22 July, 2006, 2006 Brisbane International Arts Festival, The Block, QUT CI Precinct, Brisbane, Australia &amp; Solo Exhibition (Site 2), On Edge Arts Festival, COCA (Cairns Centre For Contemporary Art), Cairns, Australia.&nbsp;<br />6: Solo Exhibition (Site 1), 19-27 May, 2006, Artspace, Sydney, Australia &amp; Solo Exhibition (Site 2), The Performance Space, Sydney, Australia.&nbsp;<br />5: Solo Exhibition (Site 1), 12-23 November, 2005, The Institute For Contemporary Art (ICA), London, UK &amp; Solo Exhibition (Site 2), BIOS, (New Synthesis of Urban Culture), Athens, Greece.&nbsp;<br />4: Dual Exhibition Sites at Ars Electronica Festival, 1&ndash;19 September 2005, OK Centrum, CyberArts 2005 Exhibition, Linz, Austria. Curated by Genoveva Rueckert.&nbsp;<br />3: Solo Exhibition (Site 1), 25 April&ndash;1 May, 2005 The Australian Centre For the Moving Image (ACMI), Melbourne, Australia &amp; Transfigure/Body Exhibition (Site 2), The Block, QUT Creative Industries Precinct, Brisbane, Australia.<br />2: Dual Exhibition Sites at B.Tween Festival, Digital Knowledge Exchange, 17&ndash;18 February, 2005, High Melton, South Yorkshire, UK.<br />1: Dual Exhibition Sites at The National Review of Live Art/New Territories Festival, 9&ndash;11 February, 2005.<strong><br /><br />TEAM: </strong>Keith Armstrong (Artistic Director Transmute Collective), with&nbsp;The Transmute Collective: Lisa O'Neill (Performance), Guy Webster (Sound), COLLABORATING WITH Zeljko Markov (Furniture/Interface), Stuart Lawson (3D), Marcos Caceres &amp; Cameron Owen (Code), Ben Foley (Design), Pia Ednie-Brown &amp; Inger Mewburn (Haptic design). (Full Credit List <a href="/homeartworks/intimate-transactions/credits">Here</a>).</p>
<p><strong>PARTNERS:</strong><br />This project has been assisted by the Australian Government through the <a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council,</a> its arts funding and advisory body, and the Queensland Government through Arts Queensland. Intimate Transactions was developed with support from ACID and the Performance Space Headspace Residency Program, and was premiered at New Moves International, National Review of Live Arts, Glasgow, Scotland. Dr. Keith Armstrong was a QUT Postdoctoral Fellow (2003-2005) based in the Faculty of Creative Industries Research and Application Centre and an Australia Council New Media Arts Fellow (2005-2007). In 2008 MAAP toured Intimate Transactions to 'Media Art China' in Beijing. Museums and Galleries Queensland then toured the work throughout Australia in 2008-10.</p>
<p><strong>MORE:</strong> Intimate Transactions is a new form of telepresence-based interactive installation that allows two people in geographically separate spaces to interact simultaneously using only their bodies. Each participant used a physical interface called a &lsquo;Bodyshelf&rsquo; and wore a sound vibration transmission device around their necks called a &lsquo;haptic pendant&rsquo;.&nbsp; By gently moving their bodies on this &lsquo;smart furniture&rsquo;, they instigate &lsquo;intimate transactions&rsquo;, which influence an evolving &lsquo;world&rsquo; created from digital imagery, multichannel sound and tactile feedback. This shared experience allows each participant to gradually develop a form of sensory intimacy with the other, despite the fact that they are geographically separated and cannot physically see or hear each other.</p>
<p>Participants can choose to act in different ways as they begin to understand how their actions affects everything within the environment AND the other participant - thereby focusing them on better understanding influences and relationships within the work's interlinking ecologies.</p>
<p>Intimate Transactions has been recognised internationally for its excellence and innovation within the genre of new media art. It was awarded an Honorary Mention in the 2005 Prix Ars Electronica Competition and was shown in 2005 at the Ars Electronic Festival, Austria, at the Institute of Contemporary Arts, London, and BIOS, Athens, Greece amongst numerous others. It was selected to represent Australia at the Olympic Arts Festival in Beijing in 2008, and has now been presented at over 22 curated venues including the University of California, Santa Barbara as part of an American residency. Intimate Transcactions was developed over four years with the support of two major research and development grants.<br /><br /></p>',
			'extra_links' => '<p>Read interview with by Lisa Gye in Realtime, July 2012 - 'Returning Time<br /> to the Future' <a href="http://embodiedmedia.com/Resources/ReturningTimeToTheFutureScan.jpg" target="_blank">Paper Version&nbsp;</a> <a href="http://www.realtimearts.net/article/109/10675" target="_blank">Online Version</a><br />Read scholarly essay in Fibreculture journal 21, <a href="http://twentyone.fibreculturejournal.org/fcj-149-affect-and-care-in-intimate-transactions/" target="_blank">Affect and Care in Intimate Transactions</a> by Lone Bertelsen<br />Read critical essay by Tony Fry in <a href="/resource_files/TonyFry-IntimateTansactions.pdf" target="_blank">GeoProject</a> <br /><a href="http://www.artlink.com.au/articles.cfm?id=2136" target="_blank">Read Review</a> in Artlink Magazine<br /><a href="http://www.realtimearts.net/article/67/7885" target="_blank">Read Review</a> in Realtime Magazine<br />Tour Ready Documents (<a href="/Resources/IntTransTechSpec.pdf?phpMyAdmin=b6PkCEYZ%2CteP6XdDyTa6wOnF%2C61" target="_blank">Pdf</a>)<br />Detailed Credits (<a href="/page/credits?phpMyAdmin=b6PkCEYZ%2CteP6XdDyTa6wOnF%2C61">Here</a>)<br />DOWNLOAD the <a href="/resource_files/INTIMATE_TRANSACTIONS_BOOK.pdf" target="_blank">136pp colour book</a> and DVD<br />BUY&nbsp;the 136pp colour book and DVD&nbsp;<a href="/page/1207058481">'</a>&nbsp;<a href="/page/intimate-transactions-book">Intimate Transactions: Art, Exhibition and Interaction Within Distributed Networked Environments</a>&nbsp;<a href="/page/intimate-transactions-book">'</a>&nbsp;.&nbsp;</p>',
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			'title' => 'Translucent Kinship',
			'page_title' => 'Translucent Kinship (Forthcoming)',
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			'content' => '<p><strong>WHAT:</strong><br />A multichannel video installation using laser derived data to be presented for <a href="https://www.anat.org.au/spectra/">ANAT SPECTRA 2025: Reciprocity</a>&nbsp;. The second outcome of the forthcoming&nbsp;<a href="/homeartworks/forestartintelligence">Forest Art Intelligence Project (FAI)</a>&nbsp;(2024-6) which aims to return a currently cleared block of land back to high conservation-value forest at Samford Ecological Research Station (SERF), near Brisbane, Australia.&nbsp;</p>
<p><em>Concepts of &ldquo;thing&rdquo; and &ldquo;environment&rdquo; are inextricably connected. They belong together; they presuppose each other. Nothing exists in isolation. Nothing exists without a larger world to which it belongs.</em><br />Holdrege, C and McAlice, J, &lsquo;<a href="https://www.natureinstitute.org/in-context-51/are-plants-intelligent/craig-holdrege-jon-mcalice">Are plants intelligent, An initial exploration&rsquo;</a>, from&nbsp;In Context&nbsp;#5, Spring 2024.</p>
<p><strong>WHO:<br /></strong>The Australian Network of Art and Technology (ANAT) in partnership with the University of the Sunshine Coast (UniSC), will host <a href="https://www.anat.org.au/spectra/">ANAT SPECTRA 2025: Reciprocity</a> on Kabi Kabi Country, in the heart of the Sunshine Coast Biosphere Reserve.</p>
<p><strong>APPROACH:<br /></strong>Translucent Kinship is a video installation that draws upon Laser (LiDAR) based imagery of the <a href="/homeartworks/forestartintelligence">FAI</a> site, recorded over the past 2 years. The LiDAR scanning process registers myriads of light-reflecting surfaces across the entire site, abstracted into a massive cloud of data points. Whilst each point registers the temporal presence of an organic surface at a moment in time, when viewed together these millions of points imply an organism of unimaginable complexity. And when these points are animated and rendered - ghost-like and translucent - and framed through non-human perspectives (e.g. ultra closeup, far below, deep within, or through), collectively they begin to intimate the radically different ways of 'being together' in the world. The matting of other ghosted media deep within the point clouds, accompanied by a complex mix of found sounds gathered from the site, further informs a rich video artwork that speaks to differently intelligent, reciprocal, non-human communities of care and kinship.</p>
<p><strong>CONCEPT:<br /></strong><em>.. the question of intelligence in nature shifts away from applying a specific definition to different types of beings in the world to asking: What are different ways of being in the world and what do they reveal? The notion of intelligence can in this way become more nuanced and grow when we take different kinds of creatures on earth seriously in their specific ways of being...&nbsp;</em></p>
<p>Holdrege, C and McAlice, J, &lsquo;<a href="https://www.natureinstitute.org/in-context-51/are-plants-intelligent/craig-holdrege-jon-mcalice">Are plants intelligent, An initial exploration&rsquo;</a>, from&nbsp;In Context&nbsp;#5, Spring 2024.</p>
<p><strong></strong>Plants and environments thrive in profoundly reciprocal relationships - forming inseparable bonds dependent upon co-creative cycles of giving, receiving and exchange. However, their extraordinary 'collective intelligence' is quite unlike our own self-conscious human intelligence, and so we often fail to recognise or learn from them, preferring instead to privilege intelligences much more 'like us'. Translucent Kinship is the second artwork outcome from the <a href="/homeartworks/forestartintelligence">Forest Art Intelligence Project (FAI)</a>&nbsp;project, which aims to learn from the intelligent, creative reciprocities of plants in place.</p>
<p>By freeing an ancient 2Ha. forest site in Samford, Qld since 2023 from its longstanding colonial-era regime of clearing/slashing, by letting what emerges flourish, and by embedding &lsquo;art-intelligences&rsquo; into that re-emergent forest, the project reminds us that all ecosystems are complex, intelligent, reciprocating organisms. No plant living with/in that site therefore acts in isolation. Despite all originating from the same slashed area of pasture, each &lsquo;species&rsquo; has created quite different versions of themselves &ndash; through complex reciprocal<br />dances with air, water, soil, minerals, sunshine, insects, mycorrhizal networks and mammals. Hence whilst each plant does not have a pre-prescribed size, nor predetermined numbers of leaves or stems, no matter what their current size or stature &ndash; they all are reciprocal intelligent, full expressions of their local &lsquo;plant-place-times&rsquo;. The artwork "Translucent Kinship" explores and evokes these ideas of indivisibility and profound reciprocity between plants and place.</p>
<p><strong>ACKNOWLEDGEMENT OF COUNTRY:<br /></strong></p>
<p dir="ltr">We acknowledge and pay respects to the First Nations of the land known as Australia. We recognise all Traditional Owners and their continued cultural, spiritual and technological practices.&nbsp;</p>
<p dir="ltr">We also acknowledge and pay respects to all First Nations peoples beyond Australian shores. As the very first storytellers, First Nations peoples hold invaluable knowledge and perspectives that are vital in the research, interrogation and development of traditional and emerging technologies, across both our physical and digital realms. Together we are gathering across many unceded lands that have been forcibly colonised.&nbsp;</p>
<p dir="ltr">ANAT SPECTRA 2025 celebrates and acknowledges the Traditional Custodians of the lands of the Kabi Kabi people, and pay respects to their Elders past and present.&nbsp;ANAT&rsquo;s home base is on Kaurna yarta and they work widely across Country.</p>
<p><strong><br /></strong></p>',
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			'content' => '<p><em>Groundwork</em> was a participatory creative project, staged as part of the Botanica Festival, Brisbane Botanical Gardens on May 15-16, 2021, with the Festival attracting over 20,000 people per day. The project involved the distribution of 300 native plants to the public from a tent in a public thoroughfare of the festival. On the day of the performance each member of the public was invited to choose from a selection of eight native plants. They were then given two plants in exchange for a story or anecdote related in some way to that plant. Each plant came with a tag that described its characteristics, cultural history, indigenous links and a leading prompt for the shared story. The text of the plant tags were prepared by artist Caitlin Franzmann. Plants included Brisbane Laurel, Native Hibiscus and Native Ginger.&nbsp; The instriuction to the receiver of the gift is that they would keep one plant and give the other to a friend &ndash; whilst also gifting them a further story. In these ways the project sought to build rich new relationships between participants and Australian native flora, with the intention of both alleviating &ldquo;plant blindness&rdquo; and encouraging the renewal of cultural perspectives on how we relate to the plants that surround us. The event was run collaboratively by Charles Robb, Courtney Pedersen, Keith Armstrong and Rachael Haynes, receiving a strong response from the public - resulting in a constant queue over the five hour performance.</p>
<p><em>Groundwork</em> therefore used the gifting of native plants as an opportunity to share the personal and cultural stories that they evoke. The project sought to build rich new relationships between participants and Australian native flora to alleviate &ldquo;plant blindness&rdquo; and encourage the renewal of cultural perspectives on how we relate to the plants that surround us.</p>
<p><strong>SHOWING:<br /></strong>Botanica Festival, Brisbane Botanical Gardens, May 15-16, 2021. Curated by Lubi Thomas.</p>
<p><strong>WHO:</strong><br /><em>Groundwork</em> is a collaborative project with Charles Robb, Courtney Pedersen, Leah King-Smith, Keith Armstrong, Rachael Haynes. This is the group&rsquo;s first collaborative art project.</p>
<p><strong>PARTNERSHIPS:<br /></strong>Funding was competitively secured from the QUT &lsquo;<a href="https://research.qut.edu.au/morethanhuman/" target="_blank">More Than Human Futures</a>&rsquo; Research Group and the show was curated by Lubi Thomas. Its production was funded by <a href="https://www.brisbane.qld.gov.au/things-to-see-and-do/whats-on-and-events/botanica-contemporary-art-outside" target="_blank">Botanica</a>, who are themselves facilitated by Brisbane City Council.</p>
<p><strong>WHY?</strong><br /><em>Groundwork</em> extends upon my interest in socially engaged art practices that engage with critical ecological concepts. A recent focus on Australian indigenous plants in my work is a response to our typical disregard, and often lack of knowledge&nbsp;about our plant kin. Much ecological and cultural damage has been done since settlement through processes of ecological erasure; and so richly biodiverse communities have been quietly colonised out of existence across Australia. Gentle, modest projects such as <em>Groundwork</em> seek to re-build lost cultural understandings of the intricately braided connections we share with native flora. Through re-remembering plants&rsquo; histories, cultural importance, aesthetic power and myriad personalities &ndash;&nbsp; the artwork asked whether new forms of practice might allow us to better sense how much our two species are as one.</p>',
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			'content' => '<p>Recently presented for the Ars Electronica Festival, 2017, Eremocene (Age of Loneliness)&nbsp;reveals a mysterious, internally glowing creature, witnessed from different vantage points and views, moving uncannily, in fluid motion within a dense blackness.&nbsp; Enveloping sound, vision and movement are as one as this &lsquo;life-like&rsquo;, &lsquo;bio-morphic&rsquo; form continually fades in and out of perception.</p>
<p>The idea of the 'extinction of human experience' expresses our projected fear for all that will be rendered senseless, when ancient, intelligent, biodiverse worlds have descended into permanent darkness. But as one series of conceptions slip into extinction, so others flow on in.&nbsp;Eremocene (Age of Loneliness)&nbsp;suggests that we might instead embrace artificially intelligent &lsquo;things&rsquo;, with little need for dated legacies - such as excess light or the long-extinguished sounds of biological life. Philosopher and Biologist &nbsp;E.O. Wilson calls such possible futures the &lsquo;Eremocene&rsquo;: the &lsquo;age of loneliness&rsquo;</p>
<p>The project is foregrounded by ten years of sustained collaborations with life scientists, ecologists and sustainability professionals, in which I have reflected upon both vulnerability and resilience of marine, terrestrial and human ecologies, as they relate to todays &lsquo;overheated&rsquo; increasingly artificially intelligent worlds.</p>
<p><strong>SHOWINGS:</strong><br />1: <a href="https://www.aec.at/ai/en/eremocene/" target="_blank">Ars Electronica 2017</a>, (AI Artificial Intelligence, The Other and I) PostCity, Linz, Austria, Sept 7-11, 2017. Curated by Gerfried Stocker and Horst Hoertner</p>
<p><strong>2:</strong> <a href="http://experimenta.org/makesense/artists/keith-armstrong/" target="_blank">Experimenta, Make Sense</a>:&nbsp;International Triennial, 2017-20, launching at RMIT Gallery, 344 Swantson St, Melbourne (Oct 2-Nov 11), Mon&mdash;Fri 11AM&mdash;5PM, Thu 11AM&mdash;7PM, Sat 12&mdash;5PM, and then numerous venues Australia wide till 2020, Curated by Jonathan Parsons and Lubi Thomas. <a href="http://www.realtime.org.au/experimenta-make-sense-the-art-of-perceptual-play/" target="_blank">Review of exhibition.</a><strong></strong><strong></strong></p>
<p><strong>TEAM:</strong> Keith Armstrong: artistic direction, Luke Lickfold: generative sound composition/coding, Matt Davis: generative image composition</p>
<p><strong>PARTNERSHIPS:</strong>&nbsp; <a href="http://staff.qut.edu.au/staff/armstron/" target="_blank">QUT Creative Industries</a>, <a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a> (Emerging and Experimental Arts), Experimenta Media Arts. Keith Armstrong is supported by a part time associate directorship role at <a href="https://research.qut.edu.au/creativelab/" target="_blank">QUT Creative Lab Research Centre</a>. Special thanks to Kristefan Minski, Horst Hoetner,&nbsp; Lubi Thomas, Julie Dean, Greg Hearn and Mandy Thomas.</p>
<p><strong>MORE:</strong> Eremocene (Age of Loneliness) builds upon the originating work Deep Ecology - first shown to broad acclaim in a solo exhibition at UTS Art Gallery, Sydney, Australia in Aug-Sept 2016. That multi-work show was favourably reviewed in a long form review by <a href="http://www.realtimearts.net/article/134/12377" target="_blank">Real-time 134</a>, and was described by audiences and reviewers as &ldquo;ambiguous&rdquo;, &ldquo;unsettling&rdquo; and &ldquo;subtle&rdquo;, with &ldquo;deeply engaging&rdquo; and &ldquo;mesmerizing&rdquo; with outcomes somehow tinged with a strange sense of &ldquo;sadness&rdquo;. This complex mix of sensibilities, which carries through into Eremocene (Age of Loneliness), resonating with ideas of &lsquo;extinction of human experience&rsquo;.</p>',
			'extra_links' => '<p>Exhibited 2017, Ars Electronica Festival, <a href="https://www.aec.at/ai/en/eremocene/" target="_blank">Official Website</a> / <a href="/resource_files/eremocene%20ars%20catalogue%20entry.pdf" target="_blank">Catalogue entry</a>, Austria.<br />Exhibited 2017, <a href="http://experimenta.org/makesense/artists/keith-armstrong/" target="_blank">Experimenta Make Sense Triennial</a>, Melbourne and Australia wide<br />Experimenta Make Sense <a href="/resource_files/MakeSense.pdf" target="_blank">Catalogue</a>, 2017<br />Exhibition review in <a href="http://www.realtime.org.au/experimenta-make-sense-the-art-of-perceptual-play/" target="_blank">Realtime, 18 Oct, 2017 </a><br />Ars Electronica Festival 2017 - <a href="/resource_files/Eremocene%20Ars%20Electronica%20Floorplan%20.pdf" target="_blank">Floorplan</a><br />Experimenta Triennial, RMIT Gallery, Melbourne, 2017 - <a href="/resource_files/Eremocene%20RMIT%20Experimenta%20Floorplan.pdf" target="_blank">Floorplan</a><br />Experimenta Triennial, Touring Design, 2017 - <a href="/resource_files/Eremocene%20Experimenta%20Touring%20Floorplan.pdf" target="_blank">Floorplan</a><br />Project tech requirements, 2017 (<a href="/resource_files/local%20tech%20list%20September%202017.pdf" target="_blank">pdf</a>)</p>',
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			'content' => '<p>'Seven Stage Futures&rsquo; involved the development and production of a series of community-led &lsquo;Merakas&rsquo; (a form of 'gathering space', to share knowledge, that draws upon the wisdom of both current and past generations). These events were presented in July 2017 within the &lsquo;informal&rsquo; South African townships - where audiences (currently entirely unserviced by cultural events, or indeed much at all) actively participated in unique local celebrations that they have both proposed and co-created. Each event was shaped by local African 'change-agents' at sites where they lived or had already built their own &lsquo;shack replacement&rsquo; houses &ndash; using locally appropriate, no-cost materials &ndash; a new building-cum-artform we call &lsquo;Post-Natural&rsquo; building. <br /> <br />Learnings from this unique arts/development experiment were later disseminated to arts organisations and international development NGOs in Australia, initiating rich dialogues and sparking future transdisciplinary initiatives.<br /> <br /> Seven Stage Futures was the first major outcome of the <a href="/homeartworks/re-future">Re-Future</a> project that seeks to &lsquo;embed' contemporary artists within international development scenarios, in order to understand how their creative capacities can best contribute towards positive social and ecological development outcomes in an era of climate change and environmental distress.&nbsp; It seeks to build networks of 're-futuring&rsquo; throughout some of the poorest informal settlements in the Free State of South Africa and is a research collaboration between the University of the Free State's Centre For Development Studies, Qala Phelang Tala (QPT/Start Living Green!), The Program for Innovation in Artform Development and a team of South African 'change agents&rsquo;, supported by the New York based Andrew W. Mellon Foundation and The Flanders Foundation.</p>
<p><strong>EVENTS (COMMUNITY 'MERAKAS')</strong><br />1: Caleb Motshabi Township, Stand 921, Bloemfontein, South Africa, 18 July 2017, 12.00-18.30, Directed by Mokoena and Ellen Maphalane.<br />2:&nbsp;Caleb Motshabi Township, Ipopeng Street, Bloemfontein, South Africa,19 July 2017, 13.00-18.30. Directed by Velili Phantsi.<br />3: 129 Vlei Ave, Roodewaal, Bloemfontein, South Africa, 22 July 017, 10.00-18.30. Directed by Mary Mofana.</p>
<p><strong>CHANGE AGENTS:<br /></strong>Anita Venter, Michael Sebesho, Mokoena Maphalane, Ellen Maphalane, Mary Mofana, Velili Phantsi, Natascha Meisler, Adriann Du Plessis, Percy, Thabang Mofokeng, Heidi Morgan, Natascha Meisler<strong>, </strong>Christine Scoggin<strong>.<br /> </strong></p>
<p><strong>PARTNERSHIPS:</strong><br />Programme for Innovation in Artform Development (PIAD) - <a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, Ricardo Peach, Angela De Jesus, <a href="http://www.museumsonline.co.za/view.asp?pg=museums&amp;pgopt=item&amp;ItemID=7" target="_blank">Johannes Stegmann Art Gallery</a>, University of the Free State, South Africa, University Free State, <a href="http://www.ufs.ac.za/econ/departments-and-divisions/centre-for-development-support-home" target="_blank">Centre Development Support</a>, University of the Free State, South Africa, <a href="https://www.facebook.com/Qala1Tala/" target="_blank">Qala Phelang Tala</a>, Anita Venter, The <a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation</a>, <a href="http://www.fwo.be/en/" target="_blank">The Flanders Foundation</a>, <a href="https://www.facebook.com/search/top/?q=thabang%20mofokeng&amp;filters_rp_author=me" target="_blank">Thabang Mofokeng, HOT Rural Workers Collective</a>, Botshabelo Township, South Africa, <a href="http://staff.qut.edu.au/staff/armstron/" target="_blank">PT Sanders Combined School, QUT Creative Industries</a>, Aerial Footage by <a href="http://photobloem.wixsite.com/snappydrone" target="_blank">iFlair</a> Photography.</p>
<p>Re-Future is presented at part of the Programme for Innovation in Artform Development (PIAD), an initiative of the Vrystaat Art Festival and the University of the Free State.&nbsp; Kindly supported by The Andrew W. Mellon Foundation and The Flanders Foundation. Keith Armstrong is supported by a part time senior research role at QUT Creative Industries. Special thanks to doctoral students Christine Scoggin and Pieter Odendaal who are working on the larger Re-Future project through their own custom projects. Special thanks to Prof Greg Hearn Prof Terry Flew, Prof Mandy Thomas, Nigel Oram, Blair Walkinshaw and QUT Precincts.</p>
<p><strong>ADDITIONAL INFORMATION:</strong>We have developed and produced a series of three &lsquo;merakas&rsquo;, presented in the heart of informal South African townships, where audiences (currently typically without access to basic public services) can participate in unique celebrations that foreground both creativity, community development and sustainable futures. Each of these one day-night events have been devised and led by local African &lsquo;change-agents&rsquo;, at sites where they have already built their own houses or similar structures using locally appropriate no cost mixtures of earth, bottles, tyres, and recycled and scavenged materials. We call this technique-cum-artform &lsquo;Post-Natural&rsquo; building. <br /> <br />The Seven Stage Futures project is being appropriately and ethically crafted on invitation by the local NGO Qala Phelang Tala (Start Living Green!) who have worked for a over decade in these local communities, and have built up significant trust and understanding. Through their hosting and collaboration, and via curatorial and logistical support from the South African &lsquo;Program For Innovation in Artform Development&rsquo; and the Vrysaat Arts Festival (directed by Ricardo Peach) we can now turn this ambition into a practical reality. To ensure this the work involved two prior preliminary planning trips to South Africa for this project, funded by the New York based Andrew W. Mellon Foundation, ensuring detailed preparatory work and networking. <br /> <br />In the lead up to these events in mid to late 2017, we facilitated local participants to craft and produce a physical mobile stage structure which we are towuing from site to site. This design usesrecycled and natural techniques. This vernacular will be captured in a series of panels that lock together to form a staging structure and projection screen system, thereby functioning as a dramatic backdrop to each festival event. These panels also use a system of fibre optics that allows images and text to be presented via embedded glass bottles. They also transform into a large screen that allows the presentation of a range of films crafted during the development process, showing change agents in action rebuilding lives and livelihoods. 3D rendered images of the townships, captured via drone photogrammetry, will also be animated into films of an imagined future township geography where Post Natural building projects have radically transformed the lives of the residents. These events nclude &lsquo;Post Natural&rsquo; creation workshops, responsive performances and other cultural events. In all these ways we will help advance the change agents existing skills and techniques through co-creating this new form of process-based media artwork and supporting events. <br /> <br />Critically we will then bring this radical approach and the new knowledge back to Australia to initiate a sorely needed dialogue between international development and experimental arts, around creative new approaches to poverty reduction and citizen empowerment. <br /> <br /><strong>RATIONALE?</strong> <br />Climate scientists agree we have triggered a new era called the age of the Anthropocene where humans have become the main drivers behind planetary change. The negative impacts on communities worldwide, especially communities in developing countries such as South Africa, is significant - where these challenges are compounded by historical contexts of apartheid, unemployment, poverty and widespread welfare dependency. Many communities are still deprived of access to housing, water, electricity, education and basic health care. This situation desperately needs creative change agents to envision a world beyond &lsquo;sustainability&rsquo;, focusing on regenerative processes that renew, restore, and revitalize communities. <br /> <br />Artists have the capacity to foster new transdisciplinary collaborations, conducting their fieldwork across unexpected domains. In these cases we are not simply responding to a given proposition in a designated space, but rather entering the space of planning itself to help make change happen. This happens best when options run out and when planning alone isn&rsquo;t enough. This project responds to a desperate need for creativity and creative thinking &ndash; and success here could indeed be globally significant. <br /> <br /><strong>ACTIVITY/STEPS?</strong> <br />Seven Stage Futures will be the first major outcome of my continuing '<a href="/homeartworks/re-future">Re-Future&rsquo;</a> project, whose aim is to embed contemporary media artists within existing international development scenarios, in order to understand how our creative capacities and access to technology can contribute towards positive social and ecological development outcomes. The project then returns this knowledge to Australia to initiate new exhibitions, presentations and conversations around radical approaches to &lsquo;re-futuring&rsquo; (giving time back to the future). <br /> <br /><em>April&ndash;May 2017</em>: Brief and train change agents to build Staging structure at various locations in the townships <br /> <em>June:</em> Confirm logistics, hire production team and establish festival permissions. Use facilities of Creative Lab Research Centre, Brisbane to build photogrammetry-based visualisations <br /> <em>July:</em> Present day/night events in the townships and informal settlements of Caleb Motshabi, Roodenwaal, Botchabello, and in Bloemfontein for the Vrystaat International Arts Festival <br /> Sept: Present findings to Community Development organisations and International conference of practitioners, Bundaberg, Qld <br /> <em>Oct&ndash;Dec:</em> Write up, dissemination, presentations, confirmed exhibition- Riddoch Gallery, Mt. Gambier<strong></strong></p>
<p><strong>THE CHALLENGE TO THE CHANGE AGENTS<br /></strong>"You the first generation change agents, are now ready and able to build the next generation of change leaders though your example. You have both the practical skills about natural building and a deep understanding about how to create regenerative futures. You are passionately seeking a better world for you and your people, and you have a vision of how to get there.</p>
<p>But the path you will take may be different from what others have chosen before, because you know that today&rsquo;s generations do not always live in ways that protect the future or support each other as best they could. You are changing that through the practical example you show to your people. This project aims to celebrate your achievements and honour your understanding of this matter.</p>
<p>We therefore wish to assist you each to create an event that tells your chosen audience the story of your journey to date. We want the audience to not just come along to watch and listen to your story, but also to participate in both action, discussion and other creative ways on the day. We want them to leave with practical skills, a head full of ideas, and a spirit lifted by what they have seen, heard and experienced. We want them to go home and think, &lsquo;I could be a change agent too &rsquo;! We will support you to tell that powerful story in a creative way that helps inspire your people.</p>
<p>Remember too we will also bring a 'mobile stage' to your events which you can use - It is a platform that you can use, and will also provide sound, simple light and video projection as you require and we are also going to ask you to make a part of that stage in the next few months to express your skills and passion for natural building."</p>',
			'extra_links' => '<p>Seven Stage Futures <a href="/resource_files/7%20stage%20futures%20flyer%2002-1.pdf" target="_blank">Flyer</a><a href="/homeartworks/otswellang"><br /></a>Vrystaat Festival, South Africa, 2017, <a href="/resource_files/7StageFuturesFestivalCatalogueExtracts.pdf" target="_blank">main program entry</a><br />Vrystaat Festival, South Africa, 2017, <a href="/resource_files/Vrystaat%20Arts%20Festival%202017%20Re-Future%20Media%20Release%2022%20May%202017.pdf" target="_blank">Media Release</a><br />Run Sheet, Change Agent Mary Mofama's <a href="/resource_files/changeagentsprogram.pdf" target="_blank">meraka</a><br />PIAD public forum <a href="/resource_files/PIAD_Forum.pdf" target="_blank">catalogue</a>, 2017<a href="http://www.ufs.ac.za/templates/news-archive-item?news=6697" target="_blank"><br />Original Re-Future Announcement</a>, University Free State, 2016.<a href="/resource_files/Talk%20mailer%20final%20-1.pdf" target="_blank"><br />Re-future talk promo</a>, Feb 2016<br /><a href="https://thetheatretimes.com/the-vrystaat-kunstefees-developing-creative-industries-in-the-free-state-part-i/" target="_blank">PIAD project overview</a><br />Project presented at the <a href="http://www.salzburgglobal.org/calendar/2010-2019/2017/session-573.html" target="_blank">Salzburg Global Seminar</a><a href="https://thetheatretimes.com/the-vrystaat-kunstefees-developing-creative-industries-in-the-free-state-part-i/" target="_blank"><br /></a><a href="/resource_files/Phd%20proposal%20refuture%20final.pdf" target="_blank">Archive (Apply for a PhD, closed 28th Feb, 2017)</a><br />Vrystaat <a href="/resource_files/Program-entry-2016_Sm.jpg" target="_blank">catalogue entry 2016</a><br /><a href="https://m.news24.com/SouthAfrica/Local/Express-News/artworks-come-to-life-20170530" target="_blank">News 24 report</a><br />Article in <a href="http://www.roekeloos.co.za/kuns/seven-stage-futures/" target="_blank">Roekeloos</a></p>',
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			'title' => 'Re-Future',
			'page_title' => 'The Re-Future Project',
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			'content' => '<p>'Re-Future&rsquo; seeks to &lsquo;embed' contemporary artists within international development scenarios, in order to understand how their creative capacities can best contribute towards positive social and ecological development outcomes.&nbsp; The project will develop a mobile art experience that helps build networks of 're-futuring&rsquo; throughout some of the poorest informal settlements in the Free State of South Africa. It is a research collaboration between the University of the Free State's Centre For Development Studies, Qala Phelang Tala (QPT/Start Living Green!), The Program for Innovation in Artform Development and a team of South African 'change agents&rsquo;, supported by the Andrew W. Mellon Foundation and The Flanders Foundations.</p>
<p>Re-Future initiates a series of interdisciplinary, intercultural works designed for, and situated within, the townships of Bloemfontein/Manguang, South Africa, focused at the intersection of sustainability, community development and creative action. Working in collaboration with University of the Free State's Centre For Development Studies, Anita Venter's NGO Qala Phelang Tala (QPT/Start Living Green!) and with South African 'change agents', the project seeks to both re-image and also bring additional perspectives to QPT's significant community-empowering, grassroots 'post-natural' building processes. It will achieve this through a mobile art experience that helps build new networks of 're-futuring&rsquo; throughout some of the poorest informal settlements in the Free State.</p>
<p>The Re-Future project therefore necessarily strays far away from the traditions of conventional art practices, seeking instead to become a platform&nbsp;that encourages others to participate in grass roots &lsquo;re-futuring&rsquo; (giving time back to the future). More too than simply a tactic for help spreading the good word (even though assists that need), the project becomes an artist-initiated, yet community-controlled process, designed to travel far beyond traditional art world sites. Moving like a travelling fair on a small truck - from post-natural building site to site - local audiences are then invited to both experience the innovation of each site,&nbsp;get involved in practical talks and workshops and experience moving image artworks and experiences, that stress empowerment, criticality and future sustainability</p>
<p>Interdisciplinary, experimental creative actions such as these, when carefully construed, have proven to be viable &lsquo;break-through&rsquo; methods with which to test new paradigms, ideas &amp; options. Building on years of work in this area this project gives us unparalleled opportunities to both contribute to &amp; learn from other cultures whose practices are both different &amp; potentially more sustainable than our own - &amp; to then re-think &amp; re-apply those sustaining knowledges to our own &lsquo;change-politics&rsquo; led creative practices in Australia.</p>
<p><strong>PARTNERSHIPS</strong>:<br />Programme for Innovation in Artform Development (PIAD) - <a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, Ricardo Peach, Angela De Jesus, <a href="http://www.museumsonline.co.za/view.asp?pg=museums&amp;pgopt=item&amp;ItemID=7" target="_blank">Johannes Stegmann Art Gallery</a>, University of the Free State, South Africa, University Free State, <a href="http://www.ufs.ac.za/econ/departments-and-divisions/centre-for-development-support-home" target="_blank">Centre Development Support</a>, University of the Free State, South Africa, <a href="https://www.facebook.com/Qala1Tala/" target="_blank">Qala Phelang Tala</a>, Anita Venter, The <a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation</a>, <a href="http://www.fwo.be/en/" target="_blank">The Flanders Foundation</a>, <a href="https://www.facebook.com/search/top/?q=thabang%20mofokeng&amp;filters_rp_author=me" target="_blank">Thabang Mofokeng, HOT Rural Workers Collective</a>, Botshabelo Township, South Africa, <a href="http://staff.qut.edu.au/staff/armstron/" target="_blank">QUT Creative Industries</a></p>
<p>Re-Future is presented at part of the Programme for Innovation in Artform Development (PIAD), an initiative of the Vrystaat Art Festival and the University of the Free State.&nbsp; Kindly supported by The Andrew W. Mellon Foundation and The Flanders Foundation. Keith Armstrong is supported by a part time senior research role at QUT Creative Industries.</p>',
			'extra_links' => '<p><strong></strong>Refuture Conference presentation at&nbsp;<a href="https://sustainablebuiltenvironments.co.za" target="_blank">SBE2022</a><a href="https://woodfordfolkfestival.com/programme/2018-programme-explore/artist/keith-armstrong/" target="_blank">&nbsp;</a>(Sustainable Built environments Conference), Cape Town, South Africa with Anita Venter UFS: "Re-future: post-natural theory creation in a climate crisis world". See my<a href="https://woodfordfolkfestival.com/programme/2018-programme-explore/artist/keith-armstrong/" target="_blank">&nbsp;</a><a href="https://vimeo.com/manage/videos/692773722" target="_blank">presentation video</a>.<a href="https://woodfordfolkfestival.com/programme/2018-programme-explore/artist/keith-armstrong/" target="_blank"><br />ReFuture Artist Talk: Woodford Festival: New Years Eve, 2018</a><a href="/homeartworks/otswellang"><br />O Tswellang</a> - an artwork reflecting upon this project<a href="http://www.ufs.ac.za/templates/news-archive-item?news=6697" target="_blank"><br />Re-Future Announcement</a>, University Free State, 2016.<a href="/resource_files/Talk%20mailer%20final%20-1.pdf" target="_blank"><br />Re-future talk promo</a>, Feb 2016<br /><a href="https://thetheatretimes.com/the-vrystaat-kunstefees-developing-creative-industries-in-the-free-state-part-i/" target="_blank">PIAD project overview</a><a href="https://issuu.com/sholehjohnston/docs/culture_and_climate_justice_south_a" target="_blank"><br />Culture and Climate Justice: Public Policy Outcome<br /></a><a href="/resource_files/Phd%20proposal%20refuture%20final.pdf" target="_blank">Original call for PhD proposals</a></p>
<p>&nbsp;</p>',
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			'title' => 'Temporal',
			'page_title' => 'Temporal',
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			'content' => '<p>An evolving meditation upon the complex, periodic processes that mark Australia&rsquo;s seasonality, and our increasing ability to disturb them. By amplifying and shining light upon a myriad of mysterious lives lived in blackness, the work presents a sensuous, deep engagement with the rich, irregular spectras of seasonal forms: whilst hinting at a far less comforting background increasingly framed by anthropogenic climate change.</p>
<p>&rsquo;Temporal&rsquo;&nbsp; uses custom interactive systems, illusionary techniques and real time spatial audio processes that draw upon a rich array of media, including seasonal, nocturnal field recordings sourced in the Bundaberg region and detailed observations of foliage &amp; flowering phases from that region. By drawing inspiration from the subtle transitions between what&nbsp; Europeans once named &lsquo;Summer&rsquo; and &lsquo;Autumn&rsquo; and the multiple seasons recognised by other cultures, whilst also including bodily disturbances within the work, &rsquo;Temporal&rsquo; creates a compellingly immersive environment that wraps audiences in luscious yet ominous atmospheres beyond sight and hearing.</p>
<p>This work&nbsp; completes a two year long project of dynamic mediated installations that have been presented in Sydney, Beijing, Cairns and Bundanon, that have each been somehow choreographed by environmental cycles; alluding to a new framework for making works that we named &lsquo;Seasonal&rsquo;. These powerful, responsive &amp; experiential works each draw attention to that which will disappear when biodiverse worlds have descended into an era of permanent darkness &ndash; an &lsquo;extinction of human experience&rsquo;. By tapping into the deeply interlocking seasonal cycles of environments that are themselves intimately linked with social, geographical &amp; political concerns, participating audiences are therefore challenged to see the night, their locality &amp; ecologies in new ways through extending their personal limits of perception, imagery &amp; comprehension.</p>
<p><strong></strong><strong></strong><a href="http://brag-brc.org.au" target="_blank">Bundaberg Art Gallery</a><strong>, </strong>1 Barolin Street, Bundaberg, Queensland, Australia<strong>, </strong>Feb 11th - March 22nd 2015.<strong><br /></strong></p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Lawrence English (Co-Director), Luke Lickfold (MaxMSP Design), Dr. Peggy Eby, Consulting Behavioural Ecologist (UNSW/freelance)</p>
<p><strong>PARTNERS:<br /><a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://www.arts.qld.gov.au/&lrm;" target="_blank">Arts Queensland</a>, <a href="http://staffprofiles.ci.qut.edu.au/">QUT Creative Industries</a> and <a href="http://brag-brc.org.au" target="_blank">Bundaberg Regional Art Gallery. </a></strong>This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body and QUT Creative Industries. Keith Armstrong is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts.<strong><br /></strong></p>',
			'extra_links' => '<p><a href="/resource_files/BRG-Invite-FEB-5.jpg" target="_blank">Opening Night Invite</a>&nbsp;11th Feb 2015, 5.30-7.00pm<br /><a href="http://www.news-mail.com.au/news/you-feel-like-youve-entered-an-alien-world-as-soon/2541533/" target="_blank">Local Press Coverage</a>&nbsp;</p>',
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			'title' => 'Dark Cartographies',
			'page_title' => 'Dark Cartographies',
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			'content' => '<p>&lsquo;Dark Cartographies&rsquo; is a slowly evolving meditation upon seasonal change, life after light and the occluding shadows of human influence. Through creating experiences of the many &lsquo;times of a night&rsquo; the work allows participants to experience deep engagement with rich spectras of hidden place and sound. By amplifying and shining light upon a myriad of lives lived in blackness,&nbsp;&lsquo;Dark Cartographies&rsquo; tempts us to re-understand seasonal change as actively-embodied temporality, inflected by our climate-changing disturbances.</p>
<p>&lsquo;Dark Cartographies&rsquo; uses custom interactive systems, illusionary techniques and real time spatial audio that draw upon a rich array of media, including seasonal, nocturnal field recordings sourced in the Far North Queensland region and detailed observations of foliage &amp; flowering phases. By drawing inspiration from the subtle transitions between what Europeans named &lsquo;Summer&rsquo; and &lsquo;Autumn&rsquo;, and by including the body and its temporal disturbances within the work,&nbsp;&lsquo;Dark Cartographies&rsquo; creates compellingly immersive environments that wrap us in atmospheres beyond sight and hearing.</p>
<p>&lsquo;Dark Cartographies&rsquo; continues our presentation of a series of dynamic new installations directed &amp; choreographed by environmental cycles; alluding to a new framework for making works that we call &lsquo;Seasonal&rsquo;. These powerful, responsive &amp; experiential works draw attention to that which will disappear when biodiverse worlds have descended into an era of permanent darkness &ndash; an &lsquo;extinction of human experience&rsquo;. By tapping into the deeply interlocking seasonal cycles of environments that are themselves intimately linked with social, geographical &amp; political concerns, participating audiences are therefore challenged to see the night, their locality &amp; ecologies in new ways through extending their personal limits of perception, imagery &amp; comprehension.<strong></strong></p>
<p><strong>SHOWINGS:</strong> <br />V01: KickArts Contemporary Arts, cairns, Qld, Australia. 17 March &ndash; 12 April, 2014. <br /><strong><br />TEAM:&nbsp;</strong>Keith Armstrong (Artistic director), Lawrence English (Co-Director), Luke Lickfold (MaxMSP Design).<br /> Seasonal media project Project consulting Scientists. Dr. Peggy Eby (Behavioural Ecologist), Tim Pearson (Ecologist), Heidi Millington (Ecologist/GIS Mapping).</p>
<p><strong>PARTNERS:</strong>&nbsp;<a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://staffprofiles.ci.qut.edu.au/">QUT Creative Industries</a>, <a href="http://www.arts.qld.gov.au" target="_blank">Arts Queensland</a>, <a href="http://www.southbank.qm.qld.gov.au/Events+and+Exhibitions/Events/2013/12/Night+Fall" target="_blank">Queensland Museum</a>. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts&rsquo; and QUT Creative Industries.</p>',
			'extra_links' => '<p>Download <a href="/resource_files/DarkCartographies_DL.pdf" target="_blank">Invite</a><br /><a href="/resource_files/Newspaper%20Cutting077.pdf" target="_blank">Press Article</a></p>',
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			'feature_sub_title' => 'An Opportunistic Cultural Survey',
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			'slug' => 'pitfall',
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			'title' => 'Pitfall',
			'page_title' => 'Pitfall (An Opportunitsic Cultural Survey)',
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			'content' => '<p>A pitfall is an unapparent source of trouble or danger; a hidden hazard: Today we all face, or will soon be facing ecological pitfalls of many&nbsp;kinds.</p>
<p>&lsquo;Pitfall&rsquo; is a continually-evolving artwork built from multiple screens, a tabletop landscape mapped with projections, fibre optics, 3D spatial sound and infrared night imagery. It builds upon ideas, recordings and cross-disciplinary&nbsp;processes developed during my&nbsp;2012-13 ANAT Synapse Art-Science residency, with&nbsp;the <a href="https://www.australianwildlife.org" target="_blank">Australian Wildlife Conservancy</a> (AWC), Australia&rsquo;s largest private-sector conservation organisation. See the <a href="/homeartworks/re-introduction">Reintroduction project pages</a>.</p>
<p><strong>SHOWINGS:</strong><br />1: Pitfall, Mildura Art Centre, 199 Cureton Ave, Mildura, Victoria, Australia, 5th Sept-27th Oct, 2013. Opening 5th September at 7pm. {<a href="Mildura%20Palimpsest:%20Biennale%20#9">Mildura Palimpsest: Biennale #9,</a> Site Specific Arts Biennial, Victoria}. <a href="/resource_files/8008_12pp_catalogue_art3_proof.pdf" target="_blank">Catalogue</a>. <a href="/resource_files/Sunraysia%20Daily_11092013.pdf" target="_blank">Front Page Headline!</a></p>
<p><strong>RATIONALE:</strong> During that process I was invited to join and work with a team of field ecologists on a broad scale ecological survey of Kalamurina Sanctuary &ndash; a vast AWC property located in the Simpson/Tirari Deserts of central Australia. During that month we conducted &lsquo;pitfall surveying&rsquo; &ndash; a technique utilising a network of guiding fences and pitfall tubes sunk into the ground, designed for catching both day and night mammals, reptiles and invertebrates.</p>
<p>As we worked together, we also undertook further &lsquo;opportunistic surveys&rsquo; of nearby birds, plants, animals and related phenomena. So why not then also undertake &lsquo;opportunistic cultural surveys&rsquo;? Why not ask the ecologists to also record &lsquo;data&rsquo; about the cultural changes they perceived would be necessary to avert/avoid the ecological pitfalls looming ahead? The results of these &lsquo;opportunistic cultural surveys&rsquo; were returned in paper, image and sample to me, and the &lsquo;numbers&rsquo; were then &lsquo;run&rsquo; through custom artistic processes.</p>
<p>This led to the envisaging of a computational model that now drives the entire art work - driven by moving &lsquo;creatures&rsquo; - each of whom embody qualities of a particular ecologist&rsquo;s responses around &lsquo;pitfall avoidance&rsquo;. These &lsquo;creatures&rsquo; are suggested by animated imagery, infrared light and 3D sound, that 'circulates', and sometimes &lsquo;collides&rsquo; with a representation of a pitfall trap line.</p>
<p>Which of these &lsquo;mammals&rsquo; in line for a fall will have the timely mix of&nbsp;'boldness', 'focus' and 'size' to avoid the pitfalls ahead?</p>
<p><strong>FURTHER BACKGROUND:</strong> The <a href="https://www.australianwildlife.org" target="_blank">AWC</a> have instigated radical approaches to conservation in order to stem the rapid decline of Australian small mammals across our landscapes, with species-focused recovery programs and the use of large-scale feral proof fencing techniques. An extensive use of scientific trapping, tagging, measuring and counting processes allows the AWC to demonstrate net gains. One frequently used technique &nbsp;involves the use of pitfall tube traps to catch small mammals and other invertebrates.</p>
<p>During a &lsquo;ground truthing&rsquo; residency in <a href="https://www.australianwildlife.org/where-we-work/kalamurina/" target="_blank">Kalamurina sanctuary</a> (North of Lake Eyre in SA) I began to reflect upon the cultural and ecological ideas of a&nbsp;&lsquo;pitfall&rsquo; - as an unapparent source of trouble or danger; a hidden hazard. Indeed our very presence out there searching for rare and endangered species suggested we had both&nbsp; fallen into some form of trap, and yet believed/conceived some viable ways out. I was profoundly torn between concern, hope and fear for truly exquisite species in crisis, the astonishing almost gone .. and I, we, had barely even heard of them.</p>
<p>This love, loss and lack inspired me to devise and conduct a playful opportunistic &lsquo;survey&rsquo; of my own for the tightly-knit scientific team, working together for a short time at that location. As the surveys were undertaken and returned to me I then &lsquo;ran the numbers&rsquo; through my own custom artistic processes &ndash; in order to conceive&nbsp; &lsquo;Pitfall&rsquo; -&nbsp; an artwork which references the rich diversity of ideas contributed by this highly focused group of scientists on some very big, and very little, picture topics. Pitfall is both heartfelt and wide ranging - and yet it presents a very simple, potent message straight from the conservation &lsquo;coal face&rsquo; for species past, present and future (including our own).</p>
<p><strong>TEAM:</strong>&nbsp;Keith Armstrong (Artistic director), Luke Lickfold (Composition and Control Systems) and Rob Henderson (Design). Special thanks to Matt Hayward, Shauna Chadlowe, Atticus Fleming, Joe Stephens and the numerous AWC staffers who have generously contributed. Special thanks at Kalamurina go to Joss, Trish, Flic, Leah, Keith B, Rachel, Amy, Tony, Mark and Tess.</p>
<p><strong>KEY PARTNERS:</strong><br /> <a href="https://www.anat.org.au/program/anat-residencies/" target="_blank">Australian Network For Art and Technology Synapse Art Science Residency Program</a>, <a href="https://www.australianwildlife.org" target="_blank">Australian Wildlife Conservancy,</a> QUT Creative Industries, QUT Interaction and Visual Design and others.</p>',
			'extra_links' => '<p><a href="/resource_files/8008_12pp_catalogue_art3_proof.pdf" target="_blank">Exhibition Catalogue</a><a href="/resource_files/Sunraysia%20Daily_11092013.pdf" target="_blank"><br />Front Page News</a> from Sunraysia Daily, Wed 11th Sept.<a href="http://armstrong2012.blog.anat.org.au" target="_blank"><br />Project Blog</a> (hosted by ANAT)<br /><a href="/resource_files/Pitfall_TechSpec%20v1.1%202013.pdf" target="_blank">Technical Specification 2013</a></p>',
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			'slug' => 'night-rage',
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			'title' => 'Night Rage',
			'page_title' => 'Night Rage / Fall',
			'sub_title' => '',
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			'content' => '<p>A new form of media installation combining image, multi-channel sound and internally lit objects into a mysterious, deep image plane. Staged on the very edge of spectrum blackout, and moving into the deep of night,</p>
<p><strong>Version 1 (<a href="http://www.isea2013.org/events/synapse/" target="_blank">Night Rage</a>)</strong> for ISEA 2013 examined the many shades of 'nocturnal', threats to night biodiversity and the myriad myths and stories that have shaped our cultural understandings of life after light. Barely recognisable images&nbsp;float within landscapes of media, noise and sound as the work asserts a profound resistance to today's all consuming media mesh.</p>
<p><strong>Version 2 (<a href="/homeartworks/night-rage">Night Fall</a>) </strong>for the Queensland State Museum examined contemporary ideas around the &lsquo;night&rsquo; and the 'nocturnal'. Beginning with the dark myths and stories that have long shaped our cultural understandings of life after light, NIGHT FALL considers how fearful ideas have often underpinned actions that continue to reduce Australia&rsquo;s extraordinary night biodiversity. Today&rsquo;s growing hostility towards Australia&rsquo;s ancient, iconic flying foxes - who have been quietly pollinating our forests for millennia - hints at just how far we have yet to travel in our thinking.</p>
<p>Enter the darkened tunnel to experience mysterious, edge-of-perception 3D forms, enhanced by a range of cinematic, &nbsp;illusionary and animatronic techniques, and become immersed in a strangely familiar sound track based upon seasonal field recordings made after dark, sourced from across the eastern coast of Queensland.</p>
<p>This work went on to spawn <a href="/homeartworks/light-of-extinction">Light of Extinction </a>developed for thingworld: International Triennial of New Media Art, National Museum of China.</p>
<p><strong>SHOWINGS: <br /></strong>V01:&nbsp; '<a href="https://www.google.com/url?sa=t&amp;rct=j&amp;q=&amp;esrc=s&amp;source=web&amp;cd=&amp;ved=2ahUKEwjnn9-_t4KEAxUgh1YBHRwJAbcQFnoECBMQAQ&amp;url=http%3A%2F%2Fwww.isea2013.org%2Fevents%2Fsynapse%2F&amp;usg=AOvVaw3LrZEK2TnQ25zBiA9RfojN&amp;opi=89978449" target="_blank">ISEA 2013</a>', <a href="http://www.isea2013.org/events/synapse/" target="_blank">Synapse: A Selection,</a> Sydney Powerhouse Museum, 8 June-14th July 2013. Opens officially for ISEA 2013 on Wednesday 12th June, 6.30pm.<br />V02: Queensland Museum, 4th Floor (Invent-ory Space), 7 Dec &ndash; 26 Jan, 9.30am &ndash; 4pm, Free admission.</p>
<p><strong>TEAM:&nbsp;</strong>Keith Armstrong (Artistic director), Lawrence English (Co-Director), Michael Candy (Robotics/Rapid Prototyping Designer), Luke Lickfold (MaxMSP Design), Heidi Millington (Arduino Assistance).</p>
<p><strong>PARTNERS:&nbsp;</strong>Australia Council For The Arts,&nbsp;Arts Queensland, QUT Creative Industries, Arts Queensland, ISEA 2013, Queensland Museum, MAAP. Research and development of elements of this work took place during an ANAT Synapse residency at the Australian Wildlife Conservancy, working with Chief Scientist, Dr. Matt Hayward.&nbsp; This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts&rsquo;; and QUT Creative Industries, Queensland Bat Conservation and Rescue,&nbsp; Batwatch Australia.</p>
<p><strong>MORE:</strong>&nbsp; Version 1 premiered as part of <a href="http://www.isea2103.org" target="_blank">ISEA</a>'s '<a href="http://www.isea2013.org/events/synapse/" target="_blank">Synapse-A Selection</a>' the show provides a snapshot of the diverse collaborative projects that participating artists and scientists have produced over the past five years and also includes works by Helen Pynor and Peter Clancy, George Poonkin Khut,Mari Velonaki, Erica Secombe, Ken+Julia Yonetani, Nola Farman, Chris Henschke and Kirsty Boyle.</p>',
			'extra_links' => '<p><a href="http://www.realtimearts.net/feature/ISEA2013/11203" target="_blank">Night Rage Review in Realtime Magazine, June 2013</a> <a href="http://www.qm.qld.gov.au/Events+and+Exhibitions/Events/2013/12/Night+Fall#.VxM0lhghdCE" target="_blank"><br /></a>When Night Fall comes, Written by Inspiring Australia Art Science (link gone) <a href="http://www.qm.qld.gov.au/Events+and+Exhibitions/Events/2013/12/Night+Fall#.VxM0lhghdCE" target="_blank"><br /></a>The Experimentors' Preview, Real Time 118 (link gone) <a href="http://www.qm.qld.gov.au/Events+and+Exhibitions/Events/2013/12/Night+Fall#.VxM0lhghdCE" target="_blank"><br /><br /><br /></a></p>
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			'content' => '<p>This art-science research residency, funded through the Australian 'Synapse' art-science residency program, was developed in partnership with the <a href="https://www.australianwildlife.org" target="_blank">Australian Wildlife Conservancy</a> and their South-East regional scientist Matt Hayward. It is being conducted through a series of seven high intensity field-trips to AWC&rsquo;s remote properties in VIC, NSW and SA. These trips coincide with key times at which the AWC&rsquo;s mobile scientific teams are undertaking intensive scientific activities. The program coincides with specific events that Matt will lead in 2012 at Mallee Regions (<a href="https://www.australianwildlife.org/where-we-work/yookamurra/" target="_blank">Yookamurra</a>, <a href="https://www.australianwildlife.org/where-we-work/scotia/" target="_blank">Scotia</a> and <a href="https://www.australianwildlife.org/where-we-work/buckaringa/" target="_blank">Buckaringa</a>), Lake Eyre Basin (<a href="https://www.australianwildlife.org/where-we-work/kalamurina/" target="_blank">Kalamurina)</a> and Sydney (<a href="https://www.australianwildlife.org/where-we-work/north-head-sanctuary/" target="_blank">North Head)</a>.</p>
<p>One outcome will be the work <a href="/homeartworks/pitfall">Pitfall</a> - a new media installation created in light, media, object, text and sound. It builds upon ideas and cross disciplinary processes developed during tyis residency/collaboration with Australian Wildlife Conservancy. Through working with their ecological scientists during pitfall-trap survey events used to survey small mammals and invertebrates, the work reflects upon the cultural and ecological ideas of a pitfall as an unapparent source of trouble or danger; a hidden hazard. A further outcome is the project <a href="/homeartworks/night-rage">Night Rage</a>.</p>
<p><a href="http://armstrong2012.blog.anat.org.au" target="_blank">Read Project Blog</a></p>
<p><strong>SHOWINGS:<br />1 :<a href="/homeartworks/night-rage">Night Rage</a> at <a href="http://www.isea2013.org/events/synapse/" target="_blank">ISEA 2013</a>', <a href="http://www.isea2013.org/events/synapse/" target="_blank">Synapse: A Selection,</a> </strong>Sydney Powerhouse Museum, 8 June-14th July 2013.<strong><br />2:</strong> <a href="/homeartworks/pitfall"><strong>Pitfall</strong></a> at <a href="http://www.artsmildura.com.au/palimpsest/" target="_blank">Mildura Palimpsest</a> Site Specific Arts Biennial, Victoria, Australia, 11th Sept-1st Nov, 2013.<strong><br /></strong></p>
<p><strong>KEY PARTNERS:<br /></strong> <a href="http://www.anat.org.au/2012/03/2012-synapse-artscience-residencies-announced/" target="_blank">Australian Network For Art and Technology Synapse Art Science Residency Program</a> , <a href="http://www.awc.org.au" target="_blank">Australian Wildlife Conservancy</a><a href="http://www.australiacouncil.gov.au/grants/assessment-reports/arts_organisations_major_performing_arts_and_key_organisations/pages/broadband-arts-initiative-may-2012" target="_blank">, </a><a href="http://staffprofiles.ci.qut.edu.au/" target="_blank">QUT Creative Industries</a>, <a href="http://www.qut.edu.au/study/courses/master-of-creative-industries/master-of-creative-industries-interactive-and-visual-design" target="_blank">QUT Interaction and Visual Design</a>, <a href="http://www.embodiedmedia.com/#/page/what-is-embodied-media" target="_blank">Embodiedmedia</a> and others tbc.</p>
<p>I work actively as a research assistant during these day and night long activities in order to gain in-depth, practical exposure to AWC&rsquo;s cutting edge scientific processes and practices. Through the &lsquo;watercooler effect&rsquo; of these extended interactions I concurrently develop focus for a mutually beneficial future projects as we begin to understand each other&rsquo;s processes in fine detail. This arises through detailed practical work, conversation, direct experience and, where possible, a range of small-scale actual art-science experimental outcomes conductedon each site. (See <a href="http://armstrong2012.blog.anat.org.au" target="_blank">blog</a>). The residency will conclude with an exhibition of the ensuing creative process at Mildura Arts Centre for the 2013 <a href="http://www.artsmildura.com.au/palimpsest/" target="_blank">Palimpsest</a> &ndash; and whose regional reach/audiences are highly relevant to AWC&rsquo;s HQ at <a href="http://www.awc.org.au/AWC-Sanctuaries/Scotia-Sanctuary.aspx" target="_blank">Scotia</a>. We are also conducting significant planning together towards a potential future ARC Synapse Linkage application based around the mapping of AWC conservation and cultural data.</p>
<p><strong>EXCERPT - FROM ANAT PRESS RELEASE, 2012:</strong><br />Australia has the highest mammal extinction rate in the world &ndash; not something to be proud of. To halt this decline, the Australian Wildlife Conservancy (AWC) acquires high ecological-value land, establishes sanctuaries and actively manages the land through feral animal control, weed eradication, fire management and the translocation of threatened species. This approach &ndash; practical land management informed by strong science &ndash; has at its heart an interdisciplinary focus that sits happily with one of Australia&rsquo;s most established and successful artists, Keith Armstrong. Through a career spanning two decades, as well as his work as Senior Research Fellow at the Queensland University of Technology, Armstrong has focused on art-science and ecology-based collaborations with scientists, musicians, dancers, critical theorists and performers. With the AWC&rsquo;s South-West Region Chief Scientist, Matt Hayward, he will explore ways of shifting cultural thinking to generate broad-based actions to reverse the decline of Australian habitat health and diversity. <strong><br /></strong></p>',
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			'title' => 'Remnant Emergency Artlab',
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			'content' => '<p>The '<a href="https://web.archive.org/web/20141221145136/http://www.remnantartlab.com/" target="_blank">Remnant Emergency Artlab</a>'&nbsp;was funded by the Australia Council InterArts ArtLab Program in 2010, and involved 22 months of rigorous research and experimentation in several countries. It was developed between a core transdisciplinary team of practicing media artists, designers and engineers where possible working in consultation and collaboration with local creatives at each venue. The team asserted that today&rsquo;s environmental crisis is underpinned by a deep cultural crisis - and so to get our &lsquo;house in order&rsquo; we urgently need to create better and more powerful &lsquo;images&rsquo; of what a &lsquo;citizen-led&rsquo;, sustainable world might be. The ArtLab&rsquo;s core aim was therefore to begin to understand how to develop and create such &lsquo;powerful images&rsquo;. Project Development/Theorisation, Led by Tony Fry.</p>
<p><a href="https://web.archive.org/web/20141221145136/http://www.remnantartlab.com/" target="_blank">https://web.archive.org/web/20141221145136/http://www.remnantartlab.com/<br /></a><a href="https://vimeo.com/41391536" target="_blank">Video of Key Lab Events</a></p>
<p><strong>TEAM:</strong> <br /><a href="http://www.teamdes.com.au/" target="_blank">Tony Fry</a>, <a href="http://www.intercreate.org/category/scanz-2011" target="_blank">SCANZ 2011</a> Eco sapiens, <a href="http://www.leahbarclay.com/" target="_blank">Leah Barclay,</a> Kirsty Boyle, Tega Brain, Ilka Nelson, + (James Muller &amp; Natalie Jeremijenko - for 2010 Sydney events), <strong> </strong>and many others.<strong></strong><strong></strong></p>
<p><strong>KEY PARTNERS: </strong><a href="http://www.australiacouncil.gov.au/about_us/artform_boards/inter-arts_office" target="_blank">Australia Council InterArts Office</a><strong>, </strong><a href="http://edgeqld.org.au/" target="_blank">The Edge</a>, <a href="http://staffprofiles.ci.qut.edu.au/" target="_blank">QUT CI</a>, <a href="http://www.intercreate.org/view/eco-sapiens" target="_blank">Scanz</a>, <a href="http://www.dab.uts.edu.au/index.html" target="_blank">UTS</a>/<a href="https://web.archive.org/web/20140624221528/http://www.pdc2010.org/" target="_blank">Participatory Design Conference</a>, UTS Research Centres for Contemporary Design Practices and Human-Centred Technology Design, <a href="http://www.nabi.or.kr/main/main.nab" target="_blank">Art Center Nabi (Korea)</a>, Artspace Sydney, the UTS Gallery,&nbsp;the Participatory Design Conference (PDC 2010), The Australian Research Council &amp; Embodiedmedia and many others.</p>
<p>The REMNANT/EMERGENCY Artlab awarded am Artlab grant by the Australia Council for the Arts in 2010. It has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body in collaboration with QUT Creative Industries.</p>
<p><strong>FURTHER DETAIL:</strong><br />The REMNANT/EMERGENCY ArtLab pivoted on a series of five site specific Labs in both Australia and the Australian neighbouring regions of South-East Asia &amp; the Pacific between 2010 and 2012. These labs involved rigorous research and experimentation offering the Artlab Team an opportunity to understand and engage with ideas of remnant self, culture and environments, assisted through an examination of the complexity of cultures and inter-cultural exchange.<strong></strong></p>
<p><strong>LAB 5: Environment/Carnatic Culture </strong> R&amp;D tour, Kerala, India, November 2011, in association with Dept Science, Cochin University, India.<br /><a href="http://vimeo.com/38425082" target="_blank">Lab 5 Video Documentation</a><strong></strong></p>
<p><strong>SATELLITE LAB 2:&nbsp;</strong><strong>Water Culture Lab, Symposium &amp; Workshop, </strong>presented as part of the Floating Land festival, 4-5 June, 2011, 9-5pm, Noosa, Qld, Australia. <a href="https://web.archive.org/web/20110420144856/http://www.remnantartlab.com/lab-2/" target="_blank"><br />https://web.archive.org/web/20110420144856/http://www.remnantartlab.com/lab-2/<br /><br /></a><strong>SATELLITE LAB 1</strong><strong>: The Bat-Human Project: A Multidisciplinary Public Performance Event,</strong> 29<sup>th</sup> April, 2011, 5-8pm, Cook and Phillip Park, Sydney, Australia.<a href="https://web.archive.org/web/20110420150122/http://www.remnantartlab.com/the-bat-human-event/" target="_blank"><br />https://web.archive.org/web/20110420150122/http://www.remnantartlab.com/the-bat-human-event/</a><br /><a href="http://vimeo.com/29341700" target="_blank">The Bat Human Project Documentation</a></p>
<p><strong>LAB 4: </strong>Project Development/Theorisation, Led by Tony Fry.<br /><a href="https://web.archive.org/web/20110420144934/http://www.remnantartlab.com/lab-4/" target="_blank">https://web.archive.org/web/20110420144934/http://www.remnantartlab.com/lab-4/</a></p>
<p><strong>LAB3/OUTCOME 3: </strong><strong>Remnant Breath:</strong> A Blindfolded Sound walk, 25th January, 2011, 9pm &amp; 10pm, at Te Henui Walkway, New Plymouth, New Zealand, in collaboration with Leah Barclay, Live environmental sound augmented with micro and studio speakers and live performance over 500m journey, Presented as part of Eco Sapienz Artlab residency, New Zealand, Le Tenui Walkway, New Plymouth, 9 and 10pm. (Included workshops as part of TSB Bank Festival Of Lights, Pukekura Park. New Pymouth, 19-20 Jan, 2011).<br /><a href="https://web.archive.org/web/20110420144906/http://www.remnantartlab.com/lab-3/" target="_blank">https://web.archive.org/web/20110420144906/http://www.remnantartlab.com/lab-3/</a><a href="http://soundcloud.com/remnant_artlab/sets/remnant-breath" target="_blank"><br />Lab 3 Audio Documentation</a></p>
<p><strong>LAB 2/OUTCOME 2</strong><strong>: Botanical Gardens X-Tension: Two Week Residency, and Exhibition of <a href="http://vimeo.com/17506825" target="_blank">Film</a>, </strong>Opening Tuesday 30<sup>th</sup>, 6-8pm, Nov. Exhibition runs 1st-10th&nbsp;December&nbsp;Artist talk 5-6pm:&nbsp;UTS Gallery - Level 4 courtyard, 702 Harris St, Ultimo, Sydney, Australia <br /><a href="https://web.archive.org/web/20150322045854/http://www.remnantartlab.com/lab-2/" target="_blank">https://web.archive.org/web/20150322045854/http://www.remnantartlab.com/lab-2/<br /></a>www.xtension.cc (Since removed)<a href="http://www.xtension.cc/"><br /></a><a href="http://vimeo.com/17506825">LAB 2 Video Documentation</a><br /><br />Outcomes were later presented for the <a href="http://attend.it.uts.edu.au/pdc2010/wordpress/wp-content/uploads/2010/11/PDC2010_program_final.pdf" target="_blank">PDC 2010 Conference</a>, as part of the &lsquo;<strong>Take Part Workshop</strong>&rsquo;, a research discussion for artists and designers involved in participatory Nov <sup>30th</sup> 2010.&nbsp; <br />Outcomes were then exhibited in &lsquo;<strong>DIY Urbanism &ndash; Sydney Reconsidered</strong>&rsquo;, curated by Joni Taylor for The Right to the City Exhibition, Tin Sheds Gallery, Sydney, April 7-30<sup>th,</sup> 2011. <a href="https://web.archive.org/web/20120401163236/http://www.therighttothecity.com/DIYarchartlab.html" target="_blank">https://web.archive.org/web/20120401163236/http://www.therighttothecity.com/DIYarchartlab.html</a></p>
<p><strong>LAB 1/OUTCOME 1:</strong> The Urmadic City, Led by Tony Fry, August 2010.<br /><a href="https://web.archive.org/web/20110420144841/http://www.remnantartlab.com/lab-1/" target="_blank">https://web.archive.org/web/20110420144841/http://www.remnantartlab.com/lab-1/</a></p>
<p>One key idea invoked was realised in the two Bat-Human focussed events. The project firstly lays out an seemingly intractable problem of managing flying foxes in a big city like Sydney. In Australia flying foxes are yet another threatened species - and yet one which is ecologically essential because of their critical pollination and seed spreading services. These flying foxes (predominantly the grey headed species) congregate in large numbers to sleep during the day in the Sydney Botanical Gardens. Through the inadvertent mechanical damage caused by large numbers of foxes, they are damaging the heritage trees there.</p>
<p>The <a href="http://vimeo.com/17506825" target="_blank">video</a> created from the research suggests that, instead of the current solution which is to remove them all using industrial noise, that the idea/concept of what a Botanical Gardens should be extended - removing the separations between current institutions and acknowledging the immense ecological services the gardens provide beyond the conservation of plants.</p>
<p>Our provocative idea is to extend the gardens throughout the city - and to focus key developments in areas adjacent to the gardens - in this case a harbour front site called '<a href="http://www.barangaroo.com/" target="_blank">Barangaroo</a>' - South of the Sydney Harbour Bridge - a current a hot topic of conversation in Sydney. What is envisaged there at the site is the development of a new ecological park - in essence an Xtension of the idea of a botanical gardens into one one that actively attracts the flying fox colony to it - by creating favourable conditions for the bats through a mix of vegetation and temporary perching/hanging structures. This was presented in the spoof website, called the Barangaroo Xtension (Since removed). By welcoming them as the extraordinary ecological and tourist asset that they are - the bat migration nightly from Barangaroo becomes one of Sydney's most important and cherished tourist attractions.</p>
<p>The video was shot and edited by filmmaker James Muller and features the input of the entire Sydney team: Natalie Jeremijenko, James Muller, Keith Armstrong, Leah Barclay, Tega Brain, Kirsty Boyle and Ilka Nelson.</p>
<p>We collaborated in Sydney with UTS academics Dr. Lian Loke and Dr. Lizzie Muller aided by Holly Williams and Tania Creighton of UTS Gallery - where this work is on show till December 10th 2010. Other experts and participants who have contributed to this film and vision have included: leading Bat Ecologists Peggy Eby and Kerryn Parry Jones, Professor Deborah Rose (Macquarie Uni), Zoo Architect David Hancocks, John Lennis, John Martin (Royal Botanical Gardens Trust),&nbsp; Architects Tom Rivard and&nbsp; Allison Earl, Nancy Pallin, Joni Taylor, Sarah Waterson (UWS), Caitlin McGee &amp; Tania Leimbach (UTS Institute of Sustainable Futures).<br /><strong><br /></strong></p>',
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			'title' => 'The Remnant',
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			'content' => '<p>&lsquo;The Remnant&rsquo; is a dual screen, 3D holographic interactive, installation with 'holographic' projections &amp; Image and spatial sound. It was produced in two subsequent versions during 2010 and 2011.<strong><br /></strong><strong></strong></p>
<p><strong>SHOWINGS:<br /></strong>2: 2011 (v2) Cairns Centre for Contemporary Arts, <a href="http://kickarts.org.au/exhibitions/archive/2011/118/" target="_blank">KickArts Gallery</a>, Cairns, 3 June-6 Aug 2011. Read critical review, <em>'Ways of Seeing Nature's Fragility' </em>Nov. 2011, <a href="http://embodiedmedia.com/Resources/WaysOfSeeingNaturesFragilitySacn.jpg" target="_blank">(Paper Version)</a> <a href="http://www.realtimearts.net/article/105/10455?utm_source=RealTime+E-ditions&amp;utm_campaign=6fb69c8f55-RT_105_online_now10_11_2011&amp;utm_medium=email" target="_blank">(Online Version)<br /></a>1: 2010 (v1) <a href="http://www.treeline.org.au/program/keith-armstrong-and-james-muller" target="_blank">Treeline </a> Environmental Festival, <a href="http://www.mary-cairncross.com.au/" target="_blank">Mary Cairncross</a> Rainforest Scenic Reserve, Information Centre,148 Mountain View Road,&nbsp; Maleny, Australia, 28th May - 16th June 2010, Curated by Treeline Festival. <a href="http://maps.google.com/maps/place?cid=15317135137516177165&amp;q=mary+cairncross+park+Qld&amp;hl=en&amp;cad=src:kml_balloon&amp;ei=KwioS7biBpbqjQOk_NiUDA" target="_blank">GoogleLocation</a></p>
<p><strong>TEAM:</strong>&nbsp;Keith Armstrong (Artistic director), James Muller/Earthbase Productions (Co-director) and Leah Barclay (sound)</p>
<p><strong>PARTNERS:</strong>&nbsp;THE REMNANT (v1) - Treeline Festival,&nbsp;<a href="http://www.mary-cairncross.com.au/" target="_blank">Mary Cairncross</a>&nbsp;Scenic Reserve , Queensland Government through Arts Queensland,&nbsp;<a href="http://staffprofiles.ci.qut.edu.au/">QUT Creative Industries</a>,&nbsp;<a href="www.earthbase.net.au/">Earthbase Productions</a>, Indigenous Consultant Bev Hand, Ray Seddon, Julie Dean and Darren Pack of&nbsp;<a href="http://e2evisuals.com/" target="_blank">E2E Visuals</a>. THE REMNANT (v2) -&nbsp;<a href="http://kickarts.org.au/exhibitions/upcoming/118/" target="_blank">KickArts</a>&nbsp;Gallery.</p>
<p><strong>MORE: </strong>A remnant is something that remains when the majority of that something has been lost.&nbsp;This art-science project focuses upon the idea of remnant landscapes -&nbsp; isolated blocks of forest (or other vegetation types) typically set within a patchwork quilt of surrounding farmed lands - the kind of fragmentation of country and habitat that one might see anywhere in Australia. It draws upon the dramatic power of holographic 3D illusion, satellite imagery, surround sound and intuitive body driven interactivity. Participants peer into a mysterious, long tunnel of imagery whilst navigating entirely through their gentle head movements - allowing them to both 'steer' in three dimensions and also 'alight', as a butterfly might, upon a sector of landscape - which in turn reveals an underlying 'landscape of mind'. The work challenges audiences to re-imagine our conceptions of country in ways that will lead us to better reconnect and sustain today&rsquo;s heavily divided landscapes.</p>
<p>THE REMNANT (v.1) was commissioned by the 2010 <a href="http://www.treeline.org.au/program/keith-armstrong-and-james-muller" target="_blank">TreeLine</a> ecoArt event - an initiative of the Sunshine Coast Council, which focuses upon trees and their stories as a means to inspire others to take action for the environment.&nbsp; THE REMNANT (v.2) was commissioned by Kickarts Gallery, Cairns. Version 1 was presented at a stunning remnant block of subtropical rainforest called &lsquo;<a href="http://www.mary-cairncross.com.au/" target="_blank">Mary Cairncross</a> Scenic Reserve&rsquo; - located 100kms north of Brisbane near the township of Maleny. Once a small part of a thriving subtropical rainforest region called the Maleny Plateau, Mary Cairncross Reserve is now the only significant rainforest block left in that vicinity. Cairncross is an archetypal &lsquo;remnant&rsquo;.</p>
<p>THE REMNANT (v.1) drew upon a range of local but universal themes: The tragedy of an ecological ark contrasts with the vision of the site&rsquo;s bequestors and a local community of support. An argument continues between preservation and pasture; between crops and housing. The voice of local indigenous custodians contrast with the fences and boundaries conception of private property based democracy. And in between these clashes sits the story of a critically endangered butterfly, hanging on through dint of community will and one key host plant found in the reserve. Butterflies and their rainforest hosts are flagship examples of that which we are losing - threatened species who have suffered so much because of us now depend upon us to &lsquo;allow&rsquo; them survive.</p>
<p>THE REMNANT (V2) took this universal story to <a href="http://kickarts.org.au/exhibitions/upcoming/118/" target="_blank">Cairns</a> and re-presents the work in a new open format which allowed audiences to both experience the original power of the work and to also understand the construction of the work's powerful illusory, visual spaces.</p>
<p>THE REMNANT therefore speaks for a fundamental rethinking of the critical relationships that frame our worlds - the social, the political, the economic and the cultural, asserting that the ecological crisis is not out there .. but that WE are the crisis and therefore it is we who must now understand how to act.</p>
<p><strong>FURTHER BACKGROUND (V1):</strong>&nbsp; The Pararistolochia Praevenosa is the sole host plant for the critically endangered Richmond Birdwing Butterfly. The Birdwing must locate this rainforest vine in exactly the correct state of growth at breeding time in order to then lay it eggs and this foster the birth and growth of new caterpillars.&nbsp; Over millions of years this species has become dependent upon this one key vine - and so the relatively recent, catastrophic loss of this vine from its original reach from Maryborough Qld down to Grafton NSW has virtually sealed the fate of yet another iconic Australian species. The current tiny population of Richmond Birdwing is a classic &lsquo;remainder&rsquo; species that hovers perilously close to extinction.</p>
<p>In some small way though The Birdwing, like a handful of other charismatic creatures, is lucky &ndash;its iconic beauty has inspired several communities across SEQ and NSW to rally to specifically support it &ndash; planting and nurturing the host vine in their surrounding lands. Through this new collaboration / regeneration partnership between human and threatened species &ndash; the butterfly may yet enjoy some kind of uneasy future. However exciting this may be, this is but one rare case - as numerous other (often less charismatic) species are rapidly declining. Our landscape is now dotted with the evidence of this - remnant vegetation within which known species such as the Birdwing alongside mysterious, unseen or maybe unknown others grimly hang on to life.</p>',
			'extra_links' => '<p>Critical Review <em>'Ways of Seeing Nature's Fragility' </em><a href="http://embodiedmedia.com/Resources/WaysOfSeeingNaturesFragilitySacn.jpg" target="_blank">(Paper Version)</a> <a href="http://www.realtimearts.net/article/105/10455?utm_source=RealTime+E-ditions&amp;utm_campaign=6fb69c8f55-RT_105_online_now10_11_2011&amp;utm_medium=email" target="_blank">(Online Version)</a> in Realtime issue #105 Oct-Nov 2011 pg. 28.<br /><a href="/Resources/Remnant-FinalCatalogue.pdf" target="_blank">Download Catalogue</a> (v2)<br />Exhibition <a href="http://kickarts.org.au/exhibitions/archive/2011/118/" target="_blank">Link</a>, Kickarts, Cairns (v2)<a href="http://www.treeline.org.au/program/keith-armstrong-and-james-muller" target="_blank"><br /></a><a href="/Resources/TheRemnant-Invite.pdf" target="_blank">Download </a> <a href="/Resources/TheRemnant-Invite.pdf" target="_blank">invite</a> (v2)<a href="/Resources/measurements-install-setup.pdf" target="_blank"><br />Download floorplan (v2)<br /></a><a href="http://www.treeline.org.au/program/keith-armstrong-and-james-muller" target="_blank">Project Webpage</a> , Treeline Festival, (v1)&nbsp;<br /><a href="/Resources/RemnantPressReleaseshort.pdf" target="_blank">Short Press Release</a> (v1)<br /><a href="/Resources/RemnantPressReleaselong.pdf" target="_blank">Long Press Release</a> (v1)</p>',
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			'title' => 'The Sun Gives',
			'page_title' => 'The Sun Gives (2010)',
			'sub_title' => null,
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			'content' => '<p>'The Sun Gives Without Ever Receiving' was a Miniature 3D Sculpture produced in resin using 3D printing technologies&nbsp;as part of&nbsp;International Touring Show &lsquo;<a href="https://web.archive.org/web/20110911122734/http://www.insideoutexhibition.com/" target="_blank">Inside Out</a>&rsquo; based around rapid prototyping. The work&nbsp;contributes towards my ongoing explorations into how our collective ability to sustain (the future) is as much a cultural problematic as it is an economic or technological one.</p>
<p><strong>SHOWINGS:</strong><strong><br /></strong>1: <a href="http://www.object.com.au" target="_blank">Object Gallery</a>, Sydney, 417 Bourke Street, Surry Hills, NSW 2010, 5th June - 25th July 2010, Curated by Claire Smith.<br />2: DMU Cube Gallery, <a href="http://www.phoenix.org.uk" target="_blank">Phoenix Square Film &amp; Digital Media</a>, Midland Street , Leicester, LE1 1TG, England, 1st - 21st September, 2010.<br />3: Righton Gallery,  Cavendish Street, Grosvenor Building,  Manchester Metropolitan University  Manchester, England. 4 - 26 November 2010.<br />4<strong>:</strong> The Poly, The Royal Cornwall Polytechnic Society, Church Street,  Falmouth, England, 29 Mar - 2 Apr 2011.</p>
<p><strong>PARTNERS:</strong>&nbsp;The exhibition was the result of collaboration between the Art Technology Coalition, the University of Technology Sydney and RMIT University in Australia along with De Montfort University, Manchester Metropolitan University and Dartington College of Arts at University College Falmouth in the United Kingdom. &nbsp;</p>
<p><strong>MORE: </strong>The curatorial brief of the project was a technical one - in that each curated artist was to design a piece in CAD suitable for 3D resin printing - The object should be entirely generated through 3D visualisation and modelling tools and should be machined and shipped within the dimensions of 6cm x 6cm x 6cm.</p>
<p>My design for this brief was influenced by recent research I had conducted in Mildura in the Sunraysia irrigated region of NW Victoria. Each name set within the work is an Australian soldier/settler &ndash; who, on returning from the &lsquo;Great War&rsquo; was duly awarded a &lsquo;block&rsquo; in Australia&rsquo;s new inland irrigated settlements - with the explicit task of clearing it to plant and reap. Through their concerted and well-intentioned efforts, these workers began to profoundly re-shape Australia&rsquo;s marginal country -&nbsp; inadvertently presaging the bleak future faced today by many of Australia&rsquo;s inland lands and river systems. Furthermore, through that time's predominant colonial conception of &lsquo;terra nullius&rsquo; (this land is unoccupied and therefore free to be claimed) they each played a small but formative part in building the profound cultural divide between land and peoples that still haunts Australia today.&nbsp;&nbsp;</p>
<p><strong>THE EXHIBITION: </strong>Inside Out is a compelling international touring exhibition featuring forty-six miniature sculptures produced in resin using 3D printing technologies. Developments in virtual computer visualisation and integrated digital technologies are giving contemporary makers new insight and opportunities to create objects and forms which were previously impossible to produce or difficult to envisage.</p>
<p>The exhibition is the result of collaboration between the Art Technology Coalition, the University of Technology Sydney and RMIT University in Australia along with De Montfort University, Manchester Metropolitan University and Dartington College of Arts at University College Falmouth in the United Kingdom. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</p>',
			'extra_links' => '<p><a href="https://web.archive.org/web/20130410090113/http://www.arttech.com.au/insideout/" target="_blank">Inside Out Touring Exhibition</a> (Archived)</p>
<p><a href="https://web.archive.org/web/20110911122734/http://www.insideoutexhibition.com/" target="_blank">Archived Insideout Website</a></p>',
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			'title' => 'Knowmore (House of Commons)',
			'page_title' => 'Knowmore (House of Commons) 2009–2010',
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			'content' => '<p>An embodied interactive installation investigating the cultural dimensions of sustainability.&nbsp;A large circular table spun by hand and a computer-controlled video projection falls on its top, creating an uncanny blend of physical object and virtual media. Participants&rsquo; presence around the table and how they touch it is registered, allowing up to five people to collaboratively &lsquo;play&rsquo; this deeply immersive audiovisual work.</p>
<p><strong>SHOWINGS:</strong><br />2:&nbsp;<a href="http://www.mediations.pl/2010/Armstrong_Keith_Barker_Chris-321/?lid=2&amp;filtr=country&amp;fid=13" target="_blank">'Beyond Mediations', Mediations Biennial of Modern Art</a>, Zamek Centre For Art and Culture, Poznan, Poland, September 10 - October 30, 2010, Curated by Ryszard W. Kluszczynski.&nbsp;</p>
<p>1:&nbsp;Infozone New Media Residency and Exhibition Project, 21 Feb-24th May, 2009, Infozone Artspace, State Library of Queensland, Brisbane, Australia. Curated by Queensland Artworkers Alliance.</p>
<p><strong>TEAM:</strong> Keith Armstrong (Artist director), co-director Chris Barker.&nbsp;Darren Pack (Quest 3D programmer) Luke Lickfold (Interactive Sound Design) and Stuart Lawson (Designer). Quotes by Tony Fry, Table design Fred Howie, Howie Engineering.</p>
<p><strong>PARTNERS:&nbsp;</strong>The work was conceived and produced as a&nbsp; collaboration between artists Dr Chris Barker and Dr Keith Armstrong.&nbsp; Institutional and industry partners were the State Library of Queensland, Queensland Artworkers Alliance,&nbsp;<a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://staffprofiles.ci.qut.edu.au/">QUT Creative Industries</a>, Arts Queensland,&nbsp;&nbsp;<a href="http://minyos.its.rmit.edu.au/aim/AIMmain.html" target="_blank">RMIT Centre for Animation and Interactive Media</a>&nbsp;and&nbsp;<a href="http://www.e2evisuals.com/" target="_blank">E2E Visuals</a>.</p>
<p><strong>MORE: </strong>In an age that has come to celebrate cultural difference Knowmore (House of Commons) considers the urgent need for us to also better celebrate and care for that which we share in common: the cultural and biophysical environments that fundamentally sustain all life today. This critical shift in thinking and action requires us each to envision new ways to re-orientate our everyday life choices in ways that better respect that which is shared by all: 'The Commons'. The work therefore asks what kind of resources and knowledge might be necessary to move us past simply knowing what needs to be changed to instead actually embodying that change. It further suggests this idea by focusing on the power of embodied learning implied by the works' strongly physical interface (i.e. the spinning of a full size table) alongside the complex field of layered imagery appearing upon that table top which hints at other deeply relational ways of understanding and knowing the world.</p>',
			'extra_links' => '<p><a href="http://www.mediations.pl/2010/Armstrong_Keith_Barker_Chris-321/?lid=2&amp;filtr=country&amp;fid=13" target="_blank">Mediations Biennial of Modern Art</a> Website<br />Download Poznan Biennial 2010 <a href="/Resources/mediations-biennale--poznan-PRESS-RELEASE.pdf" target="_blank">Press Release</a><br />Download Copy of 2009 Show <a href="/Resources/slqcatalogueKMA.pdf" target="_blank">catalogue</a>,&nbsp; (including <a href="/Resources/KmreHoffieEssay.pdf" target="_blank">essay</a> by Pat Hoffie).<br />Read <a href="http://www.realtimearts.net/article/90/9415" target="_blank">Review</a> in Realtime 90.<br /><a href="http://www.subtletechnologies.com/2010/?page_id=1218" target="_blank">Poster Presentation</a>, Subtle Technologies 2010, Canada.<br />Tour Ready Documents 2.7Mb (<a href="/Resources/techspecaug2010.pdf" target="_blank">Pdf</a>).</p>',
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			'slug' => 'lighter-than-tai',
			'old_filename' => 'lighter-than-tai',
			'title' => 'Lighter Than Tai',
			'page_title' => 'Lighter Than Tai (2008)',
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			'content' => '<p>Solo Performance/Live Art Event at Tiananmen Square Beijing, China (3 hours) and Later on Summit of Mt. Tai Shan, Shandong Province, China (6 hrs + 3 hrs).</p>
<p><strong>SHOWINGS:<br /></strong>1:&nbsp;Anniversary of Tianenmen Square Protest Crackdown, Jun 8th 2008.<br />2:&nbsp;Dawn on Tai Shan's summit, 15th June, 2008</p>
<p><strong>MORE: I</strong>n the Hall of Reverence on Tiananmen Square, Beijing Mao Zedong's body lies in state surrounded by flowers and draped with a Red Flag of Communist China. His casket with a glass top lies on a black stone from Mt. Tai, reflecting the quotation from Sima Qian (China's Han Dynasty historian) that "One's life can be weightier than Mt. Tai or lighter than a goose feather".</p>
<p>This pair of performances were a quiet, personal reflection upon what such a once revolutionary expression might mean in today's very different time and place. The work was conceived during the Olympic Cultural Festival showing of <a href="http://www.mediartchina.org/?q=beyond/intimate" target="_blank">Intimate Transactions</a> - during the tumultuous times leading up to China's proudly staged August 2008 Olympics. The rise and rise of China had long been generating major geopolitical, ecological and cross-cultural shifts throughout the region and beyond. In this dramatic epicentre of change and at a time of such great national pride, how might we each act in ways that are ecologically 'mighty' and yet simultaneously have an impact lighter than a goosefeather? This is both a question for China in its relations with the autonomous provinces and the environment as it is for all of us in our own 'local' affairs. However ecologically speaking all that is of local concern is of global concern and noone can therefore be exempt from the need to sustain that which we share in common and must all protect for the future.</p>
<p><strong>Performance 1:</strong> Tiananmen Square, Beijing: Dropping 100 goose feathers.<br /><strong>Performance 2</strong>: The summit of Mt Tai, Shandong Province. Building a mountain from Goose Feathers.<strong><br /></strong></p>
<p><strong>MORE:&nbsp;<br /></strong><strong>Performance 1:&nbsp;</strong>Begin an hour after dawn (5.45am) in Tiananmen Square.&nbsp;Bring pre-prepared performance shirt, a bag of goose feathers tipped with red. Begin at the "Gate of Heavenly Peace" under the image of Chairman Mao. Circumnavigate the world's largest open and the most surveilled public space 5 times dropping feathers periodically. Meditate on Forces of Change. Finally enter Chairman Mao's mausoleum with the masses and move quietly past his preserved body. End the performance at the Gate of Heavenly Peace 3 hours later.</p>
<p><strong>Performance 2:&nbsp;</strong>Walk up Mt. Tai Shan in silence meditating on Forces of Change (6 hours). Stay overnight on the summit. Begin an hour before dawn (3.45am) in silence. Bring performance shirt, a sack of goose feathers and a simple wooden structure. On the sunrise viewing side of the mountain build a miniature, fragile 'mountain' in goose feathers and sticks on the edge of a sheer precipice. Watch the sun rise as the feathers blow away into the valley deep below (3 hours).</p>',
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			'slug' => 'lie-of-the-land',
			'old_filename' => 'lie-of-the-land',
			'title' => 'Lie of the Land',
			'page_title' => 'Lie of the Land (2005)',
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			'content' => '<p>A video artwork presentation with two other Australian artists. The collective title "Lines of Sight" reflected the variety of view points framed within the video works shown. Keith Armstrong's video was concerned with issues regarding the colonization of Australia. For the period of one month the three video artworks were played continuously in a loop on the Lion TV monitor at Nishi Ogikubo Station seven days a week. The viewing point was from the top of the escalators on the Sobu Line platform.</p>
<p><strong>SHOWINGS:</strong><br />1:&nbsp;Nishi Ogi Machi Media Festival, AlibArt Event, 29 April&ndash;14 May, 7am-10pm, Lion TV Site, Nishiogikubo Station Platform 1, JR Chuo Line, Tokyo, Japan. Curated by Mr. Sigemi Takamatsu &amp; Youkobo Art Space.</p>
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			'title' => 'Fundamental Sounds',
			'page_title' => 'Fundamental Sounds (2007)',
			'sub_title' => '',
			'brief' => '',
			'content' => '<p>Designed as &ldquo;A New Fusion Of Music, &amp; Visual Arts That Explores The Concept Of Sustainability&rdquo;. This concert at a major venue involved four live musicians, numerous performers &amp; large-scale projections.</p>
<p><strong>SHOWINGS<br /></strong>1: Main Concert Hall, The Queensland Conservatorium of Music, 2 December, 8pm, 2007, Brisbane, Australia.&nbsp;</p>
<p><strong>TEAM: </strong>Keith Armstrong (Visual Co-direction),&nbsp;Project Director Tony Fry and <a href="http://www.teamdes.com.au/index.html" target="_blank">Team DES</a>, Co-Visual Direction <a href="http://www.inkahoots.com.au" target="_blank">Inkahoots</a>.</p>
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			'old_filename' => 'lastgeneration',
			'title' => 'The Last Generation',
			'page_title' => 'The Last Generation (2007-8)',
			'sub_title' => '',
			'brief' => '',
			'content' => '<p><strong>&nbsp;</strong>Laser-cut plywood 3D object created in the form of a now obsolete greyscale 'Save-As' icon and containing 52 electronic text modules. Set within the simplistic &lsquo;texture&rsquo; of the work&rsquo;s icon, these animated texts silently allude to both loss &amp; that which we are inadvertently saving up for ourselves through our inability to act &lsquo;ecologically&rsquo;. These are not crystal clear, sharp texts typical of contemporary LED displays, but rather blurred, low resolution, glimpses of a lost world of desire &amp; oversight.</p>
<p><strong>SHOWINGS:</strong><br />1:&nbsp;Blurred Boundaries, Intersecting Territories in Art, Craft and Design (Touring Show), 17 November, 2007&ndash;23 February, 2008, KickArts Upper Gallery, Cairns, Australia. Curated by Russell Milledge and Robyn Daw.<br />2:&nbsp;Blurred Boundaries, Intersecting Territories in Art, Craft and Design (Touring Show), 6 March&ndash;5 April, 2008, Artisan Gallery, Brisbane, Australia. Curated by Russell Milledge and Robyn Daw.<br />3: Showing Off, Bathurst Regional Gallery, Bathurst, NSW, 7th Aug&ndash;20 Sept. 2009, Curated by Daniel Kotja.</p>
<p><strong>PARTNERS: </strong><a href="http://kickarts.org.au" target="_blank">Kick Arts&nbsp;Contemporary Arts</a>, <a href="http://www.artisan.org.au" target="_blank">Artisan Gallery</a>, <a href="http://www.bathurstart.com.au" target="_blank">Bathurst Regional Gallery</a>,&nbsp;<a href="http://www.australiacouncil.gov.au/grants/assessment-reports/arts_organisations_major_performing_arts_and_key_organisations/pages/broadband-arts-initiative-may-2012">Australia Council For The Arts</a>, <a href="http://staffprofiles.ci.qut.edu.au/">QUT Creative Industries</a>,</p>
<p><strong>MORE:</strong> The Last Generation is a laser-cut, plywood sculpture (1.2x1.2x0.3m) containing 52 miniature red scrolling LED text modules. It is shaped in the form of a low resolution greyscale computer icon once widely used to represent the 'Save as - to floppy disc&rdquo; function on greyscale computer monitors. Each text alludes both to that which has been lost through rapid technological progression &amp; the long term ecological damage being created through their rapid transition of technological objects from desirable commodity to waste stream.</p>
<p>The scrolling texts are intentionally blurred as a tactic for drawing attention to the constant superceding of prior technological products in favour of those with incrementally higher resolutions (often far in excess of user requirements). The work therefore sought to question the ICT industry&rsquo;s lack of clear policies in terms of avoiding pre-planned obsolescence in their products as well as the toxicity of commonly employed materials &ndash; an agenda which at that that time had garnered limited governmental attention. The Last Generation was commissioned for a National touring design/art/craft exhibition in 2007-8.</p>
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			'slug' => 'sounds-of-the-suburb',
			'old_filename' => 'sounds-of-the-suburb',
			'title' => 'Sounds of the Suburb',
			'page_title' => 'Sounds of the Suburb (2007)',
			'sub_title' => null,
			'brief' => '',
			'content' => '<p>An invited&nbsp; first stage proposal document for Queensland Rail's Brunswick Street Station concourse redevelopment, Brisbane, Queensland. Sounds of the Suburb proposed an animated, evolutionary artwork populated by life-like electronic &lsquo;trains&rsquo; of text - each moving endlessly through a complex network of &lsquo;tracks&rsquo; and &lsquo;stations&rsquo; that dramatically snake their way through the Brunswick Street Station Concourse. Each of these &lsquo;trains of thought&rsquo; contained a street-wise idea about music - fresh from the &lsquo;Valley&rsquo; (The entertainment focused suburb that the station served). These cultural &lsquo;memes&rsquo; would propagate and replicate themselves as they travelled through the network, mutating, combining, cross-fertilising and adapting: writing - day in, day out - the constantly evolving 'Sounds of the Suburb'.</p>
<p><strong>SHOWINGS:</strong><br />1: Detailed Design/Proposal and Client Presentation</p>
<p><strong>PARTNERS:</strong> Queensland Rail, Project Management by <a href="http://www.uap.com.au" target="_blank">UAP (Urban Art Projects)</a>. &nbsp;</p>
<p><strong>MORE:</strong> Sounds of the Suburb was a commissioned public art proposal based upon a brief set by Queensland Rail for the major redevelopment at their Brunswick Street Railway Station, Fortitude Valley, Brisbane. I proposed a large scale, electronic artwork to be distributed across the glass fronted structure of their station&rsquo;s new concourse building. It was designed as a network of LED based &lsquo;tracking&rsquo; - along which would travel electronically animated, &lsquo;trains&rsquo; of text synchronised to the actual train timetables. Each message packet moved endlessly through a complex spatial network of &lsquo;tracks&rsquo; and &lsquo;stations&rsquo; set both inside, outside and via the concourse. The design was underpinned by large scale image of sound waves etched onto the architecture&rsquo;s glass and was accompanied by two inset monitors each presenting ghosted images of passenger movements within the concourse, time-delay recorded and then cross-combined in realtime to form new composites.</p>
<p>Each moving, reprogrammable phrase was conceived as a &lsquo;train of thought&rsquo; and ostensibly contained an idea or concept about popular cultures surrounding contemporary music &ndash; thereby meeting the brief that the work should speak to the diverse musical cultures central to Fortitude Valley&rsquo;s image as an entertainment hub. These cultural &lsquo;memes&rsquo;, gathered from both passengers and the music press were situated alongside quotes from philosophies of networking, speed and digital ecologies. These texts would continually propagate, replicate and cross fertlise as they moved throughout the &lsquo;network&rsquo;, thereby writing a constantly evolving &lsquo;textual soundcape&rsquo; of that place. This idea was further cemented through the pace, scale and rhythm of passenger movements continually recorded and re-presented on the smaller screens.</p>
<p>The innovation was to build strongly upon the originating brief to in fact create an entirely non-traditional interpretation of sustainability &ndash; established as an issue relating to not simply the environment or ecology but rather one extended to all aspects of human lifestyle: specifically to modalities of culture, communication, relationship and celebration.</p>
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			'extra_links' => '<p>Download Original Design proposal <a href="/Resources/Brunswick-St-Concept-Presentation-070919-print.pdf" target="_blank">Here</a> </p>',
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			'slug' => 'in-step',
			'old_filename' => 'instep',
			'title' => 'In Step',
			'page_title' => 'In Step (2007)',
			'sub_title' => null,
			'brief' => '',
			'content' => '<p>In Step was a wearable artwork consisting of a pair of embroidered foot bandages and an actuator &lsquo;cushion&rsquo; embedded with 15 electromechanical actuator pistons. The bandage was embedded with woven, soft and flexible fabric sensors - interconnected with metallic connecting threads, fasteners and a wireless interface (in a final form). When wrapped around a foot and lower leg the sensors sat on the ball of the toes and heel. This &lsquo;wearable interface&rsquo; was then connected wirelessly to a soft sculptural form, which employed actuators to tap gently in response to the qualities of the walk detected by the soft sensors. In this way the &lsquo;tread qualities&rsquo; of the walker could then be felt by someone else holding this device against their stomach &ndash; thereby allowing pairs of participants to &lsquo;feel&rsquo; the tactile qualities of the other's walk. The work was presented both as a working object and via a short videorecorded performance.</p>
<p><strong>SHOWINGS:</strong><br />1:&nbsp;WearNow Symposium. &lsquo;TECH&rsquo; is the new &lsquo;BLACK&rsquo;, 3 February, 2007, Australian National Museum, Canberra, Australia. Curated by ANAT.<br />2:&nbsp;WearNow Exhibition, ANU Textile &amp; Jewelry Gallery, Australian National University, Canberra, ACT, 2nd Feb, 2007<br />3:&nbsp;Wear Now Shopfront Exhibition, Electrofringe Festival, 27 Sept.&ndash;1 Oct. 2007, Darby Street, Newcastle, Australia. Curated by High Tea With Mrs Woo.</p>
<p><strong>TEAM: </strong>Keith Armstrong (Artistic director),&nbsp;High Tea With Mrs Woo - Rowena Foong, Julianna Fong &amp; Angela Foong. (Fashion/Textile Designers) &amp; Leah Heiss (Actuator Physical Design)</p>
<p><strong>PARTNERS:</strong> <a href="http://www.anat.org.au" target="_blank">Australian Network for Art and Technology</a>, <a href="http://www.nma.gov.au" target="_blank">National Museum if Australia</a>, <a href="http://soa.anu.edu.au" target="_blank">ANU School of Art</a>.<br />This work was created during the ANAT reSkin COMPUTER COUTURE LAB, Mon 15th Jan &ndash; Thurs 1st Feb 2007, Australian National University, Canberra.&nbsp;</p>
<p><strong>MORE:</strong>&nbsp;In Step generated innovative new approaches to interface and sensor embedded clothing/footware whilst also creating an evocative vehicle to comment upon contemporary Post Colonial theories of weight and groundedness &ndash; particularly the psycho-geographical &lsquo;separation&rsquo; from the landscape that inspired Paul Carter&rsquo;s &ldquo;environmentally grounded poetics&rdquo;.&nbsp; The work&rsquo;s final form also suggested critical new directions for responsive clothing and footwear for the emerging genre of smart textiles.</p>
<p><strong>UNDERLYING IDEAS: </strong><a href="http://www.materialthinking.com.au/" target="_blank">Paul Carter</a> writes, &ldquo;Let the ground rise up to resist us, let it prove porous, spongy, rough, irregular &ndash; let it assert its native title, its right to maintain its traditional surfaces&rdquo;. In Step considers how we might &ldquo;release the ground for movement in order to release our movement for the ground&rdquo; - I argue that at present we move with an 'extreme lightness' on the ground resulting from our 'extraordinary heaviness' upon it&nbsp; - yet we sense our &ldquo;ungroundedness, the fragility of our claim on the soil&rdquo;, demonstrated through our &ldquo;engineering instinct to wipe it out; to lay our foundations on rationally apprehensible level ground&rdquo;.</p>
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			'extra_links' => '<p>Reports about the Re-Skin Wearable Art Workshop - <a href="/Resources/Australian-Financial-Review-Magazine-April-2007.pdf" target="_blank">Australian Financial Review</a> (pdf) , <a href="/Resources/RealTime78-April-May-2007.pdf" target="_blank">Realtime</a> pdf or <a href="http://www.realtimearts.net/article/issue78/8531" target="_blank">web</a> and <a href="http://basement.craftaustralia.org.au/articles/20070827.php" target="_blank">Craft Australia</a></p>',
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			'date' => '2007-02-01',
			'parent_id' => '4',
			'slug' => 'whisper-our-futures',
			'old_filename' => 'whisper-our-futures',
			'title' => 'Whisper Our Futures',
			'page_title' => 'Whisper Our Futures (2007)',
			'sub_title' => null,
			'brief' => '',
			'content' => '<p>A proposed public artwork to be shown in 10 cathedrals throughout Queensland for the 2009 150th celebrations. Whisper Our Futures was an invited design proposal to produce a major public artwork for the State of Queensland&rsquo;s 150th Anniversary Celebrations. It involved a network of 100 individual scrolling digital text boxes each with individual audio systems arranged together in a tessellated format. This form (specified by the originating brief) both mimicked the soaring gothic arches typical of Queensland cathedrals and was also suggestive of their stained glass windows. Each text module presented a message in both visual and audible forms for Queenslanders living 150 years hence&nbsp; - spoken both by the general public aw well as prominent figures. In this way the work was designed as a focus of future hope, historical reflection and inspiration to visitors to Queensland cathedrals throughout the entire year of celebrations (2009). The work was planned to premiere at Brisbane&rsquo;s main Anglican Cathedral and then tour to nine other state cathedrals throughout 2009.'</p>
<p><strong>SHOWINGS:<br /></strong>1:&nbsp;Detailed Design/Proposal</p>
<p><strong>TEAM: </strong>Keith Armstrong (Artistic Director)</p>
<p><strong>MORE:</strong> Two staged proposals and budgets were invited throughout 2007. After the second successful proposal stage the State Premier and cabinet changed, ultimately leading the public art components to be dropped from the program. The proposal currently remains on file at the Queensland Premiers Office.</p>
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			'slug' => 'why-fundamentalism',
			'old_filename' => 'why-fundamentalism',
			'title' => 'Why Fundamentalism?',
			'page_title' => 'Why Fundamentalism? (2007)',
			'sub_title' => null,
			'brief' => '',
			'content' => '<p>Development to design proposal stage of a visual arts/design exhibition. Key themes engaged around the starting hook of Fundamentalism as a means to ask an accompanying and critical question - What exactly is it that is Fundamental to our collective survival and what therefore are the actual foundations upon which we must build?</p>
<p><strong>SHOWINGS:</strong><br />1:&nbsp;Proposal Only and Video Document</p>
<p><strong>TEAM: </strong>Keith Armstrong (Visual collaborator),<strong>&nbsp;</strong><a href="http://www.teamdes.com.au/index.html" target="_blank">TeamDES (Tony Fry &amp; Ann-Marie Willis)</a>, <a href="http://www.inkahoots.com.au" target="_blank">Jason Grant (Inkahoots Design</a>) &amp; <a href="http://gallarchitects.com.au" target="_blank">Jim Gall (Gall and Medek Architects)</a>.</p>
<p><strong>MORE:</strong>&nbsp;Why Fundamentalism? was an exhibition and critical writing project developed from concept phase through to detailed proposal. It included an edited video document that lay out its core ideas and presented the diverse voices of each collaborator. A number of key themes were engaged around the hot-button (and much misunderstood) concept of Fundamentalism. The proposal included an exhibition layout, developed test imagery, ideas and animations, proposed forms for future works and a process whereby design briefs would lead to subsequent commissions. Two major grant applications were submitted to the Australia Council and Arts Queensland, with the support of State Library of Queensland, the University of Adelaide and numerous others. The project remains at the developed proposal stage awaiting suitable funding.</p>
<p>Critically the show became an active vehicle for drawing and exploring a line of distinction between ideas of &lsquo;what is fundamental&rsquo; and &lsquo;fundamentalism&rsquo; as it rested in the popular imagination, as well as in political and philosophical debates. It teased out and engaged with a number of key questions that included The Problem of Ungroundedness, A Politics of Finitude, The Post-modern/Pluralist Problem, Silent Fundamentalisms (Voices of Reason and Neo-con Religions), Fundamentalism as a Media Construct, The Pre and Post Cold-war Other, The Pressing Need for Foundations in the West and Islam as Foundationalism (rather than fundamentalism).</p>
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			'feature_sub_title' => 'ecological disintegration and transformation in action',
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			'iorder' => '26',
			'date' => '2006-08-16',
			'parent_id' => '4',
			'slug' => 'shifting-intimacies',
			'old_filename' => 'shifting-intimacies',
			'title' => 'Shifting Intimacies',
			'page_title' => 'Shifting Intimacies',
			'sub_title' => '',
			'brief' => '',
			'content' => '<p>An interactive/media artwork for one person at a time. Each participant enters a large, dark space containing two circles of projected film imagery presented within an immersive sound environment. One image floats upon a disc of white sand and the other on a circle of white dust. Participants&rsquo; movements direct and affect the filmic image and spatialised audio experience. Throughout the work a layer of dust (an artificial life form) slowly eats away and infuses itself deep into the imagery and sound. Each person has 10 minutes alone with the work. Their movement through the space continually affects speed, quality, balance and flow within the work. At the end of the experience they are invited to climb a lit platform and cast dust back onto the images below.</p>
<p><strong>SHOWINGS:<br /></strong><strong></strong>1:&nbsp;Capture 4&nbsp;Festival, 16&ndash;21 March, 2006, <a href="http://www.ica.org.uk" target="_blank">Institute For Contemporary Arts (ICA)</a>, London, England. Curated by Vivienne Gaskin and Portland Green.<br />2:&nbsp;Video Component shown at Northern Stage, 16&ndash;20 January 2007, (Stage Three), Newcastle, England. Curated by Charlotte Vincent.<br />3:&nbsp;On Edge Festival, 22-25th July, 2008, Jute Theatre, KickArts, Cairns, Australia.<br />4:&nbsp;<a href="http://www.brisbanefestival.com.au" target="_blank">Brisbane Festival</a>&nbsp;30 July&ndash;2 August, 2008, Judith Wright Centre For Contemporary Arts, Brisbane Australia.<br />5. Video featured on <a href="http://soundsrite.uws.edu.au/soundsRiteContent/volume6/SI-play.html" target="_blank">Sounds-rite</a></p>
<p><strong>TEAM: </strong>Keith Armstrong (Artistic director),&nbsp;Charlotte Vincent (Co-Artistic Director Vincent Dance Thetare), Guy Webster (Sound Director)</p>
<p><strong>PARTNERS: </strong>Arts Council of England,&nbsp;<a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>,&nbsp;<a href="http://staffprofiles.ci.qut.edu.au/">QUT Creative Industries</a>,&nbsp;<a href="http://www.onedgeart.com/" target="_blank">On Edge Arts</a>,&nbsp;<a href="http://www.vincentdt.com/projects/shifting/index.html" target="_blank">Vincent Dance Theatre</a>,&nbsp;<a href="http://www.arts.qld.gov.au/">Arts Queensland</a>, <a href="http://judithwrightcentre.com" target="_blank">Judith Wright Centre for Contemporary Arts</a>,&nbsp;<a href="http://cmr.ulster.ac.uk" target="_blank">Centre for Media Research (CMR), University of Ulster</a>.</p>
<p>Shifting Intimacies resulted from an ICA/Arts Council England co-commission for Capture 4 and was generously supported by a residency at the Centre for Media Research (CMR) at the University of Ulster. Site Gallery and Vincent Dance Theatre also leant time and precious resources. Shifting Intimacies was further supported by the Australian Government through the Australia Council, its arts funding and advisory body and the Queensland Government through Arts Queensland. Capture4 is managed by PortlandGreen, for Arts Council England.&nbsp;We would also like to thank Joc Curran from The Zoo, Julie Dean and Marion Conrow for their generous support.&nbsp;Shifting Intimacies 2008 showings were supported by the Judith Wright Centre for Contemporary Art, The Brisbane Festival 2008 and The On-Edge Festival 2008 - with special thanks due to Stefan Greder and Bonemap.</p>',
			'extra_links' => '<p>Video featured on <a href="http://soundsrite.uws.edu.au/soundsRiteContent/volume6/SI-play.html" target="_blank">Sounds-rite</a> <br />Read <a href="http://www.realtimearts.net/article/87/9177" target="_blank">Review</a> of the Work <br />Tour Ready Documents (<a href="/Resources/SITourReady.pdf?phpMyAdmin=b6PkCEYZ%2CteP6XdDyTa6wOnF%2C61" target="_blank">Pdf</a>)<br /><a href="http://www.vincentdt.com/projects/shifting/index.html" target="_blank">Vincent Dance Theatre</a></p>',
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			'date' => '2006-07-11',
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			'slug' => 'subcon',
			'old_filename' => 'subcon-warrior-1',
			'title' => 'Subcon',
			'page_title' => 'Subcon Warrior 1.0 (2006)',
			'sub_title' => null,
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			'content' => '<p>A large-scale location based promenade performance work produced by renowned physical theatre company Zen Zen Zo. Themed around the experiences and ethical dilemmas inherent within contemporary computer gaming scenarios it utilized a dramatic combination of multimedia scenography and audience-performer choreography to profoundly challenge numerous conventions of contemporary performance. Technologies deployed included augmented reality mediatised sets and locations as well as the extensive use of wearable, portable and wireless systems. Audiences became central participants within the work&rsquo;s creative processes and were taken on an immersive journey via numerous sets distributed throughout buildings, their environs and a private house. As multimedia director my role was to work in close collaboration with the directors and players to create visual materials, wearable computing and imaging devices, computer surveillance systems, wide area audio broadcasting and bugging and surveillance solutions. The production was hugely successful selling out every performance of its run and producing strong and vibrant reactions from its diverse audiences.</p>
<p><strong>SHOWINGS:<br /></strong>1:&nbsp;Public Performance, 11&ndash;29 July, 2006, 11th-29th July, Milton State School Building/Environs/Private Housing, Brisbane, curator Lynne Bradley.</p>
<p><strong>TEAM: </strong>Keith Armstrong (Visual and Interactive Director) with<strong>&nbsp;</strong><a href="http://www.zenzenzo.com/Past-Productions/" target="_blank">Zen Zen Zo</a> Physical Theatre Company</p>
<p><strong>PARTNERS:</strong>&nbsp;A Queensland Performing Arts Trust/ and ZenZenZo, &lsquo;In the Raw&rsquo; Production.</p>
<p><strong>MORE:</strong> The immersive multimedia script developed a complex computer gaming scenario that required audiences to engage in physical action, active problem solving and role play, thereby developing a deep physical and emotional connection to the &lsquo;game&rsquo; and its characters. Audience groups and performers shared common spaces and scenarios and each were handed a range of problems and ethical dilemmas which they were asked to resolve in limited time periods, ensuring that the work&rsquo;s outcomes could be dramatically different depending upon any one audience&rsquo;s will, ability and collective skills.</p>
<p>This project was an outstanding success elicited major financial backing from Qld Performing Arts Trust and Arts Queensland to produce a full-scale subsequent work called Subcon Warrior 2.0, produced for the 2008 Brisbane Festival. Subcon Warrior 1.0 built strongly upon new forms of mediatised and interactive performance being developed throughout the world at that time to profoundly challenge existing &lsquo;passive&rsquo; performance paradigms, particularly through the innovative and wide scale integration of new technologies.</p>',
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			'title' => 'Party 25',
			'page_title' => 'Party 25 (2004)',
			'sub_title' => null,
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			'content' => '<p>Party 25 involved the conception and public launch of a radically new form of political party during that year&rsquo;s Australian general election. The entire project was also intentioned as a conceptual artwork. Party 25 avoided conventional party-political approaches and was neither a protest group nor an advocacy organisation, but rather a new form of political association that confronted what we understood as the debilitating limits and impotence of contemporary parliamentary democracies in transitioning our societies towards ecological sustainability.</p>
<p><strong>SHOWINGS:</strong><br />1:&nbsp;Public Launch Event, 29 September, 2004, Arterial Group Offices, Judith Wright Centre, Fortitude Valley, Brisbane. Curated by Team DES.</p>
<p><strong>TEAM:</strong>&nbsp;Keith Armstrong (Member/ Launch visual director),&nbsp;Team DES (Tony Fry and Ann-Marie Willis) &amp; Jim Gall (Gall and Medek Architects)</p>
<p><strong>MORE:&nbsp;</strong>Party 25 was based on responding to one fundamental question which all of its policies served - &ldquo;how does humanity get to the 25th century?&rdquo; By basing itself on a dramatically long-term approach uncommon within conventional politics it raised the proposition that humanity does not have an assured future. Party25 therefore shaped its agendas around the idea that any future now lies in human hands and so how humanity treats the ecologies on which it depends innately determines the quality of the inseparable relationship between its being, and the being of the biophysical world.</p>
<p>The project was conceived through a number of discussion papers, workshops and creative works and was launched publicly at the Judith Wright Centre Brisbane accompanied by a full length showing of evocative imagery, text and sound, a series of speeches and the launch of a succinct web presence.</p>
<p>Through the website and this party launch a community of interested participants and creative practitioners was sought who then would form the basis of a nascent community of change.</p>
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			'old_filename' => 'tree-of-fortune',
			'title' => 'Tree of Fortune',
			'page_title' => 'Tree of Fortune',
			'sub_title' => '',
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			'content' => '<p><strong>YEAR: </strong>2004<br /><strong>ROLE: </strong>Artistic Director<br /><strong>FORMAT: </strong>Electronic Text Installation/Public Art<br /><strong>WITH:</strong> Linda Carolli (Writer)</p><p><strong>WHAT: </strong>Installation of 130 LED scrolling text boxes wired within a tree displaying messages and texts that talk to private reflection and imagining.</p><p>Tree of Fortune was a major public artwork comprising of 130 LED scrolling text boxes distributed throughout a large tree.&nbsp; Each module displayed an individual scrolling message presented in red LED text, created in collaboration with Brisbane writer Linda Carolli. The work was commissioned for and presented in a prominent riverbank location at Christchurch&rsquo;s 2004 Biennial. It was accompanied by a high quality catalogue publication.</p><p>The project sought to foster private reflection amongst its viewers around the context of contemporary ecological crises, whilst also calling upon the power of their imagining as a method for retaining positive and critical mindsets in the face of adversity. This was achieved through ostensibly presenting texts in the form of &lsquo;fortune cookie&rsquo; style statements, but then configuring them to require a personal response. This sense of unraveling questions and answers was further cemented through the qualities of each scrolling text, which only revealed a small part of each phrase at any one time. </p><p><strong>SHOWING HISTORY:</strong><br /><strong>1: </strong>Tree On the Avon Riverbank, Adjacent to Canterbury Provincial Council Buildings, Christchurch, LightSCAPE, Christchurch  Urban Arts Biennial, 1&ndash;11 September, 2004. Curators Dr Deidre Brown &amp; Jonathan Mane-Wheoki. </p>',
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			'slug' => 'unbearable-lightness',
			'old_filename' => 'unbearable-lightness',
			'title' => 'Unbearable Lightness',
			'page_title' => 'Unbearable Lightness (2003)',
			'sub_title' => '',
			'brief' => '',
			'content' => '<p>An ephemeral public artwork of 110 text boxes distributed through a tree, each displaying an individual scrolling message. The commission was presented for Christmas 2003 under the project banner - 'The Artists' Christmas Tree'.</p>
<p>Unbearable Lightness was a public artwork of 110 LED scrolling text boxes distributed throughout the canopy of a large, mature tree, located in a high traffic location in a major Brisbane Parkland. The work was a major commission for the Southbank Corporation Public Art Program and was exhibited during the Christmas and New Year celebrations of 2003. Each text module displayed individual LED scrolling messages developed during collaboration with locally based hypertext writer, Linda Carolli. Set during the time of the highly contentious Invasion of Iraq, the texts posed open questions around the themes of lightness, thinness and emptiness with the aim of promoting contentions of hope in a time of painful impotence for concerned citizens.</p>
<p><strong>SHOWINGS:</strong><br />1:&nbsp;Artists' Christmas Tree Public Art Project, 28 November 2003&ndash;January 4 2004, South Bank Cultural Forecourt, Brisbane, Australia. Curator Zane Trow.</p>
<p><strong>TEAM: </strong>Keith Armstrong (Artistic Director),&nbsp;<strong>&nbsp;</strong>Linda Carolli (Writer)</p>
<p><strong>MORE:&nbsp;</strong>The text modules were positioned in sympathy with the position of major constellations in the night sky at that time whilst the design alluded to Martin Luther&rsquo;s original Christmas tree envisaged as a mixture of &lsquo;stars&rsquo; seen via a tree. The tree was further outlined and highlighted with blue spotlights set within its crown. The project required the design, networking and ruggedisation of the work&rsquo;s waterproof electronic modules &ndash; assisted by an electronic designer. These modules were later re-purposed into a range of other works and formats.</p>
<p>Set within the context of major antiwar protests of that era, the project sought to foster private reflection amongst its viewers whilst also calling upon the power of their personal and collective imagining as a method for retaining positive and critical mindsets in the face of such painful social and political adversities. The work became a strong focus of attention within the park and generated nightly debate and enthusiastic spoken reading sessions.<br />&nbsp;</p>
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			'old_filename' => 'grounded-light',
			'title' => 'Grounded Light',
			'page_title' => 'Grounded Light (2003)',
			'sub_title' => '',
			'brief' => '',
			'content' => '<p>A promenade performance/installation event staged along the journey to a mountain summit with a performer emanating light and sound. The work continued on the summit with a video installation in the lookout tower and a live trombonist surrounded by hundreds of white lights quivering in the wind - accompanied by stunning 360 views of the shire&rsquo;s lights, floating over the ground, far below. Involved&nbsp;site specific performance &amp; installation with light, sound &amp; projections.</p>
<p><strong>SHOWINGS:<br /></strong>1:&nbsp;Floating Land' Festival, 17&ndash;18 October, 7.30pm, 2003. Journey up to and on Summit of Mt. Tinbeerwah, Noosa, Queensland, Australia, curated by Kevin Wilson.</p>
<p><strong>TEAM:</strong>&nbsp;Keith Armstrong (co-artistic director),&nbsp;Lisa O'Neill (performer/co-director), Ben Marks (sound and live performance), assisted by James Muller/Earthbase Productions.</p>
<p><strong>MORE:</strong> From the mountain, one can observe the general shape of the land, the flocking of life to the coast, the deep scars of forest clearing, and, as the sun sets, the pinpoint lights of human dwellings. Much of the story of western settlement can be read from the marks in the land. This settlement has occurred, however, not so much IN the land, but OVER the land. We have thrown our civilisation like a picnic blanket over this country, often with little regard for its rocks, sticks &amp; dirt, which seem of little significance or consequence to the way we live our lives. Whilst Indigenous Australians are profoundly connected to that ground, our colonial history has been correspondingly un-grounded: We continue to scratch our marks upon that ground, yet never actually &lsquo;touch&rsquo; it.</p>
<p>The project was primarily inspired by Paul Carter&rsquo;s assertion in his book 'The Lie of the Land' that we walk &ldquo;over the ground&rdquo;, appreciating it &ldquo;only in so far as it bows down to our will&rdquo;. His suggestion that we float over the Australian terrain rather than touching the land is implied by our ongoing habit of wiping &ldquo;it out; to lay our foundations on rationally apprehensible level ground&rdquo;. In his writings he calls for an environmental consciousness to confront this deep psychological discomfort, something he suggests may be invoked through an &ldquo;environmentally grounded poetics&rdquo;. This work considers such a poetics through moving image, sound and communication. </p>
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			'date' => '2002-02-02',
			'parent_id' => '4',
			'slug' => 'transact-fleshskinbone',
			'old_filename' => 'transact-flesh-skin-bone',
			'title' => 'Transact Flesh/skin/bone',
			'page_title' => 'Transact Flesh/Skin/Bone (2002)',
			'sub_title' => null,
			'brief' => '',
			'content' => '<p>An interactive video installation for a single user that used an interface based upon the tessellations found in nature. Different paths through the script created differing combinations of a video triptych featuring minimal performance actions shot from a range of perspectives. The work was accompanied by an interactive stereo sound-scape and an artist book.</p>
<p><strong>SHOWINGS:<br /></strong>1:&nbsp;The Wild New Media Project, Wild 2002, 2&ndash;17 February, 2002, The Tasmanian Museum and Art Gallery, Hobart, Australia, curated by Antoanetta Ivanova.</p>
<p><strong>TEAM: </strong>Keith Armstrong (Director, the&nbsp;Transmute Collective) with&nbsp;The Transmute Collective: Lisa O'Neill (Performance), Guy Webster (Sound), Gavin Sade (Code)</p>
<p><strong>PARTNERS: </strong><a href="http://www.arts.qld.gov.au" target="_blank">Arts Queensland</a>,&nbsp;<a href="http://www.australiacouncil.gov.au/grants/assessment-reports/arts_organisations_major_performing_arts_and_key_organisations/pages/broadband-arts-initiative-may-2012">Australia Council For The Arts</a>, <a href="http://staffprofiles.ci.qut.edu.au/">QUT Creative Industries</a>.</p>
<p><strong>MORE:&nbsp;</strong>Transact (Flesh/Skin/Bone) was a three screen interactive video installation for a single user with a visual interface based upon the tessellated, interlocking honeycomb structures commonly found in biophysical lifeforms. Participants could navigate the work by &lsquo;moving&rsquo; along numerous differing paths through the cellular script, thereby creating unique combinations of video triptych material that featured minimal performance actions by Lisa O&rsquo;Neill. The work was accompanied by an interactive stereo sound-scape experienced via headphones and a full colour book that detailed the research behind the work.</p>
<p>Transact (Flesh/Skin/Bone) was strongly influenced by principles drawn from the Japanese 'Suzuki' actor method of training that builds its concepts of performance through seeking dynamic balances between 'Skin' (a performer's outward appearances), 'Flesh' (that which results from a breadth of disciplined training) and 'Bone' (a performer's inherited bodily characteristics). By drawing allusions between these interconnected imperatives for movement and the processes inherent within biophysical ecologies a novel interactive scripting map was devised - which became the basis for Lisa O Neill&rsquo;s improvisations &ndash; and therefore the video snippets subsequently selected to recombine and juxtapose in real time. In this way the work recreated a body of work possessing varying sensations of balance, counterbalance and exchange.</p>
<p>The aim of the work was to create a "poetics of bodily fragility&rdquo; established via these interacting processes of dynamic ecological exchange, therefore drawing strongly upon principles of ecological and human movement sciences. Transact (Flesh/Skin/Bone) was a key precursor to the significant work <a href="/homeartworks/intimate-transactions">Intimate Transactions </a> (2003 onwards).<br />&nbsp;</p>',
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			'slug' => 'flow',
			'old_filename' => 'flow-carnival-of-the-bridge',
			'title' => 'Flow',
			'page_title' => 'Flow (Carnival of the Bridge) (2002)',
			'sub_title' => null,
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			'content' => '<p>A site specific, new media public artwork proposal, commissioned by Brisbane City Council, designed for a major urban re-development project in Melbourne Street, Brisbane. The site lay underneath a major railway bridge that is commonly regarded as the main 'gateway' to the city&rsquo;s heart.</p>
<p>Involved two robotically controlled still and moving image projectors set on tall poles and capable of throwing photographic images across the entire under surface of the bridge. They were accompanied by an array of flat screen monitors mounted in the walls of the tunnel fed by computer graphics. The space, whilst fully apportioned with digital media was designed to be also entirely reconfigurable for other events and occasions, thus creating an adaptable system that could evolve with time and context.</p>
<p><strong>SHOWINGS:</strong><br />1:&nbsp;Commissioned Stage 1 public art proposal for South Brisbane Railway Portal, curated by Beth Jackson.</p>
<p><strong>MORE:</strong> The entire coordinated presentation was designed with several core ideas relating to carnival (the design brief) whilst also being strongly underpinned by early urban informatics theories drawn from William Mitchell&rsquo;s &ldquo;City of Bits&rdquo;. These meta ideas were further underpinned by sustainability theory that pulled focus towards humanity&rsquo;s current transgressions in terms of resource consumption, with an implicit call to end the &lsquo;carnival&rsquo; forthwith.</p>
<p>The submitted proposal involved a major presentation to a panel of ten accompanied by a designed A2 book of text, detailed diagrams and budgets.</p>
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			'title' => 'Access All',
			'page_title' => 'Access All (2002)',
			'sub_title' => null,
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			'content' => '<p>Access All was performance produced following a three-month mentorship in web-based performance that I was commissioned to conduct for the performance company Igneous. This live, triple-site performance event for three performers in three remote venues was specifically designed for presentation at&nbsp;<a href="http://www.AccessGrid.org" target="_blank">Access Grid</a>&nbsp;Nodes - conference rooms located around the globe equipped with a high end, open source computer teleconferencing technology that allowed multiple nodes to cross-connect with each other. Whilst each room was setup somewhat differently they all deployed the same basic infrastructre of multiple projectors, cameras, and sound as well as a reconfigurable floorspace. At that time these relatively formal setups imposed a clear series of limitations in terms of software capabilities and basic infrastructure and so there was much interest in understanding how far its capabilities might be pushed.</p>
<p><strong>SHOWING HISTORY:</strong><br />1: Access Grid Performance Festival, 18&ndash;22 December, 2002, various times, simultaneously at Manchester Supercomputing Centre, UK, QUT Gardens Point, Brisbane &amp; VISLAB, Redfern, Sydney, Australia.&nbsp;<br />2:&nbsp;Workshops with Mike Stubbs, March 2003, various times, Brisbane Powerhouse, Brisbane. Australia.</p>
<p><strong>TEAM: </strong>Keith Armstrong (Artistic director) with&nbsp;Igneous (Suzon Fuks &amp; James Cunningham) &amp; assisted by Bonemap (Russell Milledge and Rebecca Youdell), Kelli Dipple (TATE Modern, UK) &amp; Mike Stubbs (FACT, UK)</p>
<p><strong>MORE:&nbsp;</strong>Numerous performance experiments were undertaken between three Access Grid nodes in QUT Brisbane, VISLAB Sydney and Manchester Supercomputing Centre, England, culminating in the public performance staged simultaneously between the sites with local audiences at each venue and others online. Access All was devised in collaboration with interdisciplinary performance company Bonemap, Kelli Dipple (Interarts curator, Tate Modern London) and Mike Stubbs British curator and Director of FACT (Liverpool).</p>
<p>This period of research and development was instigated and shaped by a public lecture I had earlier delivered in Sydney for the &lsquo;Global Access Grid Network, Super Computing Global Conference&rsquo; entitled&nbsp; 'Performance Practice across Electronic Networks'. The findings of this work went on to inform numerous future networked and performative works produced from 2002 onwards.</p>',
			'extra_links' => '<p>Suzon Fuks Original <a href="http://vimeo.com/6382397" target="_blank">Video Document</a></p>',
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			'title' => 'Transaction',
			'page_title' => 'Transaction (2001)',
			'sub_title' => null,
			'brief' => '',
			'content' => '<p>This online research undertaken with support from the Site Gallery, Sheffield, UK involved a long term research and development project collaborating with a range of organizations and festivals. The project explored a range of online forums and chat interfaces, discussing issues relevant to network art and remote collaboration. Online presentations and webcasts were presented for the BTV Convergence Media Conference UK 2001, Mediaterra Festival - Pilot Operating Net Athens 2001 and the SC Global Conference USA 2001.</p>
<p><strong>SHOWINGS:</strong><br />1:&nbsp;BTV Convergence Media Festival, 30 November 2001, Sheffield, UK, Curated by Katz Kieley.<br />2:&nbsp;Mediaterra Festival - Pilot Operating Net, Athens, 2001. Curated by Mediaterra Festival.<br />3:&nbsp;SC Global Conference, Access Grid Conference, Live from Sydney University VisLab, Nottingham University UK, Denver, USA &amp; Worldwide, 2001. 15 November, 9&ndash;9.30 GMT. Curated by John Brooke, (Manchester Supercomputing Centre).</p>
<p><strong>TEAM: </strong>Keith Armstrong (Director Transmute Collective), with&nbsp;The Transmute Collective: Lisa O'Neill (Performance), Guy Webster (Sound), Gavin Sade (Code) with Scientific Consultant Dr. Liz Baker.</p>
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			'extra_links' => '<p>Download Science Consultant Liz Baker's <a href="/Resources/lizbakerArtArtSci2pages.pdf" target="_blank">Essay</a>.</p>',
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			'page_title' => 'Golden Circle (2001)',
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			'content' => '<p>This site specific installation and performance work was created during 'Triple Alice', an interdisciplinary project conducted at Hamilton Downs Station, near Alice Springs, Northern Territory, Australia, organised by performer Tess de Quincey. The work resulted in a major site-specific environmental, installation work and series of performance works. These were collectively called 'Golden Circle.'</p>
<p><strong>SHOWINGS:</strong><br />1:&nbsp;Triple Alice-3 Interdisciplinary Performance Laboratory and Festival, 17 September&ndash;7 October, 2001, Hamilton Downs Station, Alice Springs, Australia, curated by Tess de Quincey.</p>
<p><strong>TEAM: </strong>Keith Armstrong (Artistic director),<strong>&nbsp;</strong>Richard Manner (Sculpture), Tess de Quincey (Bodyweather) &amp; Numerous Bodyweather Performers.</p>
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			'title' => 'Elektrosonic Interference',
			'page_title' => 'Elektrosonic Interference (2001)',
			'sub_title' => null,
			'brief' => '',
			'content' => '<p>A collaboration between The Arterial Group and San Francisco based performance artist Barry Schwartz at Brisbane Powerhouse Centre for Live Arts. Elektrosonic Interference combined large scale cinematic video projection, mechanical sound sculpture, high voltage electricity and live voices to produce a performance-installation, developed from stories of former powerhouse workers and the history of the site during its industrial era. The performance was produced by a core multidisciplinary creative team together with students and community participants. I was the Visual Director in The Arterial Group Creative Team in this wite-specific performance/electro-acoustic installation/interdisciplinary public art work.&nbsp;</p>
<p><strong>SHOWINGS:<br /></strong>1: Brisbane Powerhouse Centre for the Live Arts, 6&ndash;8 September, 2001, Brisbane, Australia.</p>
<p><strong>TEAM: </strong>The Arterial Group, Barry Schwarz (Director/Performer), Therese Nolan Brown (Producer),&nbsp;Douglas Leonard (Director),&nbsp;Keith Armstrong, (Visual Director), Annette Muller, Stephen Leek (Composer), The Australian Voices (Performers) and others.</p>
<p><strong>PARTNERS:</strong> Arterial Group, Centenary of Federation Queensland, Australia Council for the Arts, Arts Queensland, Brisbane City Council, Brisbane Powerhouse.</p>',
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			'date' => '2001-08-11',
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			'slug' => 'transit-lounge',
			'old_filename' => 'transit-lounge',
			'title' => 'Transit Lounge',
			'page_title' => 'Transit Lounge (1999-2000)',
			'sub_title' => null,
			'brief' => '',
			'content' => '<p>A continually adapting, sensor driven interactive installation space, presenting evolving performative narratives based upon changing environmental conditions.</p>
<p><strong>SHOWINGS:</strong><br />1:&nbsp;Solo Show, 26 May&ndash;19 June, 1999, Metro Arts Foyer Gallery, Brisbane, Australia. Curated by Joseph O'Connor.<br />2:&nbsp;Transformers, 11 August&ndash;2 September, 2000, Artspace, Contemporary Arts Centre, Sydney, Australia. Curated by Nicholas Tsoutas.</p>
<p><strong>TEAM: </strong>Keith Armstrong,&nbsp;Artistic Director (Transmute Collective), with the Transmute Collective: Lisa O'Neill (Performance), Guy Webster (Sound), Gavin Sade (Code)</p>',
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			'title' => 'Liquid Gold',
			'page_title' => 'Liquid Gold (2001)',
			'sub_title' => null,
			'brief' => '',
			'content' => '<p>A live, dual site performance event between Australia and England, using two performers, the Internet, two writers and a 'visual ideas animator' software application to link the two physical sites with local and online audiences - creating one entire 'net-worked' performance event.<br /><strong></strong></p>
<p><strong>SHOWINGS:<br /></strong>1:&nbsp;Simultaneously at the 'Live Art Festival', Site Gallery, Sheffield, UK &amp; Brisbane Powerhouse, Brisbane, Australia &amp; Online. Curated by Carol Maund &amp; Zane Trow.</p>
<p><strong>TEAM: </strong>Keith Armstrong&nbsp;Artistic Director (Transmute Collective), with the Transmute Collective: Lisa O'Neill (Performance), Guy Webster (Sound), Gavin Sade (Code) plus Kelli Dipple (UK Director/Writer) &amp; Matthew Jarvis (Code)</p>
<p><strong>PARTNERS:</strong> Arts Queensland, Brisbane Powerhouse,&nbsp;<a href="http://www.australiacouncil.gov.au/grants/assessment-reports/arts_organisations_major_performing_arts_and_key_organisations/pages/broadband-arts-initiative-may-2012">Australia Council For The Arts</a>,&nbsp;<a href="http://staffprofiles.ci.qut.edu.au/">QUT Creative Industries</a>.</p>',
			'extra_links' => '<p>Read <a href="http://www.realtimearts.net/article/issue42/5744" target="_blank">Review</a> by Douglas Leonard</p>',
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			'date' => '2000-01-01',
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			'title' => 'Live Art Incubator',
			'page_title' => 'Live Art Incubator (2000)',
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			'content' => '<p>&nbsp;A dual video&nbsp;looped presentation of two documentary videos created during Transmute Collective's recent 'Live Art Incubator Residency' at the Powerhouse, billed as Transmute, The Transmute Live Art Incubator Residency (Video Installation).</p>
<p><strong>TEAM: </strong>Keith Armstrong (Director), with the Transmute Collective: Lisa O'Neill (Performance), Guy Webster (Sound), Gavin Sade (Code)</p>
<p><strong>SHOWING HISTORY:<br /></strong>1: L'Attitude 27.5 Festival, 19 September&ndash;14 October, 2000, Brisbane Powerhouse Centre for the Live Arts, Brisbane, Australia.</p>',
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			'content' => '<p>Single Channel Video&nbsp;Film of my experiences at the Stop Jabiluka, anti-uranium mining protest in Kakadu National Park, Northern Territory, Australia, interwoven with a history of the issues.</p>
<p><strong>SHOWINGS:<br /></strong>1:&nbsp;Stop Jabiluka! Exhibition, 1999, Gallery 1, Metro Arts, Brisbane, Australia. Curated by Metro Arts.</p>
<p><strong>TEAM: </strong>Keith Armstrong,<strong> (</strong>Director, Editor)</p>
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			'content' => '<p>A 60 metre long, electronic installation in a city railway station that displayed passengers&rsquo; thoughts and ideas, updated regularly and synchronised to train timetable.</p>
<p><strong>SHOWINGS:<br /></strong>1: Art on Line' Program. (An IMA Satellite Show), 1 December 1997&ndash;20 March 1998, 5am&ndash;12pm, Platform 1, Brunswick Street Railway Station, Fortitude Valley, Brisbane. Australia. Curated by Craig Walsh, IMA &amp; Street Arts.</p>
<p><strong>TEAM: </strong>Keith Armstrong (Artistic director),&nbsp;George Sutherland (Electronic Engineer) &amp; Lachlan Pitts (C++ Programmer)</p>
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			'content' => '<p>Site-specific performance work, included dance, interactive performance, sound and virtual reality and performers set within pool floor-sized video projections.<br /><strong></strong></p>
<p><strong>SHOWINGS:<br /></strong>1:&nbsp;Brisbane International Arts Festival, 3&ndash;7 September, 1996, 8pm, Spring Hill Baths, Torrington Street, Brisbane, Australia, curated by John Kotsas/Brisbane International Arts Festival.</p>
<p><strong>TEAM: </strong>Keith Armstrong:<strong>&nbsp;</strong>Visual Director/Co-Producer<strong>&nbsp;</strong>with the #14 Collective: Brian Lucas, Lisa O'Neill &amp; Anthony Babicci (Performers) &amp; Panos Couros (Sound).</p>
<p><strong>PARTNERS:&nbsp;</strong><a href="http://www.australiacouncil.gov.au/grants/assessment-reports/arts_organisations_major_performing_arts_and_key_organisations/pages/broadband-arts-initiative-may-2012">Australia Council For The Arts</a>, <a href="http://staffprofiles.ci.qut.edu.au/">QUT Creative Industries</a>,</p>',
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			'sub_title' => null,
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			'content' => '<p>A series of live solo performance events including virtual reality software/projections and physical props.</p>
<p><strong>SHOWINGS:<br /></strong>1:<strong> '</strong>Pseudo', Brisbane Fringe Festival, 13&ndash;14 May, 1995, 8pm, Princess Theatre, Wooloongabba, Brisbane, Australia, co-curated with Jeremy Hynes.<br />2: Melbourne International Film Festival, 6 Dec, 8.30&ndash;9.30pm, 1995, 8pm, Erwin Rado Theatre, Melbourne, Australia, curated by Melbourne International Film Festival.<br />3<strong>:</strong> ASCIILITE, Teachers of Art Conference, 1995, 8pm, Melbourne University Main Theatre, Melbourne, Australia, curated by ASCIILITE.<br />4: ABC TV 'Review' Film Shoot, 1995, 2pm, Queensland University of Technology, Department of Music, Main Auditorium, Brisbane, Australia, curated by ABC TV Australia.<br />5: SBS TV 'Imagine' Film Shoot, 1995, 1pm, Queensland University of Technology, Woodward Theatre, Brisbane, Australia, curated by SBS TV Australia.<br />6: Zero 1 Festival, Noosa Gallery of Contemporary Art, Noosa, Australia, 1995, curated by Brian Murray.</p>
<p><strong>TEAM</strong>:&nbsp;Keith Armstrong&nbsp;(Director/Performer),&nbsp;Andrew Brown (Music)</p>',
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<p><strong>SHOWINGS:<br />1: </strong>ESP Live Art Event, 11 November, 1995, 8pm, Cordelia Street Warehouses, South Brisbane, Australia, curated by Jeremy Hynes. </p>',
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<p><strong>SHOWINGS:<br />1: </strong>Volt, The New Performance / Running With the Liberty Horse&rsquo;, Brisbane International Arts Festival, 22 September, 1995, 8pm,&nbsp;Museum of Contemporary Art, 8 Petrie Terrace, &nbsp;Brisbane, Australia, curated by Marie Cunnington. </p>',
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			'title' => 'The Final Frontier',
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			'content' => '<p>A live interactive installation using first generation virtual/artificial reality technology (Amiga Mandala) in which participants' unencumbered body movements caused real time development of an audio visual script.</p>
<p><strong>SHOWING HISTORY:<br />1: </strong>Paddington Street Festival, 03 February, 1994, 6&ndash;10pm, Shopfront Space, LaTrobe Terrace, Brisbane, Australia. Curated by Paddington Street Festival.<br /><strong>2: </strong>FIRST (Foundation for Independent Recreation &amp; Social Training), 1993-1995, Brisbane, Australia. </p>',
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			'title' => 'Grassland Community of Care',
			'page_title' => 'Community of Care',
			'sub_title' => '',
			'brief' => null,
			'content' => '<p><strong>WHAT: </strong>4k video, 20-minute animation, 4k, 50 inch wall mounted monitor, media player, stereo audio.</p>
<p><em>Grassland Community of Care/(More Than Human Persons)</em> seeks to bring native plants to the forefront of our collective imaginations: advocating for a radically increased awareness of their lives, and questioning how our own lives and societies must now re-learn how to intersect and engage with theirs. <br />&nbsp;<br /><em>Human &lsquo;communities of care&rsquo; are formed voluntarily; inspired by shared interests, passions or concerns, and developed through interpersonal advocacy and encouragement. Members work together with a sense of common purpose and spirit of altruism, engaging empathetic listening and engaged learning. Together they create shared understandings that transcend their differences and imagine and enact direct and indirect supporting actions. Slowly they find places and ways to better engage and cooperate, accelerated by the inexplicable joy and delight of being in the company of ..(wild grasses).</em> </p>
<p>Grassland Community of Care/(More Than Human Persons) instead asks, what might a &lsquo;community of care&rsquo; look like for Australia&rsquo;s endangered native grasses and grasslands, if we reconsidered them as being central to life? It approaches this speculative investigation through abstract, ultra-close observations of these enigmatic flowering plants, both living and preserved &ndash;&nbsp; intimating the presence, power, activity and agency of these &lsquo;non-human persons&rsquo; that so profoundly shape our own practices of living, being and doing.</p>
<p><em>And along the way a community makes their passion and actions known to others - who are then encouraged to join their loose alliance, forever changing outlooks and attitudes on the place and importance of .. (Australia&rsquo;s native grasses).&nbsp;</em> </p>
<p>&lsquo;Grassland Community of Care/(More Than Human Persons)&rsquo; was inspired by the goodwill and interpersonal engagement that underpinned the Carbon_Dating (carbondating.art)art project &ndash; a long-term interdisciplinary project that sought to develop a &lsquo;community of care for grasses and grasslands&rsquo;, incubated through the warmth, depth and energetic drives of the project&rsquo;s artist/carer team who each spent time growing, nurturing and learning from Australia&rsquo;s native grasses.</p>
<p>This artwork was inspired by, and included in the touring exhibition for the larger project <a href="https://www.carbondating.art/" target="_blank">Carbon_Dating</a>: a complex interdisciplinary project initiated in 2022 as&nbsp;a series of networked, experimental artworks situated throughout Queensland, that sought to shift attitudes towards the diverse Australian native grasses that grow in those regions. The outcomes of that project (Stage 2) were then curated into a touring exhibition by Beth Jackson and Jo-Anne Driessens, and presented both in Beijing, China and throughout the Queensland regions during 2023-5. Community of Care was included in that exhibition.</p>
<p><strong>WHERE:</strong></p>
<ul>
<li>Dogwood Crossing Gallery, Miles, QLD, 23 March &ndash; 11 May 2024</li>
<li>Warwick Art Gallery, Warwick, QLD, 13 June &ndash; 13 July 2024</li>
<li>Redland Art Gallery, Cleveland, QLD, 11 August &ndash; 29 September 2024</li>
<li>Caloundra Regional Gallery, Caloundra, QLD, 18 Oct &ndash; 8 December 2024</li>
<li>Tablelands Regional Gallery, Atherton, QLD, 17 January &ndash; 25 February 2025</li>
<li>Qantas Founders Museum, Longreach, QLD, 15 March &ndash; 15 June 2025</li>
<li>Bundaberg Regional Art Gallery, Bundaberg, QLD. 18 July &ndash; 7 September 2025</li>
</ul>
<p><strong>FIRST NATIONS CONSULTANTS/COLLABORATORS:&nbsp;</strong>Uncle Bennett (Kuku Yalanji), Cairns Qld, Robin Derksen (Kamilaroi), Miles, Qld, Jo-Anne Driesens (Koa (Guwa), Kuku Yalangi, Yimithirr), Northen Rivers (NSW) &amp; Melissa Stannard (Yuwaalaraay, Gamilaraay and Koama), Uncle Brian Warner (Kabi Kabi) and Kilagi Nielsen (Papua New Guinea) Sunshine Coast, Qld.</p>
<p><strong>SCIENCE CONSULTANTS:&nbsp;</strong><br />Prof.&nbsp;<a href="https://staff.qut.edu.au/staff/jennifer.firn" target="_blank">Jennifer Firn</a>&nbsp;(Ecological Science/Plant Biology)</p>
<p><strong>FUNDING:</strong> <br />The 2024-5 Carbon_Dating exhibition tour is supported by the Queensland Government through Arts Queensland, assisted by QUT School of Creative Practice, International Art Services (IAS), Native Seeds Pty Ltd, Artfully, and Embodied Media.</p>',
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			'title' => 'Analog Intelligence',
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			'content' => '<p><strong>WHAT:<br /></strong>An initial outcome of the forthcoming <a href="/homeartworks/forestartintelligence">Forest/Art Intelligence Project (FAI)</a> (2024-6) which aims to return a currently cleared block of land back to high conservation-value forest at Samford Ecological Research Station (SERF), near Brisbane, Australia. As the forest ecology slowly returns to health, a symbiotic, experimental artwork is being developed across the entire site. When realised it will have both local and on-line presence and include a full scientific analysis of the site&rsquo;s ongoing revegetation status.</p>
<p>This video installation speaks to the projects&rsquo; first tentative steps &ndash; into uncovering and bringing to attention the extraordinary natural intelligences of a land in self-repair after decades of clearing, providing the inspiration for a non-extractive, hybrid art-science work capable of growing and evolving with the forest, whilst also actively benefitting it.</p>
<p>Analog Intelligence explores the future artwork site by land, air and soil, speaking poetically to early findings into conceiving loosely coordinating site-wide artworks, able to bring the forests&rsquo; regeneration process to public focus, whilst finding and occupying their own intelligent, beneficial &lsquo;niches&rsquo; within that re-emerging forest ecology.</p>
<p>This first outcome of the R&amp;D phase was developed during the initial six months of the long-term FAI project, supported by a prestigious ANAT Synapse Art-Science residency (2024) and a creative development grant from Creative Australia (2024-5). The project is supported by the Australian Network for Art and Technology (ANAT), Samford Ecological Research Facility (SERF) and the NCRIS-enabled Terrestrial Ecosystem Research Network (TERN) and Dr. Dmitry Bratanov and Gavin Broadbent, Research Engineering Facility, Office of Research Infrastructure, QUT, Brisbane, Australia.</p>
<p>Visual data set collected/processed by Dr. Dmitry Bratanov and Gavin Broadbent, Research Engineering Facility, Office of Research Infrastructure, QUT, Brisbane, Australia. Collaborating Science Team:&nbsp;Dr David Tucker,&nbsp;Dr Gabrielle Lebbink,&nbsp;Dr Eleanor Velasquez and&nbsp;Marcus Yates. Further supported by&nbsp;A/Prof Caroline Hauxwell.</p>',
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			'title' => 'Forest_Art_Intelligence',
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			'content' => '<p><strong>WHAT:</strong><br />Forest Art Intelligence (FAI)&nbsp;aims to understand how to develop art forms capable of growing and evolving alongside a regenerating forest, whilst also actively benefiting that forest&rsquo;s health: in collaboration with Samford Ecological Research Facility (SERF) and the&nbsp;Terrestrial Ecosystem Research Network (<a href="http://www.tern.org.au/" rel="noopener" target="_blank">TERN</a>).</p>
<p>The extraordinary intelligences that underpin natural systems is currently inspiring and directing the development of our experimental sci-art process. Our aim is to understand how to develop art forms capable of growing and evolving alongside a regenerating forest, whilst also actively benefiting that forest&rsquo;s health. We are developing embedded artworks, comprised of ecological materials, capable of slowly finding, and then occupying, their own intelligent &lsquo;niches&rsquo;, within the forest&rsquo;s ecology - a speculative form we call an &lsquo;Art Intelligence&rsquo;. Outcomes will include both these Art Intelligences, the regenerated forest, an ongoing scientific survey of botanical and biodiversity changes, and a series of external hybrid art works suitable for touring exhibition. &nbsp;</p>
<p>Our art+science team have secured unprecedented permission to restore a currently cleared block of land back to high conservation-value forest at the partner's site, Samford Ecological Research facility (SERF). As the forest ecology is slowly returning to health, we are investigating how to develop symbiotic, process-based artworks across that entire site. We imagine &lsquo;Art Intelligences&rsquo; are capable of growing &amp; evolving with the forest whilst occupying their own intelligent, ecological &lsquo;niches&rsquo; within that emerging forest &ndash; with the forest itself being the project&rsquo;s &lsquo;meta-artwork&rsquo;.&nbsp;</p>
<p>Our project&rsquo;s actions, &amp; our on-site creations are therefore intended to directly benefit the forest through both 'performing' ecological functions, whilst also encouraging public engagement with the forest's processes of intelligent natural regrowth.&nbsp;(See the project's&nbsp;<a href="http://armstrong2024.blog.anat.org.au/">ANAT 2024 developmental blog</a>, and&nbsp;<a href="https://forestartintelligence.wordpress.com/">2025 developmental blog</a>).</p>
<p><strong>WHO:</strong>&nbsp;Collaborating Science Team: Dr David Tucker (QUT Landscape Ecologist), Dr Gabrielle Lebbink (QUT Freelance Plant and Invasion Ecologist), Dr Eleanor Velasquez (TERN Education and Training Manager at Terrestrial Ecosystem Research Network TERN Australia) and Marcus Yates (QUT/SERF Site Technician). Further supported by A/Prof Caroline Hauxwell (QUT Microbiologist and Agricultural Biotechnologist).</p>
<p><strong>PARTNERS:</strong>&nbsp;FAI is supported by the Australian Government through Creative Australia, its arts funding and advisory body, Samford Ecological Research Facility (SERF) and the NCRIS-enabled Terrestrial Ecosystem Research Network (TERN) and QUT. In 2024 it was supported by the ANAT Synapse residency program/the Australian Network for Art and Technology (<a href="http://www.anat.org.au/" rel="noopener" target="_blank">ANAT</a>),&nbsp;</p>
<p><strong>INITIAL OUTCOMES:&nbsp;</strong></p>
<ul>
<li>Artwork 1 -&nbsp;<a href="/homeartworks/forestartintelligence">'Analog Intelligence' (2024) for ISEA 2024</a></li>
<li><a href="https://www.qut.edu.au/research/why-qut/infrastructure/samford-ecological-research-facility/engaging-science-trail/stop-6-opening-to-cleared-pasture" rel="noopener" target="_blank">Stop on the SERF Engaging Science Trail</a></li>
<li><a href="http://armstrong2024.blog.anat.org.au/2024/06/outcomes-2-serf-science-trail-launch/" rel="noopener" target="_blank">Public presentation</a>&nbsp;at the SERF open day</li>
<li><a href="http://armstrong2024.blog.anat.org.au/">ANAT 2024 developmental blog</a></li>
<li><a href="https://forestartintelligence.wordpress.com/">2025 developmental blog</a></li>
</ul>
<p><strong>Further Details (@March 2025)</strong><br />FAI&rsquo;s project&rsquo;s primary artwork outcome is a native forest slowly re-growing on Country at SERF in SEQld. Since 2023 that forest (or more correctly &lsquo;grassy woodland biome&rsquo;) has begun to recover after 100 years of being slashed back to pasture. As the forest cycles through yet unknown states of recovery, the project&rsquo;s art-science team are conducting ongoing, ritual caring actions for that forest - in service of Country&rsquo;s needs (e.g. inoculation of soil materials/burning/weeding and botanical surveys). Set within that forest, a range of embedded artwork outcomes are/will uncover/speak to the resonances of that Country - suggested through alternative image and narrative.</p>
<p><strong>Scientific Observations</strong><br />The entire site, some of its non human inhabitants and its atmospheres above ground, are being periodically recorded/imaged - aerially and terrestrially using photo, laser and video, according to periodic and repeatable scientific protocols. Sub-surface soil sampling is also investigating the changing diversity of fungi and other microorganisms. Ambient audio of nonhumans is also being sampled across the entire site 24/7. Together all these collated, time-based, monitoring approaches will record and assess the site&rsquo;s evolution with scientific accuracy.</p>
<p>The site also comprises Art Intelligences (AI), Art Intelligence Accelerators (AIA) and Art Intelligence Interpreters (AII).</p>
<p><strong>Art Intelligences (AI)</strong>&nbsp;= Experimental artworks, embedded within the forest site, compatible with, &amp; allied with the profound, natural intelligences of the forest (the meta-artwork) as it repairs and re-grows. These hybrid installations across the site &nbsp;&lsquo;evolve with&rsquo; and &lsquo;learn from&rsquo; the evolving forest whilst directly benefitting its growth. &nbsp; Ais might also evoke awe and encourage public engagement with the forest&rsquo;s fluxes of intelligent natural regrowth. AIs are placed at principal, representative sites, and therefore stand in as proxy for the entire forest development. The first of these can be&nbsp;<a href="http://armstrong2024.blog.anat.org.au/2024/10/art-intelligence-installation/" rel="noopener" target="_blank">seen here</a>.</p>
<p><strong>Art Intelligence accelerators (AIA)</strong> = Additional/embellishing, creative elements added to Art Intelligences to enhance and accelerate local ecological processes &ndash; therefore intended primarily for non-humans. For example these may add additional benefit or encouragement to certain organisms to be and become, &nbsp;that in turn will further aid forest recovery.</p>
<p><strong>Art Intelligence interpreters (AII)</strong>&nbsp;= Elements that create additional layers of engagement with the Ais, and their hosting forest, intended predominantly for human audiences (art and otherwise). Interpreters &nbsp;may be accessed both locally and/or remotely &ndash; (e.g. &nbsp;they may involve on-site translations in light sound &amp; vibration and forms of online observation). Aii interpreters may also draw data from the existing on-site scientific observatory instruments &nbsp;(eg. scientific standards such as laser scanners, &lsquo;acoustic observatory&rsquo; stations, veg-change cameras &amp; carbon sequestration soil/air probes), and may also employ an analog material palette of &lsquo;lively materials&rsquo; capable of detecting &amp; registering changes above &amp; below the soil in colour, light, movement &amp; growth (including absorbent flexing woods and metals, reflective materials, sensitive litmus papers, continually circulated water &amp; seed banks) as well as networked analog sensor systems accessible remotely.</p>
<p>"The world is not like a computer; computers are like the world&rdquo;. Computers are part of nature: They are our creations. (James Bridle, 2022).</p>
<p>Hence whereas the entire site &nbsp;is an experimental artwork &ndash; &nbsp;these added elements AIs + AIAs further activate the site with AIIs then encouraging further human observation and engagement.</p>',
			'extra_links' => '<p><a href="https://forestartintelligence.wordpress.com/">2025 Developmental Blog</a><a href="http://armstrong2024.blog.anat.org.au" target="_blank">.<br />ANAT 2024 Synapse Blog<br /></a><a href="https://isea2024.isea-international.org/analog-intelligence/" target="_blank">ISEA 2024 - Analog Intelligence Artwork Link</a><a href="http://armstrong2024.blog.anat.org.au" target="_blank"><br /></a><a href="https://www.anat.org.au/program/2024-anat-synapse-residencies/" target="_blank">ANAT Synapse 2024 overview page&nbsp;<br /></a><a href="https://www.qut.edu.au/research/why-qut/infrastructure/samford-ecological-research-facility/engaging-science-trail/stop-6-opening-to-cleared-pasture" target="_blank">SERF Engaging Science Trail</a></p>',
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			'slug' => 'common-thread',
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			'title' => 'Common Thread',
			'page_title' => 'Common_Thread',
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			'content' => '<p><strong>WHAT:<br /></strong>Common Thread&rsquo;&nbsp;presents slow, mysterious passages through thickly forested landscapes, comprised solely of silver-grey dots and lines; whilst effected sounds of those forests commingle with the distant voices of a myriad species. Set within those uncanny landscapes, indistinct 3D forms enigmatically appear and disappear, intimating an extraordinary complexity. The work reflects upon how might we re-imagine conceptions of colonised&nbsp;landscapes&nbsp;in ways that could motivate settler cultures to respect their infinite complexities.</p>
<p>The work arose from my ongoing residency at Samford Ecological Research Facility (SERF) in Queensland, Australia &ndash; on Yuggera, Jinibara, Kabi Kabi &amp; Waka Waka Country - protecting a remnant block of forest isolated within a patchwork quilt of surrounding farmed land, typifying the perilously fragmented, disconnected state of Australia&rsquo;s habitats. It is a place active with scientific research of all kinds, much of which aims for better ecological futures &ndash; by seeking to predict more 'efficient' forms of conservation and production.</p>
<p>Common Thread,&nbsp;is based upon 3D-laser scanned &lsquo;Point Cloud&rsquo; imagery of walks through that forest, using a technology that at first glance might appear to capture its complexity. But &lsquo;Nature_Cultures&rsquo; ( a synthesis of nature and culture that recognises their inseparability) cannot be captured by digital scans. SERF, as a place rich in Indigenous, social, cultural/scientific histories, cannot be represented solely by the terse point cloud dots of digital scanning. Much is lost in such &lsquo;ultra-accurate&rsquo; representations - that say little to of the spirit and meaning of that place.&nbsp;This loss parallels the lack of understanding of place and Country that we, the recent settlers of Australia&rsquo;s unceded Indigenous land demonstrate &ndash; underscoring our profound misunderstandings of how to live well within such complexities</p>
<p>Australia: unceded lands of&nbsp;the oldest continuous culture on&nbsp;earth -&nbsp;a culture in which everyone has&nbsp;personal responsibility to everything&nbsp;-&nbsp;where&nbsp;everyone&nbsp;knows&nbsp;their relationship to trees, rocks, sky, people, animals,&nbsp;plants, water.. How little of this its recent settlers understand - about how to live well within such complexity. And so, Australia&rsquo;s (stolen) lands have been routinely devastated.</p>
<p>My on-site research examined the cultural meanings of such conservation reserves within rapidly urbanising landscapes, asking how we might draw upon them to imagine, seek and image the very different futures we now need to develop together.</p>
<p><strong>WHERE: </strong><br />1: <strong>&lsquo;Possibles',&nbsp;ISEA 2022</strong> <strong>(27th International Symposium of Electronic Art)</strong>,&nbsp;Recinte Modernista de Sant Pau, Carrer de Sant Antoni Maria Claret, 167, <strong>Barcelona, Spain</strong>,&nbsp;June 9-30, 2022 curated by Vicente Matallana from the '.NewArt { foundation;}'<br /><a href="https://isea2022.isea-international.org/event/artwork-common-thread/">https://isea2022.isea-international.org/event/artwork-common-thread/</a></p>
<p>2: <strong>'Digital Jewels of the .NewArt { collection;}. Part Two', Novtec festival </strong>in association with Alliance Fran&ccedil;aise<strong>, Nov 9-24 2022, Lima, Per&uacute;.<br /></strong><a href="https://www.aflima.org.pe/artes-visuales/novtec-exposiciones/#/" target="_blank">https://www.aflima.org.pe/artes-visuales/novtec-exposiciones/#/</a></p>
<p><strong>3:&nbsp;&lsquo;<a href="https://v2.nl/events/the-newart-collection-at-v2_">THE NEWART { COLLECTION;} AT V2</a>_&rsquo;,&nbsp;V2_Lab For The Unstable Media, Eendrachtsstraat 10, Rotterdam, Netherlands, </strong>Feb 9th - March 5th 2023,<strong>&nbsp;</strong>curated by Florian Weigl.</p>
<p>4.<strong>&nbsp;<a href="https://www.circulobellasartes.com/exposiciones/hiperobjetos/">Hiperobjetos</a></strong>&nbsp;-&nbsp;Sala Picasso,&nbsp;<strong>C&iacute;rculo de Bellas Artes&nbsp;de Madrid,</strong> <strong>Madrid,</strong> 11th Sept - 17th November 2024, Curated by Eloy Mart&iacute;nez de la Pera &amp; Jaime de los R&iacute;os.</p>
<p><strong>The work has also been acquired for the BEEP, NewArt { collection;}, Spanish/Catalan Media Art Collection.<br /></strong></p>
<p><strong>WHO:</strong><br />Dr. Dmitry Bratanov, Senior Research Engineer (RPAS and Automation), Research Engineering Facility, QUT</p>
<p><strong>PARTNERS:</strong><br /><a href="https://www.qut.edu.au/institute-for-future-environmentas/facilities/samford-ecological-research-facility" target="_blank">SERF</a>&nbsp;(Samford Environmental Research Facility), Lorrelle Allen + Site Technician Marcus Yates<br /><a href="https://research.qut.edu.au/environment/projects/common-thread-where-science-and-art-entwine/" target="_blank">QUT Centre for the Environment</a><br />Prof.&nbsp;<a href="https://staff.qut.edu.au/staff/jennifer.firn" target="_blank">Jennifer Firn</a>&nbsp;(Ecological Science/Plant Biology) &nbsp;</p>
<p>Visual data set collected and processed to registered point cloud by Dr. Dmitry Bratanov and Gavin Broadbent, Research Engineering Facility, Office of Research Infrastructure, QUT, Brisbane, Australia.</p>
<p>Audio sources: Australian Acoustic Observatory: A Network to Monitor Biodiversity&nbsp;Project Team, with funding from the Australian Government through the Australian Research Council (LE170100033) (2018). Brisbane, QLD: QUT [<a href="http://www.acousticobservatory.org" target="_blank">www.acousticobservatory.org</a>].&nbsp;Data is licensed under the&nbsp;<a href="https://creativecommons.org/licenses/by/4.0/" rel="noreferrer noopener" target="_blank">CC BY 4</a>&nbsp;Licence.</p>
<p>This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body</p>',
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			'title' => 'Carbon_Dating',
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			'content' => '<p><strong>WHAT</strong>: <strong>ALSO SEE: &nbsp;<a href="https://www.carbondating.art/" target="_blank">www.carbondating.art</a>&nbsp;(Project specific website)</strong><br />Stage 1 of&nbsp;<a href="https://www.carbondating.art/" target="_blank">Carbon_Dating </a>was initiated in 2022 as&nbsp;a series of networked, experimental artworks situated throughout Queensland, that sought to shift attitudes towards the diverse Australian native grasses that grow in those regions. The outcomes of the project (Stage 2) were then curated into a touring exhibition by Beth Jackson and Jo-Anne Driessens, and presented both in Beijing, China and throughout the Queensland regions during 2023-5.</p>
<p><strong>Stage 1</strong>&nbsp;of the project was enacted over a 5-month period in 5 Queensland locations (Cairns, Miles, Gold Coast, Sunshine Coast and Somerset). Each site involved the establishment and care of a local iconic native grass planting/artwork comprised of two species, with species tailored to that local bioregion (Oct-2022-Feb 2023). At each site we engaged with local community members and consulted with First Nations experts. Each location also had a principal carer/artist or team who received both a grass garden kit and an artwork called the &lsquo;Interweaver&rsquo;. The Interweaver&rsquo;s functions were to: present ongoing images from the projects' remote grass garden (which contained the project's chosen 6 species) located in Samford, Qld and to provide inspirational prompts to the carers about their emerging experiences growing native grasses. These were delivered on printed cards prepared by the project's 'Grassland Community of Care Coordinator', in order to encourage a relationship building process between the carer(s) and their grasses. All sites of this distributed artwork were made visible to online audiences at&nbsp;<a href="http://www.carbondating.art" target="_blank">www.carbondating.art</a>. Through these processes&nbsp;a Queensland-wide Grassland community of care interest group was &nbsp;developed - which also came together to share resources at HOTA, Gold Coast in December 2022 for a First Nations led Yarning Circle.</p>
<p><strong>Stage 2:</strong>&nbsp;Involves a tour comprised of 8 gallery exhibitions (2024-5) both in Australia and China that reflect upon the processes and the art, science and culture of human-native grass relationships and presented commissioned works from each of the artist/carers.</p>
<p><strong>WHO:</strong><br />Collaborators have included:<br /><a href="https://donnadavisartist.weebly.com/" target="_blank">donna davis</a>: Co-Director, Co-producer, Lead Artist (<a href="http://www.donnadavisartist.blogspot.com.au	" target="_blank">blog link</a>)<br />Andrea Higgins: Regional Development and Marketing, Artist<br /><a href="https://www.artfully.com.au" target="_blank">Beth Jackson</a>:&nbsp;Curator<br />Jo-Anne Driessens: Curator<br /><a href="https://www.danieleconstance.com.au" target="_blank">Daniele Constance</a>: Socially Engaged Artist<br /><a href="https://www.uts.edu.au/staff/tania.leimbach" target="_blank">Tania Leimbach</a>: Institute for Sustainable Futures/Eco-critical writer<br />Luke Lickfold: Sound Artist</p>
<p><strong>WHERE:<br data-w-id="54283f65-73b5-ba5a-6ae5-92f6dbccec49" data-wf-id="[&quot;54283f65-73b5-ba5a-6ae5-92f6dbccec49&quot;,&quot;LineBreak&quot;]" />6th Art and Science International Exhibition</strong>,&nbsp;<br data-w-id="2db34aef-1afc-a71f-6116-fbc84f68796a" data-wf-id="[&quot;2db34aef-1afc-a71f-6116-fbc84f68796a&quot;,&quot;LineBreak&quot;]" />National Communication Centre for Science and Technology, Beijing, China.<br data-w-id="879f596a-71df-7390-41f7-08867a8e4bf8" data-wf-id="[&quot;879f596a-71df-7390-41f7-08867a8e4bf8&quot;,&quot;LineBreak&quot;]" />Dec 30th, 2023&nbsp;&ndash;&nbsp;Mar 31st, 2024 (COMPLETED)<br data-w-id="b9481523-84bc-e848-0180-0598bcaf680c" data-wf-id="[&quot;b9481523-84bc-e848-0180-0598bcaf680c&quot;,&quot;LineBreak&quot;]" />&nbsp;<br data-w-id="46494bf3-a217-2c15-a7ea-7fd9e33cc3bf" data-wf-id="[&quot;46494bf3-a217-2c15-a7ea-7fd9e33cc3bf&quot;,&quot;LineBreak&quot;]" /><strong>Dogwood Crossing Gallery, Miles, QLD &nbsp;</strong><br data-w-id="a1b3a1d8-d148-3ba5-d297-68025c65540d" data-wf-id="[&quot;a1b3a1d8-d148-3ba5-d297-68025c65540d&quot;,&quot;LineBreak&quot;]" />23 March &ndash; 11 May 2024<br data-w-id="84d2a692-0c5f-03bc-4778-55539a4f4c76" data-wf-id="[&quot;84d2a692-0c5f-03bc-4778-55539a4f4c76&quot;,&quot;LineBreak&quot;]" />&nbsp;<br data-w-id="93239c97-b072-e324-e1d1-7b102b4c6d5a" data-wf-id="[&quot;93239c97-b072-e324-e1d1-7b102b4c6d5a&quot;,&quot;LineBreak&quot;]" /><strong>Warwick Art Gallery, Warwick, QLD&nbsp;</strong><br data-w-id="2aa92eee-0c82-1502-f494-f8fe93ef6e1b" data-wf-id="[&quot;2aa92eee-0c82-1502-f494-f8fe93ef6e1b&quot;,&quot;LineBreak&quot;]" />13 June &ndash; 13 July 2024<br data-w-id="e41cf58e-0cf4-6295-273f-61e3c0e61c3c" data-wf-id="[&quot;e41cf58e-0cf4-6295-273f-61e3c0e61c3c&quot;,&quot;LineBreak&quot;]" />&nbsp;<br data-w-id="1693e01e-04e8-131d-0dbc-40262959685f" data-wf-id="[&quot;1693e01e-04e8-131d-0dbc-40262959685f&quot;,&quot;LineBreak&quot;]" /><strong>Redland Art Gallery, Cleveland, QLD</strong>&nbsp;<br data-w-id="da43a309-321c-8f82-9129-61ee2c9f6635" data-wf-id="[&quot;da43a309-321c-8f82-9129-61ee2c9f6635&quot;,&quot;LineBreak&quot;]" />11 August &ndash; 29 September 2024<br data-w-id="efb15400-fc03-c376-9600-63bd453c96f9" data-wf-id="[&quot;efb15400-fc03-c376-9600-63bd453c96f9&quot;,&quot;LineBreak&quot;]" />&nbsp;<br data-w-id="340c5c2c-53cd-5ca1-4042-2d3fe4e00ee2" data-wf-id="[&quot;340c5c2c-53cd-5ca1-4042-2d3fe4e00ee2&quot;,&quot;LineBreak&quot;]" /><strong>Caloundra Regional Gallery, Caloundra, QLD&nbsp;</strong> &nbsp;<br data-w-id="91ca171d-b04a-096b-17dd-29ca31df8045" data-wf-id="[&quot;91ca171d-b04a-096b-17dd-29ca31df8045&quot;,&quot;LineBreak&quot;]" />18 Oct &ndash; 8 December 2024<br data-w-id="ba09e140-5dee-5cb4-029e-490cc597affc" data-wf-id="[&quot;ba09e140-5dee-5cb4-029e-490cc597affc&quot;,&quot;LineBreak&quot;]" />&nbsp;<br data-w-id="15768569-ae09-330a-c5ec-b6b164e34b65" data-wf-id="[&quot;15768569-ae09-330a-c5ec-b6b164e34b65&quot;,&quot;LineBreak&quot;]" /><strong>Tablelands Regional Gallery, Atherton, QLD</strong><br data-w-id="03266709-cb03-17cc-b810-7bb699aecb18" data-wf-id="[&quot;03266709-cb03-17cc-b810-7bb699aecb18&quot;,&quot;LineBreak&quot;]" />17 January &ndash; 25 February 2025<br data-w-id="a6fd6df1-aaeb-0060-3a86-fc2c72c5fdd1" data-wf-id="[&quot;a6fd6df1-aaeb-0060-3a86-fc2c72c5fdd1&quot;,&quot;LineBreak&quot;]" /><br data-w-id="07189b82-e946-5c7d-ff3d-9619d1151180" data-wf-id="[&quot;07189b82-e946-5c7d-ff3d-9619d1151180&quot;,&quot;LineBreak&quot;]" /><strong>Qantas Founders Museum, Longreach, QLD&nbsp;</strong><br data-w-id="f5423852-78e9-c6f9-16dc-f13cbfe21626" data-wf-id="[&quot;f5423852-78e9-c6f9-16dc-f13cbfe21626&quot;,&quot;LineBreak&quot;]" />15 March &ndash; 15 June 2025<br data-w-id="7ba6fb86-ee00-dc93-1645-1754da5067ec" data-wf-id="[&quot;7ba6fb86-ee00-dc93-1645-1754da5067ec&quot;,&quot;LineBreak&quot;]" />&nbsp;<br data-w-id="fc758e98-9965-45c7-5c79-6c50b83a1e9f" data-wf-id="[&quot;fc758e98-9965-45c7-5c79-6c50b83a1e9f&quot;,&quot;LineBreak&quot;]" /><strong>Bundaberg Regional Art Gallery, Bundaberg, QLD&nbsp;</strong><br data-w-id="411fa195-258d-3f23-6967-64324294e245" data-wf-id="[&quot;411fa195-258d-3f23-6967-64324294e245&quot;,&quot;LineBreak&quot;]" />18 July &ndash; 7 September 2025</p>
<p><strong>INTERWEAVER CARERS/ARTISTS:&nbsp;</strong>Merinda Davies (Gold Coast, Qld), Delissa Walker (Kuku Yalanji) (Cairns, Qld), Sharron Colley + Hilary Coulter (Miles, Qld), Liz Capelin,&nbsp;Bianca Bond, Melissa Stannard, Kilagi Nielsen and Mia Hacker, in consultation with traditional owner Uncle Brian Warner&nbsp;(Sunshine Coast), Pipier Weller + Jason Murphy (Jinibara) (Somerset, Qld).</p>
<p><strong>FIRST NATIONS CONSULTANTS/COLLABORATORS:</strong>&nbsp;Uncle Bennett (Kuku Yalanji), Cairns Qld, Robin Derksen (Kamilaroi), Miles Qld, Jo-Anne Driesens (Koa (Guwa), Kuku Yalangi, Yimithirr), Gold Coast, Qld &amp; Melissa Stannard (Yuwaalaraay, Gamilaraay and Koama), Uncle Brian Warner (Kabi Kabi) and Kilagi Nielsen (Papua New Guinea) Sunshine Coast, Qld.</p>
<p><strong>SCIENCE CONSULTANTS:&nbsp;</strong><br />Prof.&nbsp;<a href="https://staff.qut.edu.au/staff/jennifer.firn" target="_blank">Jennifer Firn</a>&nbsp;(Ecological Science/Plant Biology)<br />Prof. Peter Grace (Ecological Science/Soil Sciences)</p>
<p><strong>PARTNERS:<br /></strong>Northsite Contemporary Arts, Cairns (Director Ashleigh Campbell), Dogwood Crossing Gallery, Miles (Director Anne Keam) + DC Gallery Committee, Dulacca State School, Miles (Principal Kylie Parnaby), HOTA Gold Coast (Engagement Curator Sam Creyton) with thanks to Sarah Lewis, The Condensery, Toogooloowah (Director Rachael Arndt), Caloundra Regional Gallery (Director Jo Duke), Third Nature (Liz Capelin Director), QUT - (<a href="https://www.qut.edu.au/institute-for-future-environmentas/facilities/samford-ecological-research-facility" target="_blank">SERF</a> (Samford Environmental Research Facility), Centre For the Environment, Office of e-Research, Research Infrastructure, More Than Human Futures Group &amp; CIESJ Faculty, School of Creative Arts, Brisbane).&nbsp;Native Seeds Pty Ltd&nbsp;<a href="http://www.nativeseeds.com.au" target="_blank">nativeseeds.com.au</a> have supplied and advised us re: native grass seed and plantings. Tel: 1300 473 337 E:&nbsp;<a href="mailto:enquiries@nativeseeds.com.au">enquiries@nativeseeds.com.au</a>. ReBul packaging have assisted us with cutting of cardboard garden beds</p>
<p><strong>FUNDING:</strong> <br />The 2024-5 Carbon_Dating exhibition tour is supported by the Queensland Government through Arts Queensland, assisted by QUT School of Creative Practice, International Art Services (IAS), Native Seeds Pty Ltd, Artfully, and Embodied Media.</p>
<p>Between 2019-23 this project was assisted by the Australian Government through the Australia Council, its arts funding and advisory body.&nbsp;It was also supported by the Queensland Government through Arts Queensland, Regional Arts Development Fund (RADF). The Regional Arts Development Fund is a partnership between the Queensland Government: Cairns Regional Council; Western Downs Regional Council; City of Gold Coast Council; Somerset Regional Council; and ArtsCoast as part of Sunshine Coast Council&rsquo;s RADF program to support local arts and culture in regional Queensland.&nbsp;<br data-w-id="f231158d-f833-9019-c8ba-e52cce6cb391" data-wf-id="[&quot;4fc0b730-bf94-3a06-ddb3-89429db92703&quot;,&quot;f231158d-f833-9019-c8ba-e52cce6cb391&quot;,&quot;LineBreak&quot;]" /><br data-w-id="aa62e912-652f-bb3e-63c0-d1c42471475e" data-wf-id="[&quot;4fc0b730-bf94-3a06-ddb3-89429db92703&quot;,&quot;aa62e912-652f-bb3e-63c0-d1c42471475e&quot;,&quot;LineBreak&quot;]" />Thanks also to QUT (School of Creative Practice, QUT Office of eResearch and Samford Ecological Research Facility). NorthSite Contemporary Arts, Cairns; Dogwood Crossing Gallery, Miles; HOTA, Gold Coast; The Condensery, Toogooloowah; Caloundra Regional Gallery, Caloundra; Native Seeds Pty Ltd and ReBul Packaging.</p>
<p><strong>FURTHER CONTEXT:</strong><br />We chose to focus on Australian indigenous grasses because - as plants, and then &lsquo;minor ones&rsquo; at that for many of us - we typically disregard them, or consider them uninteresting, weedy or dull; forgetting how dependent we are upon them for our wellbeing: in fact they are a supercritical part of a system that powers animal feeding, provides the wheat and oats (grasses) we eat daily and produces a great proportion of the air we breathe. Like this copious amounts of oxygen they give us in return for our exhaled carbon dioxide, grasses remain invisible to most of us. We also find them hard to differentiate - therefore remaining mostly oblivious &nbsp;to their perilous state. The Australian State of Victoria now has&nbsp;<a href="https://www.sbs.com.au/nitv/article/2020/03/15/reclaiming-victorias-flowering-native-grasslands">less than 1%</a>&nbsp;of its flowering grassland ecosystems intact. This loss of grasslands is attributable to all forms of development including widespread conversion to imported pasture grasses and cereal (i.e. imported grasses) - crops which then rapidly escaped the farm gate. Furthermore native grasses disappeared under heavy grazing from hard-hoofed animals that compacted once friable soils. The widespread use of superphosphate fertiliser also created conditions unfavourable to native grasses that typically throve in poor and aged soils. And so - as with so many other species, these richly biodiverse communities have been quietly colonised out of existence in most Australian states.</p>
<p>Recent&nbsp;<a href="https://phys.org/news/2016-12-new-study-shows-plants-can.html" target="_blank">scientific research</a>&nbsp;has &nbsp;shown that plants express equivalences of memory, sentience and learning. However talking them up on the basis that they may be &lsquo;more like us&rsquo; won&rsquo;t necessarily lead to us respecting them on their own terms. Could we ever envisage plants, like grasses as more than objects for human use? &nbsp;Is there a different way to think of grasses - as something much more than mere objects for our use, pleasure or gain? Could they even be thought of as having their own &lsquo;self-hood&rsquo;, or capacity to act or intervene on their own terms? Its worth noting that such concepts are common within numerous traditional societies.&nbsp;&nbsp;<a href="http://www.carbondating.art" target="_blank">Carbon_Dating</a>&nbsp;therefore sets out to ask, through an experimental art-science process and in consultations with Australian First Nations practitioners, artists and experts, how might we be able to build a new form of respect and care for the &lsquo;more than human&rsquo;, world of native grasses.</p>
<p><strong>EXTENDED CREATIVE RATIONALE:<br /></strong>Science and &lsquo;plant neurobiology&rsquo; now tell us that plants, and thus grasses, appear to possess their own unique versions of what we term &lsquo;consciousness&rsquo;, &lsquo;intelligence&rsquo;, &lsquo;memory&rsquo; and &lsquo;awareness&rsquo;. These findings challenge our deep-seated anthropocentric, romanticised associations around plants, calling for a new ecological empathy, kinship and solidarity with them. This resonates with the &lsquo;vegetal being&rsquo; and &lsquo;consciousness&rsquo; writings of philosophers Luce Irigaray, Michael Marder, Prudence Gibson and Giovanni Aloi from Critical Plant Studies, multi-species advocates such as&nbsp; Donna Harraway and Anna Tsing, and the braided, entwined wisdoms imaged by Indigenous scientist/writers such as Wall-Kimmerer and Tyson Yunkaporta.&nbsp;</p>
<p><strong>Two Speeds of Grass</strong><br /> Grass: this most widely spread of the flowering plant families, seems to pop up almost everywhere, especially after rain - and yet many of us remain almost entirely&nbsp; &lsquo;blind&rsquo; to its lives - or even its names; regarding it as at best utilitarian, a visual background, a nuisance to be slashed, or just plain boring. In Australia, a small number of introduced grasses have been able to flourish at extraordinary levels, almost everywhere - particularly in pastures, as commercial crops, and as garden lawns, routinely smothering, or at best living very well in almost every type of bioregion. As one of the most deliberately redistributed and cultivated plants across the globe, their presence underpins our food security and amenity, regulates our climate and provides us with vast amounts of oxygen. &nbsp;</p>
<p>The extraordinary success, dynamism and adaptability of grasses have allowed them to go on take root, albeit unintentionally, far and wide beyond the farm gate, causing profound changes in landscapes - and not surprisingly posing an huge array of critical conservation challenges. Correspondingly many native grasses have done it tough. With little or no protection against the cloven animals of the first settlers, those introduced herbivores, rapidly ate them out. Steadily replaced by fertilised pasture, and pushed out of creek lines, savannahs and forests, their profusion has now mostly gone, or approaches extinction in many regions. Many of us would no longer recognise a native grassland if we saw one, and if so might likely, incorrectly, bemoan its lack of trees. And so, whilst they might be hanging on in rare protected corners of the landscapes, like railway cuttings or country grave yards, without our interest or care going forward, the future of diverse grasslands in Australia (and the world) looks truly grim.</p>',
			'extra_links' => '<p><strong>RECENT LINKS</strong><br />Main project website <a href="https://www.carbondating.art/" target="_blank">https://www.carbondating.art/</a><br />Other Gallery Links (<a href="https://thecondensery.com.au/the-carbon-dating-project/" target="_blank">The Condensery</a>, <a href="https://hota.com.au/news/carbon-dating-project" target="_blank">HOTA</a>, <a href="https://northsite.org.au/event/artist-talk-carbon_dating/" target="_blank">Northsite Contemporary Arts</a>)</p>
<p><strong>OLDER LINKS</strong><a href="http://www.carbondating.art" target="_blank"><br /></a>Early fomative presentation, 'Aerial Pitfalls for Synapse Art+Science', 2018.&nbsp; Event <a href="/resource_files/Spectra-2018-Symposium-Program-2.pdf" target="_blank">details<br /></a>Podcast discussing collaborations with Tania Leimbach <a href="https://www.podomatic.com/podcasts/versatilist/episodes/2018-11-18T08_05_33-08_00" target="_blank">(11/18)</a></p>
<p>&nbsp;</p>',
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			'content' => '<p><strong>WHAT:<br /></strong>Camphora (Breath Work) is a gallery installation that seeks to draw connections between material worlds and the molecular odours they emanate; reminding us how aromas trigger a powerful recognition of our inseparable connections and participation within the wider ecosphere. The work consists of three elements: a carved slab of milled 'unfinished' Camphor Laurel wood, mounted just off the ground and inscribed with a complex array of organic patterns reminiscent of grass roots, alveoli and sub-bark insect trails;&nbsp;a copper dish on a stand containing Camphor Laurel wood chips, emanating a rich odour; and on the wall behind a printed poem. (See below).&nbsp;</p>
<p><strong>WHERE:<br /></strong>Exhibited as part of "<a href="https://lowanadavies.com/olfactory-ecologies-1" target="_blank">Catch a Whiff (Olfactory Ecologies)</a>"<br />Curated by <a href="https://www.lowanaskye.com/cv" target="_blank">Lowana Skye Davies</a><br />The Old Lockup Gallery, IN | artist run initiative <br />4 First Avenue Maroochydore 4558, March 24-27, 2022, 10am-2pm<br /><a href="http://www.theoldlockup.net/" target="_blank">www.theoldlockup.net</a>&nbsp;| Instagram: <a href="https://www.instagram.com/in_ari/" target="_blank">@in_ari</a> | Facebook: <a href="https://www.facebook.com/hashtag/inxolu/" target="_blank">@INxOLU</a></p>
<p><strong>CONTEXT:<br /></strong>Many years ago I inherited a Cinnamomum Camphora (Camphor Laurel) tree in our Australian yard - which was subsequently felled as a &lsquo;Category 3&rsquo; urban weed. Its spare slabs (i.e., those not already turned into stairs, bench tops or furniture) remain, years later, stacked in the shadows of my studio, lying inconspicuously amongst forgotten artworks, raw materials and dust.&nbsp;</p>
<p>Yet still today, breaking the skin of one of those ageing Camphora&rsquo;s slabs calls forth a stupendous cascade of invisible oily molecules: a heady odour that leaves me &lsquo;gasping with breath&rsquo;. Involuntarily I&rsquo;m drawn to nose-breathe, despite the headiness - maybe triggered by sensory memories of applied analgesics, repellents or past life cleaning products. Temporarily I find myself lost to Camphora's wickedly vaporous toxicities, eclipsed in a heady do or die moment of involuntary, yet precarious &lsquo;breath work&rsquo;.&nbsp;</p>
<p>Breath work &nbsp;&ldquo;breathing in through the nose and out through the mouth&rdquo; - is an olfactory experience that recalls our inseparable connections and participation within the wider ecosphere (what Tim Morton calls the &lsquo;<a href="https://cyberbiomes.org/lexicon/symbiotic-real" target="_blank">symbiotic real</a>&rsquo;). Whilst textbook breath work may often assume neutral or &lsquo;clean&rsquo; air aromas, its effects may become more vivid in the presence of coveted fragrances or heady perfumes that calm and ground the body and promote focus.</p>
<p>The artwork Camphora (breath work) presents one of these lost slabs, its skin, scarred rhythmically with a rapidly spinning blade to reveal all its heady aromas - suggesting the marking, tunnelling, and gouging of burrowing insects (although normally not in this their most repellent, malodorous of foods). Accompanied by a printed poem and a dish of freshly minted Camphor chips emanating heady scents, gallery visitors are invited to engage in their own silent, breath work - becoming quietly enveloped within the lingering aromas of Camphora's rhythmically scarified form.&nbsp;</p>
<p><strong>PRINTED TEXT:</strong><em><br />Lie back on concrete</em><br /><em>Feel the power of a whole planet pulling you into its core</em></p>
<p><em>If it's raining, open your mouth and swallow a piece of cloud</em><br /><em>If it&rsquo;s windy, inhale scents drifting in the evening breeze.</em><br /><br /><em>Draw upon those aromas, as deeply as you can</em><br /><em>Feel them becoming part of your body</em><br /><em>Atmospheres that once passed through bats, dragonflies and cats</em><br /><em>the exhalation of seaweed and trees</em><br /><br /><em>With your back on the ground</em><br /><em>facing the celestial vault</em><br /><em>feel the world turn</em></p>
<p>(Adapted from an extract by Nahum, 2021, The World&rsquo;s Turn)</p>',
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			'content' => '<p><strong>WHAT?</strong><br />A large-scale, four-year (2018-22) international collaboration inspired by the ceremonial practices of the PNG Uramat Baining clan for <a href="https://www.qagoma.qld.gov.au/whats-on/exhibitions/apt10?gclid=EAIaIQobChMIgf-1iujL9AIVNZhmAh0GHAztEAAYASAAEgKMevD_BwE&amp;artist=uramat-mugas-uramat-story-songs" target="_blank">Asia Pacific Triennial (APT10)</a>, QAGOMA (Queensland Art Gallery and the Gallery of Modern Art), Brisbane. The APT is QAGOMA&rsquo;s most internationally-significant event and has attracted 3 million viewers since its initiation in 1993.</p>
<p>Public outcomes were a 580m2 installation, over 2 rooms in GOMA&rsquo;s premier gallery for their globally-significant &nbsp;triennial. Conceptually audiences journeyed through Uramat day &amp; nighttime activities &amp; ceremonies, engaging &nbsp;their pantheon of spirit figures. Room 1&rsquo;s day masks were contextualised by 5 channels of village life &amp; dance &nbsp;video, presented on tapa (bark) cloth plus 45 &lsquo;digital canvas&rsquo; elements organised in sweeping lines. Renowned &nbsp;musician David Bridie&rsquo;s soundtrack presented the Uramat bamboo drumming orchestra, chants &amp; sounds of &nbsp;village life. The night masks in blacked out room 2 were contextualised by sound and dance imagery projected &nbsp;on dual scrims, periodically lit in the dark space behind. Computer control coordinated all aspects of the work. &nbsp;This unique layering method was designed to restrict normative mask viewing in accordance with Uramat taboo &nbsp;directives &ndash; a significant decolonising method that transformed normative museum display models, fully &nbsp;respecting the spiritual entities implicit in the masks through virtual return to ples (place). Its key contribution was developing an appropriate exhibition design/display methodology for culturally sensitive artefacts through immersive experience &amp; digital installation methods.</p>
<p>The project was initiated by QAGOMA Senior Curator Ruth McDougall &amp; Jo Kenny in 2016. The late Gideon Kakabin, presented QAGOMA with 70 Uramat objects in 2018 including the Qawat (Kavat) fire dance, &amp; daytime (Madaska) masks. I was invited to begin work in 2018 with QAGOMA, Kakabin&rsquo;s clan group and local PNG filmmakers as installation artist &amp; visual director &ndash; ultimately an extensive &nbsp;4-year exhibition design role - leading the methods of image presentation &amp; completing all image &nbsp;production. Our team worked consistently to decolonise this approach to display, notably of the fire dance &nbsp;masks, consistent with Uramat tradition, practice and cosmology. We premiered the work at APT10, Dec. 2021.</p>
<p>The works international significance is indicated by: inclusion in the Southern Hemisphere's most important Asia Pacific art survey show; scale (multi-year collaboration (2018-2022)); an Australian Cultural Diplomacy Grant ($60,000) for travel/work completed in PNG &amp; Australia funding additional cultural &amp; youth engagement exchanges, a suite of gallery programs, talks&nbsp; presentations &amp; PNG outreach (2021-2023); &amp; support by the Indigenous Uramat Identity Group of East New Britain, PNG &amp; QUT as a APT10 &lsquo;Major Partner&rsquo;. The 240pp. colour catalogue with essays from Tarun Nagesh, Reuben Keehan &amp; Ruth McDougall is collected by the Australian National Library. With audiences of over 3 million since 1993, APT10&nbsp; runs 4 Dec-25 April 22 with significant critical press assured. The work will tour nationally/internationally, including PNG in 2023-5. Further reviews are in process.</p>
<p><strong>TEAM:</strong> Keith Armstrong: Visual Director/Installation Artist, David Bridie (Sound artist)&nbsp; Ruth McDougall, (Curator), Jo Kenny (Creative producer), Lazarus Eposia, (Uramat elder/representative), the late Gideon kakbin (elder/author), Uramat mask artists, PNG film crew.</p>
<p><strong>SHOWINGS:</strong><br />1: (Asia Pacific Triennial APT10, Qldg Art Gallery and the Gallery odf Modern Art (QAGOMA), Southbank, Brisbane, Dec 4 2021- April 25 2022. </p>
<p><strong>PARTNERS:</strong> QAGOMA, QUT CIESJ School of Creative Arts.</p>',
			'extra_links' => '<p>Online <a href="https://www.qagoma.qld.gov.au/whats-on/exhibitions/apt10?gclid=EAIaIQobChMIotP1pInM9AIVN5RmAh0Heg_YEAAYASAAEgI4_vD_BwE&amp;artist=uramat-mugas-uramat-story-songs" target="_blank">catalogue</a></p>',
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			'slug' => 'elegy-for-lifeanthem-for-artifice',
			'old_filename' => null,
			'title' => 'Elegy for Life_Anthem for Artifice',
			'page_title' => 'Elegy for Life, Anthem for Artifice',
			'sub_title' => '',
			'brief' => null,
			'content' => '<p>Presented for the&nbsp;<a href="https://www.enad.tsinghua.edu.cn/ART___SCIENCE/TASIES_2019.htm" target="_blank">5th International Art and Science Symposium and Exhibition</a>, 2019, the work Elegy for Life, Anthem for Artifice is viewed from a secret vantage point, where audiences quietly witness a pair of uncanny, ambiguous, life-forms, evolving and performing their private lives, forever entwining and parting ways, safely incubated within a pitch-black void. Seemingly alive and aware, this pair of flowing, rippling intelligences confound, delight, chill and inspire. And at the same time their powerful sounds echo and reverberate around the space, evolving wave upon wave: building the elegy soundtrack for our &lsquo;old life&rsquo;, re-imagined anew - in a powerful &lsquo;anthem for artifice&rsquo;.</p>
<p>Elegy for Life: Anthem for Artifice examines how artificial life-forms may, in the future, counteract the 'extinction of human experience' we sense today, as millennia-old species slip away into extinction. How can we now begin to re-imagine our futures, whilst acknowledging that profound loss? How might arts and sciences, in cooperation, help us to evolve and morph through dark ecologies towards unfamiliar new lights? How might the entwining of art and science help us re-imagine our &lsquo;next life&rsquo;?</p>
<p>The artwork Elegy for Life: Anthem for Artifice emerged out of a ten year long engagement with marine and terrestrial scientists, artificial life scientists, writers and artists &ndash; in a powerful expression of the power of collaboration - when art meets science in the age of AI. The work speaks to how we might better imagine sustaining modes of development that are based in consultation, contribution and mutual benefit for all species, both organic and synthetic.</p>
<p><strong>SHOWING:</strong><br />1: 5th International Art and Science Symposium and Exhibition, (AS-Helix: The Integration of Art and Science in the Age of Artificial Intelligence), National Museum of China, Nov 1-30, 2019. Curated by Lu Xiabo.</p>
<p><strong>TEAM:</strong> Keith Armstrong: artistic direction and construction, Luke Lickfold: generative sound composition/coding.</p>
<p><strong>PARTNERSHIPS:</strong>&nbsp; QUT Creative Lab and Visual Arts. Special thanks to Julie Dean.</p>
<p><strong>MORE:</strong> Elegy for Life, Anthem for Artifice builds upon the originating work&nbsp;<a href="/homeartworks/eremocene-age-of-loneliness">Eremocene (Age of Loneliness)</a> - first shown to broad acclaim at teh 2017 Ars Electronica Festival in Linz, Austria.</p>',
			'extra_links' => '<p>Link to <a href="https://www.enad.tsinghua.edu.cn/ART___SCIENCE/TASIES_2019.htm" target="_blank">Chinese site</a>&nbsp; <a href="https://www.enad.tsinghua.edu.cn/info/1090/1470.htm" target="_blank">promotional video</a><br />Excerpt from<a href="/resource_files/Exhibition_Catalogue.pdf" target="_blank"> Exhibition Catalogue</a> (pdf)<a href="/resource_files/Exhibition_Catalogue.pdf" target="_blank"><br /></a>Excerpt from <a href="/resource_files/Conference_Catalogue.pdf" target="_blank">Symposium Program</a> (pdf)<a href="/resource_files/Exhibition_Catalogue.pdf" target="_blank"><br /></a><a href="/resource_files/Exhibition_Catalogue.pdf" target="_blank"><br /></a></p>',
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			'slug' => 'staging-change',
			'old_filename' => null,
			'title' => 'Staging Change',
			'page_title' => 'Staging Change',
			'sub_title' => '',
			'brief' => null,
			'content' => '<p>Staging Change comprised two audiovisual installations, a poetry slam and a community led festival, curated into the 2018 Vrystaat&nbsp;Kunstefees International Arts Festival/Tsa-Botjhaba,&nbsp;South Africa - Africa&rsquo;s premier arts festival, featuring significant experimental &amp; public art components. Each event incorporated a mobile stage-cum-artwork as a framing device &amp; performance platform, mapped with realtime video projections, augmented by sound, themed around the African concept of Ubuntu &amp; regenerative futures; speaking to community links, compassion, solidarity &amp; ecological justice. Nobel Laureate Desmond Tutu states, &ldquo;You&nbsp;can't be&nbsp;human all by yourself, &amp; when you have this&nbsp;quality, Ubuntu, you are known for your generosity&rdquo;. An accompanying performance poetry slam brought together a large cross-section of the Southern African political poetry community, focussed around Ubuntu, land rights &amp; ecological justice. Staging Change occupied three prominent locations within the festival grounds.</p>
<p>The fourth, offsite Staging Change event was held north of the City of Bloemfontein: the Diversity in Ubuntu Meraka Festival. A Meraka in local Sotho language means a place or veld where people of different cultures come together &amp; share their values. The translation in the Koisan language is ike/xarra/ke which means diverse people unite. This day long community-led celebration of diverse cultural heritages was developed with NPO Start Living Green, led by Anita Venter, building upon achievements &amp; lessons gleaned from our shared work in informal settlements between 2015-18. It involved multiple performances, a marketplace, traditional Basthoto (Lesthoto) horse displays, idea exchanges &amp; building &amp; permaculture demonstrations, all designed to actively share cultural practices between elders &amp; the youths. Following a co-mentoring process we had instigated over preceding years, local resident Mme. Mary Mofana directed the festival, ensuring strong community ownership &amp; empowerment. We also brokered connections to the Pan African Creative Exchange network which exposed her &amp; her performers to leading artists from around the African continent. The festival launched Mme. Mary&rsquo;s newly-formed NPO we had mentored her to conceive &amp; direct, Lesedi Multi-Purpose Community Development Village, which included a multi-purpose community building constructed from Post Natural building techniques pioneered together in prior projects since 2015. A collaboration MOU was signed with University Free State community affairs department for future sponsorship &amp; the mobile Stage was formally handed over to the community.</p>
<p>Staging Change&rsquo;s events capitalised upon ongoing community development projects, bringing Ubuntu into practice, handing control, funding &amp; strategic development to local communities to stage celebrations of their own design. Through these empowering actions, &amp; by providing skills building, finance &amp; necessary connections, Staging Change positively situated and framed local indigenous cultural heritage &amp; arts within South African contemporary arts &amp; culture practice. Lesedi Village now operates as an indigenous culture centre hosting workshops &amp; events, &amp; the Ubuntu Meraka has become an annual festival, fostered though long term connections brokered with the International Arts Festival and University of the Free State.</p>
<p><strong>SHOWINGS:</strong><br />1: Installation and Poetry Slam, Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba, UFS, Bloemfontein, South Africa, Jul 12th, 2018, Curated by Ricardo Peach and Angela DeJesus. Poetry Slam conceived by Pieter Odendaal.<br />2: Installation, Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba, UFS, Bloemfontein, South Africa, Jul 13th, 2018, Curated by Ricardo Peach and Angela DeJesus.<br />3: Ubuntu in Diversity Meraka, 129 Vlei Ave, Roodewaal, Bloemfontein, South Africa, July 14th, 2018, 10.00-15:00. Directed by Mme. Mary Mofana. (An official event of Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba).</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Dr. Anita Venter (NGO collaborator, Qala Phelang Tala), Adriaan Du Pleiss (Production/Design assistance), Mme. Mary Mofana (Meraka Director), Velili Phantsi (Event Compere), Thabang Mofokeng, Re-Future Cultural Ambassador/HOT Rural Workers Collective, Botshabelo Township, South Africa.</p>
<p><strong>PARTNERSHIPS:</strong>&nbsp;Programme for Innovation in Artform Development (PIAD) -&nbsp;<a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, Dr. Ricardo Peach, University Free State,&nbsp;<a href="http://www.ufs.ac.za/econ/departments-and-divisions/centre-for-development-support-home" target="_blank">Centre Development Support</a>,&nbsp;<a href="https://www.facebook.com/Qala1Tala/" target="_blank">Qala Phelang Tala</a>, Dr. Anita Venter. Angela De Jesus and Min&eacute; Kleynhans. The&nbsp;<a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation</a>,&nbsp;<a href="http://www.fwo.be/en/" target="_blank">The Flanders Foundation</a>,&nbsp;<a href="https://research.qut.edu.au/creativelab/" target="_blank">QUT Creative Lab</a>, change Agents Mokoena and Ellen Maphalane. This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by a part time Associate directorship of&nbsp;<a href="https://research.qut.edu.au/creativelab/" target="_blank">QUT's Creative Lab </a>Research Centre. Special thanks also to Prof. Greg Hearn, Prof. Terry Flew, Prof. Mandy Thomas, Prof. Gavin Sade, A/Prof. Bree Hadley, Prof. Gene Moyle and Stuart Taylor. Special thanks also to doctoral students Christine Scoggin and Pieter Odendaal.</p>',
			'extra_links' => '<p><a href="https://woodfordfolkfestival.com/programme/2018-programme-explore/artist/keith-armstrong/" target="_blank">ReFuture Artist Talk: Woodford Festival: New Years Eve, 2018</a><br />Printed catalogue excerpts | <a href="/resource_files/my%20bit_SC.jpg" target="_blank">1</a> | <a href="/resource_files/PIAD%20bit%202.jpg" target="_blank">2</a> | <a href="/resource_files/guests%20bit%202a.jpg" target="_blank">3</a> |<br /><a href="https://www.vrystaatkunstefees.co.za/en/staging-change-a-re-future-project-2/" target="_blank">Website excerpt</a><br />Staging Invite (<a href="/resource_files/Staging%20Change%20VSK_%20A5%20Pamphlet_Double%20sided-01%20new%20logos.pdf" target="_blank">English</a>) | (<a href="/resource_files/Staging%20Change%20VSK_%20A5%20Pamphlet_Double%20sided-02%20new%20logos.pdf" target="_blank">Sesthoto</a>)<br />Poetry Slam <a href="/resource_files/Staging%20Change%20poetry%20session%20poster%20comp.jpg" target="_blank">Invite</a><br />Ubuntu Meraka <a href="/resource_files/Mandela%20Day%20Event-%2014%20July-%202018%20draft%20pogramme.pdf" target="_blank">Draft Program<br /></a>Culture and Climate Justice <a href="https://issuu.com/sholehjohnston/docs/culture_and_climate_justice_south_a" target="_blank">Public Policy Outcome</a><br /><a href="http://www.panafricancreativeexchange.co.za" target="_blank">Pan African Creative Exchange</a></p>',
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			'slug' => 'change-agent',
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			'title' => 'Change Agent',
			'page_title' => 'Change Agent',
			'sub_title' => '',
			'brief' => null,
			'content' => '<p>&lsquo;Change Agent&rsquo; is an exhibition of twelve works, that presents learnings from a series of arts-led, development focussed projects I participated in during 2016-17 in Bloemfontein, Manguang, South Africa. It is presented for <a href="http://www.isea-international.org/isea2018/" target="_blank">ISEA 2018</a>, Durban, South Africa, in the main curated program, at Durban Art Gallery. The festival's theme &lsquo;Intersections&rsquo; positions creative technological innovation as an activist engagement into public space and public practice in African contexts. This exhibition of electronic sculptures, videos and interactive works examines the innovative cultural practices I witnessed and helped foster through media arts-thinking and action in the townships, showcasing the transformative power of cooperative, creative action for the festival&rsquo;s local and international audiences.</p>
<p><strong>SHOWINGS:</strong><br />1: Change Agent, Gallery 2, <a href="http://www.isea-international.org/isea2018/" target="_blank">ISEA 2018, Intersections</a>, curated main program "Other Realities', Durban Art Gallery, Durban, South Africa, June 25th&ndash;Aug 1st, 2018, Curated by Marcus Neustetter.</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Dr. Anita Venter (NGO collaborator, Qala Phelang Tala), Adriaan Du Pleiss (Production/Design assistance),&nbsp;Thabang Mofokeng, Re-Future Cultural Ambassador/HOT Rural Workers Collective, Botshabelo Township, South Africa.</p>
<p><strong>PARTNERSHIPS:</strong> Programme for Innovation in Artform Development (PIAD) - <a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, Dr. Ricardo Peach, University Free State, <a href="http://www.ufs.ac.za/econ/departments-and-divisions/centre-for-development-support-home" target="_blank">Centre Development Support</a>, <a href="https://www.facebook.com/Qala1Tala/" target="_blank">Qala Phelang Tala</a>, Dr. Anita Venter. Angela De Jesus and Min&eacute; Kleynhans, <a href="http://www.museumsonline.co.za/view.asp?pg=museums&amp;pgopt=item&amp;ItemID=7" target="_blank">Johannes Stegmann Art Gallery</a>, University of the Free State, South Africa, The <a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation</a>, <a href="http://www.fwo.be/en/" target="_blank">The Flanders Foundation</a>, Durban Art Gallery (Thulani Makhaye), <a href="https://research.qut.edu.au/creativelab/" target="_blank">QUT Creative Lab</a>, Change Agents Mokoena and Ellen Maphalane, Mary Mofana and Velili Phantsi, Michael Sebeso. The parent project, <a href="http://embodiedmedia.com/homeartworks/re-future">Re-Future</a> was presented as part of the Programme for Innovation in Artform Development (PIAD), an initiative of the Vrystaat Art Festival and the University of the Free State. This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by a part time Associate directorship of <a href="https://research.qut.edu.au/creativelab/" target="_blank">QUT's Creative Lab Research Centre</a>. Special thanks also to Prof. Greg Hearn, Prof. Terry Flew, Prof. Mandy Thomas, Prof. Gavin Sade, A/Prof. Bree Hadley, Prof. Gene Moyle and Stuart Taylor. Special thanks also to doctoral students Christine Scoggin and Pieter Odendaal who are also working on other aspects of Re-Future.&nbsp;</p>
<p><strong>MORE</strong>: In 2016-17 I was invited to become a lead media artist for PIAD (The Program For Innovation in Artform Development). I made three funded visits to South Africa of around 6 months in total. During my first visit South African residents Mokoena and Ellen Maphalane invited me to become &lsquo;embedded&rsquo; within a transdisciplinary team of South African township residents &amp; international development workers, facilitated by Dr. Anita Venter, director of the South African NGO Qala Phelang Tala. Our task became to reimagine &amp; facilitate Ellen and Mokoena to build a creative, no-cost house to replace their existing tin shack, located in the informal settlement (township) of Caleb Motshabi, on &lsquo;waste&rsquo; ground in -5 to +40 degree temperature extremes. All materials should be recycled or scavenged.</p>
<p>Throughout this collaborative process the Maphalanes&rsquo; confidence grew as they were put in charge of design, project management, and skills training for a range of volunteers and selected unemployed youths residing locally and in Botshabelo (rural town 60 km from Bloemfontein). By the end of December 2016, the replacement house and roofing was completed. Roofing material was donated by international sponsors who had been following the Maphalanes&rsquo; journey on social media. The Maphalanes continued to improve their replacement house after the roof has been constructed. Imagery was recorded using drone and terrestrial photography and video. We then worked with the same change agents to instigate three celebratory community-run visual/performance festivals (&lsquo;merakas&rsquo;) under the title &lsquo;Seven Stage Futures&rsquo;, designed to encourage and empower other township residents to initiate their own similarly life-changing projects.</p>
<p>Ultimately their completed home stands as a beacon of possibility in comparison with its neighbouring shacks. &lsquo;Change agents&rsquo; Ellen and Mokoena have subsequently been hired to train others in building practices &amp; also have earned much needed income from their creative skillsets.&nbsp; Flow on benefits include local funding support, land tenure, new arts-led initiatives and&nbsp; community empowerment.</p>
<p>The project taught me how I might &lsquo;attach&rsquo; my practice temporarily to subjects &amp; problems that normally belong to other disciplines. Slowly I began to see how to reinvent my media art practices to encourage &amp; motivate powerful, strong, committed residents, and together we gained new insights from each other&rsquo;s methods that allowed us to co-devise this new building processes we named &lsquo;post-natural&rsquo;.</p>
<p>The project was supported by the Program for Innovation in Artform Development and local community NGO Qala Phelang Tala (Start Living Green!) These two organisations, who have built significant trust within local communities, invited me to work with them as an &lsquo;embedded creative&rsquo; within three local South African townships.</p>
<p><strong>Related Prior Projects</strong><br /><a href="/homeartworks/future-future">Future-Future? Exhibitions</a> (207/18)<br />(<a href="/resource_files/FF-catalogue_2017_sm.pdf" target="_blank">Future-Future? catalogue</a>)(8.4MB).<a href="/homeartworks/otswellang"><br />OTswellang</a> shown in solo shows <a href="/homeartworks/over-many-horizons-omh">Over Many Horizons</a> and The Mesh, Vrystaat Arts Festival, South Africa, 2017.</p>
<p>Change-Agent?&nbsp;is the fourth major outcome arising from the Re-Future project - which aims to initiate a series of transdisciplinary, intercultural collaborative works designed with, or inspired by the journeys of re-futuring, pioneered by the township residents of Bloemfontein/Manguang, South Africa. The project operates at the intersection of media art, sustainability, community development and creative action, reflecting how the legacies of apartheid, population pressure, economic and environmental decay, compounded by limited access to education, services, secure housing and policing services have routinely rendered so many in the majority world a 'lost cause'. Here lie very different leaders - pioneering 'change makers' creating their own images; of their own making.</p>',
			'extra_links' => '<p>ISEA 2018, '<a href="http://www.isea-international.org/isea2018/" target="_blank">Intersections</a>' Web.<br />ISEA Durban wrapup <a href="/resource_files/ISEA2018DURBANwrapup.pdf" target="_blank">report</a><br />Related ISEA article in <a href="http://www.makery.info/en/2018/07/03/digifest-un-festival-en-afrique-du-sud-pour-hacker-la-vie/" target="_blank">Makery.info</a><br />Re-Future - Related past projects:&nbsp; Summary Document</p>
<ul>
<li><a href="/homeartworks/future-future">Future-Future? Exhibitions</a> (207/18)&nbsp; (<a href="/resource_files/FF-catalogue_2017_sm.pdf" target="_blank">exhibition catalogue/essays</a>) (8.4MB)</li>
<li><a href="/homeartworks/otswellang">OTswellang</a> - in solo shows <a href="/homeartworks/over-many-horizons-omh">Over Many Horizons</a> (2016) and The Mesh, Vrystaat Arts Festival, South Africa (2017)</li>
<li><a href="/homeartworks/seven-stage-futures">Seven Stage Futures</a> - Change agent directed, festivals (2017)</li>
<li><a href="/homeartworks/re-future">Re-Future</a> - the originating project (2016-onwards)</li>
<li><a href="https://issuu.com/sholehjohnston/docs/culture_and_climate_justice_south_a" target="_blank">Culture and Climate Justice: Public Policy Outcome</a></li>
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			'content' => '<p>The &lsquo;Future-Future?&rsquo; exhibition is inspired by my sustained engagement within South African communities (2016-17), supported by the Program for Innovation in Artform Development and local community NGO Qala Phelang Tala (Start Living Green!) These two organisations, who have built significant trust within local communities, invited me to work with them as an &lsquo;embedded creative&rsquo; within three local South African townships. (<a href="/resource_files/FF-catalogue17notOutlined.pdf" target="_blank">Download catalogue</a>)(8.4MB).</p>
<p>Whilst there I worked with the NGO <a href="https://www.facebook.com/Qala1Tala/" target="_blank">Qala Phelang Tala (Start Living Green!)</a>led by Dr. Anita Venter, and several local residents (change agents) to help imagine and build improved, low cost &lsquo;shack replacement&rsquo; structures. I then worked with the same change agents to instigate three celebratory community-run visual/performance festivals (&lsquo;merakas&rsquo;) under the title &lsquo;Seven Stage Futures&rsquo;, designed to encourage and empower other township residents to initiate their own similarly life-changing projects.</p>
<p>This fieldwork inspired me to initially produce a reflective media artwork <a href="/homeartworks/otswellang">OTswellang</a> for the solo shows <em></em><a href="/homeartworks/over-many-horizons-omh"><em>Over Many Horizons</em></a>, at UTS Gallery, Sydney, 2016 and <em>The Mesh, Vrystaat Arts Festival</em>, South Africa, 2017. (That work is also included in this show). I am now building upon those outcomes in this major exhibition, <em>Future-Future?</em>.</p>
<p><strong>SHOWINGS:</strong><br />1: <a href="http://www.riddochartgallery.org.au/future-future/" target="_blank">Future-Future?</a>, Solo exhibition, Riddoch Art Gallery, Mt Gambier, South Australia, Nov 17th-Jan 20th, 2017, Curated by Melentie Pandilovski.<br />2: <a href="http://www.artmuseum.qut.edu.au/exhibit/2018/transboundaries.jsp" target="_blank">Transboundaries: Art + Connection</a>, QUT Art Museum, Brisbane, 7 April 2018 - 3rd June 2018</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director)</p>
<p><strong>PARTNERSHIPS:</strong> Riddoch Art Gallery, Mt Gambier City, (Melentie Pandilovski (Dir.), Serena Wong, Linda Walker, Talie Teakle), Programme for Innovation in Artform Development (PIAD) - <a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, Dr. Ricardo Peach, University Free State, <a href="http://www.ufs.ac.za/econ/departments-and-divisions/centre-for-development-support-home" target="_blank">Centre Development Support</a>, <a href="https://www.facebook.com/Qala1Tala/" target="_blank">Qala Phelang Tala</a>, Anita Venter, Angela De Jesus, <a href="http://www.museumsonline.co.za/view.asp?pg=museums&amp;pgopt=item&amp;ItemID=7" target="_blank">Johannes Stegmann Art Gallery</a>, University of the Free State, South Africa, The <a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation</a>, <a href="http://www.fwo.be/en/" target="_blank">The Flanders Foundation</a>, Change Agents Mokoena and Ellen Maphalane, Mary Mofana and Velili Phantsi, Thabang Mofokeng, HOT Rural Workers Collective, Botshabelo Township, South Africa, Adriann Du Pleiss(Stage builder), Percy, Michael Sebeso. The parent project, <a href="/homeartworks/re-future">Re-Future</a> is presented at part of the Programme for Innovation in Artform Development (PIAD), an initiative of the <em>Vrystaat Art Festival</em> and the <em>University of the Free State</em>.&nbsp; Kindly supported by The <em>Andrew W. Mellon Foundation</em> and The <em>Flanders Foundation</em>.This project has been kindly assisted by the Australian Government through the <em>Australia Council</em>, its arts funding and advisory body. Keith Armstrong is supported by a part time Associate directorship of <em>QUT's Creative Lab Research Centre</em>. Special thanks to doctoral students Christine Scoggin and Pieter Odenaal who are working on Re-Future. Special thanks to Prof Greg Hearn Prof Terry Flew, Prof Mandy Thomas, Nigel Oram, Blair Walkinshaw and QUT Precincts.</p>
<p><strong>MORE:</strong> The exhibition&nbsp;Future-Future? begins with the powerful provocation:&nbsp; "There is no time to complain, the only remaining time is to start implementing change. If not we will perish". Ha ho na nako ea ho chacheha ka mohono, nako e setseng ke ea hore re fetohe eseng moo re tla timela. These words were contributed both in English and South African (Sesotho) languages by Thabang Mofokeng, a South African 'change agent' and leader of the HOT Rural Workers Foundation. His call is profound. His people, and environment are suffering significantly under the weight of the consumption of his country&rsquo;s wealth and resources in all its forms, both historical and contemporary.&nbsp; So what kind of future-for-a-future is possible?</p>
<p>Whilst the affluent may typically think about a future in terms of maintaining or increasing an already unjust share,&nbsp;Thabang&rsquo;s people may wonder, is there is any kind of future at all - in a world where their basic needs of education, housing, health and welfare are far from being met. However many in his community still have something that has been widely lost in the rush to create a profoundly&nbsp;brand of unsustainable future - solidarity, purpose and meaning, rooted within their melting pot of ancient cultures. Can we assume it is these strengths which have kept them proud, strong and alive in conditions of hardship, all these years after apartheid officially finished - still in conditions that many of us would find entirely unimaginable and untenable.</p>
<p>Future-Future?&nbsp;focusses upon uncovering and promoting these paradigms of change and transformation.&nbsp; Such transformations maybe lie beyond our own lexicon, because words do not imagine that kind of hunger and beyond our routine desires, because they have nothing at all to do with the refinement of an existing luxury. Future-Future? instead encourages paradoxical desires -&nbsp;stimulated by (&lsquo;under-cover&rsquo;) change agents, who are quietly transforming their 'future for a future&rsquo;. Their desire is focussed - positive dwelling, powerful culture and transformative purpose - working to 'give time back to the future'.</p>
<p>Future-Future?&nbsp;is the third major outcome arising from the Re-Future project - which aims to initiate a series of transdisciplinary, intercultural collaborative works designed with, or inspired by the journeys of re-futuring, pioneered by the township residents of Bloemfontein/Manguang, South Africa. The project operates at the intersection of media art, sustainability, community development and creative action, reflecting how the legacies of apartheid, population pressure, economic and environmental decay, compounded by limited access to education, services, secure housing and policing services have routinely rendered so many in the majority world a 'lost cause'. Here lie very different leaders - pioneering 'change makers' creating their own images; of their own making.</p>',
			'extra_links' => '<p>Download Show Catalogue (<a href="/resource_files/FF-catalogue17notOutlined.pdf" target="_blank">On Screen Version 8.4MB</a>) - Essay by Melentie Pandilovski, edited by Linda Walker. <br />Riddoch Gallery, exhibition <a href="http://www.riddochartgallery.org.au/future-future-2/" target="_blank">Online link </a><br />Printable Show Catalogue (Reordred to print, ie not for on-screen use) (<a href="/resource_files/FF17-printable%20booklet.pdf" target="_blank">Larger version 12.8MB</a>)<br /><a href="/resource_files/ffnewspaper536.pdf" target="_blank">Article </a>in <em>The Border Watch</em> newspaper, Fri Nov 17, 2017<br />This work is referenced in an <a href="https://vimeo.com/267502017" target="_blank">interview around the Transbounadries</a> show, 2018.<br />Related prior projects <a href="/homeartworks/seven-stage-futures">Seven Stage Futures</a> and <a href="/homeartworks/re-future">Re-Future</a></p>',
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			'title' => 'Are We The One?',
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			'content' => '<p>A collaborative, performative and relational experience for two people, woven together by a custom digital phone App.&nbsp; Two walkers, who have never met, simultaneously use a phone App to record a personalised walk around their locality, crafting a series of special moments and surprises for each other.&nbsp;The App then allows participants to continue their two walks, but now directed by what the other person has just created for them. Finally, at the end of the experience they can then choose whether they would like to actually meet in person.</p>
<p>Based loosely on the idea of a date, each participant is initially asked to give a little bit of personal information, and then actually speak volumes about themselves through how they choose to care for their 'date's future experience. After walking in parallel universes, but never far away from each other, both daters can ultimately&nbsp;choose to then meet in person -- if what they have experienced tells them that maybe "We Are The One".</p>
<p>The components of this work are eminently tourable - and fit in a decent sized brief case 15cm x 46cm x 34cm and weighs about 7 kgs. See promotional video <a href="https://vimeo.com/162482942" target="_blank">here</a>. Please contact <a href="mailto:keith@embodiedmedia.com">Keith</a>.</p>
<p><strong>TEAM:</strong> <strong>Keith Armstrong</strong>: Co-director,<strong> David Finnigan</strong>: Co-director, <strong>Steve Berrick</strong>: App Programmer, <strong>Robert Henderson</strong>: Futuring Designer, <strong>Arthouse, Melbourne</strong>: Producers.</p>
<p><strong>SHOWINGS:</strong><br /><strong>1: </strong><a href="http://fola.com.au/program/one/" target="_blank"><strong>version 1</strong>: Festival of Live Art (FOLA), 2016, Artshouse, Melbourne</a>, 2-5 Mar &amp; 9-11 Mar 2016<br /><strong>2: version 1</strong>: <a href="http://www.melbourne.vic.gov.au/arts-and-culture/arts-house/whats-on-arts-house/Pages/in-your-hands.aspx" target="_blank">In your Hands, Artshouse, Melbourne</a>, 20-21 May 2017<br /><strong>3:</strong> <strong>version 1:&nbsp;</strong><a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1173" target="_blank">Vrystaat&nbsp;Kunstefees/Arts Festival/</a>Tsa-Botjhaba, UFS, Bloemfontein, South Africa, 18-22 July 2017<br /><strong>4: version 2:</strong>&nbsp;<a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1173" target="_blank">Vrystaat&nbsp;Kunstefees/Arts Festival/</a>Tsa-Botjhaba, UFS, Bloemfontein, South Africa, 18-22 July 2017</p>
<p><strong>PARTNERS:</strong> <a href="http://www.melbourne.vic.gov.au/artshouse/Pages/Default.aspx" target="_blank">Artshouse</a>, <a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://staffprofiles.ci.qut.edu.au/" target="_blank">Queensland University of Technology, Creative Industries</a>, <a href="http://pvicollective.com" target="_blank">PVI Collective</a>,&nbsp;<a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1173" target="_blank">Vrystaat&nbsp;Kunstefees/Arts Festival/</a>Tsa-Botjhaba, UFS. This project has been supported by the Digital Theatre Initiative of the Australia Council For the Arts.</p>
<p><strong>WHY?</strong><br />Are We The One? shines a gentle light upon social relations and shared imaginaries, suggesting that aesthetic, performative engagements can be a powerful means of making sense of our worlds and ourselves.</p>
<p>Our goal is to create an experience that is simple, surprising and provocative, and with the potential of being lovely. We want participants to think first about what their their phone is asking them to do, then about themselves and their preferences, and ultimately about the other unknown person and what they might want or need, and finally to consider the how this relates to the larger world around them.</p>
<p>The work builds upon David and Keith&rsquo;s practices of building non-didactic participatory arts experiences. Our work encourages creative reflection and action around cultural conditions that frame contested domains - such as climate, ecology, systems and futuring.&nbsp;</p>',
			'extra_links' => '<p><a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1173" target="_blank">South African Presentation</a>, (Version 2) 2018<a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1173" target="_blank"><br />South African Presentation</a>, (Version 1) 2017<a href="https://vimeo.com/162482942" target="_blank"><br /></a>Vrystaat Festival, <a href="/resource_files/AWTOFestivalCatalogueExtracts.pdf" target="_blank">main program entry</a>, South Africa, 2017<a href="https://vimeo.com/162482942" target="_blank"><br />Artshouse Promotional Video</a> <br />Review in <a href="http://www.realtimearts.net/article/131/12206" target="_blank">Realtime 131</a> (<a href="/resource_files/RealtimeAWTOExcerpt.jpg" target="_blank">file</a>)<br />Coverage in <a href="http://www.smh.com.au/entertainment/theatre/festival-of-live-art-review-hidden-worlds-and-popup-tea-rooms-emerge-in-participatory-festival-20160310-gnf8ed.html" target="_blank">Sydney Morning Herald</a>, March 10th, 2016 (<a href="/resource_files/SMH%20article.jpg" target="_blank">file</a>)<br />Coverage in <a href="http://www.theatrepeople.com.au/the-festival-of-live-art-fola/" target="_blank">Theatre People</a>, March 10th (<a href="/resource_files/TheatrePeopleExcerpt.jpg" target="_blank">file</a>)<a href="http://2016.fola.com.au/program/one/" target="_blank"><br />Festival of Live Art 2016</a>, 2-4 March from 5pm till dark, 5th March 2pm-dark and 9-11 March. (<a href="/resource_files/FOLA_online.jpg" target="_blank">file</a>)<br />Arthouse 2017 Printed Calaogue <a href="/resource_files/artshouseAWTOIYH.pdf" target="_blank">Excerpt</a><br />Arthouse 2016 Printed Calaogue <a href="/resource_files/catalogue_sm.jpg" target="_blank">Excerpt</a><br />Realtime Article on the <a href="http://www.realtimearts.net/article/issue126/11898" target="_blank">Funding initiative</a> involved, In Your Hands, Digital Theatre Fund (<a href="/resource_files/awto_funding_article_RT.jpg" target="_blank">file</a>)<br />Related former project: <a href="/homeartworks/long-time-no-see">Long Time, No See?</a><a href="http://valuesandframes.org" target="_blank"><br /><br /></a></p>',
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			'title' => 'Over Many Horizons (O|M|H)',
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			'content' => '<p><strong>ABOUT:</strong><br /> Over Many Horizons (O|M|H) is an interactive, experiential 'whole of gallery' exhibition that investigates the mesh of environmental, social and cultural ecologies that form our worlds, asking how might we re-imagine our place and actions within those networks as &lsquo;re-futuring&rsquo; - i.e. acting in ways that &lsquo;give time back&rsquo;, rather than &lsquo;take time away&rsquo;, from the future.</p>
<p>Audiences navigate the works non-linearly, encountering robotically controlled kinetic light works, telescopic tunnels of ethereal imagery and sound and gently pulsing, ambiguous surfaces. The exhibition dovetails with a range of&nbsp;specially curated participative events and art-science-humanities discussions that ask, why is today&rsquo;s environmental crisis a crisis of &lsquo;us&rsquo;, and how must we therefore evolve?</p>
<p>Over Many Horizons (O|M|H) therefore necessarily spans art, science and the humanities, and initiates a collaboration UTS Marine and <a href="http://www.uts.edu.au/staff/william.gladstone">Life Sciences</a>, Professor William Gladstone - marine biologist and Head of School of Life Sciences, The <a href="http://www.livingdata.net.au">Living Data</a> program with Lisa Roberts, the UTS Institute For Sustainable Futures (Tania Leimbach) and curator/artist An Marosszeky. In all of these ways Over | Many | Horizons (O|M|H) seeks to shine a light upon the silent, shadowy barriers of cultural misunderstanding that prevent us from re-inventing ourselves as a future-sustaining species.</p>
<p><strong>LIST OF WORKS:</strong></p>
<p><strong></strong> <a href="/homeartworks/deep-ecology">Deep Ecology | Horizon 1</a></p>
<p><a href="/homeartworks/seasonal"> Seasonal | Horizon 2</a></p>
<p><a href="/homeartworks/otswellang"> O Tswellang | Horizon 3</a></p>
<p><a href="/homeartworks/shifting-dusts"> Shifting Dusts | Horizon 4</a></p>
<p><a href="/homeartworks/inter-state"> Inter State | Horizon 5</a></p>
<p><strong>SHOWINGS:</strong><br />1: Solo show, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Over Many Horizons</a>, UTS Gallery, Ultimo, Sydney, Aug 3rd - Sept 28th 2016, (An official event of <a href="http://www.scienceweek.net.au/over-many-horizons/?search-location-code=2000&amp;search-location-lat=-33.867139&amp;search-location-lng=151.207114&amp;search-location-name=SYDNEY+METRO&amp;search-location-type=P&amp;search-location=SYDNEY+METRO+2000+NSW&amp;search-date-start=Today&amp;search-date-end=All+dates&amp;text=armstrong&amp;audience=All+ages&amp;search-topic=&amp;search-events-count=1&amp;search-online-count=0" target="_blank">National Science Week</a>), Opening 6-8pm, August 2nd, 2016<strong>. </strong>Public programs detailed below.<br /><strong></strong></p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director),&nbsp; Contributions from Luke Lickfold (Sound Composition/MaxMSP Design), Lawrence English (sound) and many others (see links to individual works). Thanks also to prior collaborators, and inspirations drawn from Stu Lawson's visual designs.</p>
<p><strong>PARTNER COLLABORATORS:</strong><br />UTS Gallery (Tania Creighton (Curator) and Eleanor Zeichner (Assistant curator)), Living Data (Lisa Roberts), UTS Life Sciences (Prof. William Gladstone), National Science Week 2016, Sydney Science Week 2016, Sydney Design 2016, UTS Institute for Sustainable Futures, QUT Creative Industries, Dr. Ricardo Peach, Programme for Innovation in Artform Development (PIAD) - Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba, University Free State Centre Development Support, Qala Phelang Tala, Anita Venter, Angela De Jesus, Johannes Stegmann Art Gallery, University of the Free State, South Africa, The Andrew W. Mellon Foundation, The Flanders Foundation, Thabang Mofokeng, HOT Rural Workers Collective, Botshabelo Township, South Africa, Charlotte Vincent, Guy Webster, TC Howard, Vincent Dance Theatre.</p>
<p>This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.</p>
<p>Keith Armstrong is supported by a part time senior research role at QUT Creative Industries.</p>
<p><strong>FURTHER DETAILS:</strong><br />The exhibition both references and extends upon two decades of ecologically-engaged (ecosophical) practices and introduces an important new art-science collaboration.</p>
<p>Ideas will be embodied both by audience experience of the works and through public programs, developed in association with National Science Week. By drawing upon experts from the arts, marine science, cultural studies and politics who in normal situations may rarely interact, but who now share a common sense of urgency to engage with sustaining Australia&rsquo;s long-term social and environmental future, we will seek to deepen the intellectual framework for this exhibition, which is designed to trigger public engagement, debate and interaction.</p>
<p>The exhibition therefore invests in our collective capacities to discuss, disagree and seek fundamental cultural solutions to profoundly &lsquo;wicked&rsquo;, big picture questions such as Climate Change and marine biodiversity loss - apparently intractable questions that require us to confront social change, creativity and our species fundamental unsustainability, in radically new ways that are still difficult to imagine, discuss or enact.</p>
<p><strong>MORE ON PUBLIC PROGRAMS:</strong><br />These <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">programs</a>, produced by UTS Gallery in association with the School of Life Sciences and the Institute for Sustainable Futures at UTS, will comprise talks, artist-led workshops, and education activities, offered free to the general public throughout National Science Week and for the duration of the exhibition. These programs will offer audiences experience in processing and interpreting scientific data via artistic processes, hands-on workshops, educational programs on imaginative responses to science, and a talks series that explores the Sci-Art ideas in connection to the exhibition and future practices.</p>
<p>These <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">programs</a> trial innovative approaches to understanding science and social contexts, developing conversations across the divide between art and science, using the visual and experiential tools of arts practice to communicate complex ideas about the environment and its cultural dimensions. The program also fosters partnerships between the UTS as a research institution, UTS Gallery as a cultural organisation and the broader community.</p>
<p>LUNCHTIME TALK<br />When Options Run Out, What Can Art Do?<br />Wednesday 17 August, 1pm<br />Join us for a special lunchtime talk with artist Keith Armstrong on the research and practice behind his exhibition, Over Many Horizons.</p>
<p>PANEL DISCUSSION<br />New Horizons: Art For Complex Times<br />Thursday 18 August, 6pm<br />Despite decades of warning our species remains as unsustainable as ever. What if arts/science partnerships are the answer to help shift this deep-seated stasis? This panel brings together artists, theorists and scientists to ask the big question &ndash; how can we work together for climate sustainability? Speakers include: Keith Armstrong, Bill Gladstone, Jeremy Walker and Tania Leimbach.</p>
<p>WORKSHOP<br />Future Horizons<br />Saturday 20 August, 12 - 4pm <br />What does the future look like to you? Visit UTS Gallery for a drop-in workshop to share your vision, and to explore Over Many Horizons, an interactive exhibition that investigates the environmental, social and cultural ecologies that form our worlds and how we can create new paths to sustainability.</p>',
			'extra_links' => '<p><a href="http://www.realtimearts.net/article/134/12377" target="_blank">Review in Realtime 134<br /></a>Related <a href="/writingtheory/book-chapters/enabling-and-situating-artsscience-collaboration-and-collective-learning">book chapter</a> and <a href="/writingtheory/essays/improving-transdisciplinary-arts-science-partnerships">blog post</a><a href="http://www.realtimearts.net/article/134/12377" target="_blank"><br /></a><a href="https://www.podomatic.com/podcasts/versatilist/episodes/2018-11-18T08_05_33-08_00" target="_blank">Podcast about this project and other collaborations with Tania Leimbach </a><a href="https://www.podomatic.com/podcasts/versatilist/episodes/2018-11-18T08_05_33-08_00" target="_blank">(11/18) </a><br />UTS Gallery, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Exhibition Link</a><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"> &amp; Catalogue</a> with essay by Tania Leimbach<br />Advert in <a href="/resource_files/art_pub603.pdf" target="_blank">Vault</a> (print art and culture magazine)<br /><a href="http://art.uts.edu.au/index.php/category/over-many-horizons-keith-armstrong/" target="_blank">UTS Made Education Videos, Public Programs and Education/out reach</a><br />Video:<a href="https://vimeo.com/185185398" target="_blank"> Panel Discussion, Art For Complex Times, National Science Week, 2016</a><br />Audio: <a href="https://soundcloud.com/keith-armstrong/art-science-panel-omh-trim" target="_blank">Panel Discussion, Art For Complex Times, National Science Week, 2016</a><br /><a href="/resource_files/UTSG_OMH_print_invite%20v03.pdf" target="_blank">Print Invite</a><br /><a href="/resource_files/Invitation%20Keith%20Armstrong%20Over%20Many%20Horizons%20%20Tuesday%202%20August%206%20%208pm.pdf" target="_blank">Online Invite</a><br /><a href="http://www.altmedia.net.au/keith-armstrong-over-many-horizons/117369" target="_blank">Feature in Altimedia</a><br /><a href="http://www.artistprofile.com.au/keith-armstrong-many-horizons/" target="_blank">Announcement in Artist Profile</a><br />Sydney Science and Design Festivals, 2016 <a href="/resource_files/sydscifest437.pdf" target="_blank">program entry</a><br /><a href="/resource_files/Over%20Many%20Horizons%20opening%20Gladstone.pdf" target="_blank">Launch Lecture</a>, by Marine Biologist/Collaborator Prof. William Gladstone<br /><a href="/resource_files/UTS-GALLERY-FLOOR-PLAN11716.pdf" target="_blank">Gallery floorplan</a><a href="/resource_files/OMHspec_12Jul_2016.pdf" target="_blank"><br />Exhibition specification</a>&nbsp;</p>',
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			'title' => 'O_Tswellang',
			'page_title' => 'O Tswellang',
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			'content' => '<p>A small-scale hybrid form, created from a matrix of miniature cut glass bottles, and glass-diffused text animations, accompanied by a wall poster, presenting the words in English and South African (Sesotho) languages of <a href="https://www.youtube.com/watch?v=mEE2FiqV-mU">Thabang Mofokeng</a>, a South African change agent and leader of the HOT Rural Workers Collective.</p>
<p><em>There is no time to complain, the only remaining time is to start implementing change if not we will perish.</em><br /><em> Ha ho na nako ea ho chacheha ka mohono, nako e setseng ke ea hore re fetohe eseng moo re tla timela.</em></p>
<p>O Tswellang, which translates to &lsquo;sustainability&rsquo;, was the first outcome from the long-term research project called <a href="/homeartworks/re-future">Re-Future</a>, which initiates a series of transdisciplinary, intercultural collaborative works designed with the township residents of Bloemfontein/Manguang, South Africa, working at the intersection of sustainability, community development and creative action.</p>
<p>During my initial trip to South Africa in 2016 I conducted extensive meetings with my collaborators to understand local conditions and needs, and learnt about the natural building processes being pioneered by the NGO Qala Phelang Tala (Start Living Green!), thereby meeting Mofokeng who discussed the related aspirations of his rural workers movement.</p>
<p>O Tswellang draws upon the vernacular of &lsquo;natural building&rsquo; pioneered by collaborator/host NGO Qala Phelang Tala in terms of its low costs, under construction sensibility and the use of glass bottles and light drawn from low power source sources. My long term aim is to initiate a series of collaboratively-developed mobile art experiences, that draw upon cheap local materials, ultimately presented as part of a roving empowerment-focused festival of &lsquo;natural building&rsquo;. These works seeks to embody both the urgency and promise that empowers local &lsquo;change agents&rsquo; in modern day South Africa to develop affordable, sustainable, livable dwellings made from easily obtainable materials such as old tyres, bottles, wood, mud and tin.</p>
<p>O Tswellang is therefore both an experiential artwork designed for galleries and festivals and a framing device for the <a href="/homeartworks/re-future">Re-future</a> project, which will seek to stimulate new networks of 're-futuring&rsquo; throughout some of the poorest informal settlements in the Free State of South Africa.</p>
<p><strong>SHOWINGS:</strong><br />1: Solo exhibition, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Over Many Horizons</a>, UTS Gallery, Ultimo, Sydney, Aug 3rd- Sept 28th 2016, (An official event of <a href="http://www.scienceweek.net.au/over-many-horizons/?search-location-code=2000&amp;search-location-lat=-33.867139&amp;search-location-lng=151.207114&amp;search-location-name=SYDNEY+METRO&amp;search-location-type=P&amp;search-location=SYDNEY+METRO+2000+NSW&amp;search-date-start=Today&amp;search-date-end=All+dates&amp;text=armstrong&amp;audience=All+ages&amp;search-topic=&amp;search-events-count=1&amp;search-online-count=0" target="_blank">National Science Week</a>), Opening 6-8pm, August 2nd, 2016<br />2: Solo exhibition, <a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1223" target="_blank">The Mesh, Stegmann Gallery</a>, Sasol Library, UFS, Bloemfontein, South Africa, Jul 17th- Aug 11th, 2017, (An official event of Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba), Opening 8pm, July 17th, 2017</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Thabang Mofokeng (Words)</p>
<p><strong>PARTNERSHIPS</strong>: <a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">UTS Gallery,</a> Curated by Tania Creighton and Eleanor Zeichner, <a href="http://staff.qut.edu.au/staff/armstron/" target="_blank">QUT Creative Industries</a>, <a href="http://www.scienceweek.net.au/over-many-horizons/" target="_blank">National Science Week 2016</a>, <a href="https://sydneyscience.com.au/event/over-many-horizons/" target="_blank">Sydney Science Week 2016</a>, <a href="https://sydneydesign.com.au/event/over-many-horizons/" target="_blank">Sydney Design 2016</a>, <a href="http://www.uts.edu.au/research-and-teaching/our-research/institute-sustainable-futures" target="_blank">UTS Institute for Sustainable Futures</a>, Dr. Ricardo Peach, Programme for Innovation in Artform Development (PIAD) - <a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, University Free State, <a href="http://www.ufs.ac.za/econ/departments-and-divisions/centre-for-development-support-home" target="_blank">Centre Development Support</a>, <a href="https://www.facebook.com/Qala1Tala/" target="_blank">Qala Phelang Tala</a>, Anita Venter, Angela De Jesus, <a href="http://www.museumsonline.co.za/view.asp?pg=museums&amp;pgopt=item&amp;ItemID=7" target="_blank">Johannes Stegmann Art Gallery</a>, University of the Free State, South Africa, The <a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation</a>, <a href="http://www.fwo.be/en/" target="_blank">The Flanders Foundation</a>, <a href="https://www.facebook.com/search/top/?q=thabang%20mofokeng&amp;filters_rp_author=me" target="_blank">Thabang Mofokeng, HOT Rural Workers Collective</a>, Botshabelo Township, South Africa. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.</p>
<p>The parent project, <a href="/homeartworks/re-future">Re-Future</a> is presented at part of the Programme for Innovation in Artform Development (PIAD), an initiative of the Vrystaat Art Festival and the University of the Free State.&nbsp; Kindly supported by The Andrew W. Mellon Foundation and The Flanders Foundation.This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by a part time senior research role at QUT Creative Industries.</p>',
			'extra_links' => '<p>Exhibited 2017, Johannes Stegmann Gallery,&nbsp;<a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1223" target="_blank">Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba</a>,&nbsp;South Africa,&nbsp;18 July-20 Aug.<br />The Mesh, Vrystaat Festival, <a href="/resource_files/TheMeshFestivalCatalogueExtracts.pdf" target="_blank">main program entry</a>, South Africa, 2017<br />The Mesh <a href="/resource_files/The%20Mesh%20Catalogue.pdf" target="_blank">Catalogue</a>, Vrystaat Festival, South Africa, 2017<br />The Mesh <a href="/resource_files/the%20mesh%20poster_sm.pdf" target="_blank">Poster</a>, Vrystaat Festival, South Africa, 2017<br />Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba, <a href="/resource_files/vis%20arts%20program%20Vrysaat_sm.pdf" target="_blank">Visual arts program catalogue</a>, South Africa, 2017<br />Event in <a href="http://www.scienceweek.net.au/over-many-horizons/?search-location-code=2000&amp;search-location-lat=-33.867139&amp;search-location-lng=151.207114&amp;search-location-name=SYDNEY+METRO&amp;search-location-type=P&amp;search-location=SYDNEY+METRO+2000+NSW&amp;search-date-start=Today&amp;search-date-end=All+dates&amp;text=armstrong&amp;audience=All+ages&amp;search-topic=&amp;search-events-count=1&amp;search-online-count=0" target="_blank">National Science Week</a>, 2016<br />Exhibition, 2016 at <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">UTS Gallery</a><br /><a href="http://www.realtimearts.net/article/issue134/12377" target="_blank">Review in Realtime 134</a><br /><a href="http://art.uts.edu.au/index.php/keith-armstrong-o_tswellang/" target="_blank">UTS authored education video</a><br />'Parent project' <a href="/homeartworks/re-future">Refuture</a></p>',
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			'slug' => 'inter-state',
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			'title' => 'Inter-State',
			'page_title' => 'Inter-State',
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			'content' => '<p>The installation Inter-State integrates concepts of art, science and design &lsquo;re-futuring&rsquo; practices through two related works: a large-scale backlit print depicting a re-imagined scientific periodic table of elements, mounted in a hanging light box, and a scientifically-arcane microfiche viewer and headphone soundscape. Viewers can examine the imagery as a whole, or in forensic close up, by instigating slow scans across groups of &lsquo;elements&rsquo; on the microfiche reader.</p>
<p>Inter-State re-conceptualises the periodic table as a relational mesh of forms, contrasting its elemental reduction and tabular characteristics with Wu Xing&rsquo;s inherently circular five phases, and their generating and overcoming interrelationships. This is achieved by re-imagining each element as being part of a deeply related collection of codes, quotes, thoughts and pictorial impressions of non-linear processes and philosophies, inspired both by Tony Fry&rsquo;s re-futuring theories and the Wu Xing philosophies. The choice of the 1970&rsquo;s vintage reader also draws attention to the claimed cycles of &lsquo;necessary obsolescence&rsquo; that permeate and underline much contemporary design thinking.</p>
<p>In sympathy, the headphone sound is created in a 12-minute cycle with five passages, inspired by the Wu Xing&rsquo;s &lsquo;generative&rsquo; cycle of Wood-Fire-Earth-Metal-Water. Within each passage overlapping sounds suggest one of the five Wu Xing &lsquo;overcoming&rsquo; interactions, such as Water overcomes Fire. Each of the five passages concludes with a sonification of a relevant group of elements from the periodic table, using the atomic numbers of these elements of one group to control an audio synthesis process that morphs a so-called &lsquo;noisy sound cloud&rsquo;. The transforming of this process predominantly controls the energy in a frequency band of the successively chosen atomic numbers from the group, along with other correlated ongoing changes. In this way the implicit challenge of the destructive cycle becomes reflected in the somewhat tense, foreboding atmospheres of the sounds.</p>
<p>In all of these ways Inter-State actively contrasts and combines modern scientific ideas and processes of elemental organisation with the relational thinking of selected contemporary artists and philosophers and the ancient processes of the Wu Xing, seeking to embody the relational imperatives of an emergent re-futuring practice.</p>
<p><strong>TEAM:</strong> Keith Armstrong: Director, Roger Dean: Sound. Original imagery developed by Stuart Lawson. Quotes drawn from Tony Fry's Refuturing philosophies.</p>
<p><strong>SHOWINGS:</strong><br />1: Solo show, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Over Many Horizons</a>, UTS Gallery, Ultimo, Sydney, Aug 3rd- Sept 28th 2016, (An official event of <a href="http://www.scienceweek.net.au/over-many-horizons/?search-location-code=2000&amp;search-location-lat=-33.867139&amp;search-location-lng=151.207114&amp;search-location-name=SYDNEY+METRO&amp;search-location-type=P&amp;search-location=SYDNEY+METRO+2000+NSW&amp;search-date-start=Today&amp;search-date-end=All+dates&amp;text=armstrong&amp;audience=All+ages&amp;search-topic=&amp;search-events-count=1&amp;search-online-count=0" target="_blank">National Science Week</a>), Opening 6-8pm, August 2nd, 2016<br />2: Solo exhibition, The Mesh, Stegmann Gallery, Sasol Library, UFS, Bloemfontein, South Africa, Jul 17th- Aug 11th, 2017, (An official event of Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba), Opening 8pm, July 17th, 2017.<br />3. In <a href="/homeartworks/change-agent">Change Agent</a>, Gallery 2,&nbsp;<a href="http://www.isea-international.org/isea2018/" target="_blank">ISEA 2018, Intersections</a>, curated main program "Other Realities', Durban Art Gallery, Durban, South Africa, June 25th&ndash;Aug 1st, 2018, Curated by Marcus Neustetter.<br />4. &lsquo;The Art and Consequence of Collaboration&rsquo;, <a href="https://spectra.org.au/" target="_blank">Spectra 2018</a>, presented by Australian Network for Art and Technology (ANAT) with University of South Australia and Experimenta Media Arts, and support from Arts South Australia,&nbsp;SASA, Adelaide, S Australia. 4 - 26th October, 2018.</p>
<p><strong>PARTNERS:</strong>&nbsp;<a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">UTS Gallery,</a> Curated by Tania Creighton and Eleanor Zeichner, <a href="http://staff.qut.edu.au/staff/armstron/" target="_blank">QUT Creative Industries</a>, <a href="http://www.scienceweek.net.au/over-many-horizons/" target="_blank">National Science Week 2016</a>, <a href="https://sydneyscience.com.au/event/over-many-horizons/" target="_blank">Sydney Science Week 2016</a>, <a href="https://sydneydesign.com.au/event/over-many-horizons/" target="_blank">Sydney Design 2016</a>, <a href="http://www.uts.edu.au/research-and-teaching/our-research/institute-sustainable-futures" target="_blank">UTS Institute for Sustainable Futures</a>, <a href="http://staff.qut.edu.au/staff/armstron/" target="_blank">QUT Creative Industries</a>, Thanks to John Grosso, general manager, <a href="http://www.ebeamfilm.com" target="_blank">eBeam Film LLC</a>, CT, USA for production of 105mm microfiche transparencies, Programme for Innovation in Artform Development (PIAD), <a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, Angela De Jesus, <a href="http://www.museumsonline.co.za/view.asp?pg=museums&amp;pgopt=item&amp;ItemID=7" target="_blank">Johannes Stegmann Art Gallery</a>, University of the Free State, South Africa, The <a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation.</a></p>
<p>This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by a part time senior research role at QUT Creative Industries.</p>
<p><strong>MORE DETAILS:</strong> <br />Inter-State contrasts the historical tendency for the formal atomisation and structuring of knowledge with relational understandings of our world as a series of interactions and relationships between phenomena. Both ideas are incorporated into the work, simultaneously finding a balance between the related traditions of art and science. The visual form of the work mimics the periodic table that is central to science classification &ndash; whilst the content &lsquo;descriptions&rsquo; of each element suggest fundamentally relational models of understanding, thinking and acting. A powerful example of this relational process lies with the classic Wu Xing model that suggests how (e.g. Wood (木 m&ugrave;), feeds Fire (火 huǒ), creates Earth (土 tǔ), bears Metal (金 jīn) enriches Water (水 shuǐ) which in turn nourishes wood.</p>
<p>In many ways the periodic table resonates with ideas of human development and progress &ndash; and yet that progress, despite its successes has often proven insensitive to the underlying natural order that is now in many cases far out of balance. Hence the art-science artwork Inter-State suggests that by shifting cultures towards a profoundly relational ways of understanding (as epitomized by the Wu Xing), we may then be able to create more sustainable pathways towards long futures. Hence each imaginary element in the table draws us to reflect upon ideas and quotes from futuring philosophers and artists, who call us strongly to develop our relational imaginations.</p>',
			'extra_links' => '<p>Exhibited 2018, SAS Gallery, Adelaide in <a href="https://spectra.org.au" target="_blank">Spectra Art Science</a>&nbsp; <a href="/resource_files/Spectra-2018-Exhibition-Catalogue-1.pdf" target="_blank">Catalogue&nbsp; Digital</a> &nbsp; <a href="/resource_files/catsepectra609.pdf" target="_blank">Catalogue Analog</a>&nbsp; (<a href="/resource_files/SPECTRA%20artists.pdf" target="_blank">event summary</a>)<br />Exhibited 2017, Johannes Stegmann Gallery,&nbsp;<a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1223" target="_blank">Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba</a>,&nbsp;South Africa,&nbsp;18 July-20 Aug.<br />The Mesh, Vrystaat Festival, <a href="/resource_files/TheMeshFestivalCatalogueExtracts.pdf" target="_blank">main program entry</a>, South Africa, 2017<br />The Mesh <a href="/resource_files/The%20Mesh%20Catalogue.pdf" target="_blank">Catalogue</a>, Vrystaat Festival, South Africa, 2017<br />The Mesh <a href="/resource_files/the%20mesh%20poster_sm.pdf" target="_blank">Poster</a>, Vrystaat Festival, South Africa, 2017<br />Exhibited, 2016, 'Over Many Horizons, at <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">UTS Gallery</a><a href="http://www.realtimearts.net/article/134/12377" target="_blank">, Sydney, Australia.<br />Review in Realtime&nbsp; 134</a><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"><br /></a></p>',
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			'feature_sub_title' => 'decay and renewal',
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			'title' => 'Shifting Dusts',
			'page_title' => 'Shifting Dusts',
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			'content' => '<p>In a darkened space a human form, spinning steadily in a fluid field, is projected against a white sand-strewn surface, inviting differing states of meditation, stillness and renewal. This video installation invites the viewer to meditate upon and witness the human body disintegrating and transforming whilst in motion.</p>
<p>Shifting Dusts is single channel video installation, presented in a darkened room, depicting a life-sized shadowy, ethereal body, floating and spinning continuously within a backlit petri dish-like circle that is also filled with an ambiguous mixture of fluids and solids. The imagery is projected onto a 1.9m diameter circular, white-sand covered wooden disc, mounted at ankle height. It is accompanied by a two channel experimental soundscape. Throughout the ten minute sequence the body moves from a state of apparent birth, eventually through to an image reminiscent of death, as a layer of granular dust slowly eats away and infuses itself deep into the imagery and increasingly &lsquo;granularised&rsquo; sound.</p>
<p>Shifting Dusts engages with the time of human lifecycles to remind us that both we and the world under our stewardship are literally and figuratively turning to &lsquo;dust&rsquo;. Whilst acknowledging decay, renewal and the transitional, cyclical natures of interrelated ecologies, the work also suggests advanced levels of human induced ecological degradation, now potentially beyond reparation. To achieve these sensibilities the timbre of the work, both in image, sound and physical context, invites differing audience states of meditation, exploration, stillness and play.</p>
<p>Shifting Dusts was achieved through developing new engagement and image making strategies for media arts practice, drawing on the application and re-envisioning of both kinetic and proprioceptive dance/performance knowledges, whilst promoting new opportunities to foster a better understanding of cultural and ecological co-dependencies.  </p>
<p><strong>SHOWINGS:</strong><br />1: Solo exhibition, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Over Many Horizons</a>, UTS Art Gallery, Ultimo, Sydney, (An official event of <a href="http://www.scienceweek.net.au/over-many-horizons/?search-location-code=2000&amp;search-location-lat=-33.867139&amp;search-location-lng=151.207114&amp;search-location-name=SYDNEY+METRO&amp;search-location-type=P&amp;search-location=SYDNEY+METRO+2000+NSW&amp;search-date-start=Today&amp;search-date-end=All+dates&amp;text=armstrong&amp;audience=All+ages&amp;search-topic=&amp;search-events-count=1&amp;search-online-count=0" target="_blank">National Science Week</a>), Aug 3rd- Sept 28th 2016, Mon-Fri 12-6pm, Sat 12-4pm. (Opening 6-8pm, August 2nd, 2016)<br />2:&nbsp; Solo exhibition, <a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1223" target="_blank">The Mesh, Stegmann Gallery</a>, Sasol Library, UFS, Bloemfontein, South Africa, Jul 17th- Aug 11th, 2017, (An official event of Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba), Opening 8pm, July 17th, 2017<br />3: In <a href="http://www.artmuseum.qut.edu.au/exhibit/2018/transboundaries.jsp" target="_blank">Transboundaries: Art + Connection</a>, QUT Art Museum, Brisbane, April 7th-June 3rd 2018, Curated by Kevin Wilson<strong></strong></p>
<p><strong>TEAM:</strong> <br />Keith Armstrong (Artistic director),&nbsp;Charlotte Vincent (Co-Artistic Director Vincent Dance Thetare), Guy Webster (Sound Director), Dancer TC Howard.</p>
<p><strong>PARTNERSHIPS:</strong><br /><a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">UTS Gallery,</a> Curated by Tania Creighton and Eleanor Zeichner, <a href="http://staff.qut.edu.au/staff/armstron/" target="_blank">QUT Creative Industries</a>, <a href="http://www.vincentdt.com/" target="_blank">Vincent Dance Theatre</a>, England, <a href="http://www.scienceweek.net.au/over-many-horizons/" target="_blank">National Science Week 2016</a>, <a href="https://sydneyscience.com.au/event/over-many-horizons/" target="_blank">Sydney Science Week 2016</a>, <a href="https://sydneydesign.com.au/event/over-many-horizons/" target="_blank">Sydney Design 2016</a>, <a href="http://www.uts.edu.au/research-and-teaching/our-research/institute-sustainable-futures" target="_blank">UTS Institute for Sustainable Futures</a>, Programme for Innovation in Artform Development (PIAD), <a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, Angela De Jesus, <a href="http://www.museumsonline.co.za/view.asp?pg=museums&amp;pgopt=item&amp;ItemID=7" target="_blank">Johannes Stegmann Art Gallery</a>, University of the Free State, South Africa, The <a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation.</a></p>
<p>This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by a part time senior research role at QUT Creative Industries.</p>',
			'extra_links' => '<p>Exhibited 2017, Johannes Stegmann Gallery,&nbsp;<a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1223" target="_blank">Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba</a>,&nbsp;South Africa,&nbsp;18 July-20 Aug.<br />The Mesh, Vrystaat Festival, <a href="/resource_files/TheMeshFestivalCatalogueExtracts.pdf" target="_blank">main program entry</a>, South Africa, 2017<br />The Mesh <a href="/resource_files/The%20Mesh%20Catalogue.pdf" target="_blank">Catalogue</a>, Vrystaat Festival, South Africa, 2017<br />The Mesh <a href="/resource_files/the%20mesh%20poster_sm.pdf" target="_blank">Poster</a>, Vrystaat Festival, South Africa, 2017<br />Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba, <a href="/resource_files/vis%20arts%20program%20Vrysaat_sm.pdf" target="_blank">Visual arts program catalogue</a>, South Africa, 2017<a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"><br />Over Many Horizons</a><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"><br /></a><a href="http://www.realtimearts.net/article/134/12377" target="_blank">Review in Realtime 134</a><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"><br />Advert in </a><a href="/resource_files/art_pub603.pdf" target="_blank">Vault</a><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"> (print art and culture magazine)<br /></a></p>
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			'title' => 'Seasonal',
			'page_title' => 'Seasonal, 2016',
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			'brief' => null,
			'content' => '<p>This interactive installation comprises a darkened circular room with a large circular dish/screen upon the floor, with multi-layer imagery of ultra-close up images of organic materials gliding across it, disappearing into the darkness. On the far wall another smaller oval dish has a series of diffused moving lights playing across it, accompanied by the sound of gently whirring motors. Each of these 3D-printed robotic light assemblies has organic materials mounted within its barrel, and through which light must pass, before it plays on the dish, causing complex, diffused revolving patterns. The sound track that travels around the perimeter of the room presents a mixture of found and processed nocturnal sounds of the South-Central Queensland/Australian bush at night, recorded during a time of seasonal change. Audience movements (disturbances) within the space are sensed and cause subtle changes in the video mixing, and in the sound mix&rsquo;s layering and panning, and in the pace of the robotic motors, all of which are computer controlled.</p>
<p>By drawing inspiration from the subtle transitions between what Europeans once named &lsquo;Summer&rsquo; and &lsquo;Autumn&rsquo; and the multiple seasons recognised by indigenous cultures, and by including audience &lsquo;disturbances&rsquo; within the work, Seasonal creates a compelling environment that wraps audiences in luscious, yet ominous atmospheres beyond sight and hearing. By amplifying and shining light upon a myriad of mysterious lives lived in blackness, the work presents a sensuous, deep engagement with nocturnal seasonal forms: whilst hinting at a far less comforting background increasingly framed by anthropogenic climate change.</p>
<p><strong>SHOWINGS:</strong><br />1: Solo exhibition, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Over Many Horizons</a>, UTS Art Gallery, Ultimo, Sydney, (An official event of <a href="http://www.scienceweek.net.au/over-many-horizons/?search-location-code=2000&amp;search-location-lat=-33.867139&amp;search-location-lng=151.207114&amp;search-location-name=SYDNEY+METRO&amp;search-location-type=P&amp;search-location=SYDNEY+METRO+2000+NSW&amp;search-date-start=Today&amp;search-date-end=All+dates&amp;text=armstrong&amp;audience=All+ages&amp;search-topic=&amp;search-events-count=1&amp;search-online-count=0" target="_blank">National Science Week</a>), Aug 3rd- Sept 28th 2016, Mon-Fri 12-6pm, Sat. 12-4pm. (Opening 6-8pm, August 2nd, 2016)<br />2:&nbsp; Solo exhibition, <a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1223" target="_blank">The Mesh, Stegmann Gallery</a>, Sasol Library, UFS, Bloemfontein, South Africa, Jul 17th- Aug 11th, 2017, (An official event of Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba), (Opening 8pm, July 17th, 2017)</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Lawrence English (Co-Director), Luke Lickfold (MaxMSP Design)</p>
<p><strong>PARTNERS:</strong><br /> <a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">UTS Gallery,</a> Curated by Tania Creighton and Eleanor Zeichner, <a href="http://staff.qut.edu.au/staff/armstron/" target="_blank">QUT Creative Industries</a>, <a href="http://www.scienceweek.net.au/over-many-horizons/" target="_blank">National Science Week 2016</a>, <a href="https://sydneyscience.com.au/event/over-many-horizons/" target="_blank">Sydney Science Week 2016</a>, <a href="https://sydneydesign.com.au/event/over-many-horizons/" target="_blank">Sydney Design 2016</a>, <a href="http://www.uts.edu.au/research-and-teaching/our-research/institute-sustainable-futures" target="_blank">UTS Institute for Sustainable Futures</a>, Programme for Innovation in Artform Development (PIAD), <a href="http://www.vrystaatkunstefees.co.za/default.aspx" target="_blank">Vrystaat Kunstefees/Arts Festival/Tsa-Botjhaba</a>, Angela De Jesus, <a href="http://www.museumsonline.co.za/view.asp?pg=museums&amp;pgopt=item&amp;ItemID=7" target="_blank">Johannes Stegmann Art Gallery</a>, University of the Free State, South Africa, The <a href="https://mellon.org/" target="_blank">Andrew W. Mellon Foundation.</a></p>
<p>This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by a part time senior research role at QUT Creative Industries.</p>
<p><strong>MORE DETAILS:</strong><br />Seasonal was part of a long term research project with outcomes produced both in Australia and internationally, which aimed to create media works that could draw attention to that which we will lose when biodiverse worlds disappear &ndash; what biologist Robert M. Pyle called the &lsquo;extinction of human experience&rsquo;. The works were also informed by the deep scientific and practical understandings of landscape-wide seasonal change by collaborator Dr. Peggy Eby, our collaborating Behavioural Ecologist who has longstanding expertise in the nectar and pollen of flowering native eucalypts favoured by Australian flying foxes.</p>
<p>By tapping into the deeply interlocking seasonal cycles of environments that are themselves intimately linked with social, geographical &amp; political concerns, participating audiences become challenged to see the night, their locality &amp; ecologies in new ways, extending their personal limits of perception, imagery &amp; comprehension.</p>
<p>Seasonal seeks to embody both the risks of seasonal disturbance and the need to empower local &lsquo;change agents&rsquo; to develop sustainable lifestyles that work with and for the future. Seasonal is therefore both an experiential artwork designed for galleries and festivals and a framing device for &lsquo;Re-Futuring practices.</p>',
			'extra_links' => '<p>Exhibited 2017, Johannes Stegmann Gallery,&nbsp;<a href="http://www.vrystaatkunstefees.co.za/events.aspx?EventID=1223" target="_blank">Vrystaat&nbsp;Kunstefees/Arts Festival/Tsa-Botjhaba</a>,&nbsp;South Africa,&nbsp;18 July-20 Aug.<br />The Mesh, Vrystaat Festival, <a href="/resource_files/TheMeshFestivalCatalogueExtracts.pdf" target="_blank">main program entry</a>, South Africa, 2017<br />The Mesh <a href="/resource_files/The%20Mesh%20Catalogue.pdf" target="_blank">Catalogue</a>, Vrystaat Festival, South Africa, 2017<br />The Mesh <a href="/resource_files/the%20mesh%20poster_sm.pdf" target="_blank">Poster</a>, Vrystaat Festival, South Africa, 2017<br />UTS Gallery, <a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Exhibition Link</a><a href="/resource_files/OMH_Catalogue_final.pdf" target="_blank"><br />Exhibition Catalogue</a>, with essay<br /><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank">Review in Realtime&nbsp; 134</a><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"><br /></a><a href="http://art.uts.edu.au/index.php/exhibitions/over-many-horizons/" target="_blank"><br /></a></p>',
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			'title' => 'Uncanny_Intimacy',
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			'content' => '<p><strong>ABOUT:</strong> <em><br />"Coexistence seems to me to be an excellent design opportunity"</em>. Tom Rivard, 2011</p>
<p>Uncanny Intimacy charts an artists&rsquo; journeys towards ecological understanding. Use the mysterious inorganic &lsquo;telescope&rsquo;, to peer deep within a contemporary 'cabinet of {research} curiosities&rsquo;, witnessing diverse moments of insight and inspiration animated by the darkly compelling worlds of Australia&rsquo;s iconic flying foxes.</p>
<p>Uncanny Intimacy calls us to imagine a radical rethinking of ecological ethics.&nbsp; By understanding existence as innately coexistence, we are asked to contemplate how ecologies might be better understood, better conserved and made flourish.&nbsp;&nbsp;</p>
<p>Uncanny Intimacy presents a hybrid 'cabinet' of research 'curiosities', viewed through a mysterious form of in/organic 'telescope'. Peer inside, look around, and you'll witness compelling moments of insight and inspiration, collected from the heartfelt research and research journeys which framed my prior artworks.</p>
<p>Uncanny Intimacy pursues a curious retro-tech for our age of &lsquo;dark ecologies&rsquo;: dark places indeed, yet still laced with empowering lights: allowing audiences to travel through sci/art/design journeys - designed to engender a radical empathy for nature's unloved others. Collectively this work (about works) calls for a radical rethinking of ecological ethics, asking what needs to be better understood, re-connected, made intimate, made us, conserved and made flourish; both through imperative and a burning desire for coexistence?</p>
<p><strong>SHOWINGS:</strong> <br />In "Future Nature', Object Gallery, Australian Design Centre, 101-115 William Street, Darlinghurst, Sydney, Australia, 28th August 28th - 16 October 2015. Launch 6pm, Aug 27th, 2015.</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Luke Lickfold (Sound Composition/MaxMSP Design), Lucy Humphrey Architects (Presentation Environment Design), Tom Rivard (Curator). Thanks also to prior collaborators, and inspiration drawn from Stu Lawson's visual designs. Flying fox moving image by Carl Warner. Sound track voices, gathered at the <a href="http://www.earthlaws.org.au" target="_blank">Australian Earth Laws</a> Alliance leadership event Earth Futures (26th Sept 2014, RIversdale, Bundanon Trust, NSW) as part of <a href="https://bundanon.com.au/research-and-projects/siteworksXXX/siteworksprojects2014/" target="_blank">Siteworks 2014</a>, includes Tom Rivard, Brenda Croft, Jules Livingstone, Tess De Quincey, Janet Lawrence, Peggy Eby and Michelle Maloney. Video documentation Denis Beaubois.</p>
<p><strong>PARTNERS:</strong><br />The Australian Museum (Sandy Ingelby, Anja Divljan &amp; Dave Britton),&nbsp;The Australian Design Centre (Rhadi Bryant) and Lean Productions (Tom Rivard). Keith Armstrong is supported by a part time research role at QUT Creative Industries.</p>
<p><strong>DETAILED DESCRIPTION:</strong><em><br />&ldquo;.. this existence that is always coexistence. &nbsp;It's like finding out that the home you've been living in for decades is actually a hotel, and you are just a guest, and there are strangers coming in and out of the lobby&rdquo;</em>.&nbsp; Morton, Timothy</p>
<p>Uncanny Intimacy presents a hybrid 'cabinet of curiosities', formed from both illuminated objects and uncanny forms that appear within an organic 'telescope'. Peer inside, look around, and you'll be treated to dark layers of moving image, objects and sounds, that strangely emerge, circulate, fade and combine, allowing you to unravel heartfelt journeys into the art and science of ecologies.</p>
<p>What you will witness on the inside are brightest moments of insight and inspiration: collected from my research and research processes. Uncanny Intimacies' curious wooden 'telescope' mediates this vision through a retro-tech combination of modern, obsolete, reused and high tech elements - ironically suited to today's age of &lsquo;dark ecologies&rsquo;. By re-thinking dark places in an empowering light, audiences can travel themselves through a travelogue of science/art/design journeys designed to engender radical empathy for nature's unloved others.</p>
<p>Most curiously of all, you'll note in there an abiding obsession with the dark worlds of Australia&rsquo;s iconic flying foxes - our magnificent megabats and their micro bat cousins. The work celebrates soaring alongside these fine creatures - guided by generous teams of scientists and native wildlife rehabilitators who daily study, care and howl for their deaths by a thousand cuts. And yes, we are guilty of mistreating Australia's only flight capable mammals! Uncanny Intimacy's&nbsp; miniaturised and strangely manipulated images therefore suggest our extreme shortness of vision:&nbsp;whilst concurrently celebrating the artists and scientists that choose to go differently - into &lsquo;bat&rsquo; for the Chiropteran &lsquo;hand-wings&rsquo;.</p>
<p>We coexist more easily when it does not offend our limited sensory capacities. But the moment something strange enters our spectra of sight, hearing, smell or taste we start protesting. We are a speciesist nation at heart, forever uncomfortable with uninvited itinerants who move into our delineated patches of dirt. We fly at that which normally lives its lives wrapped in darkness, just outside of our view but within hearing and smell. We become unable to mourn our poor judgments, hastening deaths of the then disregarded. Flying foxes are thus particularly unloved for their tendency for communal conversation, musky attractants and a taste for arboreal foods in our replacement landscapes.</p>
<p>Uncanny Intimacies delaminates a journey of my circling around such questionings. Without suggesting solutions or turning points, the work presents as a revolving travelogue that speaks, gently, to the creative processes behind, beneath and beyond, presenting a loosely choreographed range of artefacts and references generated during the course of the investigations - contrasted with corresponding narratives and illustrating sources. &nbsp;These moments in motion are picked from along a temporal trajectory of the entire project, and sit neither as refined nor complete outcomes.&nbsp;They are but snapshots augmented and interspersed with materials (specimens, microscopy, archival drawings, etc.) from the Australian Museum.</p>
<p>Collectively this work (about works) calls for a radical rethinking of ecological ethics, asking what needs to be better understood, re-connected, made intimate, made us, conserved and made flourish; both through imperative and a burning desire for coexistence?</p>
<p><strong>LINEAGE:</strong> <br />Uncanny Intimacies' unique multiscreen 'viewing scope' allows you to perceive multiple layers of semi holographic image, emerging via your exploration - a strangely eccentric design that has evolved through many previous experiments into presentation forms (eg. <a href="/homeartworks/the-remnant">The Remnant</a>, <a href="/homeartworks/light-of-extinction">Light of Extinction</a>, <a href="/homeartworks/night-rage">Night Rage</a>, <a href="/homeartworks/finitude">Finitude</a>).</p>',
			'extra_links' => '<p><a href="/resource_files/FN%20Card_combo_sm.pdf" target="_blank">Exhibition Postcard<br /></a><a href="/resource_files/Future%20Nature%20invite.pdf" target="_blank">Exhibition Opening Invite<br /></a><a href="/resource_files/Future%20Nature_Set%20A%20Revision_27.07.15.pdf" target="_blank">Set Design by Lucy Humphrey </a>(pdf)<br /><a href="https://soundcloud.com/keith-armstrong/uncanny-intimacies" target="_blank">Installation Soundtrack by Luke Lickfold</a></p>',
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			'title' => 'Black Nectar',
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			'content' => '<p>Black Nectar is a site-specific light &amp; sound installation, that asks audiences to take slow, sensory walks through the inky-blackness of Bundanon&rsquo;s forests at night, charting personal courses through seasons of change, animality and imagination &ndash; far beyond the blinding lights and howling tones of our contemporary existence.</p>
<p>Gathering during a time Europeans once named as &lsquo;spring&rsquo; audiences will leave the comfy lights and sounds of Bundanon&rsquo;s homestead area, to take powerful, personal, silent journeys into the long darks of night, heading ultimately towards the place of &lsquo;Black Nectar&rsquo;.</p>
<p>This most unusual of walks begins with impending darkness, and yet ultimately ends with the faintest, sweetest of glimmers &ndash; an en-lightening, re-sounding of our seasonal futures?<strong></strong></p>
<p><strong>WHERE:</strong><a href="http://www.bundanon.com.au/content/siteworks-2014-artworks" target="_blank"> Siteworks Festival 2014</a>, Sept 27-28th, Bundanon, NSW, Australia. Start at the bottom of the Amphitheatre track, on the edge of the forest.<br /><strong>WHEN:&nbsp;</strong> 7.00pm &ndash; 10.00pm<br />Follow up walk on&nbsp; Sunday morning, Sept 28th, 8.30am (as part of the &lsquo;Bio-blitz&rsquo; day), led by project collaborator Dr. Peggy Eby (flying fox specialist) &ndash;&nbsp; Peggy will lead us in retracing steps of the night before - and take interested audiences on a scientific journey through the same landscapes, with new eyes and understandings.</p>
<p><strong>IMPORTANT DETAILS:</strong> <br />Bring warm clothes and covered shoes suitable for walking on uneven ground. Please note that you will need to feel reasonably steady on your feet, as it will be darker than normal. However you will not be rushed, safety is our concern, and so we welcome one and all!<strong></strong> We will provide instruction to you before you set out, and red safety lights with which to navigate the track.</p>
<p>We do ask you to leave your bright torches either securely with us at the entrance to the walk or in your pockets, as bright flashes would ruin the experience for others .. and also in this case please leave your chatter at the bottom of the track - the 10-minute walk each way is made in silence &ndash; realities and basic needs of parents and others excepted.</p>
<p>We look forward to seeing you at Bundanon!</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Lawrence English (Co-Director), Luke Lickfold (MaxMSP Design), Dr. Peggy Eby, Consulting Behavioural Ecologist (UNSW/freelance), Heidi Millington (Consulting Ecologist/Artist)</p>
<p><strong>FURTHER BACKGROUND:</strong> <br />This new work is structurally grounded by a&nbsp;significant body of biological&nbsp;survey work undertaken over the past decades by behavioural ecologist Dr. Peggy Eby and her&nbsp;collaborators. Peggy&rsquo;s work seeks to understand the&nbsp;migration patterns of Grey&nbsp;Headed Flying Foxes as they move across Australia&rsquo;s eastern states, following the&nbsp;changing flowering patterns of their favoured native eucalypts, performing their critical task as one of our most significant long range tree pollinators. If we lose these nomadic Flying foxes, as is rapidly happening today, then so too goes much of our native hardwood forests across three states. Peggy has surveyed the site at Bundanon and identified it as a particularly attractive Flying fox feeding ground.</p>
<p>As with all ecological survey&nbsp;work,&nbsp;Peggy&rsquo;s work is at heart a profoundly complex study of interconnecting&nbsp;systems of animal, environment and&nbsp;culture. Black Nectar both continues a long art science dialogue with Peggy and other Flying Fox specialists originating in 2010 with the Remnant Artlab Bat-Human project, and builds strongly on our recent art science works <a href="/homeartworks/night-fall">Night Rage</a> for <a href="http://www.isea2013.org/events/synapse/" target="_blank">ISEA 2013 'Synapse-A Selection'</a>, Night Fall for the Queensland Museum and <a href="/homeartworks/light-of-extinction">Light of Extinction</a> for the National Museum of China.</p>
<p><strong>PARTNERS:</strong><br /><a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://www.arts.qld.gov.au" target="_blank">Arts Queensland,</a> <a href="http://staffprofiles.ci.qut.edu.au/">QUT Creative Industries</a> and <a href="https://www.bundanon.com.au/content/siteworks-2014" target="_blank">Bundanon Trust</a>. This project has been kindly assisted by the Australian Government through the Australia Council, its arts funding and advisory body and QUT Creative Industries. Keith Armstrong is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts.<br /><br /></p>',
			'extra_links' => '<p>Read <a href="http://www.realtimearts.net/article/issue124/11776" target="_blank">Review in Real time 24</a><br />Bundanon <a href="https://bundanon.com.au/timeline/siteworks/2014/" target="_blank">documentation</a><a href="/resource_files/siteworksprogs.pdf" target="_blank"><br />Siteworks 2014 Catalogues</a> (7 pages, pdf 7MB)<br />Peggy Eby, Collaborator and Flying Fox Specialist <a href="https://vimeo.com/109791780" target="_blank">Associated Tour Video<br /></a>Related <a href="/writingtheory/book-chapters/enabling-and-situating-artsscience-collaboration-and-collective-learning">book chapter</a> and <a href="/writingtheory/essays/improving-transdisciplinary-arts-science-partnerships">blog post</a></p>',
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			'title' => 'Long Time No See',
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			'content' => '<p><strong></strong>Long Time, No See? was a collaborative, online artwork designed to encourage particpants to walk in their local community or favoured places - on a journey of personal rediscovery - whilst also thinking about the forces that are shaping the future of those places and the world. The project was therefore a creatiuve approach to focussing Australian and global audiences upon what our long-term futures might be and asking how they might want to become involved in actively reshaping them. The project therefore sought to link the local and the everyday with the global and the distant future, generatively mapping the ever-changing relationships between each project participants' ideas and visions. The original version used a cutom phone App and onliner site to collect, collate and visualise all the responses. Whilst these resources no longer remain, a paper/based version of the experience can still be downloaded and run for groups - See the 4 links to the right.</p>
<p>The raw content for the artwork was created by members of the general public undertaking walks in their local communities, assisted by a custom Smartphone App that choreographed and recorded their creative processes and physical journeys. The online artwork then presented this content relationally along with other generative media and sound. In all of these ways the project engaged new audiences and participants to collaboratively 'design' pathways towards feasible and 'sustain-able' long term futures within their own favoured spaces. Participants in locations across Australia and the world each got the chance to share their visions of long futures, and be enabled to collaborate, imagine, reflect, learn and act for change through optional local workshop processes. See the project information pack we produced <a href="/resource_files/LTNS_Info.pdf" target="_blank">here</a>. The project was made available online with related APP and for two years at the <a href="http://www.thecube.qut.edu.au" target="_blank">Cube</a> Visualisation Centre in Brisbane Australia.</p>
<p><strong>PROJECT HISTORIC WEBSITES:</strong><a href="http://www.long-time-no-see.org" target="_blank"><br /></a>http://www.long-time-no-see.org <a href="http://www.thecube.qut.edu.au/project/long-time-no-see" target="_blank"><br /></a>http://www.thecube.qut.edu.au/project/long-time-no-see<a href="http://www.thecube.qut.edu.au/project/long-time-no-see" target="_blank"><br /></a>Downloadable APP<br /><a href="https://itunes.apple.com/au/app/long-time-no-see/id654701603?mt=8" target="_blank">https://www.facebook.com/groups/longtimenoseepilot</a><strong></strong></p>
<p><strong>WORKSHOP/SHOWINGS:<br />1: The Cube, Large-scale visualiation Centre,</strong> Science and Engineering Centre, Gardens Point campus, 2 George St, Brisbane, Australia.<strong><br />2: </strong>Victoria University&rsquo;s Centre of Cultural Diversity and Wellbeing, Social Technologies Lab, Footscray. Nicholson Campus Melbourne, 27 September, 2013.<strong><br />3: </strong>SCAPE Public Art Biennial Walk, Christchurtch New Zealand, conducted by Linda Carroli, 1st Oct 2013.<strong><br />4: </strong>'<a href="http://www.ada.net.nz/symposia/symposium2013/long-time-no-see/" target="_blank">Mesh Cities</a>', Keynote and Walk-shop, Aotearoa Digital Arts Network, Dunedin, New Zealand<strong></strong>, Sept 13-15th 2013.<br /><strong>5:</strong> <a href="http://www.isea2013.org/">ISEA 2013&nbsp;(Resistance is Futile)</a>, June 15&ndash;30th 2013 at ICE (Information and Cultural Exchange), Parramatta, Sydney,&nbsp;curated and produced by Carli Leimbach in association with ICE, ANAT, the Australia Council, QUT and ISEA International. Jonathan Parsons is Artistic Director of ISEA2013.<br />Opening at Riverside Theatre, Parramatta,&nbsp; Fri. 14th June, 5.30pm.<br />Artist talk on June 9th at the Museum of Contemporary Art, Sydney for VIVID 2013.<br /><strong>6:</strong> Online at www.long-time-no-see.org (no longer active).<br /><strong>7:</strong> Pre-launch at Balance-Unbalance Conference 2013, 1st June 2013.<br /><strong>8</strong>: Various workshops for QUT Staff/Students, 2013-15.<br /><strong>9</strong>: Noosa Biosphere, at Central Qld University, Sunday 25th May, 10am-4pm.<br /><strong>10:</strong> QUT LIbrary Staff, 100 Things Workshop, QUT Gardens Point, 2014.<br /><strong>11:</strong> Project presentation at <a href="https://balanceunbalance2015.sched.com/event/44f5a703f32c43c87b7f79c9a3582703?iframe=no&amp;w=i%3A100%3B&amp;sidebar=yes&amp;bg=no&amp;fbclid=IwAR1nwvHy655QABfNOpRbkdKK4BK8i08znt5-w5i7DiX7lOCszl1aVSUTZaI#.VRuV8lwwe1M" target="_blank">Balance-Unbalance Conference 2015</a>, Phoenix, Arizona State University, USA.</p>
<p><strong>TEAM: </strong>Keith Armstrong: Creative director<a href="http://harbingerconsultants.wordpress.com" target="_blank"> Linda Carroli</a>: Community engagement, writer and urban practitioner, <a href="http://www.kuuki.com.au/" target="_blank">Gavin Sade</a>: Interaction designer<a href="http://www.robert-henderson.net" target="_blank">, Robert Henderson</a>: Lead designer<a href="http://www.australysis.com/" target="_blank">, Roger Dean</a>: Generative sound artist, Petros Nyfantis: Software developer and Johnson Page (Front end development) and APP version Two developers Zac Fitzwalter and <a href="http://eatmorepixels.com.au" target="_blank">Eat More Pixels</a>. Thanks also to Tony Fry: Originating project mentor (2012)<strong>.</strong></p>
<p><strong>PARTNERS: </strong><a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council<strong> </strong>For The Arts</a><strong>, </strong>QUT Creative Industries, QUT Interaction and Visual Design, QUT Precincts/The Cube,<a href="http://www.thecube.qut.edu.au/project/long-time-no-see" target="_blank"> ISEA 2013</a>,&nbsp;<strong></strong><a href="http://www.embodiedmedia.com/#/page/what-is-embodied-media" target="_blank">Embodiedmedia</a>,&nbsp;ICE (Paramatta), <a href="http://harbingerconsultants.wordpress.com" target="_blank">Harbinger Consultants </a>and many others. Long Time No See? Is presented by The Cube, ISEA2013 and proudly supported by ICE.<strong> </strong>The <em>Long Time No See? </em>project was awarded a Broadband Arts Initiative grant by the Australia Council for the Arts in 2012. It has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body in collaboration with QUT Creative Industries.<strong></strong></p>
<p><strong>MORE:</strong> Long Time No See? (LTNS)&nbsp;is a speculative hybrid of art and design thinking and practice that urges participants to prepare for and instigate personal and collective journeys of 'futuring'. &nbsp;By first revealing how human designing has implicitly structured and designated much of what the future can now offer participants are asked to picture the future not as a void awaiting input, but rather as an perfect storm: full of much of the detritus of historical decision. This challenges them to think of themselves as pathfinders rather than pioneers, thereby setting their personal compasses in new ways that allow them to walk &lsquo;care&rsquo;-fully with the project; guided by an artists&rsquo; field book and a data gathering App. By challenging them to undertake a physical walk that also involves thinking, imagining and recording, LTNS? actively clears space for contemplation and potential futural actions. Participants then bring their considered contributions into a dialogue with others, aided by an online, relational visualisation. Returned walkers are able to map, connect, explore and discuss futuring in the work&rsquo;s supportive environment. &nbsp;Seen collectively, LTNS? emerges as a complex hybrid of participative process, contribution, visualisation and community discussion: an invitation to un-design that which is routinely presented to us as given.</p>',
			'extra_links' => '<p><a href="/resource_files/prospectus_booklet-1.pdf" target="_blank">Review/Essay in Earth Art, October 2014</a><a href="/resource_files/LTNS%20for%20ISEA079.pdf" target="_blank"><br /></a><a href="http://w.realtimearts.net/feature/search/11202" target="_blank">LTNS Review in Realtime, June 2013</a><a href="http://www.long-time-no-see.org" target="_blank"><br /></a><a href="https://www.facebook.com/groups/longtimenoseepilot">LTNS Facebook group</a><a href="http://www.long-time-no-see.org" target="_blank"><br /></a><a href="/resource_files/prospectus_booklet-1.pdf" target="_blank">Project Prospectus</a><a href="/resource_files/flyer_v1-1.pdf" target="_blank"><br />LTNS opening invite </a><a href="/resource_files/LTNS_Info.pdf" target="_blank"><br />LTNS Information pack</a><a href="http://www.isea2013.org/events/long-time-no-see/" target="_blank"><br />LTNS presented at ISEA 2013<br /></a><a href="/resource_files/LTNS%20for%20ISEA079.pdf" target="_blank">Promotion for ISEA 2013 in RealTime Journal</a><br /><a href="/resource_files/LTNS_NZ_slides.pdf" target="_blank">LTNS overview presentation slides</a></p>
<p><strong>Print Versions - allowing you to run a paper-based version of this project at any site<br /> </strong>(Please ignore references to the APP/online outcomes - these are no longer accessible due software version changes)</p>
<p><a href="/resource_files/compass_web_spreads.pdf" target="_blank">Long Time No See? 'Setting your compass' book, for on screen viewing</a><br /><a href="/resource_files/compass_book_print.pdf" target="_blank">Long Time No See? 'Setting your compass' book, for (paginated) printing to A4 paper</a><br /><a href="/resource_files/field_book_web_spreads.pdf" target="_blank">Long Time No See? 'Walkers field book', for on screen viewing</a><br /><a href="/resource_files/field_book_bookletprint.pdf" target="_blank">Long Time No See? 'Walkers fieldbook', for (paginated) printing to A4 paper</a><br /><a href="https://www.facebook.com/groups/longtimenoseepilot" target="_blank"><br /></a><strong>(Other original links: no longer accessible)</strong><br />LTNS Main Web Site <a href="/resource_files/MCA_pres.pdf" target="_blank"><br /></a>Download the IOS APP (no longer accessible)<br />LTNS Live at 'The Cube' Visualiation Centre, Brisbane (no longer accessible)<a href="https://itunes.apple.com/au/app/long-time-no-see/id654701603?mt=8" target="_blank"><br /></a>LTNS Participation Process Blog<a href="http://community.long-time-no-see.org/?p=400" target="_blank"><br /></a>Flyer for MCA Sydney/ VIVID Festival Talk<a href="http://www.long-time-no-see.org" target="_blank"><br /></a><a href="https://itunes.apple.com/au/app/long-time-no-see/id654701603?mt=8" target="_blank"><br /></a><a href="/resource_files/MCA_pres.pdf" target="_blank"><br /></a><br /><br /></p>',
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			'title' => 'Light of Extinction',
			'page_title' => 'Light of Extinction',
			'sub_title' => '',
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			'content' => '<p>Presented for <a href="http://mediartchina.org/exhibitions/ensemble&ndash;parliament-of-things/light-of-extinction-au" target="_blank">thingworld: International Triennial of New Media Art</a>, National Museum of China ', Light of Extinction presents a diverse series of views into the complex antics of a semi-autonomous gaggle of robotic actants. Audiences initially enter into the 'backend' of the experience to be rudely confronted with the raw, messy operations of a horde of object-manipulating forms. Seen through viewing apertures these &lsquo;things&rsquo; deny any opportunity to grasp their imagined order. Audiences then flow on into the 'front end' of the work where now, seen through another aperture, the very same forms seemingly coordinate a stunning deep-field choreography, floating lusciously within inky landscapes of media, noise and embodied sound.</p>
<p>As one series of conceptions slip into extinction, so others flow on in. The idea of the 'extinction of human experience' expresses a projected fear for that which will disappear when biodiverse worlds have descended into an era of permanent darkness. &lsquo;Light Of Extinction' re-positions this anthropomorphic lament in order to suggest a more rounded acknowledgement of what might still remain - suggesting the previously unacknowledged power and place of autonomous, synthetic creation. Momentary disbelief gives way to a relieving celebration of the imagined birth of &lsquo;things&rsquo; &ndash; without need for staples such as conventional light or the harmonious lullabies of long-extinguished sounds. &nbsp;</p>
<p><strong>SHOWINGS:</strong> <br />V01: | Light of Extinction, thingworld: International Triennial of New Media Art, National Art Museum of China, June 11th - July 9th, 2014.</p>
<p><strong>TEAM:</strong><br />Keith Armstrong (Artistic director), Lawrence English (Co-Director), Michael Candy (Robotics/Rapid Prototyping Designer), Luke Lickfold (MaxMSP Design) and <a href="http://reprage.com/post/light-of-extinction/" target="_blank">Clinton Freeman</a> (Software Design)</p>
<p><strong>PARTNERS:</strong><br />&nbsp;<a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council For The Arts</a>, <a href="http://www.arts.qld.gov.au/&lrm;" target="_blank">Arts Queensland</a>,<a href="http://staffprofiles.ci.qut.edu.au/"> QUT Creative Industries</a>, <a href="http://www.maap.org.au" target="_blank">MAAP</a>. This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Keith Armstrong is supported by the Queensland Government through Arts Queensland, part of the Department of Science, Information Technology, Innovation and the Arts&rsquo; and QUT Creative Industries.</p>
<p>MORE:<br />This work built off <a href="/homeartworks/night-fall">Night Rage</a> for <a href="http://www.isea2013.org/events/synapse/" target="_blank">ISEA 2013 'Synapse-A Selection'</a> and Night Fall for the Queensland Museum.</p>',
			'extra_links' => '<p><a href="/resource_files/thingworld_cat_combo_sm.pdf" target="_blank">Light of Extinction in Thingworld Catalogue&nbsp;</a> (8.4MB)<br /><a href="/resource_files/thingworld_Evite.jpg" target="_blank">Exhibition Invite</a><a href="/resource_files/Artlink%20LOI%20Review073.pdf" target="_blank"><br />Review in Artlink Magazine,Volume 34, No.3, 2014</a><a href="http://mediartchina.org/exhibitions/ensemble&ndash;parliament-of-things/light-of-extinction-au" target="_blank"><br />Official Website, thingworld: International Triennial of New Media Art</a><a href="/resource_files/Light_Of_Extinction_160414.pdf" target="_blank"><br />Light of Extinction Tech Spec, April 2014</a><a href="http://reprage.com/post/light-of-extinction/" target="_blank"><br />Light Of Extinction Open Source Coding Pages</a> by Clinton Freeman<a href="http://reprage.com/post/light-of-extinction/" target="_blank"><br /></a></p>',
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			'title' => 'Finitude',
			'page_title' => 'Finitude 2011 (v1), 2012 (v2 & 3)',
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			'content' => '<p>An interactive installation with embodied interface, digital projection, multi-touch sensitive screen surfaces, interactive 3D gaming software, motorised dioramas, 4 channel spatial sound &amp; new furniture forms - investigating the cultural dimensions of sustainability through the lens of 'time'.</p>
<p><strong>SHOWINGS:</strong><br />V3: Solo Showing,&nbsp;Screen Space Gallery, Ground Floor, 30 Guildford Lane, Melbourne VIC 3000 Australia Oct 4 - 27, 2013. (open 12-6pm Thursday &ndash; Saturday). Essay by Paul Carter. <a href="/resource_files/Finitude%20Catalogue%202013.pdf" target="_blank">View Catalogue</a>.<br />V3:&nbsp; "<a href="http://www.enad.tsinghua.edu.cn/art_science/index.htm" target="_blank">Information, Ecology &amp; Wisdom</a>', <strong>3rd Art and Science International Exhibition and Symposium, National Science Museum, Beijing, China,</strong> November 2012.&nbsp;<br />V2:&nbsp;Gallery Artisan, 381 Brunswick St, Fortitude Valley, Brisbane, Australia.&nbsp;12th April - June 9th 2012.&nbsp;&nbsp;Curated by&nbsp;Kirsten Fitzpatrick.&nbsp;<br />V1: Mildura Palimpsest #8, 9-11th September, 2011,&nbsp;Room 22, Ka-rama Motel, Deakin Avenue,&nbsp;Mildura, VIC, Australia. Curated by&nbsp;Kristian Haggblom and Helen Vivian.</p>
<p><strong>TEAM:</strong>&nbsp;Keith Armstrong (Artistic director), Roger Dean (Composition), Stuart Lawson (3D Designer), Darren Pack (3D Programming) and consultants Dr. Tony Fry (Professor of Design Futures) Dr. Liz Baker (DPI, Australia).</p>
<p><strong>PARTNERS:&nbsp;</strong><a href="http://www.australiacouncil.gov.au/grants/assessment-reports/arts_organisations_major_performing_arts_and_key_organisations/pages/broadband-arts-initiative-may-2012">Australia Council For The Arts</a>, <a href="http://staffprofiles.ci.qut.edu.au/">QUT Creative Industries</a>,&nbsp;<a href="http://www.arts.qld.gov.au/">Arts Queensland</a>,&nbsp;<a href="http://www.milduraartscentre.com.au" target="_blank">Mildura Arts Centre</a>, <a href="http://www.artsmildura.com.au/palimpsest/" target="_blank">Mildura Palimpsest 2011</a>, James Cook University,&nbsp;<a href="http://www.maap.org.au/maap-media-bank/" target="_blank">MAAP Media Bank</a>, and <a href="http://www.artisan.org.au" target="_blank">Artisan</a>, The 3rd Art and Science International Exhibition, Beijing, and Symposium, Tsinghua University, Beijing.</p>
<p><strong>MORE:</strong> &nbsp;&nbsp;&ldquo;<em>Time is change, time is finitude. Humans are a finite species. Every decision we make today brings that end closer, or alternatively pushes it further away. Nothing can be neutral</em>&rdquo;.&nbsp;Tony Fry</p>
<p>Finitude (Mallee:Time) is a major new media/sculptural hybrid work premiered in 2011 in version 1 at the Ka-rama Motel for the Mildura Palimpsest #8 ('Collaborators and Saboteurs').&nbsp; Version 2 was shown at Gallery Artisan, Brisbane in May-June 2012. Each participant/viewer lies comfortably on their back. Directly above them is a semi-transparent Perspex screen that displays projected 3D imagery and is simultaneously sensitive to the lightest of finger touches. Depending upon the ever changing qualities of the projected image on this screen the participant can see through its surface to a series of physical dioramas suspended above, lit by subtle LED spotlighting. This diorama consists of a slowly rotating series of physical environments, which also include several animatronic components, allowing the realtime composition of whimsical &lsquo;landscapes&rsquo; of both 'real' and 'virtual' media.&nbsp;</p>
<p>Through subtle, non-didactic touch-sensitive interactivity the participant then has influence over both the 3D graphic imagery, the physical movements of the diorama and the 4 channel immersive soundscape, creating an uncanny blend of physical and virtual media.&nbsp; Five speakers positioned around the room deliver a rich interactive soundscape that responds both audibly and physically to interactions.</p>
<p><strong>VERSION 1, CONTEXT/THEORY:</strong>&nbsp;Finitude (Mallee: Time) is Version 1 of a series of presentations during 2012-14. This version has been inspired through a series of recent visits and residencies in the SW Victoria Mallee country. Further drawing on recent writings by post colonial author Paul Carter, the work&nbsp;is envisaged as an evolving &lsquo;personal topography&rsquo; of place-discovery. By contrasting and melding readily available generalisations of the Mallee regions&rsquo; rational surfaces, climatic maps and ecological systems with what Carter calls &ldquo;a fine capillary system of interconnected words, places, memories and sensations&rdquo; generated through my own idiosyncratic research processes,&nbsp;Finitude (Mallee Time)&nbsp;invokes&nbsp;a&nbsp;&ldquo;dark writing&rdquo; of place through outside eyes - an approach that avoids concentration upon what 'everyone else knows', to instead imagine and develop a sense how things might be.&nbsp;</p>
<p>This basis in re-imagining and re-invention becomes the vehicle for the work&rsquo;s more fundamental intention - &nbsp;as a meditative re-imagination of 'time' (and region) as finite resources: Towards this end, every object, process and idea in the work is re-thought as having its own &lsquo;time component&rsquo; or &lsquo;residue&rsquo; that becomes deposited into our 'collective future'. Thought this way&nbsp;Finitude (Mallee Time)&nbsp;suggests the poverty of predominant images of time as &lsquo;mechanism&rsquo; to instead&nbsp;envisage time as a plastic cyclical medium that we can each choose to &lsquo;give to&rsquo; or &lsquo;take away from&rsquo; our future. Put another way - time has become finitude.<br /><br /></p>
<p><strong><br /></strong></p>',
			'extra_links' => '<p><a href="/resource_files/Finitude%20Catalogue%202013.pdf" target="_blank">Finitude Catalogue</a>, Screenspace, Melbourne 2013<br />Read Interview with Lisa Gye - 'Returning Time to the Future'<br /> <a href="/Resources/ReturningTimeToTheFutureScan.jpg" target="_blank">(Paper Version)</a> (<a href="http://www.realtimearts.net/article/109/10675" target="_blank">Online Version)</a> in Realtime Issue #109 Jun-Julv 2012 pg. 18.<br />Finitude (v2), Invite, Artisan Gallery, Brisbane. (<a href="/Resources/DL2-F-web.jpg" target="_blank">PDF</a>)<br />Finitude (v2), DL Printed Invite, Artisan Gallery, Brisbane. (<a href="/Resources/Artisan-DL-Jan2012-d2.pdf" target="_blank">PDF</a>)<br />Finitude (v2), Setup Diagram. (<a href="/Resources/finitude-v2.pdf" target="_blank">PDF</a>)<br />Palimpsest #8 Exhibition Program (<a href="/Resources/Palimpsest-8-Program.pdf" target="_blank">PDF</a>)<br />Palimpsest #8 Flyer (<a href="/Resources/MilduraPalimpsest8FLYER.pdf" target="_blank">PDF</a>)<br />Local Press Cutting (<a href="/Resources/SUNRAYSIA-DAILY-SAT-SEPT-10-2011.jpg" target="_blank">PDF</a>) (<a href="http://www.sunraysiadaily.com.au/news/local/news/general/room-has-view-art-on-display-at-karrama-motel/2287056.aspx?src=rss" target="_blank">Weblink</a>)<br />Setup, Technical Diagram (<a href="/Resources/Finitude-Tech-Diagram.pdf" target="_blank">PDF</a>)</p>',
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			'title' => 'Intimate Transactions',
			'page_title' => 'Intimate Transactions (2005-8)',
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			'content' => '<p>A&nbsp;Dual Site Interactive Installation With Projections, Sound &amp; Furniture.&nbsp;Intimate Transactions is a new form of telepresence-based interactive installation that allows two people in geographically separate spaces to interact simultaneously using only their bodies. Each participant used a physical interface called a &lsquo;Bodyshelf&rsquo; and wore a sound vibration transmission device around their necks called a &lsquo;haptic pendant&rsquo;.&nbsp; By gently moving their bodies on this &lsquo;smart furniture&rsquo;, they instigate &lsquo;intimate transactions&rsquo;, which influence an evolving &lsquo;world&rsquo; created from digital imagery, multichannel sound and tactile feedback. This shared experience allows each participant to gradually develop a form of sensory intimacy with the other, despite the fact that they are geographically separated and cannot physically see or hear each other.<br /><strong></strong></p>
<p><strong>SHOWINGS:<br />16: Intimate Transactions is now held in the permanent collection of&nbsp;<a href="http://www.zkm.de" target="_blank">ZKM</a>, Karlsruhe Germany.<br /></strong>15: Solo Exhibition. Albury Regional Gallery, NSW, Australia and Dubbo Regional Gallery, NSW, Australia, 18th Sept-18th Oct, 2009.<br />14: Solo Exhibition. Rockhampton Art Gallery, Queensland, Australia and Gympie Art Gallery,Queensland, Australia, 26th Feb-21st March, 2009.<br />13: Solo Exhibition. Mildura Arts Centre, Mildura, Victoria, Australia and Frankston Arts Centre, Victoria, Australia, 11 Oct-26Nov, 2008.<br />12: Group Showing (Site 1), 28 Aug-27 Sept 2008,&nbsp;<a href="http://www.eaf.asn.au/2008/armstrong.html" target="_blank">Experimental Art Foundation</a>&nbsp;, Adelaide, South Australia &amp; (Site 2), Wagga Wagga Regional Arts Gallery, NSW, Australia.<br />11: Group Exhibition (Site 1),&nbsp;<a href="http://www.mediartchina.org/?q=beyond/intimate" target="_blank">Media Art China</a>&nbsp;(An Olympics Cultural Festival Event), 10 June- 3 July, 2008. (Site 1) National Art Museum of China (NAMOC), No. 1 Wusi Street, Dongcheng District, Beijing, 100010, P.R. China &amp; (Site 2) The Imperial City Art Museum, Beijing. (+ Site 3 located at CalPoly University, California, USA for two hours per morning).<br />10: Solo Exhibition (Site 1), 15-22 July, 2006, Brisbane 2006 International Arts Festival, The Block, QUT CI Precinct, Brisbane, Australia &amp; Solo Exhibition (Site 2), On Edge Arts Festival, KickArts at COCA (Cairns Centre For Contemporary Art), Cairns, Australia.&nbsp;<br />9: Solo Exhibition (Site 1), 4-6 June, 2007, California Nanosystems Institute (CNSI), University of California Santa Barbara (UCSB), Santa Barbara, USA &amp; (Site 2), California Polytechnic State University, Architecture Complex, San Luis Obispo, California, USA.&nbsp;<br />8: Dual Exhibition Sites at California Polytechnic State University, University Open Days, 18-22 April, 2007, San Luis Obispo, California, USA.&nbsp;<br />7: Solo Exhibition (Site 1), 15-22 July, 2006, 2006 Brisbane International Arts Festival, The Block, QUT CI Precinct, Brisbane, Australia &amp; Solo Exhibition (Site 2), On Edge Arts Festival, COCA (Cairns Centre For Contemporary Art), Cairns, Australia.&nbsp;<br />6: Solo Exhibition (Site 1), 19-27 May, 2006, Artspace, Sydney, Australia &amp; Solo Exhibition (Site 2), The Performance Space, Sydney, Australia.&nbsp;<br />5: Solo Exhibition (Site 1), 12-23 November, 2005, The Institute For Contemporary Art (ICA), London, UK &amp; Solo Exhibition (Site 2), BIOS, (New Synthesis of Urban Culture), Athens, Greece.&nbsp;<br />4: Dual Exhibition Sites at Ars Electronica Festival, 1&ndash;19 September 2005, OK Centrum, CyberArts 2005 Exhibition, Linz, Austria. Curated by Genoveva Rueckert.&nbsp;<br />3: Solo Exhibition (Site 1), 25 April&ndash;1 May, 2005 The Australian Centre For the Moving Image (ACMI), Melbourne, Australia &amp; Transfigure/Body Exhibition (Site 2), The Block, QUT Creative Industries Precinct, Brisbane, Australia.<br />2: Dual Exhibition Sites at B.Tween Festival, Digital Knowledge Exchange, 17&ndash;18 February, 2005, High Melton, South Yorkshire, UK.<br />1: Dual Exhibition Sites at The National Review of Live Art/New Territories Festival, 9&ndash;11 February, 2005.<strong><br /><br />TEAM: </strong>Keith Armstrong (Artistic Director Transmute Collective), with&nbsp;The Transmute Collective: Lisa O'Neill (Performance), Guy Webster (Sound), COLLABORATING WITH Zeljko Markov (Furniture/Interface), Stuart Lawson (3D), Marcos Caceres &amp; Cameron Owen (Code), Ben Foley (Design), Pia Ednie-Brown &amp; Inger Mewburn (Haptic design). (Full Credit List <a href="/homeartworks/intimate-transactions/credits">Here</a>).</p>
<p><strong>PARTNERS:</strong><br />This project has been assisted by the Australian Government through the <a href="http://www.australiacouncil.gov.au" target="_blank">Australia Council,</a> its arts funding and advisory body, and the Queensland Government through Arts Queensland. Intimate Transactions was developed with support from ACID and the Performance Space Headspace Residency Program, and was premiered at New Moves International, National Review of Live Arts, Glasgow, Scotland. Dr. Keith Armstrong was a QUT Postdoctoral Fellow (2003-2005) based in the Faculty of Creative Industries Research and Application Centre and an Australia Council New Media Arts Fellow (2005-2007). In 2008 MAAP toured Intimate Transactions to 'Media Art China' in Beijing. Museums and Galleries Queensland then toured the work throughout Australia in 2008-10.</p>
<p><strong>MORE:</strong> Intimate Transactions is a new form of telepresence-based interactive installation that allows two people in geographically separate spaces to interact simultaneously using only their bodies. Each participant used a physical interface called a &lsquo;Bodyshelf&rsquo; and wore a sound vibration transmission device around their necks called a &lsquo;haptic pendant&rsquo;.&nbsp; By gently moving their bodies on this &lsquo;smart furniture&rsquo;, they instigate &lsquo;intimate transactions&rsquo;, which influence an evolving &lsquo;world&rsquo; created from digital imagery, multichannel sound and tactile feedback. This shared experience allows each participant to gradually develop a form of sensory intimacy with the other, despite the fact that they are geographically separated and cannot physically see or hear each other.</p>
<p>Participants can choose to act in different ways as they begin to understand how their actions affects everything within the environment AND the other participant - thereby focusing them on better understanding influences and relationships within the work's interlinking ecologies.</p>
<p>Intimate Transactions has been recognised internationally for its excellence and innovation within the genre of new media art. It was awarded an Honorary Mention in the 2005 Prix Ars Electronica Competition and was shown in 2005 at the Ars Electronic Festival, Austria, at the Institute of Contemporary Arts, London, and BIOS, Athens, Greece amongst numerous others. It was selected to represent Australia at the Olympic Arts Festival in Beijing in 2008, and has now been presented at over 22 curated venues including the University of California, Santa Barbara as part of an American residency. Intimate Transcactions was developed over four years with the support of two major research and development grants.<br /><br /></p>',
			'extra_links' => '<p>Read interview with by Lisa Gye in Realtime, July 2012 - 'Returning Time<br /> to the Future' <a href="http://embodiedmedia.com/Resources/ReturningTimeToTheFutureScan.jpg" target="_blank">Paper Version&nbsp;</a> <a href="http://www.realtimearts.net/article/109/10675" target="_blank">Online Version</a><br />Read scholarly essay in Fibreculture journal 21, <a href="http://twentyone.fibreculturejournal.org/fcj-149-affect-and-care-in-intimate-transactions/" target="_blank">Affect and Care in Intimate Transactions</a> by Lone Bertelsen<br />Read critical essay by Tony Fry in <a href="/resource_files/TonyFry-IntimateTansactions.pdf" target="_blank">GeoProject</a> <br /><a href="http://www.artlink.com.au/articles.cfm?id=2136" target="_blank">Read Review</a> in Artlink Magazine<br /><a href="http://www.realtimearts.net/article/67/7885" target="_blank">Read Review</a> in Realtime Magazine<br />Tour Ready Documents (<a href="/Resources/IntTransTechSpec.pdf?phpMyAdmin=b6PkCEYZ%2CteP6XdDyTa6wOnF%2C61" target="_blank">Pdf</a>)<br />Detailed Credits (<a href="/page/credits?phpMyAdmin=b6PkCEYZ%2CteP6XdDyTa6wOnF%2C61">Here</a>)<br />DOWNLOAD the <a href="/resource_files/INTIMATE_TRANSACTIONS_BOOK.pdf" target="_blank">136pp colour book</a> and DVD<br />BUY&nbsp;the 136pp colour book and DVD&nbsp;<a href="/page/1207058481">'</a>&nbsp;<a href="/page/intimate-transactions-book">Intimate Transactions: Art, Exhibition and Interaction Within Distributed Networked Environments</a>&nbsp;<a href="/page/intimate-transactions-book">'</a>&nbsp;.&nbsp;</p>',
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				<a href="/homeartworks/over-many-horizons-omh">
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					<h3>Over Many Horizons (O|M|H)</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/otswellang">
					<img src="/img/lib_imgs/38/86/52/32785286381_tn.jpg" />
					<h3>O_Tswellang</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/inter-state">
					<img src="/img/lib_imgs/49/30/03/3360330491_tn.jpg" />
					<h3>Inter-State</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/shifting-dusts">
					<img src="/img/lib_imgs/44/02/45/15164502441_tn.jpg" />
					<h3>Shifting Dusts</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/seasonal">
					<img src="/img/lib_vids/19/14/18/9801814191_tn.jpg" />
					<h3>Seasonal</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/uncannyintimacy">
					<img src="/img/lib_vids/48/00/82/31288200481_tn.jpg" />
					<h3>Uncanny_Intimacy</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/black-nectar">
					<img src="/img/lib_vids/78/18/27/34472718781_tn.jpg" />
					<h3>Black Nectar</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/long-time-no-see">
					<img src="/img/lib_imgs/58/79/81/40738179581_tn.jpg" />
					<h3>Long Time No See</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/light-of-extinction">
					<img src="/img/lib_vids/16/54/48/2894854161_tn.jpg" />
					<h3>Light of Extinction</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/finitude">
					<img src="/img/lib_imgs/48/69/85/3738569481_tn.jpg" />
					<h3>Finitude</h3>
				</a>
			</div>
			<div class="item feature">
				<a href="/homeartworks/intimate-transactions">
					<img src="/img/lib_imgs/46/01/88/5098801462_tn.jpg" />
					<h3>Intimate Transactions</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/translucent-kinship">
					<img src="/img/lib_imgs/21/42/60/35536042211_tn.jpg" />
					<h3>Translucent Kinship</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/groundwork">
					<img src="/img/lib_imgs/31/18/03/18570318311_tn.jpg" />
					<h3>Groundwork</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/eremocene-age-of-loneliness">
					<img src="/img/lib_imgs/26/97/61/20486197261_tn.jpg" />
					<h3>Eremocene (Age of Loneliness)</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/seven-stage-futures">
					<img src="/img/lib_vids/80/53/94/12419453805_tn.jpg" />
					<h3>Seven Stage Futures</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/re-future">
					<img src="/img/lib_imgs/74/70/78/1967870741_tn.jpg" />
					<h3>Re-Future</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/temporal">
					<img src="/img/lib_vids/76/08/65/14166508762_tn.jpg" />
					<h3>Temporal</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/dark-cartographies">
					<img src="/img/lib_vids/44/52/62/21626252441_tn.jpg" />
					<h3>Dark Cartographies</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/pitfall">
					<img src="/img/lib_vids/58/20/02/5950220581_tn.jpg" />
					<h3>Pitfall</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/night-rage">
					<img src="/img/lib_vids/61/10/02/22740210611_tn.jpg" />
					<h3>Night Rage</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/re-introduction">
					<img src="/img/lib_imgs/21/01/60/14106001211_tn.jpg" />
					<h3>Re-Introduction</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/remnant-emergency-artlab">
					<img src="/img/lib_imgs/15/15/51/1675115153_tn.jpg" />
					<h3>Remnant Emergency Artlab</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/the-remnant">
					<img src="/img/lib_imgs/72/80/35/25433580721_tn.jpg" />
					<h3>The Remnant</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/the-sun-gives">
					<img src="/img/lib_imgs/48/43/73/17427343481_tn.jpg" />
					<h3>The Sun Gives</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/knowmore-house-of-commons">
					<img src="/img/lib_imgs/74/66/27/21702766741_tn.jpg" />
					<h3>Knowmore (House of Commons)</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/lighter-than-tai">
					<img src="/img/lib_imgs/85/73/96/11399673851_tn.jpg" />
					<h3>Lighter Than Tai</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/lie-of-the-land">
					<img src="/img/lib_imgs/54/08/30/6123008541_tn.jpg" />
					<h3>Lie of the Land</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/fundamental-sounds">
					<img src="/img/lib_vids/90/65/44/1274465901_tn.jpg" />
					<h3>Fundamental Sounds</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/the-last-generation">
					<img src="/img/lib_imgs/25/89/86/36788689252_tn.jpg" />
					<h3>The Last Generation</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/sounds-of-the-suburb">
					<img src="/img/lib_imgs/08/68/06/4080668081_tn.jpg" />
					<h3>Sounds of the Suburb</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/in-step">
					<img src="/img/lib_vids/28/93/58/7435893281_tn.jpg" />
					<h3>In Step</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/whisper-our-futures">
					<img src="/img/lib_imgs/09/25/50/34175025091_tn.jpg" />
					<h3>Whisper Our Futures</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/why-fundamentalism">
					<img src="/img/lib_imgs/38/08/13/39101308381_tn.jpg" />
					<h3>Why Fundamentalism?</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/shifting-intimacies">
					<img src="/img/lib_vids/21/63/23/27072363211_tn.jpg" />
					<h3>Shifting Intimacies</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/subcon">
					<img src="/img/lib_imgs/64/92/61/10176192641_tn.jpg" />
					<h3>Subcon</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/party-25">
					<img src="/img/lib_imgs/44/16/24/23762416441_tn.jpg" />
					<h3>Party 25</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/tree-of-fortune">
					<img src="/img/lib_imgs/61/30/37/36323730611_tn.jpg" />
					<h3>Tree of Fortune</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/unbearable-lightness">
					<img src="/img/lib_vids/62/44/95/11599544621_tn.jpg" />
					<h3>Unbearable Lightness</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/grounded-light">
					<img src="/img/lib_imgs/32/72/71/25687172321_tn.jpg" />
					<h3>Grounded Light</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/transact-fleshskinbone">
					<img src="/img/lib_imgs/19/89/25/16302589191_tn.jpg" />
					<h3>Transact Flesh/skin/bone</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/flow">
					<img src="/img/lib_imgs/49/08/75/21847508491_tn.jpg" />
					<h3>Flow</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/access-all">
					<img src="/img/lib_imgs/59/79/22/35962279591_tn.jpg" />
					<h3>Access All</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/transaction">
					<img src="/img/lib_vids/71/49/88/28898849711_tn.jpg" />
					<h3>Transaction</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/golden-circle">
					<img src="/img/lib_vids/88/52/26/8412652881_tn.jpg" />
					<h3>Golden Circle</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/elektrosonic-interference">
					<img src="/img/lib_vids/41/65/01/41630165411_tn.jpg" />
					<h3>Elektrosonic Interference</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/transit-lounge">
					<img src="/img/lib_imgs/91/62/32/41943262911_tn.jpg" />
					<h3>Transit Lounge</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/liquid-gold">
					<img src="/img/lib_imgs/64/56/65/1696556641_tn.jpg" />
					<h3>Liquid Gold</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/live-art-incubator">
					<img src="/img/lib_imgs/21/03/61/26456103211_tn.jpg" />
					<h3>Live Art Incubator</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/stop-jabiluka">
					<img src="/img/lib_vids/61/30/37/36323730611_tn.jpg" />
					<h3>Stop Jabiluka!</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/public-relations">
					<img src="/img/lib_imgs/43/09/78/21037809431_tn.jpg" />
					<h3>Public Relations</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/number-14">
					<img src="/img/lib_imgs/21/90/97/36489790211_tn.jpg" />
					<h3>Number 14</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/uncertain-circle">
					<img src="/img/lib_vids/11/71/92/39379271111_tn.jpg" />
					<h3>Uncertain Circle</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/liquid-architecture">
					<img src="/img/lib_vids/28/96/53/38085396281_tn.jpg" />
					<h3>Liquid Architecture</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/escolas-de-samba">
					<img src="/img/lib_vids/89/13/04/41960413891_tn.jpg" />
					<h3>Escolas De Samba</h3>
				</a>
			</div>
			<div class="item">
				<a href="/homeartworks/the-final-frontier">
					<img src="/img/lib_imgs/38/50/98/16859850381_tn.jpg" />
					<h3>The Final Frontier</h3>
				</a>
			</div>
		</div>
		</div>
	</div>'
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