#practice as research

[temporalillusion]

York Road II, Quarry Hill (Projection II), 1906-2017 by Michael C Coldwell

The Remote Viewer

PhD research output - the hauntology of rephotography

[ccbdanceproject]

Summer and Fall 2026

-December showing of work set on students/research in Hicklin Theater UWW.

-November 6th Performance of Me and the moon at the Crossman Gallery UWW. Time TBA.

-IFTR (International Federation of Theater Research) Performance as Research Group, presentation of Me and the Moon- Drifting, Pooling, Waxing and Waning. July 6th-10th. University of Melbourne, Melbourne Australia

-Somatics Dance Conference and Performance Festival. Key notes Martha Eddy and Bill Evans at Hobart William and Smith in Geneva NYC. Teaching a work shop on drifting, pooling, waxing and waning. Performance of an excerpt of work in progress solo, Me and the moon. June 18th-21st.

[laurarosser]

Arts Institute Show: Resonating Bodies

The intersect between humans and machines

Resonating Bodies explores the complexities of relationships between humans and machines. The exhibition responds to the fragility and uncertainty that we face in our increasingly digital and automated world. At a time when our sense of being is in a state of flux, the artists, Karen Abadie and Laura Rosser, lean into this unknown through the materiality of the machine. The interplay of human and nonhuman machine bodies are messy and challenged through the corporeality of the work. The machines resonate, clatter and converse in the space, through an entangling of analogue and low-fi technologies, celluloid, paper and ink. Each artist embraces the errors, slip-ups, scratches and ruptures that emerge through working with old, often broken, or malfunctioning technologies. The collective artworks pose questions around political, cultural and societal breaking down – which instead might be seen as a means to repair, renew, regenerate and refresh. The artists’ interdisciplinary practices challenge misconceptions of analogue machines as ‘obsolete’ or ‘outdated’ and reimagine human and nonhuman relationships in these precarious times.

Abadie’s practice explores what it is to be an embodied being in collaboration with the machine. The imagery presents apparently opposing embodied states that float and bounce around the exhibition space. The artwork offers a repositioning of these states with leaky messy boundaries as these materialities interweave, converse, entangle and collide. The celluloid film interacts with the heavy mass of the analogue machines, its tender surface becoming worn, scarred, scratched and even broken. The collision between human and nonhuman undeniably articulated by this apparent violence.

RESTRICTED

RESTRICTED

Rosser’s practice draws on expanded understandings of error to reimagine our

relationships with machines, systems and online spaces. Working with her collection

of dot matrix printers and printed ephemera, she creates

text-based installations

that embrace error

live as potential for unforeseen creativity, signalling a move away

from conventions of logic and order. This work creates opportunity for diverse voices and new relations to emerge.

Her playful use of language and translation

disrupt – and interrupt – rational thought and digital structures; preferring the misadventurous and crooked path.

Image:

Flesh[wound] (2022) Karen Abadie. Photograph by Beccy Strong. [mis]Feeds # 3 (2022) Laura Rosser. Photograph by Dom Moore.

[hypertrace]

1/4 Inch presents Donna Hewitt (film/ videography) — Rad Bar, Wollongong

Video Work 2017 

Donna is a vocalist, electronic music composer and instrument designer. Donna’s research has been primarily exploring mediatized performance environments and new ways of interfacing the voice with electronic media. She is the inventor of the eMic, a sensor enhanced microphone stand for electronic music performance and more recently has been creating wearable electronics for controlling both sound and lighting in performance. Her work has attracted funding from the Australia Council for the Arts, most recently with all female collective Lady Electronica. Donna has held academic positions at the Sydney Conservatorium of Music and Queensland University of Technology and is currently the Convenor of Music at the University of New England.

[hypertrace]

¼ Inch presents St Vito (Sensor Technology Visual Interactive Touch Orchestra)

Western Sydney University Research Creation Showcase 2018: Creative Cities, Riverside Theatres, Parramatta.  (Featured work – documentation video,  postproduction and motion graphics)

¼ Inch: Performance of Sound and Moving Image (www.1-4inch.com) ¼ Inch is an ongoing series of events that showcase national, international, emerging and established sound and audio-visual artists. The events are curated by Greg Hughes and Aaron Hull. Greg continues to maintain the branding, promote, film, document and archive the event and its performers. ¼ Inch continues to seek community and institutional collaboration in its drive to merge creative practice, media experimentation and practice-led research.    

This video features St Vito (Sensor Technology Visual Interactive Touch Orchestra), a Berlin-based performance collective, filmed in Wollongong, Australia. St Vito blend improvised contemporary dance and LED screen suit comprising an array of WI-FI connected sensors that enables interaction between dancer movement and live VJ programming. [Filming, motion graphics and post-production: ¼ Inch (Greg Hughes), Music: Klaudia Miłoszewska, Dancer: Alma Edelstein, Light programming: James Hudson, Top costume layer: Greta Melnik, "Tech" layer: ST VITO and @jl_costumedesign, Extra camerawork: Sarah Hudson.]

[hypertrace]

#NoFilter 1

(35mm film, hydrochloric acid, acetic acid and sodium chloride)

#NoFilter 2

(35mm film, hydrochloric acid, acetic acid and sodium chloride)

Research Creations 2, Penrith Regional Gallery, December 2015

Greg’s #NoFilter prints are test images produced inline with ground covered in his PhD research. Archival film from Greg’s past practice is saturated in various corrosive materials. The prints are inspired by Cooke and Reichelt-Brushett’s (2015), Southern Cross University, after | image project where the material surface of archival film is intentionally degraded to question photography’s alignment with personal and collective archival memory.  The findings of the Cooke and Reichelt-Brushett’s project lead them to question digital imaging technologies against the physical (analogue). The authors suggest digital archives improve preservation of material works but introduce a new set of material concerns such as storage formats, programmed obsolescence and upgrade cycles.  #NoFilter asks a little more of such a linear digital context and pushes thinking the archive to digital network culture. The physical qualities of a medium and its degradation ‘presents’ rather than ‘represents’ the past in the present, but what if we emulate a medium’s trace on mass? The likes of Instagram, as a social image-sharing network, commoditise the trace of analogue photography via a set of one-click image effects. These ‘filters’ have altered as cultural techniques to form symbolic practice including the hash tag #Nofilter. The tag is a boycott of Instagram’s filters suggesting a more honest, original or ‘present’ image within the framework. Conversely, the tag is used dishonestly and any stable reality the image degradation of the past may have been able to offer is lost. The process forms what Gansing (2013) describes as a transversal and generic yet generative media archaeology practice. Greg’s #NoFilter prints, as early work-in-progress, are a tongue-in-cheek intervention on the stability of Instagram user’s generic media archaeology.

[stickythick-blog]

Sticky Thick, Practice as Research Day, June 8, 2016, Whitstable United Reform Church Hall.

[Photo by José Fernández Levy]