#tsunamii.net

[tsunamiinet]

TITLE: “Cyberarts: Intersections of Art and Technology,” page 50

NAME: Gunalan Nadarajan

COLLECTION: tsunamii.net (2001-2005)

DATE: 2001

PUBLISHER: Singapore Art Museum / National Arts Council

TOPICS: tsunamii.net; Global Positioning Systems; Physicality of the Internet; Contemporary Art in Singapore

PHYSICAL DESCRIPTION: Print Publication, 1 out of 93 pages.

NOTES: This essay appears in the book Histories Identities Technologies Spaces: Singapore Art Today edited by Kwok Kian Chow.   

[tsunamiinet]

TITLE: “Art and the Life Aquatic: Charles Lim | Ep. 49”

NAME: Bloomberg

COLLECTION: tsunamii.net (2001-2005)

DATE: March 15, 2017

PUBLISHER: Boomberg; YouTube

TOPICS: Charles Lim; Contemporary Art in Singapore; Singapore Maritime History; tsunamii.net; Net Art; Internet Infrastructure; Physicality of the Internet

PHYSICAL DESCRIPTION: Digital video, uploaded onto YouTube

NOTES: While the video is about Charles Lim’s practice as an artist since the early 2000s, it does touch on the artist’s involvement and experience with tsunamii.net (see 04:22 - 06:39). 

[tsunamiinet]

TITLE: Digital Currents: art in the electronic age, 3rd Edition, page 257 

NAME: Margot Lovejoy

COLLECTION: tsunamii.net (2001-2005)

DATE ISSUED: 2004

PUBLISHER: Routledge, London

TOPICS: Contemporary Art; Net Art; Singapore Art; tsunamii.net; Documenta 11; Global Positioning Systems; Web Browsing

PHYSICAL DESCRIPTION: Print publication, 1 out of 372 pages 

NOTES: The name of the work described is mistaken. It should be Alpha 3.4 that was presented as part of Documenta 11 in 2002. See other materials in the same collection for cross-reference. Also, “Tien Woon” as listed in the artists’ names should instead be “Tien Wei Woon” with “Woon” being the last name of the artist; “Tien Wei” is the anglicized Chinese first name of the artist.     

[tsunamiinet]

TITLE: “Performing the Singapore State: 1988-1995,” page 188 footnote 12

NAME: Ray Langenbach

COLLECTION: tsunamii.net (2001-2005)

DATE ISSUED: 2003 

PUBLISHER: University of Western Sydney, Sydney

TOPICS: Singapore; Performance Art; Contemporary Art in Singapore

PHYSICAL DESCRIPTION: unpublished PhD Dissertation, 1 out of 331 pages, self-published digitally by author on Google Drive

NOTES: This is a PhD dissertation submitted by Ray Langenbach (now Professor of Performance Art and Theory at the University of the Arts Helsinki) which discussed the Singapore state’s performance anxieties in the 1990s alongside the contemporary development of performance art in Singapore. It is, to date, also the only publication that regards and mentions tsunamii.net’s work as performance. The use of the artist name “Tien Woon” here is based on Ray Langenbach’s personal friendship with the artist, though the proper name to be cited should be “Tien Wei Woon” instead. On “Tien Woon,” see also a similar citation in the same collection here.    

[tsunamiinet]

TITLE: “Alpha 3.3,” Cyberart Exhibition Console 

NAMES: tsunamii.net; Charles Lim; Tien Wei Woon; Melvin Yang Chien Phua; Kok Yam Tan

COLLECTION: tsunamii.net (2001-2005)

DATE: 2001

PUBLISHER: Nokia Singapore Art, Singapore Art Museum, Singapore

TOPICS: Cyberarts; Singapore; Contemporary Art in Singapore; Net Art; tsunamii.net

PHYSICAL DESCRIPTION: Online web console for the exhibition of Nokia Singapore Art

NOTES: Click on screenshot to go to link of actual item. Alpha 3.3 was presented as part of the exhibition Nokia Singapore Art held at the Singapore Art Museum in 2001. This was the earlier work which became the conceptual basis for Alpha 3.4 later presented as part of Documenta 11 in 2002. 

[tsunamiinet]

TITLE: “Walk, do not Surf, the Web” 

NAME: Brooke Singer

COLLECTION: tsunamii.net (2001-2005)

DATE: July 8, 2002

PUBLISHER: www.bsing.net

TOPICS: tsunamii.net; Net Art; Documenta 11; Global Positioning System; Internet Infrastructure; Post-internet; Performance Art

PHYSICAL DESCRIPTION: Online blog post

NOTES: Click on screenshot to go to link of actual item. The artist group name “Tsunamii” should have been “tsunamii.net” instead, as it is important to retain the collective’s name as a URL. 

[tsunamiinet]

TITLE: “Mapping Outside the Frame: Interactive and Locative Art Environments,” page 57-58. 

NAMES: Elizabeth Coulter-Smith; Graham Coulter-Smith

COLLECTION: tsunamii.net (2001-2005)

DATE: 2009

PUBLISHER: Intellect Books, Bristol

TOPICS: tsunamii.net; Documenta 11; Interactive Art; Net Art; Global Positioning System; Locative Technology; Logistical Media

PHYSICAL DESCRIPTION: Print publication, 2 out of 112 pages

NOTES: This is an essay included in the book Digital Visual Culture: Theory and Practice edited by Anna Bentkowska-Kafel, Trish Cashen, Hazel Gardiner. There is also a typo in the name “Woo Tien Wei”: Tien Wei Woon is the correct spelling of the artist’s name where the last name is “Woon” and “Tien Wei” is the anglicized Chinese name of the artist. Also, note the typo of “Singaporian” rather than “Singaporean.” The authors’ opinion of alpha 3.4 as a rather unsuccessful representation of “raw data” suffering from a “lack of aesthetic dimensions” is also interesting to consider, for many reasons, but also because it happens to be one of the few and rare critique of the work that goes beyond describing the novelty of using “locative new media” (i.e. Global Positioning System) for art.    

[tsunamiinet]

TITLE: “Computer Juice,” Real Time No. 64 

NAME: Gail Priest

COLLECTION: tsunamii.net (2001-2005)

DATE: January 2004

PUBLISHER: Real Time journal, Australia

TOPICS: tsunamii.net; Contemporary Art; Net Art; Computer Art; Art Criticism

PHYSICAL DESCRIPTION: Online art criticism, published as part of Real Time journal

NOTES: Click on screenshot to go to link of actual item. In this piece of art criticism, Gail Priest discusses the work alpha 3.5 crush by the collective tsunamii.net; alpha 3.5 crush was presented at the exhibition GRAVITY held at the Singapore Art Museum, and curated by Kim Machan. The last two paragraphs in Gail Priest’s article provide not just a critical consideration of the above-mentioned presentation, but also an important link and history to the work’s previous iteration in 2002 at the London Institute Gallery.