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The Aotearoa Digital Arts Reader Edited by Stella Brennan and Su Ballard Designed by Jonty Valentine © 2008 the Artists And

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The Aotearoa Digital Arts Reader Edited by Stella Brennan and Su Ballard Designed by Jonty Valentine © 2008 the Artists And Contents The Aotearoa Digital Arts Reader 5 Foreword 76 Contemporary Ma ¯ or i Edited by Stella Brennan and Su Ballard Sally Jane Norman Women’s New Media Designed by Jonty Valentine Art Practice © 2008 the artists and authors. All rights reserved. Apart from fair dealing for the purposes of private study, research, criticism 11 Introduction Maree Mills or review as permitted under the New Zealand Copyright Act no part of this publication may be Stella Brennan and Su Ballard reproduced without permission. 86 Kawhia & Kete #1, 22, "Internet; Environment" copyright © Julian Priest 2007, GNU General Public License. 15 ADA: A Web of Sites 20 and 83 ISBN: 978-0-9582789-9-7 Caroline McCaw Lisa Reihana A catalogue record for this book is available from The National Library of New Zealand 21 What is Digital? Concepts 90 Sampling Tradition: and a Chronology The Old in New Media Title: The Aotearoa Digital Arts Reader Douglas Bagnall Janine Randerson Author/Contributor: Brennan, Stella (ed); Ballard, Su (ed) Publisher: Aotearoa Digital Arts and Clouds 28 Cloud Shape Classifier 97 Solar Circuit Aotearoa Douglas Bagnall New Zealand Trudy Lane and Ian Clothier 30 Local Knowledge and Aotearoa Digital Arts Trust Clouds New Media Theory 104 Composition for farmer, www.aotearoadigitalarts.org.nz PO Box 68-187, Newton, Auckland 1145 Danny Butt three dogs and 120 sheep Aotearoa New Zealand www.clouds.co.nz for four-channel video 36 Mushroom installation Brit Buckley Alex Monteith Every effort has been made to trace the copyright holders of the illustrations reproduced in this book. Unfortunately, this has not been possible in all cases. The editors and publisher would be pleased to hear 38 Open Interactions 106 Why You Should Learn to from any copyright holders whom they have been unable to contact and to print due acknowledgement in Karl D.D. Willis Love Free Documentation subsequent editions. Adam Hyde Unless otherwise noted, all images are repoduced courtesy of the artists. 48 Real Time, Virtual Space, Editing a book takes a long time, and many people have helped along the way. Stella and Su would like firstly Live Theatre 112 Corticosteroid to thank the authors and artists who have contributed to this book, and the institutions and individuals who Helen Varley Jameison Marcus Williams and shared their image archives with us. We would also like to acknowledge the work and support of the following: Susan Jowsey Nova Paul, Leoni Schmidt, Col Fay, Khyla Russell, Justine Camp, Letitia Lam, Pam McKinlay, Geoff Noller, Sarah McMillan, Robert Leonard, Melinda Rackham, Mercedes Vincente, and Gwynneth Porter, 57 Centres and Peripheries Deborah Orum and Warren Olds from Clouds. And of course, Jonty Valentine for the hours spent in Vicki Smith and Adam Hyde 114 Interdisciplinary Moments: design. Thanks also to the ADA community, and especially to the other ADA trustees, Janine Randerson, A History in Glimpses Douglas Bagnall and Zita Joyce. 62 New Data: Curating and Andrew Clifford Thanks most of all to our families: Nathan, Moss and David. Archiving Digital1 Art in 136 The Aotearoa Digital Arts Reader would not have been realised without the support of AUT University, New Zealand Little Boy and Fat Man Otago Polytechnic and Creative New Zealand. Lissa Mitchell Stella Brennan 69 The Digital Artist in 138 A Minor Cinema: Moving Residence Programme Images on the Internet Sean Cubitt and Bevin Yeatman Eu Jin Chua Real Time, Virtual Space, Live Theatre exchange of music, story and an inter-hemisphere jam session between Helen Varley Jameison musicians in Auckland and Washington DC. Reviewer Julia Stoops wrote that “the group psyche blossomed through a sense of joining and of union. There was the thrill of emotionally touching people on the other side of the world at that very second.”4 Part of what makes theatre magical for me is its liveness: what I’m seeing on stage Live performances were broadcast over the internet from New Zealand as is happening now and only now, in this precise ‘real time’ moment and in the early as 1994, when Richard Naylor webcast the Tawa Schools Music Festival presence of these specific people. It’s a shared experience that can’t be captured from the Michael Fowler Centre in Wellington; it was seen and heard in a or recorded, never to be repeated exactly the same. In today’s digitised, media- dozen countries.5 At this time the World Wide Web was in its infancy; using tised, sampled, recombinant and remixed world, the truly live is an elusive and the Internet as a broadcast medium was pioneering, and as far as I have discov- precious thing. ‘Real time’ is also elusive. Similar to the theatre concept of being ered there was only one New Zealander engaging in networked performance ‘in the moment,’ real time exists in real life but too often gets lost in our of the kind that I call cyberformance. This person is only identifiable via a .nz obsessing over what’s past or yet to come. Furthermore, real time in the virtual- email address in the programme of the first documented online performance, ity of cyberspace is both meaningless—for time itself is something quite different Hamnet, which was staged in an Internet Relay Chat (IRC) channel in 1994 in cyberspace than it is in real life—and simultaneously the only way to speak and led by American theatre academic Stuart Harris.6 The eighty-line script about time; the current moment is all there is. bore some resemblance to Shakespeare’s Hamlet, with the addition of spirited What does it mean to make live theatre in real time and virtual space? How word-play, IRC jargon and contemporary references. The cast was largely based do we do it and what is it? Is it still theatre because of its liveness—or is it not in North America, with a few international participants including the mystery theatre because of its absences? Can a physically absent performer have presence? New Zealander. Harris cast the performance half an hour before show-time, and These are some of the questions that underpin my artistic practice in what I call the debut was interrupted when a lightning storm took out a key player’s Internet ‘cyberformance.’ By cyberformance, I mean live collaborative performance that connection (apparently the second performance went more smoothly). uses Internet technologies to bring remote performers together in real time; the Online networked performance continued to evolve during the 1990s, audience can be online and remote, or in a proximal space. Cyberformance is mainly led by northern hemisphere practitioners: The Plaintext Players further a form within the wider genre of networked performance, which includes any developed the art of IRC performance, and Desktop Theatre staged theatrical live performance event that involves some form of networking. This can include interventions in the online chat environment The Palace.7 Developed as a 2D computer networks (via the internet or local networks), mobile phone networks, graphical chat environment, The Palace allowed users to create their own unique GPS devices and motion sensors, as well as feedback loops between devices visual avatars, speak aloud with Text2Speech audio, and create their own Palace where there may be no human involved.1 if they had access to a web server.8 The degree of customisation, the user-friendly Artists were creating networked events long before the Internet came into interface, and the possibility of adding your own scripting made The Palace very being—via shortwave radio, telephone, fax and satellite technologies, and even appealing to both social chatters and online performers. I discovered Desktop . 4 Julia Stoops, “Burntime: the good old postal system. Although most of what’s been documented was Theater and their work in The Palace in 1999 and thus began my adventures in Communication between the initiated in the northern hemisphere, New Zealand wasn’t entirely out of the cyberformance. I was living in Scotland at the time, and would regularly get up Hemispheres,” Art New Zealand 60 (Spring 1991): 3. loop. Our geographical remoteness, along with our ‘early adopter’ attitude to at 3 or 4am to join the group’s ‘dreaming’ improvisations, collaborating with 5. Richard Naylor, email technology, made Aotearoa attractive to international artists looking to extend players in Europe and the USA. I discovered a whole new kind of performativity communication with the author, May 2007. their performances to the furtherest reaches. In the mid-80s, American sound . 1 I exclude online gaming and in my fingertips, and became fascinated by the Internet as a site for live perform- 6. Stuart Harris, Gayle Kidder and artist and event-maker Charlie Morrow organised Radio Solstice, a series of social networks from my ance, creativity and imagination. the Hamnet Players. “The Hamnet definition of cyberformance Players: An Archive,” 1993. networked events which brought together real time participants from North because although they can be As a theatre practitioner, I was curious about the relationship between http://micro5.mscc.huji.ac.il/ America, Scandinavia, and New Zealand—where Phil Dadson led a group of described as a form of cyberformance and live theatre: I was interested in the immediacy and ‘presence’ ~msdanet/cyberpl@y/ 2 networked performance they are hamnet-index.html drummers in the Maungawhau crater in Auckland. Morrow gathered musical not primarily undertaken for an of the remote performers, and the potential it offered for recontextualisation. 7. Plaintext Players. contributions from around the globe via shortwave radio, mixed them in real audience or as an artistic I had the opportunity to experiment with this in 2001, when I collaborated with http://yin.arts.uci.edu/~players/. activity. director Jill Greenhalgh on her performance installation project Water[war]s Desktop Theater, time and re-broadcast the result from his New York studio.
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