51勛圖app
UNSW Centre for Interactive Cinema Research

Publications

A boomerang

Selected Publications
    • Thurow, S (2019).泭Performing Indigenous Identities on the Contemporary Australian Stage: Land, People, Culture. Advances in Theatre and Performance Studies Series. London/New York: Routledge.
    • Kenderdine, S. (2011).泭PLACE-Hampi: Inhabiting the Panoramic Imaginary of Vijayanagara. Heidelberg: Kehrer.
    • Anderson J., Marshall C., Yip A. (eds.) (2016).泭The Legacies of Bernard Smith: Essays on Australian Art, History and Cultural Politics. Sydney: Power Publications.
    • Thwaites, D. (ed.) (2013).泭Critical Animalia: A Decade Between Disciplines. Sydney: Critical Animals.
    • Del Favero, D. & Thurow, S. (2020). Human-Machine Co-Agency in Art. In W. Tschapeller & C. Jauernik (eds.),泭Towards an Intra Space泭(pp.tbc). Schriftenreihe Academy of Fine Arts, Vienna, vol. 25. Berlin: Sternberg Press.
    • Del Favero, D., Thurow, S. & Frohne, U. (2020). Artificial Intelligence and a New Dialogical Commons?. In W. Tschapeller & C. Jauernik (eds.),泭Towards an Intra Space泭(pp.tbc). Schriftenreihe Academy of Fine Arts, Vienna, vol. 25. Berlin: Sternberg Press.
    • Yip, A, Dredge, P, Gerard-Austin, A & Ives, S (2020). Henry VR: Designing Affect-Oriented Virtual Reality Exhibitions for Art Museums. In H. Lewi (Ed.),泭The Routledge International Handbook of New Digital Practices in Galleries, Libraries, Archives, Museums and Heritage Sites. London: Routledge.
    • Pailthorpe, B. (2016). Spatial Operations. In L. Slade (ed.),泭Sappers & Shrapnel: Contemporary Art and Art of the Trenches. Adelaide: Art Gallery of South Australia/Thames & Hudson.
    • Thwaites, D. (2012). Anish Kapoor: Public Sculpture. In E.A. McGregor (ed.),泭Anish Kapoor Living Catalogue. Sydney: Museum of Contemporary Art.
    • Thwaites, D. (2011). A Machiavellian Beauty: Ruling by Love and Fear. In G. Simpson (ed.),泭Exploring the Critical Issues of Beauty. ebook: The Inter-Disciplinary Press.
    • Barker, T. (2011). Aesthetics of the Error: Media Art, the Machine, the Unforeseen and the Errant. In M. Nunes (ed.),泭Error: Glitch, Noise, and Jam in New Media Cultures. New York: Continuum.
    • Kenderdine, S., Del Favero, D. & Brown, N. (2008). PLACE-Hampi: Co-Evolutionary Narrative & Augmented Stereographic Panoramas,
      Vijayanagara, India in Kalay, Y. (ed.),泭New Heritage: New Media & Cultural Heritage, Oxfordshire: Routledge, pp. 275-93, LP0669163 (2006-2008).
    • Del Favero, D. (2006). Immanence & Eventfulness, in McQuire, S. (ed.),泭Conversations: The Parallax Effect. Sydney: iCinema. pp. 6-8, DP0209550 (2002-2004).
    • Del Favero, D., Brown, N., Shaw, J. & Weibel, P. (2005). T_Visionarium: Towards a Dialogic Concept of Digital Narrative, in Flachbart, G. (ed.),泭Disappearing Architecture. Basel: Birkh瓣user. pp. 144-51, DP0345547 (2003-2005).
    • Del Favero, D., Brown, N., Shaw, J. & Weibel, P. (2005). T_Visionarium: The Aesthetic Transcription of Televisual Databases, in Frohne,
      U. (ed.),泭Present Continuous Past: Media Art Strategies of Presentation, Mediation & Dissemination. Vienna/New York: Springer. pp. 33-48, DP0345547 (2003-2005).
    • Del Favero, D., Brown, N., Shaw, J. & Weibel, P. (2003). Interactive Narrative as a Multi-Temporal Agency, in Shaw, J. (ed.),泭Future Cinema: Cinematic Imaginary After Film, Cambridge:泭MIT泭Press, pp. 312-15.
    • Del Favero, D. (2001). Digitally Expanded Forms of Narration, in Del Favero, D. (ed.),泭LOCATIONS, Karlsruhe/Sydney:泭ZKM泭and iCinema, pp. 8-9.
    • de Belen, R.A.J., Bednarz, T., Sowmya A. & Del Favero, D. (2020) Computer vision in autism spectrum disorder research: a systematic review of published studies from 2009 to 2019,泭Translational Psychiatry, Volume 10, Article number: 333.
    • Del Favero, D., de Belen, R.A.J. & Bednarz, T. (2019). Combining Mixed Reality and Internet of Things: An Interaction Design Research on Developing Assistive Technologies for Elderly People. In泭Human Aspects of IT for the Aged Population. Social Media, Games and Assistive Environments (291-304). Lecture Notes in Computer Science (including subseries Lecture Notes in Artificial Intelligence and Lecture Notes in Bioinformatics). Orlando: Springer.
    • Thurow, S. (2018). Namatjira: Beyond the Script Visual and Performative Aesthetics as Conduits for the Communication of Western Arrernte Ontologies,泭Australasian Drama Studies泭73 (Special Issue Turangawaewae / A Place to Stand: Situating Contemporary Indigenous Performance in Australasia (and Beyond)): 130-59.
    • Thwaites, D. (2018). Spectres of French Theory: Australian Translations in the Work of Alex Martinis Roe and Shaun Gladwell,泭Australian and New Zealand Journal of Art泭18.1.
    • Yip, A. (2017). Review: The National 2017: New Australian Art,泭Australian and New Zealand Journal of Art泭17.2:256-60.
    • Zhuang, Z., Pagnucco, M. & Zhang, Y (2017). Inter-Definability of Horn Contraction and Horn Revision.泭Journal of Philosophical Logic泭46(3): 299332.
    • Dredge, P., Howard, D., Morgan, K., & Yip, A. (2017). Unmasking Sidney Nolans Ned Kelly: X-ray Fluorescence Conservation Imaging, Art Historical Interpretation and Virtual Reality Visualisation,泭Australian and New Zealand Journal of Art泭17.2: 147-61.
    • Yip, A. (2017). The Ekphrasis Engine: Towards a New Industry Architecture for Digital Art Historical Practice in the Age of the Virtual,泭Australian and New Zealand Journal of Art泭17.2: 135-46.
    • Thurow, S. (2017). Response to the Metamaterial Turn: Performative Digital Methodologies for Creative Practice and Analytical Documentation in the Arts,泭Australian and New Zealand Journal of Art泭17.2: 238-50.泭DOI: 10.1080/14434318.2017.1450071.
    • Yip, A. (2017). Metadata and the Rhizome of Museum Practice, _Artlink: Australian Contemporary Art Quarterly 37.1: 34-39.
    • Yip, A. (2017). Tatsuo Miyajima: Connect with Everything,泭MCA泭Australia | Time, Light, Japan: Japanese Art 1990s to Now, Art Gallery of泭NSW,泭Artlink: Australian Contemporary Art Quarterly泭37.1: 72-76.
    • Yip, A. (2017). Virtual Reality and the Museology of Consciousness,泭Artlink: Australian Contemporary Art Quarterly泭36.4: 42-47.
    • Thwaites, D. (2017). Danto, Derrida and the Artworld Frame,泭Derrida Today泭10.1: 67-88.
    • Dredge, P., Ives, S., Howard, D.L., Spiers, K.M., Yip, A. & Kenderdine, S. (2015). Mapping Henry: Synchrotron-Sourced X-ray Fluorescence Mapping and Ultra-High-Definition Scanning of an Early Tudor Portrait of Henry泭VIII.泭Applied Physics A: Materials Science and Processing泭121: 789800.
    • Thwaites, D. (2012). Yoshua Okon: An Uncomfortable Kind of Humour,泭Das Superpaper泭25: 58-60.
    • Brown, N., Barker, T. & Del Favero, D. (2011). Performing Digital Aesthetics: The Framework for a Theory of the Formation of Interactive Narratives,泭Leonardo泭44.3: 212-19.泭DOI:10.1162/LEON\a\00165. DP0556659 (2005-2009).
    • Del Favero, D. (2005). How One Might Live: The 51st Venice Biennale,泭Art Monthly: 3-9.
    • Del Favero, D. (1995). Scenario Urbano,泭Art and Design: 20-29.
    • Del Favero, D. (1995). Prima Facie,泭Active Reactive: 41-45.
    • Del Favero, D. (1987). Linea di Fuoco,泭Photofile: 16-19.
    • Del Favero, Dennis, Thurow, Susanne & Wake, Caroline 2020, Dialogical Aesthetics Reconfiguring Theatrical Spaces through Dig- ital Technology , K. Dreckmann, M. Butte & E. Homberg (eds.),泭Technologien des Performativen泭(357-65). Bielefeld: transcript, LP170100471 (2018-2021).
    • Del Favero, D. & Barker, T. (2010). Scenario: Co-Evolution, Shared Autonomy & Mixed Reality,泭9喧堯泭梆楚楚楚泭梆紳喧梗娶紳硃喧勳棗紳硃梭
      Symposium on Mixed & Augmented Reality 2010 Arts, Media & Humanities Proceedings      , pp. 11-18.泭DOI:10.1109/ISMARAMH. 2010.5643299, DP0556659 (2005-2009).
    • Kuchelmeister, V., Shaw, J., McGinity, M., Del Favero, D. & Hardjono, A. (2009). Immersive Mixed Media Augmented Reality Application
      & Technology,泭Advances in Multimedia Information Processing 泭PCM泭2009_, vol. 5879,泭DOI:10.1007/978-3-642-10467-1\109, LP0669163 (2006-2008).
    • Kenderdine, S., Shaw, J., Del Favero, D. & Brown, N. (2008). Co-Evolutionary Narrative & Virtual Heritage,泭New Heritage Proceedings, pp. 35-44, LP0669163 (2006-2008).
    • McGinity, M., Shaw, J., Del Favero, D., Kuchelmeister, V. & Hardjono, A. (2007). AVIE: A Versatile Multi-User Stereo 360簞 Interactive
      VR Theatre,泭Proceedings of the 2007 Workshop Emerging Display Technologies: Images and Beyond: The Future of Displays and Interaction, doi:10.1145/1278240.1278242.
    • Thurow, S. (2019). Capabilities and Limitations of Collaboration in the Artistic Process. In泭Elasticity conference, Performance Studies International, University of Calgary, Canada, July 4-7.
    • Thurow, S. (2019). Digital Technologies as Conduit for the Communication of Indigenous Australian Heritage. In泭Body of Knowledge: Art and Embodied Cognition Conference, Deakin University, Melbourne, June 27-29.
    • Thurow, S., Del Favero, D., Wake, C., Pagnucco, M., Williams, K., Scott-Mitchell, M., Wallen, L. & Schostakowski, B. (2019). iDesign New Capabilities for Set Design. In泭PQ Talks @ Prague Quadrennial of Performance Design and Space, Industrial Palace & Exhibition Grounds, Prague, Czech Republic, June 7-15. LP170100471, 3 years.
    • Thurow, S. (2018). Big hART Processes of Care in Art-Making. In泭Aesthetics, Politics & Histories. The Social Context of Art, Art Association of Australia and New Zealand, Royal Melbourne Institute of Technology, Melbourne, Australia, December 5-8.
    • Thurow, S., Yip, A. & Ong, A. (2018). iDesign: New Paradigms for Collaborative and Immersive Theatre Design. In泭OzViz 2018, Expanded Perception & Interaction Centre, The University of New South Wales, Sydney, Australia, November 22. LP170100471, 3 years.
    • Del Favero, D., Thurow, S., & Wake, C. (2018). Dialogical Aesthetics Reconfiguring Theatrical Spaces Through Digital Technology. In Theatre & Technology Conference, Society for Theatre Studies, Institute for Media & Culture Studies, Heinrich-Heine-Universit瓣t, D羹sseldorf, Germany, November 8-11.
    • Del Favero, D. (2018). AI & Advanced Creativity: An Emerging Horizon,泭Digital Humanities Australia, University of South Australia, Adelaide, Keynote Presentation, LP170100471 (2018-2020).
    • Thurow, S. & Del Favero, D. (2018). Intra_Space Exploring the Actor through Artificial Intelligence presented at Actors and Acting in the Twenty-First Century Conference, Australasian Drama Studies Association, Victorian College of the Arts, Melbourne, June 26-29.
    • Thurow, S. (2017). I Am Eora: Nation-Building on the Postcolonial Stage, presented at Performing Belonging in the 21st Century Conference, Australasian Drama Studies Association, Auckland University of Technology, Auckland, New Zealand, June 27-30.
    • Thurow, S. (2016). Performed Resilience!? Identity Construction in Contemporary Australian Intercultural Theatre Practice, presented at Resilience: Revive, Restore, Reconnect Conference, Australasian Drama Studies Association, University of Southern Queensland, Toowoomba, June 21-24.
    • Thwaites, D. (2015). The False Continuities of Ryan Trecartin presented at the Australasian Society for Continental Philosophy Conference,泭UNSW, Sydney, 2 4 December.
    • Del Favero, D. (2015). Aesthetics & Machine Intelligence,泭Libidinal Circuits: Scenes of Urban Innovation泭III,泭FACT, Liverpool, UK, DP0556659 (2005-2009).
    • Del Favero, D. (2014). Transactions in 3D Space: Database or Narrative Events?,泭3D-Symposium Beyond: Designing for the Future,泭ZKM, Karlsruhe, Germany, DP0556659 (2005-2009).
    • Del Favero, D .(2013). Aesthetics & Artificial Intelligence,泭Beyond 3D Festival: 3D-Symposium Parallax, University of Art and Design, Karlsruhe, Germany, DP0556659 (2005-2009).
    • Thurow, S. (2013). Theatre as Strategic Intervention into Racist Discourses Affecting Australian Cultural Relations Big hART Inc.s Namatjira, presented at Reconfiguring Anti-Racism: Tolerance, Harmony, Inclusion or Justice Conference, Deakin University, Melbourne, December 9-10.
    • Thurow, S. (2013). Indigeneity and Transcultural Communities: Big hART Inc.s Namatjira, presented at Challenging Boundaries: Postcolonial Narratives and Notions of the Global Conference, Association for Anglophone Postcolonial Studies, Georg-August Universit瓣t, G繹ttingen, Germany, October 9-11.
    • Thurow, S. (2013). Indigeneity and Transcultural Communities: Big hART Inc.s Namatjira, presented at In the Balance: Indigeneity, Performance, Globalization Conference, Centre for International Theatre and Performance Research, Royal Holloway University, London, UK, October 24-27.
    • Thwaites, D. (2013). Mutating Assemblages: The Deterritorialization of Tradition in the Ceramics of Park Young-Sook and Yeesookyung presented at The First International Deleuze Studies in Asia Conference, Tamkang University, Taipei, Taiwan, May 31June 2.
    • Thwaites, D. (2011). A la Recherche du Temps Perdu: The Contemporary Taste for Lomography and Vinyl Records at Annual Conference for the Australasian Society for Continental Philosophy, La Trobe University, Melbourne, Australia, December 1215.
    • Del Favero, D. & Pagnucco, M. (2011). Artificially Intelligent Aesthetics,泭NIEA泭Experimental Arts Double Conference,泭UNSW, Sydney, DP0556659 (2005-2009).
    • Barker, T., Del Favero, D. & Hardjono, A. (2010). Memory Processes & Frontier Technology,泭War Literature & the Arts Conference, Air Force Academy, Colorado Springs,泭USA, DP0556659 (2005-2009).
    • Thwaites, D. (2010). Art and Political Economy: Deconstructing Kants Aesthetic Hierarchies at The 2nd Derrida Today International Conference, Kingston University, London, UK, July 19-21.
    • Del Favero, D., Brown, N., Shaw, J. & Weibel, P. (2007). Experimental Aesthetics & Interactive Narrative,泭Australian Council of University Art & Design Schools Conference,泭UNSW, Sydney, DP0556659 (2005-2009).
    • Del Favero, D. (2006). Interactive Narrative & Memory,泭Inviting Horror Conference, V2 Institute, Amsterdam, Netherlands.
    • Del Favero, D. (2005). The Aesthetic Transcription of Televisual Databases,泭Present Continuous Past Conference, University of the Arts, Bremen, Germany, DP0345547 (2003-2005).


  • Dennis Del Favero


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


    James Donald


    Mark W. Peters, Barry Drake


    Keir Smith


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


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


    Timothy Barker


    Timothy Barker


    Volker Kuchelmeister


    Volker Kuchelmeister


    Dennis Del Favero and Timothy Barker


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

Past Events

  • International Symposium
    Including Launch of the Publication泭Un_Imaginable

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

    ZKM泭Media Theatre,泭ZKM, Karlsruhe

    2 July 2008

    Ivan Dougherty Gallery, Sydney

    15 August 2008 2pm to 5pm

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

    UNSW泭Kensington Campus Kensington.

    21st September, 2007

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

    20072008

    泭

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

    Nottingham University

    8/07/2004 10/07/2004

  • Hochschule der Kuenste, Bremen

    14/05/2004 15/05/2004

  • Artspace and Ivan Dougherty Gallery, Sydney

    22/11/2001 15/12/2001

  • Cinemedia at Treasury Theatre, Melbourne

    30/11/2001 01/12/2001

Books

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

2008

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

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

泭published by Hatje Cantz, Germany

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

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

Jill Bennett

2008

Book and泭DVD

Published by泭ZKM/UNSW泭Press

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

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

Curator and Editor:泭Dennis Del Favero泭and泭

Design and Software:泭

2001

Book &泭DVD-ROM

Published by Hatje Cantz, Germany

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

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

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

ISBN泭3-7757-1087-6

Works Artists:

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

(dis)泭LOCATIONS泭Book

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

Essays:

  • Jeffrey Shaw (dis)LOCATIONS泭Introduction
  • Dennis Del Favero Digitally Expanded Forms of Narration
  • Lev Manovic Post-media Aesthetics
  • Anna Munster New Media as Old Media: Strategies for Dislocation and Relocation
  • Peter Weibel Post-Gutenberg Narrations
  • Jill Benett Notes on Memory, Narration and New Media
  • Ursula Frohne Show & Tell. The Discursive Idea of Things
  • Charles Green The Art of Friction
  • James Donald The World Turned Upside Down
  • Ursula Frohne Horror Vacui

Jill Bennett

2004

Hardback book of 150 pages with embedded泭DVD

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

in co-operation with iCinema Research Centre,泭UNSW

泭

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

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

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

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

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

Scott McQuire and Nikos Papastergiadis

2006

DVD/Book

Published by泭UNSW泭Press

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

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

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

The Anarchive Series: Digital Archives on Contemporary Art

Curated by Anne-Marie Duguet

2007

DVD泭video/DVD-ROM

Published by Anarchive

Anarchive n簞4:泭Jean Otth on the Council of Nicea

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

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

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

Jean Otth .on the Council of Nicea is composed of two dvds:

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

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

Credits

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

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

Price : 39

ISBN泭978-2-9518132-1-2

Distribution : Les Presses du r矇el info@lespressesdureel.com www.lespressesdureel.com 16 rue Quentin 21000 Dijon France tel +33 (0)3 80 30 75 23