A short article titled Remote Encounters: a report about networking practitioners on the Remote Encounters conference and Liminalities journal special issue published on Digicult.it. The report specifically addresses my own objectives as both organiser of the conference and journal issue and artist/researcher.

Why is it important to know about the developments of Google and its influences on society? What bearing has this on new media art? To date new media art has been an information based art form, but not necessarily an informed one. Information has been used in various ways, background noise, continuously flowing content, as a trigger to indicate a…[Read more]

Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance was a two-day international conference with performance evening organised and chaired by myself at the University of South Wales on the 11th and 12th of April 2013. Its purpose was to explore the use of networks as a means to enhance or create a…[Read more]

A review of HFT The Gardener, the exhibition by Susan Treister at Annely Juda Fine Art, London (22/09/2016 – 29/10/2016) published at Furtherfield.org (http://furtherfield.org/features/reviews/hft-gardener-network-financial-trading-drugs-and-botany). This review relates Treister’s work to the artistic visualisation of networks and the links…[Read more]

This paper for the Journal of Media Practice / MeCCSA Practice Network Symposium titled Post-Screen Cultures/Practices on the 10/06/2016, presented four networked art practice works undertaken since 2014. The works included: – This is Real Virtuality (2014), a networked photographic and text-based performance in weblog form consisting of a first…[Read more]

This paper for the Journal of Media Practice / MeCCSA Practice Network Symposium titled Post-Screen Cultures/Practices on the 10/06/2016, presented four networked art practice works undertaken since 2014. The works included: – This is Real Virtuality (2014), a networked photographic and text-based performance in weblog form consisting of a first…[Read more]

The Art of Networks and Networks as Art is the title of a performance/presentation given at the 12th Annual Subtle Technologies Festival on the theme of Networks. The performance/presentation focused on the development of my work over the last five years and the role of networks within artistic practice. This was detailed in its most obvious sense…[Read more]

The Art of Networks and Networks as Art is the title of a performance/presentation given at the 12th Annual Subtle Technologies Festival on the theme of Networks. The performance/presentation focused on the development of my work over the last five years and the role of networks within artistic practice. This was detailed in its most obvious sense…[Read more]

In under a decade and a half, net.art has developed from an obscure to a hyped form, gaining acceptance in the institution and being absorbed into popular culture. Why net.art has become associated with the web and not networks in general is evident within the form itself. The advantages the web embodies as an arena to conceive, create and present…[Read more]

In under a decade and a half, net.art has developed from an obscure to a hyped form, gaining acceptance in the institution and being absorbed into popular culture. Why net.art has become associated with the web and not networks in general is evident within the form itself. The advantages the web embodies as an arena to conceive, create and present…[Read more]

On the second and final day of the conference Remote Encounters: Connecting Bodies, Collapsing Spaces and Temporal Ubiquity in Networked Performance proceedings closed with a roundtable discussion entitled Performance Systems: Making vs. Exploiting. The purpose of the roundtable was to explore performance systems used by artists and to…[Read more]

On the second and final day of the conference Remote Encounters: Connecting Bodies, Collapsing Spaces and Temporal Ubiquity in Networked Performance proceedings closed with a roundtable discussion entitled Performance Systems: Making vs. Exploiting. The purpose of the roundtable was to explore performance systems used by artists and to…[Read more]

This special issue of Liminalities has been compiled from the outcomes of the conference Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance held at the University of South Wales on the 11th and 12th of April 2013. By providing an overview of contributions to the issue this editorial aims to both…[Read more]

This special issue of Liminalities has been compiled from the outcomes of the conference Remote Encounters: Connecting bodies, collapsing spaces and temporal ubiquity in networked performance held at the University of South Wales on the 11th and 12th of April 2013. By providing an overview of contributions to the issue this editorial aims to both…[Read more]

This article discusses the artist Garrett Lynch’s residency in Second Life® at Yoshikaze ‘Up-in-the-air’, HUMLab, Umeå University in Sweden. The artist’s mixed-reality live performance and installation work in the ‘virtual’ world, part of a wider artistic practice on networks, focuses on the identity and role of the artist within an environment m…[Read more]

This article discusses the artist Garrett Lynch’s residency in Second Life® at Yoshikaze ‘Up-in-the-air’, HUMLab, Umeå University in Sweden. The artist’s mixed-reality live performance and installation work in the ‘virtual’ world, part of a wider artistic practice on networks, focuses on the identity and role of the artist within an environment m…[Read more]

Audiences are experiencing a growing apprehension and distrust of interaction in art and a reluctance to engage with art that employs it. Interactive art can be categorised in broadly two ways: works that are highly technological or works that are highly social. While apprehension of interaction in art has always existed it is proposed that rather…[Read more]

Audiences are experiencing a growing apprehension and distrust of interaction in art and a reluctance to engage with art that employs it. Interactive art can be categorised in broadly two ways: works that are highly technological or works that are highly social. While apprehension of interaction in art has always existed it is proposed that rather…[Read more]