In this article we propose to reignite a debate regarding the origin shawm (śahnāī or surnā) that had been started by Nazir Jairazbhoy in 1970 , and taken up by him again in 1980, in response to interesting suggestions by Deva and Dick.

The intense changes that transformed Lisbon’s urban fabric between 1864 and 1908 were a key agent in reshaping the political economy of sound in the city.1 During the second half of the nineteenth century, Lisbon was getting to grips with modernity in a period when not only was the term ‘modern’ starting to be seen in a positive light, but moder…[Read more]

Recently, international media outlets have celebrated São Paulo for its cosmopolitan musical output and its vibrant street art scenes. That discourse connected the city other generative periods in the histories of so-called “global cities,” such as New York of the 1970s. In those cities, the simultaneous developments of multiple creative scenes…[Read more]

Recently, international media outlets have celebrated São Paulo for its cosmopolitan musical output and its vibrant street art scenes. That discourse connected the city other generative periods in the histories of so-called “global cities,” such as New York of the 1970s. In those cities, the simultaneous developments of multiple creative scenes…[Read more]

Auction action – commission an artwork, listed on eBay as ART, LIMITED EDITION, PRINT | Auction action – commission an artwork #exstrange, were transformative actions that occurred within the context of the networked performance Transformations: Actions to Matter / Matter to Actions. Transformative actions within Transformations attempt to sou…[Read more]

Article from the proceedings of the conference “Europa baut auf Biographien”

Behind every printed national biography is a board of editors responsible for finding established scholars to write the biographies. The personal and institutional networks, the scientific and ideological socialization of these authors have a significant influence on the biographical constructs and narratives they have designed, and thus also…[Read more]

Personal and object biographies can be interwoven and reveal much about the transnational connections between Australia and other places. This chapter features two interwoven biographies: Guna Kinne, a Latvian Displaced Person who began making a national dress as a school girl in Latvia and continued to make it as she fled the Soviet army to…[Read more]

The Museum of Chinese Australian History reopened on 29th August 2010 with newly refurbished exhibitions displaying Chinese Australian history and contemporary Chinese Australian identities. This article reviews the new exhibitions in comparison with the Gum San Heritage Centre at Ararat and the Golden Dragon Museum at Bendigo and specifically…[Read more]

SHOWING OFF: QUEENSLAND AT WORLD EXPOSITIONS 1862 TO 1988 BY JUDITH
MCKAY. ROCKHAMPTON AND SOUTH BRISBANE: CENTRAL QUEENSLAND UNIVERSITY
PRESS AND THE QUEENSLAND MUSEUM, 2004; 128PP, APPENDIX, NOTES,
BIBLIOGRAPHY AND INDEX; PAPERBOUND, $29.95

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]

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]