Ian Andrews, born 1961 is a Sydney-based independent artist and theorist who has worked prolifically in sound, video and film since the early 80s. While concurrently releasing projects through musical collective Clan Analogue, Andrews has created a vast body of work that combines irreverent 'culture-jamming' and agit-prop approaches with intelligent explorations of media saturation in contemporary culture. His works, which range from video and 16mm film to net.art and interactive works, have screened internationally at festivals and exhibitions including: Cybersonica, London; Spoleto Fringe Festival, Italy; and Perspecta 1993 at the Art Gallery of New South Wales. A graduate of the BA (Communications) degree at the University of Technology, Sydney, Andrews has also published a number of essays in journals such as NMA (New Music Articles) and Essays in Sound. In June 2001, the Sydney Film Festival featured a retrospective of his work from 1983 to 2001. He performs as a VJ (video jockey), continuing to release his original musical compositions, and authoring Flash interactive works for the web, Andrews teaches at UTS.
Media academic, sound/music, DAB at UTS
UTS academic, Design
Creativity and Cognition Studio, UTS
Damian Castaldi is an established sound artist currently based in Sydney, Australia. He has worked for leading educational, cultural and industry based organisations in the varying roles of academic, sound designer, musician, consultant and research coordinator. He has pursued a successful career as an independent artist and is a highly regarded educator, facilitator and communicator in his field. Most recently he has held rewarding part-time and contract positions as lecturer in audio production at the University of Technology Sydney, lecturer in audio production at SAE and music and arts editor for the Sydney based Loop Magazine.
Annmarie is a researcher, author and project manager for academic and industry related projects in the media arts. She is a former senior academic of UTS. Her current research is a collaborative ARC Linkage project, "Outside the Box": Television 2018, investigating the crucial strategic issues looming for Australian audiovisual media industries.
Television Research Blog: http://futureoftelevision.wordpress.com/ (opens an external site).
Annmarie is co-editor with Norie Neumark of "At A Distance, Precursors to Art and Activism on the Internet", MIT Press 2005, 2006. UTS research page
Curator, Powerhouse Museum
Appointed Director of d/Lux Media Arts in 2003. Prior to this David was Curator at the Casula Powerhouse Arts Centre. Additional activities include Guest International Curator Video Brasil São Paulo 2007. Founding member of the Video Art Archive Network, Seoul 2007 and Project Director Face to Face Portraiture in the Digital Age, touring nationally 08-10. David is also a member of the private sector MCIDG [Mobile Content Industry Development Group] and creative advisor to the development group for the Sydney Sustainable Lighting Festival 09.
Sherre de Lys
Sherre de Lys
Sherre DeLys is an audio artist and executive producer of Pool, ABC's social media project for online collaboration.
Sherre has worked with some of her favourite writers and musicians to create radio art and documentaries, while a long-standing partnership with sculptor Joan Grounds has seen the pair create over twenty public sound sculptures.
Her collaborative work has been commissioned by national broadcasters and artist-run internet stations, presented at major museums and cultural centres in Europe, America and Australasia, and awarded international jury prizes. Sherre has performed with improvising music groups, created sound designs for Sydney Theatre Company, hosted conversations with musicians for ABC TV, taught and published on sound art and documentary and worked with architects and other artists on sound installations. She's enjoyed team work as producer for The Listening Room at the ABC and The Next Big Thing, WNYC. She was an Australia Council New Media Fellow 2000-2202.
Director, Creativity and Cognition Studio, UTS
Keith Gallasch is Managing Editor of RealTime, the national magazine focused on innovation in the arts, which he co-founded with Virginia Baxter in 1994. After an academic career in the 1970s in Adelaide and an MA at the University of Essex, he moved into theatre writing and directing and then formed the contemporary performance company Open City in Sydney with Virginia, creating works from 1987 to 1996, mostly at Sydney's Performance Space and also for ABC FM's The Listening Room. He has sat on a number of funding bodies, worked extensively as a dramaturg and written libretti for The opera Project. For the Australia Council he produced and co-edited the In Repertoire series of booklets promoting Australian performance internationally. On the occasion of the dismantling of the New Media Arts Board, he wrote Art in a Cold Climate, Re-thinking the Australia Council, published in Currency House's Platform Paper series. He was co-editor and project manager for the Australian Film Commission book Dreaming in Motion, A Celebration of Australian Indigenous Filmmaking,launched in 2007 - the first book on this subject. For RealTime he has run review-writing workshops around Australia, in the UK and, recently, Canada, and is about to facilitate the INFUSE forums in Hobart and Darwin, helping artists talk and write about their hybrid practices.
Ian Gwilt is a Digital Artist and Program Director in Visual Communication at the University of Technology Sydney (UTS), Australia. Ian holds an MA in Interactive Multimedia, jointly conferred by the University of Balears (UIB) in Spain, and the Royal College of Art (RCA) London UK. And in the last 11 years has shown interactive installations and digital work at a number of international new media events, galleries and exhibitions including; ISEA, Transmediale, Siggraph, Mila, IV0 and ARCADE. Is own research is in augmented reality - installations and artefacts.
Nigel Helyer (a.k.a. Dr Sonique) is an independent Sydney based Sculptor and Sound-Artist with an international reputation for his large scale sound-sculpture installations, environmental sculpture works, museum inter-actives and new media projects.
His practice is strongly inter-disciplinary, linking a broad platform of creative practice with scientific Research and Development in both Academic and Industrial contexts. His activities include; the development of the "Sonic Landscapes" virtual audio reality system in collaboration with Lake Technology (Sydney) and the ongoing "AudioNomad" research project in location sensitive Environmental Audio at the School of Computer Science and Engineering at the University of New South Wales.
Nigel is an honorary faculty member in Architectural Acoustics at the University of Sydney and a Professorial Visiting Fellow at the school of Computer Science and Engineering at UNSW. He has recently held positions as Visiting Professor at Stanford University, Artist in Residence at the Paul Scherrer Institut in Switzerland and he maintains active links with The Exploratorium Museum in San Francisco and the "SymbioticA" biotechnology lab at the University of Western.
Nigel is a co-founder and commissioner of the "SoundCulture" organisation; was a fellow of the Australia Council for 2002/3, the winner of the Helen Lempriere National Sculpture Award 2002 and curator of "Sonic Differences", part of the Biennale of Electronic Arts Perth 2004. He is currently an Arttist in Residence at the National University of Singapore, Marine Mammal Research Centre and holds the ABC Radiophonic Fellowship for 2008.
As an active network-facilitator with a background in engineering, hard science, and the arts, John Hopkins practices a nomadic form of performative art and teaching that spans many cultures and situations. He has taught practice-oriented workshops on techno-social systems and creativity in more than 20 countries and 50 cultural institutions. As an independent artist, his live/network-based visual-sonic performance work has surfaced at Ars Electronica (Linz), Transmediale (Berlin), Pixelache (Helsinki), RAM (Vilnius), (no)Music (Paris), DEAF (Amsterdam) and other locations virtual and otherwise. He studied film with renown experimental film-maker, Stan Brakhage. He was recently artist-in-residence at the Center for Land Use Interpretation in Utah and the online-facilitator for the Transmediale09 Deep North festival in Berlin. He has experienced more that twelve minutes of totality during solar eclipses worldwide and enjoys slow movement through extreme natural environments. He maintains an extensive network presence based at http://neoscenes.net (opens an external site).
Annemarie Jonson currently heads up media communications, web development and online projects for a conservation organisation, and writes widely on technology, ethics and the arts for journals and mainstream publications such as the ALR, the Australian and SMH. She has a long history of involvement in projects and events relating to media arts, technology and sound. Annemarie was founding joint editor with Alessio Cavallaro of OnScreen, the screen and digital media supplement of RealTime, and co-founded the journal Essays in Sound and the group Contemporary Sound Arts. With Darren Tofts and Alessio Cavallaro, she co-edited the book Prefiguring Cyberculture: An intellectual history for MIT Press and Power Publications (2002). She was active on the organising committee for the international Artificial Life conference at the Powerhouse Museum in 2001. Previously, she has worked as research communications manager for the Arts Industry Training Council, where she led research projects for the Commonwealth including the National Multimedia Education and Training Strategy in the mid 90s. Annemarie has taught widely in design, digital studies and communications at UWS, UTS and the University of Sydney. She has Masters degrees in Communications from UTS and in Art History and Theory from the University of Sydney, where she completed her PhD in artificial life, and was the inaugural lecturer in the Arts Informatics program (now Digital Cultures).
Media academic Adjunct Researcher UTS: Communication
Media academic Internet Researcher UTS: Communication
Maria Miranda is a (new) media artist. Currently she is completing a PhD at Macquarie University in Sydney, researching media art in public spaces. Her collaborative work with Norie Neumark includes Talking about the Weather, Searching for rue Simon-Crubellier and The Fourth Floor: le quatrième étage.
Lizzie Muller is a curator, writer and researcher specialising in interaction, audience experience and interdisciplinary collaboration. She is currently completing a practice-based PhD with the Creativity and Cognition Studios at the University of Technology, Sydney. Recent curatorial projects include Mirror States at Campbelltown Art Centre, Sydney and MIC, Auckland (May-August 2008). She is the co-organiser of the research project Thinking Through the Body, funded by the Australia Council. In 2007 she was researcher in residence at the Daniel Langlois Foundation in Montreal. Between 2004-2006 Lizzie was founding curator of Beta_space; a dedicated venue for exhibiting "prototypes" of interactive artworks at the Powerhouse Museum, Sydney.
Lizzie has published widely on computer-based and interdisciplinary art in academic contexts and in the art press. She lectures in art, curatorial practice and human-centred design at undergraduate and post-graduate level.
Karen Pearlman is the Head of Screen Studies at the AFTRS, and the co-artistic director of The Physical TV Company, was produces live, printed and screen arts work across many platforms. Her doctoral thesis (UTS, 2006), /Cutting Rhythms / will be published by Focal Press in Boston in early 2009.
Associate Editor, Real Time
Carla Teixeira is an audiovisual archivist with seventeen years combined experience in the arts, entertainment and museums industries. Carla has worked with Stalker Stilt Theatre and Marrugeku Companies and was a member of the Opening and Closing Ceremonies Team for the Sydney 2000 Games. Currently working at the National Film and Sound Archive (NFSA), Carla has revitalised the contemporary sound holdings in the National Collection, to incorporate Australian experimental music and sound art. She has broad knowledge of progressive and obsolete audiovisual formats and curatorial knowledge of the NFSA's film and sound collections. She coordinated the archival radio project: Ten Minutes of Passion: To create a series of radio programs involving radio program makers in fusing archival audio with contemporary sound, to explore the emotion of passion, for broadcast across the Community Broadcasting Association of Australia network. Carla is a contributor to Australian Electronic Music Magazine, Cyclic Defrost.
Darrall Thompson is originally from the UK but emigrated to Australia and became a full time academic at the University of Technology, Sydney in '93. His main research areas are information design, interface design, graduate attribute development and the use of technology in education. He has had many grants and publications in these areas. Notably he has collaborated on a Web/Radio project (opens an external site) for the ABC and been responsible for the design and implementation of holistic assessment processes facilitated by software that he has also designed. Darrall is now Director of Teaching and Learning and Senior Lecturer in the School of Design at UTS and Conjoint Senior Lecturer at the University of Newcastle in the Faculty of Science and Information Technology.
Curator, Sound of Failure, Sound Art Festival, HDR Student
Melanie's research centres on newer media with particular attention to media arts and digital games, as well as the intersections of these. Her work has been published in journals such as Convergence, Reconstruction, Vectors, and the Journal of Visual Culture. Melanie's anthology The Pleasures of Computer Gaming: Essays on Cultural History, Theory and Aesthetics (co-edited with Jason Wilson) came out in 2008 (McFarland). A PhD graduate of UTS, Melanie is currently completing a suite of projects on the history of digital games in 1980s New Zealand, including a software preservation project with her collaborators in the NZTronix (opens an external site) team.
Deborah Turnbull is a curator and arts administrator. Her main curatorial project focuses on the audience's role in interactive art, which fuels her interest in how new media can augment traditional art practise. Deborah facilitates this interest by curating Beta_Space (opens an external site) through the Creativity and Cognition Studios, a new media prototype exhibition space at the Powerhouse Museum. She previously managed the 2006 CCS Symposium ENGAGE: Interaction, Art and Audience Experience (opens an external site), held in November 2006, and was named co-editor on the proceedings. She has co-ordinated with AMP for the Innovation and Thought Leadership Festival, curated and co-ordinated a live performance at Carriageworks (opens an external site) (Sydney) called Correspondences in Sound and Vision (opens an external site); and has worked in collaboration with the Conny Dietzschold Gallery (Sydney), the UTS Gallery (Sydney) and Federation Square (opens an external site) (Melbourne).
Jessica Tyrrell is a Sydney-based new media artist who works at the intersection of installation, audio/visual performance, sound, video, online & locative media. Fusing a cinematic sensibility with a love of poetic text, she creates works that draw out fragmented narratives and often incorporate documentary elements. Jessica's work has been included at various festivals in Australia, such as Liquid Architecture, Real Life on Film (ACMI), & Electrofringe and she has recently exhibited at Carriageworks & Chalkhorse Gallery in Sydney.