#05 CGAT

Combined media monoprints on photographic paper. 8" x 10", DNA/Recombination Series. The Museum of Contemporary Photography, Chicago

#06 CTGA

Combined media monoprints on photographic paper. 8" x 10", DNA/Recombination Series. The Museum of Contemporary Photography, Chicago

#07 AGTC

Combined media monoprints on photographic paper. 8" x 10", DNA/Recombination Series. The Museum of Contemporary Photography, Chicago

#08 ATCG

Combined media monoprints on photographic paper. 8" x 10", DNA/Recombination Series. The Museum of Contemporary Photography, Chicago

#09 ACGT

Combined media monoprints on photographic paper. 8" x 10", DNA/Recombination Series. The Museum of Contemporary Photography, Chicago

#10 AGCT

Combined media monoprints on photographic paper. 8" x 10", DNA/Recombination Series. The Museum of Contemporary Photography, Chicago

#11 ATGC

Combined media monoprints on photographic paper. 8" x 10", DNA/Recombination Series. The Museum of Contemporary Photography, Chicago

#12 ACTG

Combined media monoprints on photographic paper. 8" x 10", DNA/Recombination Series. The Museum of Contemporary Photography, Chicago

De la Teor��a Institucional del Arte a la Curadur��a Creativa: revisi��n de una aproximaci��n institucional a la definici��n de lo "art��stico"

Es una revisi��n e interpretaci��n profunda de la Teor��a Institucional de Arte cuya reflexi��n se extiende hasta la Curadur��a Creativa, un fen��meno del arte contempor��neo, del que podr��a predicarse un estatus de obra de arte. El objetivo principal pretende defender las condiciones bajo las cuales la curadur��a puede considerarse una obra de arte.

Work/Family Balance: HRM Policy and Practice in Australia

An employee's inability to balance work and family responsibilities has resulted in an increase in stress related illnesses. Historically, research into the nexus between work and family has primarily focused on the work/family conflict relationship, predominately investigating the impact of this conflict on parents, usually mothers. To date research has not sufficiently examined the human resource management practices that enable all parents to achieve a balance between their work and family lives. This paper explores the relationship between contemporary family friendly HRM policies and employed parents perceptions of work/family enhancement, work/family satisfaction, propensity to turnover, and work/family conflict. Self-report questionnaire data from 326 men and women is analysed and discussed to enable organisations to consider the use of family friendly policies and thus create a convergence between the well-being of employees and the effectiveness of the organisation.

Party 25

Party 25 involved the conception and public launch of a radically new form of political party during that year���s Australian general election. The entire project was also intentioned as a conceptual artwork. Party 25 avoided conventional party-political approaches and was neither a protest group nor an advocacy organisation, but rather a new form of political association that confronted what we understood as the debilitating limits and impotence of contemporary parliamentary democracies in transitioning our societies towards ecological sustainability.----- Party 25 was based on responding to one fundamental question which all of its policies served - ���how does humanity get to the 25th century?��� By basing itself on a dramatically long-term approach uncommon within conventional politics it raised the proposition that humanity does not have an assured future. Party25 therefore shaped its agendas around the idea that any future now lies in human hands and so how humanity treats the ecologies on which it depends innately determines the quality of the inseparable relationship between its being, and the being of the biophysical world.----- The project was conceived through a number of discussion papers, workshops and creative works and was launched publicly at the Judith Wright Centre Brisbane accompanied by a full length showing of evocative imagery, text and sound, a series of speeches and the launch of a succinct web presence. Through the website and this party launch a community of interested participants and creative practitioners was sought who then would form the basis of a nascent community of change.

In step

In Step was a wearable artwork consisting of a pair of embroidered foot bandages and an actuator ���cushion��� embedded with 15 electromechanical actuator pistons. The bandage was embedded with woven, soft and flexible fabric sensors - interconnected with metallic connecting threads, fasteners and a wireless interface (in a final form). When wrapped around a foot and lower leg the sensors sat on the ball of the toes and heel. This ���wearable interface��� was then connected wirelessly to a soft sculptural form, which employed actuators to tap gently in response to the qualities of the walk detected by the soft sensors. In this way the ���tread qualities��� of the walker could then be felt by someone else holding this device against their stomach ��� thereby allowing pairs of participants to ���feel��� the tactile qualities of the other's walk. The work was presented both as a working object and via a short videorecorded performance.----- In Step generated innovative new approaches to interface and sensor embedded clothing/footware whilst also creating an evocative vehicle to comment upon contemporary Post Colonial theories of weight and groundedness ��� particularly the psycho-geographical ���separation��� from the landscape that inspired Paul Carter���s ���environmentally grounded poetics���. The work���s final form also suggested critical new directions for responsive clothing and footwear for the emerging genre of smart textiles.

Sounds of the suburb

Sounds of the Suburb was a commissioned public art proposal based upon a brief set by Queensland Rail for the major redevelopment at their Brunswick Street Railway Station, Fortitude Valley, Brisbane. I proposed a large scale, electronic artwork to be distributed across the glass fronted structure of their station���s new concourse building. It was designed as a network of LED based ���tracking��� - along which would travel electronically animated, ���trains��� of text synchronised to the actual train timetables. Each message packet moved endlessly through a complex spatial network of ���tracks��� and ���stations��� set both inside, outside and via the concourse. The design was underpinned by large scale image of sound waves etched onto the architecture���s glass and was accompanied by two inset monitors each presenting ghosted images of passenger movements within the concourse, time-delay recorded and then cross-combined in realtime to form new composites.----- Each moving, reprogrammable phrase was conceived as a ���train of thought��� and ostensibly contained an idea or concept about popular cultures surrounding contemporary music ��� thereby meeting the brief that the work should speak to the diverse musical cultures central to Fortitude Valley���s image as an entertainment hub. These cultural ���memes���, gathered from both passengers and the music press were situated alongside quotes from philosophies of networking, speed and digital ecologies. These texts would continually propagate, replicate and cross fertlise as they moved throughout the ���network���, thereby writing a constantly evolving ���textual soundcape��� of that place. This idea was further cemented through the pace, scale and rhythm of passenger movements continually recorded and re-presented on the smaller screens.

Access all

Access All was performance produced following a three-month mentorship in web-based performance that I was commissioned to conduct for the performance company Igneous. This live, triple-site performance event for three performers in three remote venues was specifically designed for presentation at Access Grid Nodes - conference rooms located around the globe equipped with a high end, open source computer teleconferencing technology that allowed multiple nodes to cross-connect with each other. Whilst each room was setup somewhat differently they all deployed the same basic infrastructre of multiple projectors, cameras, and sound as well as a reconfigurable floorspace. At that time these relatively formal setups imposed a clear series of limitations in terms of software capabilities and basic infrastructure and so there was much interest in understanding how far its capabilities might be pushed.----- Numerous performance experiments were undertaken between three Access Grid nodes in QUT Brisbane, VISLAB Sydney and Manchester Supercomputing Centre, England, culminating in the public performance staged simultaneously between the sites with local audiences at each venue and others online. Access All was devised in collaboration with interdisciplinary performance company Bonemap, Kelli Dipple (Interarts curator, Tate Modern London) and Mike Stubbs British curator and Director of FACT (Liverpool).----- This period of research and development was instigated and shaped by a public lecture I had earlier delivered in Sydney for the ���Global Access Grid Network, Super Computing Global Conference��� entitled 'Performance Practice across Electronic Networks'. The findings of this work went on to inform numerous future networked and performative works produced from 2002 onwards.

Knowmore (House of Commons)

Knowmore (House of Commons) is a large scale generative interactive installation that incorporates embodied interaction, dynamic image creation, new furniture forms, touch sensitivity, innovative collaborative processes and multichannel generative sound creation. A large circular table spun by hand and a computer-controlled video projection falls on its top, creating an uncanny blend of physical object and virtual media. Participants��� presence around the table and how they touch it is registered, allowing up to five people to collaboratively ���play��� this deeply immersive audiovisual work. Set within an ecological context, the work subtly asks what kind of resources and knowledges might be necessary to move us past simply knowing what needs to be changed to instead actually embodying that change, whilst hinting at other deeply relational ways of understanding and knowing the world. The work has successfully operated in two high traffic public environments, generating a subtle form of interactivity that allows different people to interact at different paces and speeds and with differing intentions, each contributing towards dramatic public outcomes. The research field involved developing new interaction and engagement strategies for eco-political media arts practice. The context was the creation of improved embodied, performative and improvisational experiences for participants; further informed by ���Sustainment��� theory. The central question was, what ontological shifts may be necessary to better envision and align our everyday life choices in ways that respect that which is shared by all - 'The Commons'. The methodology was primarily practice-led and in concert with underlying theories. The work���s knowledge contribution was to question how new media interactive experience and embodied interaction might prompt participants to reflect upon the kind of resources and knowledges required to move past simply knowing what needs to be changed to instead actually embodying that change. This was achieved through focusing on the power of embodied learning implied by the works' strongly physical interface (i.e. the spinning of a full size table) in concert with the complex field of layered imagery and sound. The work was commissioned by the State Library of Queensland and Queensland Artworkers Alliance and significantly funded by The Australia Council for the Arts, Arts Queensland, QUT, RMIT Centre for Animation and Interactive Media and industry partners E2E Visuals. After premiering for 3 months at the State Library of Queensland it was curated into the significant ���Mediations Biennial of Modern Art��� in Poznan, Poland. The work formed the basis of two papers, was reviewed in Realtime (90), was overviewed at Subtle Technologies (2010) in Toronto and shortlisted for ISEA 2011 Istanbul and included in the edited book/catalogue ���Art in Spite of Economics���, a collaboration between Leonardo/ISAST (MIT Press); Goldsmiths, University of London; ISEA International; and Sabanci University, Istanbul.