ETITO – industry skills partner and leader
Andrew Hornblow is an inventor, engineer and National Moderator for ETITO, an industry training organisation for the electrotechnology and telecommunications industries. It is a standards setting body whose goal is to ensure that enough skilled people are available to work in these industries.
ETITO began the Bright Sparks programme more than 10 years ago to foster the skills of young people who are keen on technology. Through a website, an online forum, one-on-one mentoring and qualifications in schools, the Bright Sparks programme has unleashed the genius and creativity of hundreds of talented young people. Andrew Hornblow tours the country giving electronics workshops as part of Bright Sparks.
ETITO created Bright Sparks in 2000 to nurture those students who will be our nation’s future engineers, electricians and programmers. At its core, Bright Sparks is about bringing together people with an interest in technology so they can exchange ideas and information, and give encouragement to those who are just strating out. It’s also about getting young people to experience electronics directly through a project-based approach.
Hornblow has also provided customised – built from the ground up including the circuit board – electronics for creative projects Te Iarere, The Park Speaks, Taranaki Fence, and Haiku robots.
Leon Cmielewski and Josephine Starrs (http://lx.sysx.org) are artists whose long-term collaboration has produced a variety of screen-based installations. Their recent media artworks are situated at the juncture of cinema, information visualisation, and data mapping, playing off the tensions between the large and small screen, and between information and sublime landscape.
Cmielewski is a Design Lecturer at the School of Humanities and Communication Arts at the University of Western Sydney. Starrs is a Senior Lecturer and Chair of Film and Digital Art at Sydney College of the Arts, Sydney of University.
Selected Recent Solo Exhibitions
2012 Incompatible Elements Canberra Contemporary Artspace
2011 Incompatible Elements, Auckland Festival of Arts, MIC | Toi Rerehiko, Auckland,NZ.
2010 Incompatible Elements, Performance Space, Carriageworks, Sydney.
2010 Land[sound]scape installation, Chinese Garden of Friendship, Sydney.
2007 Plaything installation, Sydney College of the Arts.
2007 Seeker installation, Artspace, Sydney, NSW.
2006 Seeker installation, Experimental Art Foundation, Adelaide, S.A.
2002 Dream Kitchen, interactive animation, Institute of Modern Art, Brisbane.
Selected Recent Group Exhibitions
2012 Wonderland, New Contemporary Art from Australia, Museum of Contemporary Art, Taipei, Taiwan.
2011 Incompatible Elements, Sydney and Sookmyung Exhibition, Seoul, Korea
2011 Waterways, Urbanition, SFAC Gallery, San Francisco, USA.
2011 Waterways, Urbanition, Carriageworks, Sydney.
2011 a.k.a Utopia Now, MONA, Hobart, Tasmania.
2011 Kitchen Carnage<<<(((Mods&Hackers)))>>> Game Modification, Hacking,Patching, and Code-Based Practices within Contemporary Art, YoungProjects, Los Angeles, USA.
2010 Encoded, Art Taipei 2010, Taiwan.
2010 a.k.a Utopia Now Experimenta Media Art Biennale, Melbourne.
2009 sms origins, Big Screen project, Federation Square, Melbourne.
2008 Land[sound]scape installation. Guangzhou Triennial, Guangzhou, China.
2007 Seeker installation, Ars Electronica, Linz, Austria.
2006 Seeker installation, Contemporary Commonwealth 06, ACMI Melbourne Vic.
2005 In the Line of Flight, Beijing, China. Floating Territories installation.
2004 Media_city Seoul 2004, Bio-Tek Kitchen, computer game modification.
2004 ISEA2004, Finland. Floating Territories installation.
2003 Bio-Tek Kitchen, House of Tomorrow, Experimenta, Black Box, Melbourne.
2003 Computerspiele von Kunstlerinnen, Hartware, Dortmund, Germany, Bio-Tek Kitchen,
computer game modification.
2003 Version03, Museum of Contemporary Art, Chicago, Bio-Tek Kitchen.
2002 Trace, installation, Sydney Records Centre, The Rocks, Sydney.
2002 Transmediale Media Arts Festival, Berlin, a.k.a. digital video.
2002 European Media Arts Festival, Osnabrük, Germany a.k.a. digital video.
2002 Contagion, Auckland, New Zealand. a.k.a. digital video.
Selected Published Reviews
J. Randerson RealTime issue#104 August/September 2011. Critical Flows: climates and peoples. Review of Incompatible Elements solo show at the Auckland Arts Festival, NZ
J. Sjaastad ArtRadar Asia interview March 2011. Words in Art: Australian artist Josephine Starrs maps rivers with poetry.
J. Hurrell EyeContact, March 2011 Review of Incompatible Elements solo show at the Auckland Arts Festival, New Zealand.
K. Gallasch RealTime issue #95 Feb-March 2010 Lake Mungo as Medium
Review of Land[sound]scape Chinese Garden of Friendship, Sydney.
A. Finegan Artlink Vol 27, no3, 2007 Databases: Recombinant Interactives.
Wai opened with a Tomo Whakaari, a dawn ceremony following Maori protocol at 6.53am September 19 at 516 Arts in Albuquerque. We were privileged to have Johnson Dennison, a Navajo Medicine Man contribute some Navajo ceremony.
Wai seen through an adjacent art work
Author: Ian Clothier
In 2011 at ISEA Istanbul “Te Kore Rongo Hungaora: Uncontainable second nature” brought together for the first time, Mātauranga Māori (traditional Māori knowledge pre-colonisation) and Western science in the context of electronic art. Kaumatua (respected elder) Dr Te Huirangi Waikerepuru contributed “Te Taiao Māori” and Associate Professor Mike Paulin of the Zoology department in Otago University, exhibited a blu ray disc of selected portions of his “Computational Visualization of the Electromagnetic Sensory World of Sharks”.
These two works were selected along with eight others, in accordance with five curatorial themes: cosmological context, all is energy, life emerged from water, anthropic principle and integrated systems.
This paper provides images of the works in the exhibition and describes the ways in which the works intersected the themes. An unexpected outcome of the project was to find that the interconnections were many, rather than few.
Author: Jock McQueenie
The Art of Engagement will address the role of the artist in technology mediated social participation with particular reference to partnerships between the arts, industry and communities in regional centres. This will be illustrated by examples from current projects in Queensland, Tasmania and Western Sydney. Having considerable experience in New Zealand, and in particular the Taranaki region, I would draw links between these examples and the local context.
Authors: Mark Harvey, Dermott McMeel, Becca Wood, Mark Jackson, Maria O’Connor
“As we sit here at this table and try to think about what we are going to talk to you about we just can’t quite come up with something because we keep being distracted by the feeling of these uncomfortable seats, our bad air and the hot sun probing into our necks. Our bodies can’t take it. Our foolish bodies. We need some technology. Any technology. Anything that can give us a quick fix. Our bodies are so difficult for our lifestyle and our environment. What we want are perfect bodies that don’t need technological interventions. So we’ll just have to make do.” (Crunch, 2012)
Body Imperfect will explore through choreographic performance and architectural/spatial studio practices and theoretical discourse the concept of what it means to test the human body from an audience’s perspective as an imperfect albeit difficult and polluting site in relation to technology. Rather than exploring the notion of the ideal body that is so often associated with disciplines like dance modernism and prosaic spatial ergonomic posture diagrams for the ‘ideal’ use of your work environment and furniture, we will explore the audience’s embodied environment through technological interventions that might not fit within normalized Western codes of acceptability and usefulness – via ‘the foolish body’. We will explore how this can interface through technologies, both in spirit and through digital apparatuses and interventions.
Foolishness in this sense might be conceived of through the actions of Maui the trickster, and other like-minded assassins of our sensibilities as elucidated by Lewis Hyde (1999). Maui through cunning reveals the ridiculous, hidden within the so-called day-to-day and public spectacle – of for instance the ridiculousness of his brothers who mocked him before he fished up the Te Ika a Maui (the fish of Maui, the North Island). We posit that it is not just if Maui and Fyodor Dostoyevsky’s ‘the Idiot’ (1992) go to a dance party in West Auckland, fall in love and procreate by mistake and regret it, but when we add in a mix of Frederich Nietzsche’s (1974) call to play the fool in The Gay Science (2001), Michel Foucault’s ‘techniques of the body’ (1975, 1978-1979), the ever pervasive Gilles Deleuze and Felix Guattari’s ‘bodies without organs and desiring machines’ (1972), some deodorant, some breath freshener and some bifocals so as to reconsider a sense of spatiality, the foolish body becomes a device for scrutinizing the environment, creative practice and technology.
Each panelist will offer up their current obsessions with the imperfect and body, technology and the performance environment in relation to Maui the trickster, using one or more of the above notions as a point of reflection and/or departure. We will present on the potentials that fooling around with MP3 players, and light sound and touch sensors can bring to messing with the choreographic expectations and environment of participating audience members with lighting, sound and their own somatic responses. We do not promise a pleasant journey but we aim to offer some revitalized readings and approaches on how we can interface with our corporeal identities when they are dispersed, intersected, multiplied, decentered and dematerialized by prosthetic technologies and related reflections. Questions asked by us will include what it means to play with: tensions between expectations of performance and environment and the real of the body with technology, scales of the body in relation to techno-desire, and how did we get ourselves into this mess in the first place.
Co-conveners and co-panelists: Dermott McMeel (architecture and technology researcher, School of Architecture, NICAI, The University of Auckland) and Mark Harvey (performance artist, Dance Studies NICAI, The University of Auckland)
Invited co-panelists: Becca Wood (Dance Studies, U of A), Mark Jackson (Spatial Design, AUT) and Maria O’Connor (Spatial Design, AUT). Consultant: Te Oti Rakena (School of Music, U of A/ Taranaki iwi).