Journal Articles

Whitelaw, M. “Mashups and Matters of Concern: Generative Approaches to Digital Collections.” Open Library of Humanities 4(1) (2018), p.26. DOI: http://doi.org/10.16995/olh.291

Schofield, T., M. Whitelaw and D. Kirk, “Research through design and digital humanities in practice: What, how and who in an archive research project.” Digital Scholarship in the Humanities 32(Suppl 1) 2017, i103–i120. https://doi.org/10.1093/llc/fqx005

Pia van Gelder, “Bodies and Energy, Circuits and Sound: Rethinking and Listening to Leon Ernest Eeman’s Relaxation Circuit with a Biosynthesiser,” Journal of Sonic Studies 16 Materials of Sound, https://www.researchcatalogue.net/view/459050/459051

 

Book Chapters

Barclay, E., and Munt, A.,“Dispositifs At Play: Artists’ Moving Image in the Gallery” in Batty, C., Berry, M., Dooley, K., Frankham, B., Kerrigan, S. (eds) The Palgrave Handbook of Screen Production, Palgrave Macmillan, UK. (2019)

Barclay, E., “Uncertain Predicaments’, Murray Art Museum Albury MAMA Art Foundation National Photography Prize 2020, MUMA press (2020)

M. Whitelaw. “Succession: a Generative Approach to Digital Collections.” In The Routledge international Handbook of New Digital Practices in Galleries, Libraries, Archives, Museums and Heritage Sites. Eds H. Lewi; W Smith; S Cooke; D vom Lehn. Forthcoming: Routledge, 2019.

Beaven, Lisa, K. Grant and M. Whitelaw. “Digital Cartographies of the Roman Campagna.” In The Routledge Research Companion to Digital Medieval Literature. Ed. Jennifer Boyle and Helen Burgess. Routledge, 2018. 212-226.

Sluis, Katrina. “As We May <blink>”. In Olia Lialina: Net Artist, Ed. Valérie Perrin. Forthcoming: Les Presses du Réel, 2020.

Sluis, Katrina. “Beyond Representation? The Database-Driven Image and the Non-Human Spectator”. In A Companion to Photography, Ed. Stephen Bull. John Wiley & Sons, 2020. 113–29.

Rubinstein, Daniel, and Katrina Sluis. ‘A Life More Photographic: Mapping the Networked Image’. In The Photography Cultures Reader: Representation, Agency and Identity. Ed. Liz Wells. Routledge, 2019.

Sluis, Katrina. “Accumulate, Aggregate, Destory: Database Fever and the Archival Web”. In Lost and Living (in) Archives: Collectively Shaping New Memories, Ed. A. Dekker, Amsterdam: Valiz, 2017. 27–41. Download: https://monoskop.org/images/1/11/Dekker_Annet_ed_Lost_and_Living_in_Archives_2017.pdf

Devine, K. 2018 ‘A Drama in Time: The life of a city’ in da Câmara, Bottaini, Alves, Murteira, Barreira, Botelho, Rodrigues (eds), Cities in the Digital Age: Exploring Past, Present And Future, CITCEM, Lisbon pp.173-184

ISBN: 978-989-8970-10-7 https://ler.letras.up.pt/site/default.aspx?qry=id024id1674&sum=sim | https://doi.org/10.21747/9789898970107/citi

Conroy, R. 2017 ‘Paphos theatre’ in Travellers from Australia C. Barker and D. Wood Conroy (eds.) , pp. 14-15 ISBN 978-1742104195.

Conroy, Rowan and Kate Warren, 2019 Rowan Conroy: Sightseeing E.L Conroy, D. Wood Conroy (eds.) Catalogue of the exhibition 'Sightseeing', Goulburn Regional Art Gallery. 42pages. ISBN 9780987586391

Caleb Kelly and Pia van Gelder, “Livening Things Up: Australian Hand Built Electronic Instruments,” ed. Nicolas Collins, Handmade Electronic Music: The Art of Hardware Hacking, 3rd Edition, Routledge, Forthcoming

 

Fully Refereed conference proceedings

Pailthorpe, Baden 2019, 'Dream Clanger', SIGGRAPH ASIA Art Gallery/Art Papers, doi:10.1145/3354918.3366355
 

Additional Research Outputs (conference papers, essays, exhibitions, software etc)

Barclay, E., “Access Remote Fervour” in “Experimenta Make Sense: International Triennial of Media Art”, curated by Jonathan Parsons, RMIT Gallery 2017, The Lock-up, Newcastle, 3 February – 18 March, 2018, Plimsoll Gallery, School Of Creative Arts, Utas, Hobart 20 April - 27 May, 2018 Tweed Regional Gallery And Margaret Olley Art Centre, Murwillumbah, Nsw, 27 July - 23 September, 2018, Rockhampton Art Gallery, Rockhampton, 13 October - 18 November, 2018, Latrobe Regional Gallery, Morwell, 6 April - 30 June, 2019, Usc Art Gallery, Sunshine Coast 12 July - 7 September, 2019. New England Regional Art Museum, Armidale 8 November 2019 - 2 February 2020, Albury Library Museum 9 May 2020 - 26 July 2020.

Barclay, E., “This Comes to You From the Past”, artwork commission (14,000) for “Light Geist” curated by Erin Coates, Fremantle Art Centre WA (2017) Barclay, E., “A Giddiness Best Left Unsaid” (2018), Commission, Soft Centre curated by Sam Whitesite, NSW (2018)

Barclay, E., “New World Order”, (curator) Casula Powerhouse Art Centre, NSW (2017)

Barclay, E., “Active Promoters of Error” (2019), Commission for “Stacks and Sleeves: A Posthuman Landscape” Curated by Rachael Kiang and George Adams, Gallery Lane Cove and Galerie PomPom, Sydney (2019)

Barclay, E. “Summoning the Nereid Nerdz”, for “Curious and Curiouser” curated by Julian Woods, Bathurst Regional Art Gallery 2018.

Pailthorpe, Baden 2019, 'Asset Pack', Four 4K real-time animations, three computer sculptures, four lightboxes. Solo exhibition, Sullivan+Strumpf, Sydney, 2019.

Pailthorpe, Baden 2019, 'One and Three PCs', Computer sculpture, GAN video, real-time animation., Group exhibition: 'The Invisible Hand', 4A Centre for Contemporary Asian Art, Sydney. Curated by Michael Do.

Pailthorpe, Baden 2019, 'Procedural/Portrait', 6-channel video installation, colour, sound, 6 mins., Commissioned for the inaugural exhibition 'ENTER' at Lyon Housemuseum, a major new private museum in Melbourne.

Thwaites, Denise & Pailthorpe, Baden 2019, 'Blocumenta An Experimental Art Project Using Blockchain', Curated group exhibition, Artspace, Sydney.

Thwaites, Denise & Pailthorpe, Baden 2019, 'Blocumenta An Experimental Art Project Using Blockchain', Association for Digital Humanities Organisations, Digital Humanities Conference 2019, Utrecht, Netherlands.

Pailthorpe, Baden 2018, 'Clanger (longitude, latitude, velocity)', 36-channel video installation, colour, silent., Solo exhibition: UTS Art, Sydney; Group Exhibition: 'The Art and Consequence of Collaboration', SASA Gallery, Adelaide.

Pailthorpe, Baden 2018, 'Clanger (longitude, latitude, decibels)', High definition 3D animation, colour, 4.1 surround sound, 5 mins 51 sec, Solo exhibition: UTS Art, Sydney.

Pailthorpe, B. 2018, 'Clanger: Artistic visualisation of Australian football player GPS data', presented at SIGGRAPH Asia 2018, Tokyo, Japan, 4 - 7 December 2018, http://immersive-visualisation-bof.org/

Pailthorpe, Baden 2017, 'Pitch Deck', High definition 3D animation, colour, sound, 5 mins 15 sec, Solo exhibitions: Sullivan+Strumpf, Sydney; Sullivan+Strumpf, Singapore; Kuiper Projects, Brisbane; Group exhibitions: Sydney Contemporary 2018; Digital Art in a Post-Digital Asia, Alternative Space Loop & Daegu Art Factory, Seoul, South Korea. Screening: Art Basel, Hong Kong 2020

Pailthorpe, Baden 2017, 'Alt-right Arabesque', 3D animation 960 x 960 pixels, colour, sound, 3 mins, Group exhibition: Ramsay Art Prize, Art Gallery of South Australia, Adelaide; Sullivan+Strumpf, Art Stage Singapore. Collection: Australian Centre for the Moving Image, Melbourne.

Conroy, Rowan. 2017, Series of three large format inkjet prints 1270 x 1400 mm. Travellers from Australia Curated Exhibition, Pafos 2017 EU Capital of Culture, Cyprus.

Conroy, Rowan. 2017 Memory Hurts Where Ever You Touch it Artists book printed with bespoke hacked inkjet techniques 450 x 335 mm, Curated Exhibition: Homage to Seferis, Pancyprian Gymnasia Museum, Nicosia, Cyprus.

Conroy, Rowan. 2018, Kiln #1 from the series The Poetics of Detritus, pigment ink-jet print 108.0 x 136.0 cm, framed size: 114.0 x 144.0 cm Bowness Photography Award Monash Galley of Art, Finalist exhibition

Conroy, Rowan. 2018, Memory Hurts Where Ever You Touch it Artists book printed with bespoke hacked inkjet techniques 450 x 335 mm, Curated Exhibition: Impact 10 Conference, Santander, Spain.

Conroy, Rowan. 2019 Curated Solo Exhibition: Sightseeing Goulburn Regional Art Gallery,

Conroy, Rowan. 2019 Curated Solo Exhibition: Sightseeing Loke Wan Tho Gallery, Singapore

Sluis, Katrina. ‘Photography Must Be Curated!’ Still Searching: Fotomuseum Winterthur 15 September 2019. http://www.fotomuseum.ch/en/explore/still-searching/series/156409_photography_must_be_curated.

Sluis, Katrina (Curator). All I Know is What’s On the Internet, The Photographers’ Gallery, London. 26 Oct 18 – 24 February 2019.

Devine, Kit. Artistic License: VR Sydney Cove circa 1800. VR artwork 2018

Devine, Kit. Artistic License in Heritage Visualisation: VR Sydney Cove circa 1800 SiggraphAsia 2019. 17-20 Nov, Brisbane, Australia. 2019 doi: https://dl.acm.org/doi/proceedings/10.1145/3354918

Devine, Kit. Grey Area: The Interpretive Nature of Heritage Visualisation. IV2019. 23^rd International Conference Information Visualisation. 2-5 July, Paris, France. 2019 doi: https://ieeexplore.ieee.org/document/8811917

Devine, Kit. Sense of Place: The phenomenology of virtual heritage place. IV2017. 21st International Conference Information Visualisation, 11-14 July, London, UK. 2017. doi: https://ieeexplore.ieee.org/document/8107992/