EORA ABORIGINAL CENTRE 2012 OCEANIC SYDNEY 2012 IV ANTARCTIC ART & CULTURE CONFERENCE/FESTIVAL BUENOS AIRES 2012 ANIMATING CHANGE 2012 KRILL LOOKS AND FEELERS 2011 PRISM 2011 FISHY LEAKS 2011 CREATURE CAST 2010 EMBODIMENT, INTERSUBJECTIVITY, PSYCHOPATHOLOGY 2010 UTS: SYDNEY INTERNATIONAL ANIMATION FESTIVAL 2010 ANTARCTIC VISIONS 2010 THINK CLIMATE 2010 POLAR PALOOZA 2009 GLOBEC 2008 SUR POLAR 2008 IMAGINING ANTARCTICA 2008 SEED DANCE 2007 ADAJIO 2007 ANIMATED DIALOGUES 2007 HOBART MIDWINTER FESTIVAL 2007 CHANGING NATURE 2006 JUST*ICE 2006 ICEMELT 2004 IMPRESSIONS OF ANTARCTICA 2003 ROGET'S CIRCULAR 2002 TERRA INCOGNITA 1998 BEWARE OF PEDESTRIANS 1995
Living Data presentation for the Art & About Sydney festival
Living Datacontributes to a growing global project to visualise human impacts on natural climate change. Our unique contribution is an evolving visualisation of reality as a vast complex system described in simple lines of human scale. Like a scientific model, the visualisation evolves to reflect new knowledge. Scientists and artists contribute stories, hypotheses, data and iconography. A choreography of primal gestural forms, in dance, drawing and animation, combines scientific and sensory ways of understanding.
ANIMATING CHANGE 2012:
A Living Data exhibition for the Ultimo Science Festival, Sydney
A floating screen of plankton meshis illuminated by animationsthat combine hypotheses, stories, data and iconography shared by scientists and other artists. Like a scientific model, the installation has evolved to reflect current knowledge. The story is that a healthy environment maintains homeostasis (balance) between its parts and that human actions are tipping the natural balance. Recent data are graphs that show sea levels rising and diagrams that show changing patterns of growth in some plants and animals. Iconography are circling, spiraling and crossing lines that dynamically connect parts to suggest the whole system. Unlike a scientific model, this model can be touched. You can move through it and feel part of it.
This excerpt shows variability in the tempo of the music (by Sophie Green) and in the dance of marine algae (Hormosira banksii), waves, dancing hands (of Catherine Magill) and the opening of alveoli (air sacs) in the lungs at the moment of a child's first breath.
Krill looks and feelers: a dialogue on expanding perceptions of climate change data pub. The Polar Journal Volume 1, Issue 2, 2011, pages 251-264
Photo: Caroline Huff
A discarded out-door lantern is the Prism exhibition space in the Antarctic Garden, Newtown, Sydney.
A discarded aquarium becomes the first FISHY LEAKS exhibit in the Antarctic Garden, Newtown, Sydney.
CREATURE CAST 2010 CURRENT
The animation, How do krill grow? features on a website that artfully communicates scientific information about small creatures.
2010 Embodiment, Intersubjectivity and Psychopathology International conference, University of Heidelberg, Germany 30 Sept - 2 Oct 2010
Drawings of dancers feature on a poster presented by Eva Tillberg to support her research in movement therapy.
The animation Antarctic Energies screens with scientific presentations at Polar Palooza.
Animals of the poles: Presented by Mike Castellini and Rob King. Mike is a seal scientist, penguin enthusiast and veteran of more than 15 expeditions to the Arctic and Antarctic. Rob is an expert on krill, the tiny but all-important base of the Antarctic food chain. Krill is food for penguins, seals and giant whales plus an indicator of the Southern Ocean's health.
Animations and art works are presented with Sur Polar in Beunos Aires (2008) and Mexico City (2008).
CURATOR: Andrea Juan, Museo de la Universidad Nacional de Tres de Febrero, Buenos Aires, Argentina.
PARTICIPATING ARTISTS: Philippe Boissonnet and Lorraine Beaulieu (Canada): Photography and object; Phil Dadson (New Zealand): Video installation; Karin Beaumont and Lisa Roberts (Australia): Objects, animation; Mireya Maso and Pamen Pereira (Spain): Photography and Drawing. Marina Curci (Argentina): Painting; Jorge Chikiar: Sound Installation; Adriana Groisman-Stefan Oliva (USA): Video; Marcelo Gurruchaga: Photography; Andrea Juan Argentina): Video Installation; Alberto Morales (Argentina): Painting; Jorge y Lucy Orta (Britain): Video. Essays by Annick Bureaud (France) and Nina Colosi (USA).
The animation Imagining a different view is screened at the conference Imagining Antarctica in September 2008 at the University of Canterbury, Christchurch, New Zealand.
Examining the Earth's southernmost continent from a cultural perspective will be on the agenda for those taking part in an Antarctic Conference being held at the University of Canterbury next month. The Imagining Antarctica Conference is being convened and hosted by Gateway Antarctica, UC's centre for Antarctic studies and research, in partnership with Massey University and the University of Tasmania.
Drawing on the arts, social sciences and humanities, the three-day conference from 4-6 September will focus attention on the ways we perceive and represent the frozen continent. It will be the first humanities-based Antarctic studies conference and will be followed in 2010 by another at the University of Tasmania in Hobart.
'For Gateway Antarctica and the University of Canterbury this conference on Antarctic arts complements the usual conferences we hold on Antarctic science,' said Gateway Antarctica Centre Manager and conference convenor Michelle Rogan-Finnemore . 'Our aim is to highlight the multi-disciplinary aspects of Antarctic research.'
Imagining Antarctica has been timed to coincide with The Press Christchurch Writers' Festival and a number of the conference's keynote addresses will be delivered by international writers also in town to speak at the literary event.
One of these is English writer Francis Spufford, the author of I May Be Some Time: Ice and the English imagination, a seminal and award-winning cultural history of the British obsession with polar exploring. He will open the conference with a talk looking at the roles for the southern continent in twentieth century culture.
Another highlight of the conference will be the public talk by author and broadcaster Vanessa Collingridge on the evening of Thursday 4 September (the opening session of the writers' festival). She will focus on her acclaimed biography of eighteenth century explorer Captain James Cook, which was made into a prize-winning documentary series Captain Cook: Obsession and Discovery which aired on Prime in New Zealand earlier this year.
The third keynote speaker at the conference is American Dr Elena Glasberg from Princeton University whose dissertation on 'Antarcticas of the Imagination' led to a life-long academic interest in Antarctica, studied from a number of perspectives including postcolonial studies and geopolitics, feminism, law and science.
Home-grown talent included in the line-up of speakers includes poet and creative writing lecturer Professor Bill Manhire, poet and playwright Bernadette Hall and photographer Ann Noble.
I perform with the artist Christine McMillan, as part of her installation, Animated Seeds.
In response to watching the animation, Ice Sound, high school student Aidan Davis writes a poem, Iceberg. I engrave his poem into recycled sheets of Perspex.
I present my proposal to research Antarctic Animation:
The aim of this research is first to collect evidence of what the scientists, and others who have worked in Antarctica, have observed and responded to in the landscape; second to devise an on-line animated interface through which to engage viewers with both the science and poetics of the data. Animation will be used to increase understanding of changes in Antarctic landscape as identified in the records provided by Antarctic workers - the people who have studied it, and physically endured a full year of its changing landscape.
Lisa Roberts Animated Dialogues 2007 Conference Programme p. 28
The Animated Dialogues conference was hosted by Monash University and the Victorian College of the Arts.
Animated Dialogues brings together scholars from a range of disciplines whose work brings critical perspectives to bear on animation industries, texts and audiences. This event offers a rare opportunity for academics and other professionals from Australia and overseas to network and share their viewpoints on a wide array of animation topics shaped by their cross-disciplinary interests related to the study of animation.
Conference programme notes, June 2007
The 'Changing Nature' exhibition explores the profound changes being imposed on global and local natural places by climate change and technology. It invites considerations of the symbolic place of nature in our lives, how we shape our environment and how it shapes us? What does it mean to be human in a world where genetic engineering and nanotechnology are set to reshape our world gene by gene, atom by atom? What are the implications of humans changing the climate and altering the cycles of nature upon which life depends?
Changing Nature Program notes, 2006
November 22nd 2006, The Gallery at Darling Park, 201 Sussex Street, Sydney CBD.
A mixed exhibition featuring the works of participants in the Australian Antarctic Division Humanities Program. Glimpse Antarctica afresh through the eyes of this vast array of talented people and share their impressions. Experience the profound effect that Antarctica has had on their lives.
Jenny Whitaker, Antarctic Arts Fellowship co-ordinator, Australian Antarctic Division, 2003
Lisa travelled to Antarctica on the RSV Aurora Australis in February 2002, visiting Davis and Mawson stations. She kept a journal "gathering material with which to convey something of the experience", which has become a wellspring for the production of drawings, paintings, photographs, an animated interactive CDROM and other more eclectic works.
Cathy Bruce, Antarctic Arts Fellowship co-ordinator, Australian Antarctic Division, 2004
Roget's Circular (Roget) is an interactive animated work that combines the responses that two artists made to places in Australia and Europe. Media elements including images, words, sounds, and animations, were developed in collaboration with Melissa Smith. Roget was exhibited as a touch screen installation in a suitcase, surrounded by drawings, paintings and other objects that were made as it was developed.
Four main ideas emerged from reviewing Roget's Circular:
1. That my European forebears represented environments as static landscapes provoked the idea that animation could be used to convey an experience of moving through them.
2. Because people who have worked in Antarctica describe it as possibly the most dynamic and elemental environment, an sense of being there may be described through simple gestures and line drawings that reflect their knowledge.
3. Digital animations can be arranged on interfaces with art works and written texts to represent the same environment from different perspectives.
4. In Roget, artistic responses of two women were combined to describe some environments around some easily accessible places. To describe Antarctica, the most inaccessible continent, would require access to the knowledge of people who have observed and experienced it. Ways of working with more than one person would be needed to gather and record how people describe their knowledge of Antarctica.
Roget's Circular is a unique multimedia work ...
Created by two artists, it draws on the Australian landscape, and on imagination, memory and family history.
Susan Butler, Editor, Macquarie Dictionary, 2002
Terra Incognita is an interactive animated work that reflects the creative process of Australian writer, Carmel Bird. Its maze-like site map was conceived as a visual display of the serendipitous nature of her creative process. This structure displays media elements in a way that suggested chance encounters.
A sense of chance encounters, with people and places, was replicated in Antarctic Animation by arranging texts on screens in different combinations.
The animation Beware of Pedestrianswas conceived as an animated improvised dance. Its aim was to explore the expressive potential of human gesture through the medium of animation. A digital human form was made for manipulating gestures. Its design was adapted from a model which was developed for use in osteopathy, to observe lines of force as they move through the body (Parsons and Marcer, 2006, Illus.).