Join us each month for Experimenta Social – a series of talks, discussions and demos designed to provide proximity to some of Australia’s most adventurous contemporary artists, researchers and creative technologists.

This series explores practices at the nexus of art and technology, science, culture and design. You will hear from artists sharing their latest projects and researchers presenting projects that grapple with the concerns of our time. Beyond inconsequential debates over the role of media arts in a post-media world, Experimenta Social will combine activated audiences drawn from contemporary art, social research, electronic art and non-professional spheres for lively debate and discussion.


Experimenta Social 2018 DATES: 
Every third Wednesday of the month (21 March, 18 April, 16 May, 20 June, 18 July, 19 Sep, 17 Oct, 21 Nov 2018).

VENUE: ACMI X, Level 4, 2 Kavanagh Street Southbank, Melbourne VIC

Please note that in August we will be hosting two very special Experimenta Social events as part of Melbourne Art Fair and Nidanights

Catch up on what you missed in 2017 via the Experimenta YouTube Channel here.

Experimenta Social is presented in partnership with ACMI X and supported by Marc Besen AC and Eva Besen AO.


WED 20 JUNE 2018

Jodee Mundy
Rawcus – Artistic Director Kate Sulan with ensemble members Prue Stevenson, Nilgun Guven and Paul Mately.

Free Event, click here to book.

ACCESS: Auslan interpretation available upon request, please contact to arrange.

This month’s Experimenta Social #17 speakers are challenging the narrative. Creating performances based on the investigation of multi-sensory perceptions and creative provocations, they are paving the way for inclusive arts practice. The unconventional prevails as audiences are influenced to connect and experience in new ways. Sound, sight and movement are experimented with, reconsidering traditional approaches to production and pushing the boundaries of assumed ability.



Artistic Director Jodee Mundy is committed to producing high quality theatre works, public events, installations and artistic interventions, bringing together diverse cross sections of the community who may not regularly encounter one another. Her work aims to challenge and inspire audiences to redefine notions of inclusiveness. Through her collaborative practice, her live art works, Imagined Touch, created with Deafblind performers, received the 2017 Green Room Award for Innovation in Experiential Theatre and her most recent work, ‘Personal’, explores her own experience as the only hearing person in a Deaf family.

Rawcus is a critically acclaimed ensemble of performers with and without disability who create distinct performance work and deliver exceptional arts experiences. Collaborating with a core creative team led by Artistic Director Kate Sulan, Rawcus devises new work that expresses the imaginative world of the Ensemble. Drawing on dance, theatre and visual art disciplines, the work is crafted with a precision that supports the performers but allows space for their inherent sense of anarchy.


IMAGE CREDIT: ‘Imagined Touch’ by Jodee Mundy. Photo by Jeff Busby.


The venue is wheelchair accessible. Enter the Australian Ballet Centre building from Kavanagh St, into a lobby with elevators. Take the elevator to Level 4.  ACMI X is further up the corridor and on the left.  Amenities with wheelchair access are available on Level 4. There is on-site parking in the with elevator access.

Alternatively you can also get to ACMI X via St Kilda Rd, across the pedestrian bridge behind Arts Centre Melbourne to Australian Ballet Centre. ACMI X is located immediately to the right of the entrance. Please contact us if you need further assistance:



WED 16 MAY 2018

Free Event, click here to book.

We live in a time of political fatigue, environmental crisis and spiritual abandonment. Often it is easier to tune out than to engage with the unknowns of our present, let alone our future. A new generation of experimental artists are here to encourage us to snap out of it and face the unsettled mood of our times through a creative and elaborate awakening of our senses.

Through interactive installations and immersive art projects, we’ll be encouraged to face the current complexities of our world through technologically-facilitated meditation and provocation. These artists explore visual therapies and sensory remedies, both stimulating and stark, in order to embolden participants to look within and question their physical and emotional responses to external challenges.  In collaboration with Next Wave Festival, Experimenta Social #17 invites presenting artists from this year’s festival program to discuss their projects.


Olivia Tartaglia and Alex Tate (WA) are artists exploring futurism, ecotechnology, far-future scifi, biological art, and the Anthropocene, and collaborating together on interactive installations including zen gardens and luminescent inflatable architecture.
Bureau of Meteoranxiety:

Harriet Gillies (NSW) is a performance artists that operates across a range of modes including large-scale participatory events, one-on-one situational work and devised performance. Gillies’ Next Wave artwork leads a team of stellar performers through an algorithm to understand the increasing role predictive technologies play in our day-to-day lives.
Lifestyle of the Richard and Family:

This event is presented in collaboration with Next Wave Festival,
3 – 20 May 2018


WED 21 MARCH 2018
Matthew gardiner & trinh vu

Join us for the first Experimenta Social of 2018 as we deconstruct and reconstruct the natural form through the use of new technologies. Exploring the ways in which digital tools can be used to represent organic patterns and movements, we will delve into scientific theories that allow us to better understand the complexities of our own world.

Matthew Gardiner & Trinh Vu are artists examining and reimagining natural forms through their contemporary digital art practises.  Matthew Gardiner’s international research makes connections between nature, origami and robotics – inventing the term ‘oribotics’ and investigating the language of folding, including the idea of folds to express the shape of time and space in our universe; Trinh Vu’s intricate paper-based sculptures utilise code processing and 3d modelling to create elegant artificial objects that embody the essence of what it means to be real.


WED 8 November 2017:: materialist surrealist


The surrealism of materials, sculptural absurdism and language all feature in this end-of-season Experimenta Social. Please join us for a celebratory conclusion of Experimenta Social with two presentations exploring the material world, symbolism, language and observation. 

This end of year celebration will be feature Ceri and Jule presenting live from the ACMI X kitchen where they promise to turn up the heat on their under cooked tasteless food-for-thought. Brisbane-based media artist Michael Candy will present his kinetic sculptural work featuring robotic personalities, sculptural paradoxes and physicalised responses to complex systems. We hope you will join us for this playful and performative end to the year.

About the Speakers

Michael Candy (Australia/Nomadic) uses physical technologies to impart systems theory on ecology and sociology. From making scale replicas of metamorphosis to remotely operated protest devices installed within the G20 exclusion zone. His devices empower and translate closed systems into tangible medium; a flooding river is given a voice, a goldfish is at the mercy of a cocktail party, colours shine never visible, synthesizers are controlled by an active volcano and in the Amazon mercury vapor rises above a golden statue in an illegal mining town. A myriad of encounters both ecological and political, giving rise to contrasts as paradoxes become diluted.

Ceri is a multidisciplinary arts practitioner who develops participatory art forms intended to enhance the conditions for collective idea generation. This approach to practice often avoids categorisation, as the outcomes are intentionally defused in the wonder/wander of everyday life. The gifting of metaphorical objects to instigate philosophical discourse stems from Ceri’s recently completed PhD research at RMIT, The Making of a Knowledge Casino (2016). The creation of low tech props for treating the urban condition as a 3D movie set were used to enable mutually inspired activities for people that may not consider themselves artists, but may become script writers of their own way to play. A link to his presentation can be found here:

Image courtesy of Michael Candy, Ether Antenna, 2017


WED 11 October 2017:: participation, sense and taste


Experimenta Social #13 will open its senses to art made for the body, smell and perception. Working in diverse fields such as scent, experimental food, language, ecology and psychology, Elizabeth Willing and Cat Jones are contemporary Australian artists working at the mouth of meaning. Join us for this special Experimenta Social, presented as part of Experimenta Make Sense: International Triennial of Media Art, for an insight into embodied art made for multiple senses.

About the Speakers

Cat Jones is an interdisciplinary artist, writer and researcher. Her work investigates inter-species relationships, gender, botanic politics, medicine and climate futures through the subversion of social constructs, science, history, language and the senses. With special interests in audience psychology and immersive experiences her projects manifest across live, site-specific, socially engaged, media and olfactive art.

Jones is a Bachelor of Arts – Drama graduate of Queensland University of Technology; research affiliate of the Sansom Institute, Body and Mind, University of South Australia; Creative Australia Fellow; SymbioticA and Synapse alumni, and winner of the 2016 Sadakichi Art and Olfaction Award with her project Century’s Breath for Vitalstatistix.

Recent performances and commissions include Scent of Sydney for Sydney Festival, Somatic Drifts, Radical Ecologies at PICA; Anatomy’s Confection and Plantarum: Empathic Limb Clinic for Proximity Festival; A Walk [with Herbivores] and currently Insecta Delecta with chef Soon Lee Low for The Wired Lab.

Elizabeth Willing is an Australian visual artist. In 2009 she completed her honours in Fine Arts (Visual Arts) and is currently undertaking a Masters of Fine Art (research) at Queensland University of Technology. In 2014 Elizabeth was the recipient of the Australia Council Kunstlerhaus Bethanien one-year residency. Furthermore Elizabeth has undertaken a two month residency at Helsinki International Art Program HIAP and a one year residency at Metro Arts Brisbane. Solo exhibitions and dining performances have been held in Australia and overseas at Tolarno Galleries Melbourne, Kunstlerhaus Bethanien Berlin, and Gallery of Modern Art Brisbane. Awards and grants include Australia Council Project funding (2016), the Freedman Foundation Travelling Scholarship (2013), Australia Council Artstart grant (2012), a JUMP mentoring Scholarship (2010), and the Melville Haysom Scholarship through QAGOMA (2010).

Image courtesy of Dessert |||/Fork Fork, Elizabeth Willing


WED 13 SEPTEMBER 2017:: The unstable body and it’s image
diego ramirez & Alexia Kannas


Filmic horror, the monstrous and the body stalk Experimenta Social #12. We will reflect on the image of the body and its deformations, between Italian Giallo horror of the 1970’s and its reformulation by contemporary art.

Join contemporary artist/’Marilyn Manson of the PoC community’ Diego Ramirez and Cinema Studies academic Alexia Kannas for a night of reflection on the ever-unstable body on screen.

About the Speakers

Diego Ramirez is an artist and writer. He works primarily with video and pictures to develop installation projects for gallery contexts. His research-based practice deals with the legacies of colonialism in visual culture. Key areas of interest include the rhetoric of the image; the meaning making of fear and desire; and media mediation. As an artist, he seeks to reconfigure vernacular archives and popular images that embody these themes.

Alexia Kannas lectures in the School of Media and Communication at RMIT University. Her research concerns topics in film genre, cinematic modernism, cult cinema and cross-cultural reception and exchange. She is the author of Deep Red (Columbia University Press/Wallflower, forthcoming 2017) and is currently completing a monograph on the Italian Giallo film for SUNY Press.

Image credit: Colonial Void of Death, Installation View Courtesy: Diego Ramirez. Photography by Matthew Stanton. Courtesy of the artist and MARS Gallery.


WED 9 august 2017:: curing media – the curator
serena bentley & joel Stern


How do slippery art forms such as video gaming, contemporary music composition and performance art find their audiences? How do living forms become solid and thus become able to be represented? What are the challenges facing forward-looking curators to place contemporary cultural works in the canon? What role does a cultural gate-keeper play in the internet age of what’s been called the ‘amateurisation of everything’.

Serena Bentley (ACMI, ex-NGV) and Joel Stern (Liquid Architecture) join Experimenta Social #11 to discuss some recent case studies in their curatorial careers and to pry open the decision making that goes into their organisational methodologies.

Photo: Liquid Architecture 2016, Bryan Spencer / Marek Rygelski


WED 12 JUly 2017:: artist-led manufacturing in china
constant dullaart & Robert d. Jordan


What happens when an artist can’t get the product they want? They make it themselves.

This month, Australia’s pre-eminent media arts organisation, Experimenta Media Arts, explores artist-led manufacturing in China.

With more open access to mainland Chinese manufacturing processes, artists are beginning to work directly with factories in Shenzen, Guangzhou and the new territories to develop new tools that are responsive to the needs of their peers. Raising capital using online platforms such as Kickstarter and distributing products from the studio, artists are defining the terms of technology they want rather than being beholden to what’s available to them commercially.

In this Experimenta Social session we talk with New York-based Dutch conceptual artist Constant Dullaart about his DullTech Media Player project and local audio-visual instrument builder Robert D. Jordan on stories from the prototyping lab. (Due to time zone complications, Constant Dullart will be interviewed by Emile Zile via pre-recorded video).

**NeoLiberal Hardware Lulz FTW**

about the artists

Constant Dullaart is a Dutch conceptual artist whose work is deeply connected to the Internet. He was awarded the Prix Net Art late 2015 with the following jury statement; ““The fluidity of boundaries between artist and tech communities and questions of authorship, virtuosity, and the performativity of art in a mediated environment are an important aspect of the work of the winner of the 2015 Prix Net Art, Constant Dullaart. Dullaart’s work stays firmly yet defiantly within the realm of contemporary art, but from a position profoundly informed by the conditions of new media networks—technical as well as cultural, social, economical, and political networks. Dullaart strives for an honest, respectful, yet unembellished approach to the materials and conditions of the network. At the same time his work is full of humor, wit, and critical commentary.”

Robert D Jordan is a sound designer, VJ and the product designer and engineer behind Cat Full of Ghosts Electronics (CFOGE). Based in Melbourne CFOGE creates experimental audio and video hardware made with custom-designed PCBs that are used by artists, producers and creative around the world. CFOGE has a focus on creating new ways of interacting live with audio and video, creating new ways to play, manipulate and control sound and video.

Synthesizers and hardware from Cat Full of Ghosts Electronics are in the collections of the Pratt Institute of Film (NYC) and the Princeton Media Department among others.

Image courtesy of Constant Dullaart, DullTech


WED 14 june 2017 :: moving image futures


From the structural experiments of early seventies video artists like Woody and Steina Vasulka, to the cinema-scale projection of Bill Viola, to the proliferation of contemporary video-mapping in outdoor locations; video art has fractured and proliferated over many media surfaces. 

Join innovative post-video artists Xanthe Dobbe and Aaron Christopher Rees from the ‘Another Space’ exhibition to discuss the development of their new screen and projection-based works and the futures of the moving image.

This session will also include a showing at Testing Grounds, 7:30pm (5mins walk from ACMI X) featuring projects presented as part of the ‘Another Space’ exhibition. 

about the artists

Xanthe Dobbie is a Melbourne-based new media artist and curator. Her practice aims to capture the experience of post-internet contemporaneity as reflected through feminism, art history, iconography and queer culture.

Aaron Christopher Rees is a multidisciplinary artist who recycles images to consider how technology and the act of picture-making mediates our experience of the world. Rees’s work is concerned with affect, phenomenology and abstraction, with recent work taking form as site-specific installations where screens interpolate space.

Image courtesy of Xanthe Dobbie, ’21st Century Greatest Hits Screensaver Pack’




The geological imaginary: between a rock and a soft, water based body.

Unpacking the cultures and rituals that humans place around geological forms, presenting artists Amy Spiers and Zoe Scoglio use speculative approaches, hybrid techniques and literary reverse-engineering within their work.

Amy Spiers is a Melbourne-based artist and writer. Her socially-engaged, critical art practice focuses on the creation of live performances, participatory situations and multi-artform installations for both site-specific and gallery contexts. For her recent project, ‘Miranda Must Go’, Amy calls for the acknowledgement of the negative impact of white settlement at Hanging Rock, awakening the true history of the infamous landform.

Zoe Scoglio’s practise unites performance, video, sound and installation to create interdisciplinary, site-specific and participatory work. Playing with notions of time, origin, sentience and morphology, her work engages the varied cultural, political and personal narratives we create about this rock we call home.

Experimenta Social #8 will be a night of reflection on the rock, the language we use about Land and the power of naming and mapping.

Image courtesy of Zoe Scoglio, ‘The Sedimentary Collective’ for Treatment Flightlines 2017 at the Western Treatment Plant




In an era of purported Fake News, queries on whether we are living in an elaborate computer simulation and the widespread ease in which individuals select recreational sex partners, gender identities and filter bubbles it is appropriate to begin the 2017 season of Experimenta Social with a panel on​ the real and the immersive, ​ virtual reality and its potential. We are seeing a widespread adoption of VR in multiple spheres of creative, commercial and medical use. In this discussion, we will host innovative practitioners in the field to unpack the complexities of VR production, narrative construction and audience activation. Is VR here for the long-term? How do we tell engaging stories in VR? Is there scope for artist-led VR experiences in a commercially oriented industry? What is the potential to use VR storytelling in therapeutic use for mental health?

Presentations lead by Oscar Raby ( VRTOV ) and Dr. Greg Wadley (University of Melbourne), will unpack the complexities of VR production, narrative construction and audience activation. Each speaker will share their unique approach to this quickly developing medium.

Oscar Raby is the Co-Founder and Creative Director at VRTOV, the Melbourne-based Virtual Reality studio behind the projects The Turning Forest, Easter Rising: Voice of a Rebel and Assent. In 2013 he completed a Masters degree in Animation and Interactive Media at the Royal Melbourne Institute of Technology where the subject of his research was Portraiture in New Media. His graduating work, the autobiographical Virtual Reality documentary Assent, has been part of Sundance New Frontier, IDFA DocLab and Sheffield Doc/Fest as well as festivals in Australia, Canada, USA, Mexico, the Netherlands and the UK. Assent received the Audience Award for Cross-platform at Sheffield Doc/Fest 2014.

Dr Greg Wadley is a Lecturer in the Department of Computing and Information Systems at the University of Melbourne working on the application of technology to health and wellbeing in areas such as youth and adult mental health, social connectedness, addiction, health screening and chronic pain. He is interested in the influence of mood-enhancing technologies on culture and society.

Image by VRTOV.




The final Experimenta Social in the series, we invited Philip Brophy and Eugenia Lim to reflect on Australian identity, place and belonging. Using pop cultural forms as a lens to view Australian society, both Eugenia and Phil uncover latent meanings and interpretations through their video works, writing and installation. Expanding on his AFTRS Classics of Australian Cinema book that uses Priscilla Queen of the Desert as a map of Australian identity, Philip Brophy will deliver an expanded illustrated version of this book.

Philip Brophy: After a series of experimental mixed-media works exhibited in art and non-art contexts over many years, Philip Brophy has consolidated his interests to produce a range of audiovisual works focussing on his key interests in pop, sex and music. Brophy continues to lecture and present on film sound and music internationally, specializing in horror, sex & exploitation, film sound & music and Japanese animation. He is widely published in all three areas, and his book 100 MODERN SOUNDTRACKS has been translated and published in Japan.

Eugenia Lim is an Australian artist who works across video, performance and installation. Interested in how nationalism and stereotypes are formed, Lim invents personas to explore the tensions of an individual within society: alienation and belonging in a globalised world.

This project is supported by the Besen Family Foundation and the City of Melbourne, and presented in conjunction with ACMIx.

Image: Phllip Brophy, courtesy of the artist.


WED 12th october 2016 :: words


Holly Childs and Christopher LG Hill deal with words, words as objects, words as recombinative forms. The internet and the street have conflicting voices, a sense of lawlessness, a place for infinite recombination and juxtaposition. Both these artists reflect the autonomous zones of the club, the artist-run initiative and the street in their writings, performances and installations. We are proud to invite Holly Childs and Christopher LG Hill to reflect on the impact of writing over networks, language as power, the power of networked speech at Experimenta Social 5.

Christopher LG Hill __________laces on shoes then some words biodegradable people of such in places hard ruptures some other words including Christopher L G Hill an artist untitled poet unknown everythings anarchist Y3K ignorant teacher porpoise torture bunyip trax collaborator friend facilitator curator lover anti power dexta daps falling words scrolling noise wall gardener monochrome co-label boss walking sips a homebody mirriad dancer plate and platter considerate participator dishwasher wind and sounds from the currawong graffiti bencher fine food eater exhibitions tweeter @clghill moorhenrafft fog fatiguée dj cognitive labour/gunic slack conversation comas or spittle independent representing our self and others born melbourne 1980c.e lives World new tab and window shopper expel binary dialog dispersed library open doors

Holly Childs is a writer and editor. Her work explores the use of digital networks in contemporary culture. Recent presentations of her work include: as art writer within Adam Linder’s choreographic service Some Proximity at MCA, Biennale of Sydney (2016); Danklands [Swamped in 3 voices] for Capitalist Surrealism curated by Liquid Architecture at NGV, Melbourne (2015) and as curator of both Quake II, Arcadia Missa, London (2014) and at Slopes, Melbourne (2014). She is the author of two books: Danklands, published by Arcadia Missa and No Limit, published by Hologram, Melbourne. She was an Associate Producer at Next Wave 2015-16, and founding editor of Next Wave’s online publication Worm Hole. In 2016-18 she is a Gertrude Contemporary studio holder.

This project is supported by the Besen Family Foundation and the City of Melbourne, and presented in conjunction with ACMIx.

Image: wall, wall, wall, no entertainment, nothing but wall.  Christo Crocker 2016


WED 28th september 2016 :: Authorship, the non-expert and social art


In the fourth Experimenta Social session we dive into working with community in the creation of artwork. What is the potential of working with non-artists in large-scale community work? Where are the fault lines between stakeholders, funding organisations, venues and audiences? Are distinctions between expert, artist and non-artist valid? What are the ethics of participation in the realm of the non-expert? How are new approaches to social practice being defined by leading practitioners in the field? We are proud to present the work of two independent Australian artists who also have elaborate and sustained engagement with the non-artist, James Hullick and Lara Thoms.

Lara Thoms recently received a two year Creative Australia Fellowship to explore site-specific and participatory possibilities in contemporary art. Lara was commissioned to create a large scale public work Ultimate Vision: Monuments to Us as part of the Museum of Contemporary Art’s C3WEST program, a publication of the same title was released by the MCA in 2014. Other works include ‘Exposition’ for the Melbourne Art Fair with Jason Maling, ‘The Experts Project’, (2011- 2013) where she spoke with 150 ‘unofficial experts’ as part of Local Positioning Systems at the MCA, and the ‘Funeral Party’ (2016), working with a funeral director to create an art event for Dark Mofo.

James Hullick is a composer, community arts worker, sound artist and producer. His projects have been presented internationally for a variety of ensembles and electronic formats. Innovative sonic terrains that James continues to work through include: recursive compositional techniques, perceptual music making, real time scores, sound making machines and community arts projects. In 2011 James founded The Click Clack Project, an organisation that combines community sonic artists with professional sonic artists. James recently completed a three-year Postdoctoral Fellowship at the University of Melbourne. He was awarded an Australia Council Fellowship (2015) and received the Michael Kieran Harvey Piano Scholarship (2015-16).

This project is supported by the Besen Family Foundation and the City of Melbourne, and presented in conjunction with ACMIx.



The acceleration of networked communication has led to a proliferation of platforms for distribution and dissemination of knowledge. How do the disruptive efficiencies of digital distribution play against hundreds of years of copyright legislation that has known authorship and publishing in a very narrow channel? Where do the cracks in appear when a digital platform leverages its speed and efficiency against the monoliths of cultural gate-keeping? We are very happy to host Sean Dockray in the upcoming Experimenta Social to present alternative platforms for knowledge dissemination including and The Public School.

Sean Dockray is a Melbourne-based artist, a founding director of the Los Angeles non-profit Telic Arts Exchange, and initiator of autonomous knowledge-sharing platforms The Public School and With a focus on social systems, time, and impermanence, Dockray’s practice often emphasizes an active, critical engagement with technology. As a recent research fellow the Post-Media Lab at Leuphana University, he explored the physical infrastructure of the sharing economy, focusing on Facebook’s new northern European datacenter. His written essays address topics such as online education (Frieze), the militarization of universities (in Contestations: Learning from Critical Experiments in Education), property within “the cloud” (in Undoing Property), book scanning (Fillip), traffic control (Cabinet), and radio (Volume). Between a BSE in Civil Engineering and Architecture from Princeton University and an MFA from UCLA (Design|Media Arts), Dockray worked for Plumb Design in New York and consulted for a variety of cultural producers including Laura Kurgan Architecture, the Center for Land Use Interpretation, the Not a Cornfield public artwork, and the Milosevic trial video archive.

This project is supported by the Besen Family Foundation and the City of Melbourne, and presented in conjunction with ACMIx.




Uniting dramatic energy and new media technologies is not a new challenge. Artists have consistently explored the overlap of technology and drama. From Italian Futurists privileging the new sounds of 1910s new media, namely the car and the machine gun, to 1960s developments around democratised broadcast technologies and the opening of video art to the body as exemplified by Nam-June Paik and Charles Atlas.

Working at the intersections of performance, installation and new technology Martyn Coutts and Matthew Sleeth will unpack their elaborate individual practices and delve into what rehearsal decisions make technology invisible, how do technical advances drive creative decision making and what is the potential for media art on stage.

Matthew Sleeth is an Australian artist living and working between Melbourne and New York City. His conceptually driven practice uses a range of media, including sculpture, photography, video and public installation. In 2015 Sleeth directed A Drone Opera which featured unmanned aerial vehicles in an experimental multimedia performance featuring drones, their pilots and opera singers, combined with a new sound score, laser light design and moving image. A Drone Opera also featured collaborators Kate Richards, Robin Fox, Phil Samartzis, Susan Frykberg.

Martyn Coutts is an award winning Australian interdisciplinary artist concerned with ideas of the live, the interactive and the mediated body. His work has been shown in theatres, online, public space & galleries throughout Australia and the Asia Pacific. His works include Operation, Computer Boy and I Think I Can with Blood Policy, the Wayfarer series of works with Kate Richards, Thrashing Without Looking with Aphids, Visible City (the keynote project of 2010 Melbourne Fringe) & SAC35 for Salamanca Arts Centre.

This project is supported by the Besen Family Foundation and the City of Melbourne, and presented in conjunction with ACMIx.

Image:  “I think I can premier” Sydney Central Station 2013 courtesy Martyn Coutts




Citt Williams is currently a PhD candidate at the Digital Ethnography Research Centre RMIT and is researching the behaviour of global systems such as climate change, animal migration and ecosystem modification. With a background in filmmaking, policy development and environmental science she has developed and shot independent documentaries in India, Nepal, Tajikistan, Siberia, Japan, Papua New Guinea, France, Borneo and Australia. From 2003-2005, Citt was the Executive Producer at the Central Australian Aboriginal Media Association.

Joe Hamilton is a Melbourne-based artist working at the intersections of big data, global imaging and Capitalist Realism. Hamilton is part of a new movement of post-photographic artists that have less use for a camera than a database. Sourcing raw material from stock photography, open source mapping data and industrial 3D scanning techniques, Hamilton’s work uncovers a sense of contemporary visuality that privileges machine processing over the lens’ humanist inheritance.

This project is supported by the Besen Family Foundation and the City of Melbourne, and presented in conjunction with ACMIx.

Image: courtesy Emile Zile, artwork by Joe Hamilton, Ikea Roof Terrace 2014

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