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QUEERTECH.IO = ART(URL, IRL);

QUEERTECH.IO = ART(URL, IRL); CALL FOR WORKS SUBMIT TO QUEERTECH.IO 2018 BY 12 NOV 2017 #QueerTechIO #CFW #QueerTech #OpenCall #Queer #Midsumma Queertech.io is calling for digital and new media works from queer identifying artists. Be part of the ongoing conversation

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QUEERTECH.IO = ART(URL, IRL);

QUEERTECH.IO = ART(URL, IRL); CALL FOR WORKS SUBMIT TO QUEERTECH.IO 2018 BY 12 NOV 2017 #QueerTechIO #CFW #QueerTech #OpenCall #Queer #Midsumma Queertech.io is calling for digital and new media works from queer identifying artists. Be part of the ongoing conversation

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CNN

Redmond, S & Verhagen, D 2017, ‘Of microbes and machines: How art and science fuse in bio-art’, CNN Style, 7 Feb
“In Alison Bennett’s touch-based screen work, the viewer is presented with a high-resolution scan of bruised skin. Viewers can use the touch-screen to manipulate the soft and damaged tissue before them, and their eyes become organs of touch. What does it feel like to touch a bruise and be bruised?”

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CNN

Redmond, S & Verhagen, D 2017, ‘Of microbes and machines: How art and science fuse in bio-art’, CNN Style, 7 Feb
“In Alison Bennett’s touch-based screen work, the viewer is presented with a high-resolution scan of bruised skin. Viewers can use the touch-screen to manipulate the soft and damaged tissue before them, and their eyes become organs of touch. What does it feel like to touch a bruise and be bruised?”

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PhD exegesis

Bennett, A 2016, The Shifting Surface in Digital Photography, creative practice PhD exegesis, Deakin University
“This creative practice as research project has investigated the question: given the dematerialisation of the photographic image, to what extent can a photograph be regarded as having a surface? Framed by the contexts of photography, materiality and surface, the creative investigation employed dialogic ‘making as thinking’ methods to generate innovation solutions.”

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PhD exegesis

Bennett, A 2016, The Shifting Surface in Digital Photography, creative practice PhD exegesis, Deakin University
“This creative practice as research project has investigated the question: given the dematerialisation of the photographic image, to what extent can a photograph be regarded as having a surface? Framed by the contexts of photography, materiality and surface, the creative investigation employed dialogic ‘making as thinking’ methods to generate innovation solutions.”

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Kingston Arts

Kingston Arts 2017, MIDSUMMA ‘muliebrity & other collaborations’ Alison Bennett

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Kingston Arts

Kingston Arts 2017, MIDSUMMA ‘muliebrity & other collaborations’ Alison Bennett

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The Article

Leach, S 2016, ‘The Ghosts in the Machines: Morbis Artis’, The Article, 5 Dec
“The damaged human body is aestheticised in Alison Bennett’s Bruise, an interactive video work in which bruised human flesh can be manipulated and moved on a screen. The viewer seemingly touching and manipulating the damaged organ, just to see how it looks, reminiscent of the Iain M Banks’ bruise artist in his SF novel Use of Weapons.”

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The Article

Leach, S 2016, ‘The Ghosts in the Machines: Morbis Artis’, The Article, 5 Dec
“The damaged human body is aestheticised in Alison Bennett’s Bruise, an interactive video work in which bruised human flesh can be manipulated and moved on a screen. The viewer seemingly touching and manipulating the damaged organ, just to see how it looks, reminiscent of the Iain M Banks’ bruise artist in his SF novel Use of Weapons.”

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Wrap series, 2014-2017

This series of online interactive & touch screen works considers the convergence of biological & digital skin as virtual prosthesis. Reworlding (Elizabeth) was awarded for Innovative Use of Digital Media at the 2016 CCP Salon & included in ‘Crossroads’ at the San Francisco Museum of Modern Art, & long-listed for the 2017 Lumen Prize at V&A Digital Futures. Bruise, exhibited at RMIT Gallery as part of ‘Morbis Artis’, featured in an article about bio art on CNN. Works from the Wrap series were included in #nfcdab wrocław biennale of digital & internet art in Poland.

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Wrap series, 2014-2017

This series of online interactive & touch screen works considers the convergence of biological & digital skin as virtual prosthesis. Reworlding (Elizabeth) was awarded for Innovative Use of Digital Media at the 2016 CCP Salon & included in ‘Crossroads’ at the San Francisco Museum of Modern Art, & long-listed for the 2017 Lumen Prize at V&A Digital Futures. Bruise, exhibited at RMIT Gallery as part of ‘Morbis Artis’, featured in an article about bio art on CNN. Works from the Wrap series were included in #nfcdab wrocław biennale of digital & internet art in Poland.