Blog Archives
expanded photography, 2020 – present
photogrammetry webXR explorations of plants as celestial encounters and building interiors as containers of space and memory
expanded photography, 2020 – present
photogrammetry webXR explorations of plants as celestial encounters and building interiors as containers of space and memory
The Black Box Experiment, 2018
Step inside the Black Box and be transported to a virtual mirror world. In the space of mere minutes, you will be scanned and rendered as a 3D model, then placed into a digital version of the Testing Grounds site. Here you may encounter magnificent animated toys inhabiting the space as the sky mutates through a deep dream of algorithmic horizons.
The Black Box Experiment, 2018
Step inside the Black Box and be transported to a virtual mirror world. In the space of mere minutes, you will be scanned and rendered as a 3D model, then placed into a digital version of the Testing Grounds site. Here you may encounter magnificent animated toys inhabiting the space as the sky mutates through a deep dream of algorithmic horizons.
QUEERTECH.IO = ART(URL, IRL); 2018
QueerTech.io 2018! Themes emerging from the 2018 selection include digitally-born queer utopias, queer re-imaginings of computer game platforms, and interactive works that extend the digital as a queer prosthesis. The project features over twenty five artists engaged in making neural
QUEERTECH.IO = ART(URL, IRL); 2018
QueerTech.io 2018! Themes emerging from the 2018 selection include digitally-born queer utopias, queer re-imaginings of computer game platforms, and interactive works that extend the digital as a queer prosthesis. The project features over twenty five artists engaged in making neural
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?”
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?”
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.”
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.”
Kingston Arts
Kingston Arts 2017, MIDSUMMA ‘muliebrity & other collaborations’ Alison Bennett
Kingston Arts
Kingston Arts 2017, MIDSUMMA ‘muliebrity & other collaborations’ Alison Bennett
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.”
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.”
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.
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.
Alison Bennett 