The 5-colour screen print T-Shirts are 100% cotton, medium thickness, made in Australia in non-sweat-shop conditions, and available in 3 sizes and 3 background colours.
Format
CD and digital. Digital download includes full res .flac files and .mp3 320vbr. 415MB.
Tracklist
1. Ghost Camera
2. Luxury Something Something
3. Plastic Friends
4. Automatic Zombi
5. Plankton
6. Professional Alien
7. Vudoo Proxy
8. You’re not on a motorbike
9. Geodesic Sphere
10. No points for Originality
11. Biscuit
12. Humans like collecting things that match
13. Fake is Fake
Recorded, mixed, mastered and produced by Simon Grounds. Cover art by Xtian. CD Design by Go Genre Everything. CDs manufactured by Dual Plover. Thank you to all Go Genre Everything subscribers and EYCC launch personnel.
Jen – Drums, Keyboard, Vocals.
Zach – Guitar, Vocals.
Released
February 2010
License
Copyright. All rights reserved. Australia 2010.
Physical and Digital, $15 + $2 postage within Australia
Physical and Digital, $15 + $4 postage outside Australia
After purchasing you’ll be redirected to the download link. GGE will be notified of your purchase, and they will send the CD to you.
Disclaimer
standard disclaimer.where available, no promises, within reason,
yes it might seem a bit anti business, but we underpromise and over
supply while stocks last.
- GGE
If you want to check that GGE have this in stock before purchasing, email GGE at gogenreeverything dot org.
Go Genre Everything is an Experimental, Folk-Noise-Rock-Punk band based in Melbourne, Australia.
They have an unusual, but efficient business model. The band offer a limited number of annual, recurring subscriptions to fans of their music. For only $5 AUD per year subscribers gain access to their entire digital catalogue, downloadable from the GGE website. Subscribers also receive other benefits including discounted gig entry and discounted prices on their collectible, physical releases.
Shortly after subscribing you’ll receive an email from Go Genre Everything with the login details for your account on their website, from where you can download an impressive back catalogue.
Description
The Buff and The Brutal is a Machinima soap-opera parody. In it the very tough, mutant characters of Quake 3 Arena become emotionally vulnerable, jealous, gay lovers caught in an intricate web of treachery and deceit. Fragging is synonymous with sex, linking in-game pleasure/pain responses to S&M sexuality.
Writer: Rebecca Cannon
Sound: LCDCI
Male voiceovers: Paul Dornau
Digital Download Only
DVD files are contained in a 267 MB .zip.
Licenses
Personal or Non-Commercial Use
Personal or Non-Commercial Use: Pay What You Feel (minimum $2 AUD)
Tracklist
01. Transfer Pt. 1 – Inferno
02. Ilokano
03. Transfer Pt. 2 – Stable
04. Tracking
05. Transfer Pt. 3 – Rain
06. Birdseed
07. Transfer Pt. 4 – Ascension
08. Reducing Sleep
09. Transfer Pt. 5 – Adrift
Recorded and mixed by automating
Mastered by James Dean @ Electric Sound
Description
Desperate. Urgent. Spitfire Parade play electronically enhanced drone-punk in Melbourne, Australia.
Release
30 May 2009
Format
The physical item is a CD.
The digital downloads are available in .flac format.
If you want a different format please contact us.
Buy Now
After making your payment you will receive an email which contains a link to download the digital files. If you are purchasing physical media, upon receiving your payment we will send your contact details to Spitfire Parade. Spitfire Parade will post the media to you.
Digital only $3 AUD
Physical direct (show up at a gig!) $7
Physical bundled with digital: $7 plus $2 postage within Australia
Physical bundled with digital: $7 plus $4 postage outside Australia
About
All visual material contained on this DVD was generated by sending audio data as electrical current into a Cathode Ray Oscilloscope (CRO). The images and audio were captured simultaneously in real time to preserve the one to one relationship between the two signals. The only post production work involved was the 5.1 audio mix/master and colour correction of the video to regain the luminosity of the actual CRO image.
Many of the images could only be generated by overloading the digital sampling system using frequencies above the Nyquist cut off. Therefore, all glitches, foldovers and quantisation distortions are intentional.
Credits
Video Capture, Post Production, DVD Authoring: Tim Webster.
Mix and Master: Franc Tetaz.
Cover design: Shehab Tariq, Mark Harwood.
Sound Recording: James Wilkinson.
Thanks to: all of the above a million times + Anthony Pateras, Jim Sosnin, Swerve (dualplover) & Sharpy.
All audio and visual material composed and produced by Robin Fox 2004.
Track Listing
1. Photosynthesis (AOR) 10:40
2. Mandala 1 7:20
3. Green Multiple Rondo (for S. Dunstan) 10:23
4. Entropy (2nd Law) 4:31
5. phase one 5:08
6. phase two 3:38
7. sub band code 6:40
8. Nyquist Variations 10:52
9. Mandala II 4:44
10. helix 12:17
Total Length
1:16:14
Review
Digital culture is obsessed with synaesthesia, especially sound/image convergence. From club ‘visuals’ to automatic ‘visualiser’ plugins for mp3 applications, there’s an ideal of sensory fusion at work which draws on cyber/psychedelic rave culture, and utopian new media discourse.
Ideals aside, digital media forms do create new potential for varieties of ‘machine’ synaesthesia–automatic mappings between sound and image. Visualiser plugins offer specific and more-or-less arbitrary mappings of image to sound. While they can’t (promise to) induce a synaesthetic experience, they do offer a machine synaesthesia that might challenge, reorder, or at least reflect on, our own audiovisual perception. Yet most synaesthesia machines are little more than bolted-on nozzles that turn all your favourite tunes into generic visual sludge.
By contrast Robin Fox’s Backscatter disc presents a highly specific and refined synaesthesia machine. He has assembled a simple audiovisual synthesizer using simple digitally synthesised audio and an old analog oscilloscope. The oscilloscope is in ‘polar’ mode, so instead of scanning left to right, displaying the conventional ‘trace’ of the waveform, the trace orbits the screen. Waveforms create woven circles, loops, twisting spirals, filigreed knots.
Response is instantaneous, so the screen jumps and twitches in sync with Fox’s audio signature skitters and blips. The sound-vision mapping is supple, the images beautiful and sometimes surprising. The pieces feel quite controlled, even composed, the way they seem to literally reveal new twists and tricks. Overall, the results are staggering.
Mitchell Whitelaw
Earbash
License
Copyright All Rights Reserved Australia 2004
Formats
Multi Zone DVD
Audio: Surround and Stereo.
Warning
Due to a bug on early Apple DVD Authoring Software, this DVD will not play back in Apple’s DVD Player software. We recommend Apple users download the free VideoLanClient.
Purchase
Digital Only $12 AUD
Digital files and Physical DVD $20 AUD plus postage within Australia $5 AUD
Digital files and Physical DVD $20 AUD plus postage outside Australia $10 AUD
We’ve seen a bunch of studies like this in the past, but people keep submitting this, so figured we’d do a quick post on it. Yet another study has shown that people who are more active in unauthorized file sharing, also tend to spend more on authorized entertainment purchases. Now, to be fair, the study was paid for by a file sharing provider — so, take it with a rather large grain of salt. But similar studies have been done in the past as well, and it seems to once again call into question the rallying cry in Hollywood that people just want stuff for free.
Title
Gaming In Art: a case study of two examples of the artistic appropriation of computer games and the mapping of historical trajectories of ‘art games’ versus mainstream computer games.
Author
Stalker, Phillipa Jane
Keywords
games
art
computer games
art games
mods
new media
Issue Date
15-Nov-2006
Abstract
This essay will explore the existing definitions of art games that are currently being used in the art game/art mod genre. It will identify the leading theorists within the field, and take into account their definitions whilst at the same time establishing a set of categories within which can be defined the dominant trends in the development of the field. It will also situate art games within an historical context, both within the commercial computer game field as well as the digital art field and attempt to establish some sort of timeline within which we can see the development and emergence of art games in relation to these two disciplines. Two examples of art games, both from different categories will be examined and critiqued in the context of Artistic Computer Game Modification – A 3D game called Escape From Woomera and an art mod or patch called SOD. The art game as an entity will be examined in relation to ideas of the ‘interactive’ and ‘play’, and the implications and potential for fine art practice will be investigated.
URI
http://hdl.handle.net/123456789/1749
Student Number
9903601A – MAFA research report – School of Arts – Faculty of Humanities
Title
Sound and Video Installation: Existence as a state of immanence
Author
Dr. Bruce Mowson is a Melbourne based sound and video artist who has completed a Ph.D in Media Art at the Royal Melbourne Institute of Technology, creating installations to research the phenomenon of absorption in audio-visual media.
Format
The PDF file contains the entire 25,000 word exegesis, with colour images.
Abstract
This project aims to produce new material and understandings about audio/visual installation art and immanence. Immanence describes a subjective state that emphasises an embodied sense in time and space. It is explored in the project artworks by using materials and techniques that heighten one’s sense of being a receptor – of seeing and hearing, rather than being an identity formed in language. The research works through the derivation of my notion of immanence from my environmental listening experiences. I have used artistic and philosophical material to aid and extend these concepts in relation to their investigation through the practical works.
The research is conducted using non-linear audio/visual technologies to create installation art works that elude narrative sequencing through generative techniques. Typically this involves a computer generated image and sound, projected into space in ways that seek to heighten the audience’s sense of embodiment. These works are non-repetitive, and close attention to the materials reveals a structure of non-hierarchical variation, and of continual change. Philosophically, this emphasises immanent notions of the self as being in a state of becoming – of being simultaneously complete in the present moment yet continually in change.
The research explores and reveals a number of outcomes and shifts of position. At a technical level, a number of ways of combining generative sound and image are explored, and methods for creating variation within a continuum are implemented. A number of presentations of the works are made in installation spaces, and these document the tension between the framed format of video and the immersive and surrounding embodiment which is activated in installation practice.
Purchase
You can purchase a copy of this PDF for personal use for $2 AUD. After payment you will be redirected to a download page.
If you require an educational or commercial use please email info@licensd.com
If you have already purchased this item, and you want to re-download it but your download link has expired, please email info@licensd.com
Physical Sales Non-printed CDR in high-quality paper stock black and white printed inside a clear plastic sleeve (first in a series of generic packaging). Special freebie included for people who order a physical copy.
Digital Download only $3 AUD
Physical CD and Digital Download. $7 AUD plus $2 AUD postage within Australia
Physical CD and Digital Download. $7 AUD plus $4 AUD postage outside Australia
Free Digital for Review Free review copies are available. Drop Automating an email. automating@gmail.com
