Friday, September 30, 2011

Guess who?

Yay! Lovely Helen Cole took this photo at lunchtime today... From the left: Ronnie, Amanda, me and Caren. AND... Helen, who is the librarian at the State Library of Queensland, is thinking about buying the Art & Lies edition! We will be emailing each other once we've got back to base.

Today was the last day of the conference and I must say I am knackered. I actually made it to the keynote address this morning, which was a provoking discussion on collaboration between artists and printmakers by artist Brook Andrew and printer Trent Walter (who together created the grey-on-black Indigenous portraits I posted about earlier this week). I say "provoking" because of the dynamic between the two of them and the conventions of printmaking and authorship... Trent Walter continually referred to his own actions in relation to the final pieces as being "in the service of the print", and of course that falls neatly into the master/servant relationship traditionally ascribed to the (superior) artist - the one with the creativity - and the (inferior) printmaker - the one with the techniques and processes. In the end, of course, the printmaker (who might be the only person with a 'hand' in the finished piece, depending on the artist's intentions) usually isn't recognised in the final attribution of intent/authorship/agency... unless that press has a chop mark that the artist is happy to have somewhere on the finished prints.

Brook Andrew, by contrast, was absolutely happy to refer to the relationship as a "true collaboration" and yes, given the amount of input they talked about Trent Walter contributing (far more than just 'process' or 'technique'), it was a true collaboration. But I was left with the feeling that it's very easy for him to say since he, as the 'originating artist' has his name all over whatever he produces in the course of his art practice, regardless of whether he's using a commercial printing company, a master printer like Trent Walter, or a laser printer... they can all be viewed as tools regardless of what skill or experience is invested in their contribution to the ideas, the use of materials or the final output. Ah well. Such is the lot of the truly humble printmaker.

To be continued.... when I've had some dinner!

{p.s. apologies, by the way, for previously writing Trent Walter's surname as "Williams" - I don't know why I did that, but thank you to Anonymous for your comment! Sara (doing the editing a week or so later...) }

That's better. I've just been to the cheap but delicious Chinese restaurant round the corner from the hotel and the hole in my stomach has been filled, although I am still strangely dizzy (it's been happening a lot recently).

My day at the conference was much more related to printmaking and book making, which was fun. I went to a session by Clare Humphries who - sadly I have no pictures - is currently making large reduction linocuts that look almost photographic and very atmospheric. Her practice is currently investigating 'post mortem objects' i.e. mementos from people loved and lost, including items such as her grandfather's collapsible wooden metre rule, or a grandmother's teapot. She draws them on large lino pieces, layering the reducing images up to seven times to create amazingly detailed images, and then the last layer is a thick black through which Clare burnishes back to reveal the smaller image underneath. I was interested in the technique and the process through which she arrived at this methodology in her making, particularly her comment that she now works back through the ink while it's wet because leaving it until it was dry seemed to make the underlying image look passive and inert. She an artist who clearly investigates her own practice in detail - I'm not sure if she's studying - and she relates it to a web of meanings that includes Buddhist systems of substitutions in which relics of the body (bones, hair) are "first order" relics, objects that have touched the body are "second order" relics and objects that have touched second order relics are themselves "third order" relics... well, I was interested at any rate!

After absorbing Clare Humphries' work I slipped into a paper given by Marian Macken in the pedagogy stream, to do with her introduction of a book project into an undergraduate course in Landscape Architecture at RMIT. It was both illuminating and inspiring: she commented that landscape architecture students seem to get caught up in the conception and presentation of final drawings of projects that are, for the most part, never realised 'in the flesh' so the drawings and plans that they produce become the 'ends' rather than the 'means to an end'. This thinking was part of the impetus behind introducing a book arts module into their course that requires students to make a (re-enactable) journey that is then documented in or transformed into a concertina book, and there was a lovely video of the students handling and showing their books running behind Marian as she talked. Clearly the students are taught basic techniques including embossing/debossing and then covering the front and back covers for the concertina books, and I think I detected that there is a restriction in the overall size and general format of the concertina books. But after that it's up to the students, and they come up with interesting and beautiful work. We saw star books and straight accordian books, some with various layers of paper and translucence, some with pop-up elements or cut-paper elements, some in colour, some with two accordian structures held within the two covers. I loved the idea that the students were able to create something from start to finish, and Marian commented that it seems to change their perceptions of what they're studying.

At lunchtime there was a plenary session at which the venue for the next Impact conference in 2011 was announced, which is Dundee in Scotland, and after the last paper was given Roger Butler gave some closing remarks and... that was that! Ronnie slaved away, packing up our books from their display cases in the main concourse, and we all said goodbye and went our separate ways.

I really have got a lot out of being here in Melbourne this week (including a head cold). Not only have I been able to meet up with Ronnie, Amanda and Caren, but I've connected and reconnected with a whole load of other people as well. I've been dazzled, confused and inspired and I'll take a lot home with me to think about. I will also have much to mull over about BookArtObject, but my overall conclusion is that we're "up there" in terms of what we're doing! We're recognised, we're being watched and our work is being acquired... all of which bodes well for the continuation of the project (well, it was going to continue anyway but the encouragement is very nice!), and the continuing interest and involvement of great artists in the project.

I'm sorry I didn't manage to post interviews with other artists, as I'd hoped to do... but I wonder if we can do it by email as a regular post to the blog? Meanwhile I'm going to try and post my one and only sound recording! Thanks very much for reading my meandering thoughts about the people and papers I've seen this week, and I hope you've got something out of me (us) being at the conference.

Ronnie does the hard yards for BAO

Here's our Impact exhibition, travelling home.
Ronnie's a trooper, isn't she?
The heaviest case is actually the smaller one!

And it's all over now, Baby Blue

Showing my generation with that title I'm afraid, but it says it all.

After 4 manic, tiring, social & inspiring days we have parted ways to begin our travel to our various homes.

The photo below is of the four of us BAOers in front of our books (kindly taken by Helen Cole from SLQ for us). That's L-R Ronnie, me, Sara & Caren.
I've taken many more photos of the works on show, which i'll post soon plus more about the papers I attended.

Thursday, September 29, 2011

Thursday stuff... Monash University Museum of Art

Woooo... I'm getting to the point of being a bit academia-ed out! It's Thursday evening and I've had 3 days at the conference so far, one day to go. Believe me, I'm not complaining! I'm having a fabulous time and it's been very thought-provoking.

Today's delights included (for me) a stream called Digital Media, Aesthetics and Materiality, which was fascinating. A few years ago when I lived in Bristol I went to Wells Cathedral where someone - can't remember who, unfortunately - had put together an immersive experience in which walking through the cathedral provoked elements of an audio/soundscape. I loved it, as much for what it showed about what could or would become possible as for the experience itself. Troy Innocent (Aus) was talking about generative drawing programs that evolve language through various rules and aesthetic considerations to harden glyphs with ascribed meanings and then imprint them i.e. "use" them in urban art (mainly): "meaning emerges via installation and in relation with the world". Hmm, lots of italics there and nothing directly related to either book arts or printmaking but it was interesting. Troy showed an installation of his work called "Colony" which is a series of laser-cut rough steel posts with various glyphs written on them which pulse and change in response to i-phone apps and the passage of people around them. The second paper was given by Joel Collins and Indae Hwang who talked about their very different projects. Collins has created an immersive environment in which various algorithms respond to or interact with the people in a space, creating light and sound indexed to particular areas of the space. The intention is that occupants learn the immersive environment - without instruction or language - so that they can then manipulate it consciously. Hwang, in contrast, creates machines from wood and mechanisms that look very real, physically present, and tangible compared to the other two's work, but these machines react to the codes we already carry around in our pockets: the magnetic strips on travel cards or student ID cards, for example. I didn't see the machines in action, but it sounded like a lot of fun and I found the idea that we're already carrying those codes around very thought-provoking.

The difficulty and the danger of conference papers is that they can fall very far from your own interests and practice, and today has been a day in which virtually nothing I saw or heard related to either artists' books or printmaking and yet... it has made me think hard about stuff, which is what it's supposed to do, and as a result maybe I will bridge the gap between the subjects I've learned about today and my own print/book arts practice.

I'm not sure what you'd call these: the artist, Dylan Martorell, Hinteridact I and II, "digitally altered screenprints" that are viewed through those old-fashioned viewing glasses that create a 3-D image. You can't see clearly from my photos, which were taken with my phone-camera pressed up against one of the eye-pieces, but they have a tremendous depth which I loved!

One of Petr Herel's beautiful, brilliant, accomplished, disturbing etchings - part of a series related (somehow - not sure how/why) to Jose Luis Borges, which is part of why they interested me.

My notes! I sit there are scribble during the sessions, on this pad of translucent paper which we were given in our conference packs.

Melbourne Exhibition

My thanks to everyone for their time and effort putting this together. It looks great and the glass case is set out nicely.

Thursday afternoon at Impact

Just waiting for a panel discussion to get started: printmaking & the post-medium condition - a borderless state?
Lesley Duxbury Au, Kit Wise AU, Joel Galler Au, Matthew Perkins AU

Essential conference kit

Pen, paper, water, chocolate

Wednesday, September 28, 2011

An Exercise for Kurt Johannessen

Sara; you're idea (see this post here) about using Sarah Bodman's work An Exercise for Kurt Johannessen has really struck a chord with me. As soon as I read your post I looked up the page on Sarah's pages on the UWE website and downloaded her documentation booklet and then proceeded to print a copy and make it up as per the instructions; the booklet includes the list of the 100 story titles. I'm not quite sure I got all the pages in the right order.... but it makes some kind of sense to me, I will staple it when I get to my studio where my long reach stapler is! 

I hope i'm not jumping the gun; but I am already considering what title(s) interest me most.....

Your books at Impact

I was thinking that if I was hundreds or thousands of kilometres away, I might get a kick out of seeing my work on display at Impact in Melbourne.

So here they all are, arranged by the industrious Ronnie in glass cases. I know she wasn’t entirely happy – she didn’t get the cases she requested etc etc – you know how it works, I’m sure! Personally, I think they look great and they’ve been getting quite a bit of attention.

photophoto (8)

photo (4)

photo (5)

photo (6)

photo (7)


I'm sitting at my portfolio table, having slunk early out of the first session.

Speaking of showpersonship, the first couple of talks in the Artist Book session room (the only sessions I've been to, apart from the keynote speakers) were fab: David Ferry and Sarah Bodman (who is wearing many hats at Impact).

David was pretty much doing stand-up comedy, talking about societal double standards and the response to it that he and other artists have made.

Sarah was talking about the Book Arts Manifesto project that she & Tom Sowden undertook, using vehicles like the Artists Book 3.0 site and various conferences and fairs.

I'm not sure what order the images will appear... Have to stop because people are starting to look at my stall!

Impact mornings

Being at a conference is about much more than attending conference papers, although that is definitely the main interest. The other part of it is about meeting people you know, meeting people you've always wanted to meet and a whole bunch of other people as well; attending the peripheral talks and conference activities; and visiting exhibitions and galleries round about.

Part of the installation Carbon Copy by Marian Crawford, Susan Purdy and Rosalind Atkins, which looks at carbon sequestration and global climate change

Black Water, one of a series of prints by Bosnian artist Taida Jarasevic

Yesterday I went to two afternoon sessions but I missed out on the keynote speakers because I was too busy catching up with people in the foyer and touring round the various exhibitions lurking in the different university buildings. Sometimes it's hard to choose which sessions to go to, so you make your best guess and hope for the best! The conference papers are usually organised in 'streams' so that like conference papers are grouped together and stay in the same room.

I went to the "Print, text, semiotics and language" stream first to see three papers: Christopher Wallen (Aus), "Aura of the Semiotic Imprint"; Stephen Palmer (Aus), "Objects in the Text: Art in the Age of Documentation"; and Macushla Robinson (Aus), "Thinking through the body: transcription and its visual image: Bea Maddock's 'Being and Nothingness' by Jean-Paul Sartre". I'm pretty ignorant about semiotics but in fact this was a useful stream to see and relevant to my practice. I was fascinated in particular by Macushla Robinson's paper because of its relationship to the paper cutting I've been doing in recent work. Her paper looked at Bea Maddock's artists' book Being and Nothingness by Jean Paul Sartre, which is 27 pages of handmade paper covered with Maddock's careful transcription of Sartre's text, which are then covered in wax and placed in a clamshell box. Robinson's thesis is that transscription is an act of embodiment and can be read as an incorporation of oneself in the text, taking the space of the absent writer. Transcription implies the body of the artist and the physical present/absence of the author. She suggests that as Maddocks made the book the year after Sartre's death it can be read as an act of mourning. Robinson also references Walter Benjamin's book "One Way Street" (which I should probably read!) which apparently suggests that reading is like flying over the landscape in a small plane, whereas transcription is like walking through the landscape.

Don't worry! I don't intend to write about every conference paper I see... After the semiotics session I swapped to the wildly popular "Printmedia and the Artists' Book" stream to see Brad Haylock (Aus) talking about teaching artists' bookmaking as a way of bringing different disciplines together (he takes lucky Monash architecture/graphic design/industrial design students away to Florence each year where they consider the local environment and make low-tech artists' books); Tim Mosely talking about his research into the haptics of 'smooth' and 'striated' space and how that relates to his artists' books; and Sarah Bodman talking about Life, the universe and everything in artists' books. Sarah and Paul have brought a LOT of artists' books with them and it's been fascinating to see them.

Actually - I don't think I'm jumping the gun here... - hearing Sarah's talks and speaking to her has prompted a great suggestion for the next BAO edition! We haven't put a 'call to artists' out yet, but if you read this and you're interested then you might like to send one of us an email or put up a comment. Sarah Bodman responded to an artists' book by Kurt Johannsen (I don't think I spelled that right, sorry) and wrote 100 contemporary fairytales in a book that was buried in a Danish forest! The book is available as a free download - but only the titles, not the tales - and Sarah's said we can use it for the next project. The idea is still being worked on, but artists could take a title each and interpret it how they wish, with the thread connecting the books in the edition being Sarah's book.

Today I'm not planning to go to the conference until this afternoon. Instead I'm going to take advantage of Melbourne and go to see the Ian Potter Foundation gallery in Federation Square and Anna Schwartz's gallery in Little Flinders Street (I think). Hooray!

Tuesday, September 27, 2011

PS Go Away - Sarah Bodman at Impact 7

Just thought you might like to see the travel blog that Sarah Bodman & Paul Laidler are writing while at Impact 7; thought it might be a nice complement to what we are doing here with the mobile blogging:


Whee! Having the blog makes it almost as good as being there. Almost.

Thanks to Ronnie for the set-up and to everyone else for  struggling with their new apps and posting updates.

Ronnie mentioned in comments that it would be good if the rest of us could post a link to our individual write-ups of the process. Here's mine.

Although my part in this  work is "over" I am feeling the adrenalin rush all over again at just seeing our collaborative (I think that should be collective, yes?) work on theb log.
GO! BAO...

First Impressions

Christine Willcocks: Flight JQ464, highly saturated digital print on rag paper, 2011, part of the "Footsteps" exhibition of new works from Northern Rivers Printmakers.

Teresa Cole's intaglio-printed collographs, Untitled 2011, a wall installation upstairs in E Block

Karen Oremus, book structures, "Deconstruction /Reconstruction" 2010 - patient cutouts from the text block, reassembled on the cover!

And the BAO cases along the main concourse! Phew, mobile blogging isn't as easy as I'd hoped... But I guess I'll speed up as I go...

Welcome to Impact

I can't believe how many amazing *printmakerly* people (damn you, autocorrect for making it 'painterly' earlier) there are on this room...
I'm not singling out anyone in this photo, just held it over my shoulder & clicked :)
A bit of atmosphere!

Monday, September 26, 2011

The Robinson Papers - A full view

Finally! Here is documentation of my Art & Lies piece, no more teasers, its here in full. The Robinson Papers:

The Robinson Papers A Fictional Archive Bookwork by Abigail Thomas for BookArtObject Edition Two

An edition of 15

[there are a limited number available to purchase - please contact me if you are interested - everyweekness(at)gmail(dot)com]

Judy & the Jacaranda: in full

As you can see from the post below, Ronnie has laboured hard to set up a display of the two editions of BAO books (so far!) at Impact7.

Due to the limitations of glass cabinets, you can only really have a single view of my first edition contribution, Judy & the Jacaranda.

So, in case you haven’t seen it before, I’ve re-posted the page-by-page view of the book to supplement what you can see at Monash. Hope you like it!

almost all installed

all the little boxes ... all in a row.... filled with booky goodness from the BAO corners of the globe....

it's been a tricky operation (of course)

the eight boxes are in the main corridor as folk arrive and move through the space (impact crowds must pass our site oodles of times each day ... as we are on the way to the food!)

the glass boxes were a tad different than expected (like some were missing shelves)... they had to be manhandled into position by yours truly (if they are crooked or in the wrong place- tough!)

.... now - where's the COFFEE?!


Quagmire: IT and Lies

I'm packed and ready to fly to Melbourne for Impact 7. As I've been getting ready, emails have been coming in saying that my Winterson book has arrived in the UK. I thought that now would be a good time to let you know that I've uploaded my book so that it's readable online.

Here it is. (Of course, if you're still waiting for my book to arrive in the post and don't want the surprise spoiled, don't press the link yet!)

I've used issuu, which seems to be a great way of showcasing book files. I've resisted the urge to scan the final book so that people can see the binding, but just uploaded the files I used to make the book (as PDFs), and arranged it as best I could within the format allowed me. This makes it a lot crisper than the printed version, but of course less tactile; you miss out on the effect of the silvery letterpress at the end and the fun of turning my double-spiral-bound binding!

It's a wee bit clunky, probably needs more tweaking, but I thought it was worth doing before I leave my computer for a week and rely totally on my iPhone!

See you at Impact, virtually or IRL (in real life)!

Sunday, September 25, 2011

London Art Book Fair - Day 2 & Day 3

Day 2
I think my brain is too slow for this mobile blogging. I need to consider things. Let ideas float and settle. It's hard.

Ok, so its Sunday now, Day 3 but I won't be going to the fair again today. I want to write up yesterday and hopefully slip over to Donlon Books to see a display of Sara MacKillop's books (as seen here), because I didn't have time to see it yesterday as I had hoped.

Neither of the talks I had booked to go to were quite what I had expected, but here is a summary none the less:

The Cultural Piracy discussion was still interesting as two of the artists (Andrea Franche & Eva Weinmayr) behind The Piracy Project spoke and they are doing some very interesting research into how other cultures regard copyright and piracy, especially of books, and how there is a certain 'creative space within copying'; I do wish they were able to talk for longer though and more about the Byam Shaw Library where there project started, but I did discover that they have got recordings of some talks and lectures I missed on their website here. Kenneth Goldsmith also spoke about his website which is an online media art archive for want of a better term; but I'm not sure I have much to say on that.

The Developing Digital Content talk was also still interesting but not quite as interesting as I wanted it to be!

There were two speakers at the Digital Content talk, Sophie Rochester, Founder of the Literary Platform and Niels Schrader, a Book Designer. Sophie discussed several books that have been published recently that have also had a digital version created alongside. One of which was published by Visual Editions and is called Composition No. 1 by Marc Saporta; the book version is contained within a box and is unbound. The pages are deliberately loose so that the reader can shuffle the pages and read from any page, in any order and will still get a narrative that makes sense. The ipad app that is being made to go along with the book, or to buy separately, is designed to automatically shuffle the pages for you at a tap so that you can read the ebook in roughly the same way the real book is designed to be read, but perhaps with more ease.  
Then Niels talked about the way he used, and still uses, statistical data from text, a book's hyperstructure, as he called it, to reinvent the structure and design of a book. He has recently worked on a book called I Read Where I Am: Exploring New Information Cultures which is a collection of essays about the future of reading. Published by Valiz and designed by Niels Schrader. I actually bought the same book the day before from the Valiz stall at the fair; it has some very interesting indexes and contents pages. One of which is an Index of Word Frequency, and then there is also an Index of Related Subjects (drawn from Wikipedia). Basically, as Niels explains, these indexes are designed to allow the reader to access the text from different points and new angles. He showed us lots of diagrams and ways this type of data could be used, but to be honest I think most of the audience switched off after a while; he just seemed to be going on about the same thing over and again, and only mentioned right at the end how this might be used in digital publications.

So those were the talks; and they ended so late that I only had time for a much needed cup of tea and brownie (as seen in the above image) before they closed, so I missed my gallery hopping time. I managed to spend way too much over the 2 days and bought several books; the one thing in my mind that made it ok to buy so many is that they all looked very useful for my upcoming MA... Here is a picture of my hoard, including leaflets etc...:

Day 3
I wanted to see at least one of the fringe exhibitions I missed on Day 2, which inevitably was the one closest to my home! There was a display of artists' books by Sara MacKillop at Donlon Books which I really wanted to see. Donlon Books is a small art book shop in East London which has a display cabinet at the back of the shop used for temporary displays. I think almost all of Sara's artists' book works were in the cabinet and you were able to slide it open to view the books, and take them off the glass shelves to read.

I was pleasantly surprised to see that these works were almost all made from photocopies. Photocopying as a process is something I have been using in my practice for years and to see someone else who seems to have the same feelings towards photocopying as a medium is very refreshing. I particularly enjoyed her book Remains which is the one with the green front cover in the image below. 

This book was made after the artist found an archaeological monograph/report which had been plastic spiral bound sometime in the 60's or 70's by the author. Sara had then taken parts of this monograph book and reproduced pages with small interruptions using a photocopier to produce a new artistic work which is now her own. This idea of appropriation, piracy and copying (as discussed during the Cultural Piracy talk above) in this manner are themes I have approached within my own work. You could even say that The Robinson Papers that I made for the Art & Lies branch of BAO edition 2 has elements of appropriation within it.

Right so that was my fun packed book art weekend! I hope you enjoyed my rambling; i'm looking forward to hearing from the ladies in Melbourne!


Saturday, September 24, 2011

London Art Book Fair - Day 1

So its been a long day, and I am bushed! Too tired to say more right now. Tomorrow!


So its the next day and I have recovered! I am sitting in bed with a lovely cup of tea and my laptop reviewing in my mind, and on here, what I saw and heard yesterday, and also what I bought, and yes I bought quite a few books!

When I first got there my friend was going to a talk which still had places so I went along too. It was a discussion between illustrators and artists that had been working on a project to re imagine classic novels with  small publishers Four Corners Books. It was interesting to hear about how these artists responded to a text in some ways similar and in others different ways to how we have here at BAO. Of course we respond to an excerpt of text or a short poem; and the aim is not always to reprint the whole text as part of the works. For Four Corners Books they wanted to reprint whole classics with a twist, that twist being the illustrations and design of the book itself. I liked something one of the artists said when talking about what they wanted to achieve by making these books; that they wanted to make a "book that generates something even when they are closed"; and I think that is true of all book art, perhaps even all books.....?

The Mews; link here
 After the talk I met up with more friends and we wandered round the fair for hours, had tea and cake and more tea and bought books. Afterwards I went to a fringe event nearby at The Mews Project Space (see link above), which was an opening of a book art exhibition. Two rooms, several works. The work below caught my eye; a collaboration, a conversation in a box, still in progress. I will keep my eye on that one I think.

Or.Bit ; on the upgrade; link here
Right and now today! I need to get going soon and prepare myself for at least two talks and maybe some gallery hopping as there are two fringe exhibitions I would like to see; one nearby ish to the book fair, and one not at all.... lets see how tired I become! 

Thursday, September 22, 2011

Impact preparations

Getting ready to go to Melbourne
(an overnight bus trek on Saturday- save me!)

I'm making small tags and other bits for our BAO exhibition at Impact7

Given the constraints of site (our work will be exhibited in small glass cabinets... one part of me is happy - my personal BAO collection will be protected from grotty or light fingers... the curator/audience part of me is less thrilled - 'what? we can't play with the books? BUMMER!')
I'm planning a very streamlined space.... I won't be cluttering up the cabinets with extraneous bits and bobs - no arty statements etc in the cabinets. I hope everyone understands and supports this decision. The idea is that this blog becomes the hub - and from here it should be possible to find all the information that might have been onsite (only it's far more attractively and comprehensively presented here - and on personal BAO blogsites) Oh and as part of our Impact catalogue entry I listed all the BAO peeps blog addresses alongside our names......

it will be interesting to see what happens...

wellllll time for me to see how I'm going to pack all those BAO books so they survive the underbelly of the bus


Wednesday, September 21, 2011

Mobile Blogging at London Art Book Fair 2011?

I've just thought that I might join in this book arts mobile blogging event here at BAO a little before Impact with my visit to London Art Book Fair at the Whitechapel Gallery... what you all think? I am going to a few talks and fringe events as well as the actual fair on Friday and Saturday so I could do a few posts while I am there if you think you would be interested?

I've booked to go to these talks in particular:
Saturday 24 September, 2.30pm - Discussion: Cultural Piracy 

Saturday 24 September, 4pm - Discussion: Developing Digital Content

And these events are just open and free:
Friday 23 September, 3pm - Performance: Ode to Words

The Portable Reading Room

I will probably see more than that but this is just a list of things I cant miss!

Anyone else planning on going; Angela? Perhaps we can meet up?


Monday, September 19, 2011

Cracking it too

Testing the phone blogging, Escher-style :)
I'm starting to get excited about Impact, even more so now that I've managed to score a portfolio table thanks to the exhausted generosity of Ruth, no thanks to my disorganized mind.
So, time to see if this worked!

Sunday, September 18, 2011

I've cracked it!

Hopefully this works... I guess the downside of having a Windows phone rather than an i-phone is that there aren't as many apps... It's taken a while to find something that I can use - my first attempt was an app that made it very hard to post photos but this one is much easier (as long as I've got the size right). Fingers crossed!

mobile post from Impact 7 conference!

Amanda is mobile blogging too!

This is a test

testing the waters

hi everyone....

well this time next week I hope to be safely in Melbourne ready to install the BAO books as part of Impact 7 .... you may have noticed a bit of blog tweaking over the last wee while as we get ready to take the work - and the blog to town....

Sara and I have chatted about how we might be able to best integrate static books and active blog so the whole becomes an interesting experience - including for those on the other side of the world (especially our fellow BAO artists) who are not able to attend the conference....

We've looked at various ideas about mobile blogging to allow the BAO folk attending the conference (Sara, Amanda, Caren, and me - Ronnie) to share things 'in real time'..... I found a way to do this during my residency at BBWF (my i-feel-the-passion blog was an exercise in frustration as I had to upload one pic at a time via email, I couldn't add text in the same post as a pic and vice-versa.... couldn't edit, couldn't format, couldn't save to draft first...... it was real fly-by-the seat-of-your-pants stuff!)

Today I discovered Blogger have just released a Blogger app in the App store (and yes apparently there's an Android version too...)

This post is a test of sorts - a hybrid posting uploading text and pics from my i-phone, editing on a desktop then further editing back on the i-phone.... just to see if the new app works smoothly.... sooo there's about to be a gratuitous ronnie pic from my phone pics library just to test the waters....

and if I can get it all to work - golly imagine the possibilities!!!!


Friday, September 9, 2011

wrestling with ronnie...

I've just posted a piccie or two (or three)
of my BAO 'wrestling' edition

(here's a teasing detail pic)

 I will share more about the process and evolution of the work 
in the next wee while  

you can now read about the making of this work here

(ps - all you BAO 'art and lies' folk - your books are in the mail!)


Thursday, September 8, 2011

Checking in after a long absence...

Dear BAO peeps, I feel as though I've been living in a vacuum for months, barely blogging or reading posts and not even creating much. I have so much to catch up on but first must say how wonderful it has been to receive the "Paper Wrestling" books. It is such a thrill to come home to heaps of mail (I've been away from home for weeks at a time) and to find your wonderful books there. This last trip had Ronnie's fabulous flower book - I can't express how in awe I am to actually  have one of these books. Thanks Ronnie, it's a treasure.

I've just returned from Lake Eyre. What can I say, except that it was wonderful, amazing, mysterious... and that I had no idea that South Australia was so big, so dry, so glorious. I can suddenly see why people say you should see your own country first.

I've blogged about it at but here is just one photo:

I'm not sure I'll be joining in with the next book but I'll certainly be reading everyone's blogs, and especially Book Art Object. This has been a wonderful experience, working in a group and I don't want to lose that so I'll be here lurking and watching for a while. Where else could you meet such a varied and interesting (and nice) bunch of people?