The author describes The Crying Post Project , an artwork consisting primarily of wood staffs with solar-powered “cry generators” placed at different sites throughout the globe, at locations of environmental and/or social damage. Its two other components include an interactive 3D web site, which has been created as an alternative, data-rich venue for the project, and a series of digitally created photographic prints designed to capture the artist's emotional response to the sites. The artist also discusses how this artwork has been inspired by his research on the cross-cultural symbolism of trees, the indigenous Australian worldview, mapping theory and the relationship between language extinction and environmental destruction.

Uncomfortable Proximity is a critical web hack of the Tate Gallery's web site, created by Graham Harwood, a member of the Mongrel collective. Commissioned by Tate National Programmes, it mirrors the Tate's own web site, but offers new images and ideas, collaged from Harwood's own experiences, his readings of Tate works and publicity materials and his interest in the Tate Britain site. A related critical text by Matthew Fuller provides wider cultural context.

The author argues for the importance of art in the exploration of ecological interrelationships. Art can help engender an understanding of and connection to the natural world, illuminate values and illustrate the myriad of ecological processes. Various artistic strategies used by the artist are discussed, including performances that document close observation of place, site-specific artwork that offers the opportunity to look at the natural and cultural environment in a new way, and digital imaging and web design that encourage a careful reading of representation through juxtaposition of imagery.

This paper takes a brief look at the early years of computer-graphic and video-synthesizer–driven image production in Australia. It begins with the first (known) Australian data visualization, in 1957, and proceeds through the compositing of computer graphics and video effects in the music videos of the late 1980s. The author surveys the types of work produced by workers on the computer graphics and video synthesis systems of the early period and draws out some indications of the influences and interactions among artists and engineers and the technical systems they had available, which guided the evolution of the field for artistic production.

The author's interest in film lies in its ability to expand consciousness and perception in ways unique to the medium. His films challenge the language of filmmaking, be it montage, color, sound, lighting, mise-enscÈne or acting. The author employs a wide palette of film vocabulary to mask reality and filter it through a personal vision. With the introduction of computers, new ways of seeing the world through film, and thus of acting in the world, may be accomplished.

Discussions of race and identity have often privileged the visual field and its representations as a site of cultural identity. In contrast, this paper examines how sound and its organization have been implicated in the constructions of “whiteness” as a normative category during the colonial epoch. Using a set of case studies, it examines the network formed between sound and vision through what the author calls a harmonic system of representation. After mapping this dominant system, the paper describes tactics that have been used to disrupt it. The possibility of heterogeneous subjectivity, often called the cyborg, is explored as an alternative, in relation to different organizations of sound.