Untitled

Indicative.

Artist: Louise Curham

Title: Abstract Alister

Year: 2016

Medium: super 8 transferred to digital

2020 house and fire solarisation/sabbatier

D-19 1+5 6 mins

3 or 2.5 mins later dev

Solarise

3 or 3.25 mins dev

Method:

Dev in small tray for initial development (pre flash). Place in tray with sprockets up so image has max immersion. Swish in tray side to side.

At end of first dev, lace up film emulsion up ie curl side up ( thread through rubber bands).

Before this, dunk in water to step dev.

Then flash with angle poise c.25cm distance.

Place back in tank. Add dev. Do second half of dev.

Why the small tray? So you can see the development occurring.

Some extra notes: sometimes the glass has been a full second because of a fumble with the switch, still ok.

It doesn’t seem to matter if it is along time out if the dev getting the lacing correct.

It does seem to matter that the film is emulsion up to solarise.

How many people work in coal and gas in Australia?

How much income does Australia get from coal and gas ie what is the percentage of gdp?

How much tax revenue does Australia get from coal and gas?

https://emulsive.org/articles/darkroom/darkroom-printing/making-colour-prints-in-the-darkroom-welcome-to-ra-4-printing

This is quite good:

Print too red? Add filtering for magenta and yellow ie higher filter numbers on Y and M.

Print too blue? add filtering on

Paper should have white light data on filtering starting point - try 70Y 50M to begin with.

Dominant magenta - add more magenta to block it

Dominant green - reduce magenta

This is a photo of three test strips from prints on fibre paper from two 4 x 5 negs, one neg solarised/sabbatiered, one neg not.

Left = solarised neg, right = neg no solarisation

Above, solarised neg. Ignore the highlight on the right, that is from the light box the neg is sitting on. Notice the shadow areas are now pos.

Above, actual scene, lounge room

Above: actual scene, kitchen

For now this is what I am understanding: the areas that have not received a lot of light ie those that develop slowly, are affected by the re-exposure and they reverse ie become pos.

Here's what the Focal Press Encyclopedia of Photography (1960) has to say under Sabattier (p. 995) - daylight fell on the plate during development - exploited to make positives by reversal, [involving] a second exposure and development being given after the first exposure, development and rinsing (not fixing).

So this suggests a full development then exposure. The entry says Sabattier was working on a wet collodion plate.

Entry for Sabattier Effect (p. 995) in the Encyclopedia: partly developed image exposed to actinic (=light of a kind that can change materials exposed to it eg blue violet generally more actinic, most strongly affecting chemical emulsion p. 10 in the Encyclopedia) light, final developed image reverses. 'This is because the emulsion is desensitised by the oxidation of development in areas where the image has started to develop. So the extra exposure only affects the shadow areas of the original neg so that the final image is pos.

So above - the sky remains neg but the shadow areas are now pos but low dynamic range, lots of grey, quite low density.

Development theory (p. 345) essential function = converting silver halide in emulsion to metallic silver. Converting the silver halide that has been partly decomposed by previous exposure to light (ie exposure). Electrons from solution go into the silver halide grains: silver bromide plus an electron igves metallic silver plus bromide ion - derived from polyphenol eg hydro quinone, aminophenol eg metol of polyamine eg paraphenylenediamine. For phenols alkaline helps so an alkaline is included in the dev. Sulphate added to inhibit oxidation. Catalytic process = silver halide with latent image (ie exposed to light) are reduced much more quickly, reducing non-image grains causes a fog.

Adding bromide to developer retards the reduction of non-image grains even more. Silver salt added to the developer that reacts with the latent image, making them silver plated. The silver halide in the latent image is not needed after this process - so before a non-acid fixer, the image is vulnerable/can change.

May paper printing results - worked pretty well. Basic printing week 1 - image: Orroral Valley. Week 2 - dodging and burning and filters - printed Kare Kare beach and 83 Kare Kare Road house. Week 3 - large prints - printed film strips 'I am a 55 year old woman'. Interesting results. Week 4 - sabbattier/solarisation - couldn't get a result on paper quite good results on the negs.

Early May 2026

Will have to check diary for which week I am now in on PhotoAccess, it’s about week4. Torch light printings working. The neg I am using is limited density - neg is orwo p2 first shot in bolex at coast (footage is bush and family and friends) then torch print the strip with a leaf rayogram then a seaweed rayogram. Then into the camera again to film my trees at home and my face. All these images are there but it’s pretty muddy. You could say it’s a kind of fossil or do they call it a transact? Then the torch print process has been mixed. The synchroniser ones didn’t work. The lux needs to be v low with the strip under glass, sync achieved using a 16mm splicer.

About to get into some paper printing , this info on papers is understandable. I am using multigrade fibre. My pinholes all have the light fall off at the edge of frame. So the ones that have a bright centre eg kare Kare - look over exposed. Today I am thinking about what will be my first finished work. I tried scans of the processed 16mm so far, it was lacking energy, last one okay. Tried printing some frames - no good from the pos print. Will try with the neg. Ideal is a big fibre print. I thought about timber panels, strips. Maybe. Would want some with laminated Perspex and some with mirror.

Analysis of results from 18 Feb 2026:

Dev 2. torch misaligned for some sections of exposure, those sections have some image, therefore overall exposure from torch too high.

Dev 4. 5 min 30 at 22 degrees, reused the developer from Dev 3.

From the left:

Left: Dev 4: best result, still has black (over exposed) sections

Centre: Dev 2: misaligned torch, achieved some image

Right: Dev 1 torch burn marks

Left: Dev 3, those 'targets' are the torch, where the film must have been almost stationary in the synchroniser due to uneven pulling through

Right: Dev 4, another section of the film, showing the areas of black

Overall there's a grey colour cast consistent with fogging amd/or over exposure.

Was the error in the processing? No. Here are two strips.

Left: Namadgi fire footage

Right: Bolex/Burrawang double exposure

Moved to D19 from D76.

Used 1+5, 7mins 20.3 degrees for Orwo P2 ASA 4

Development tests on Bolex and Kare Kare strip, dev OK.

Torch not working:

- bipack slipping out of synchroniser

- uneven exposure due to wind on synchroniser

- light source not focused enough, spilling over several frames

Try: tape strip together so bipack stays stable; take out of synchroniser, do on table; choose less complex image to print; narrow light source

Stock resources

KODAK Black-and-White Print Film 2302/3302 - ESTAR Base, low-speed, high-resolution print film - B&H video but you have to spend $2K and buy 6 rolls!

Looks like 50D - 16mm 400ft / 122m Kodak colour neg is the slowest of the readily available stocks ...

Wed 18 Feb

Two tasks were:

identifying stuff - what's in the black bags and boxes?

torch light printing from neg to Orwo P2 ASA 4 developing with D76

So what were the results?

Bag/box audit:

Harman pos paper - white Harman box; yellow Kodak box, some unused stock paper pos, one exposed but not developed (Pete and David on McQuoids c. 2021).

Cyanotype unexposed - 2 x coated rag paper, c. 5 A5 paper sheets (have coffee grounds on them).

16mm - 3 daylight reels in boxes, two Namadgi 2020, one Bolex subject unknown found Nov 2025, seems to be Burrawang.

16mm - black bag, c. 200 ft Orwo P2 4ASA stock (from Laura Hindmarsh's photoaccess residency).

X-ray risk to Bolex Unknown and to the bag of c. 200 ft of Orwo P2 stock.

Torch printing 16mm neg 'Louise portrait' made for Big River, Kanchanaburi Dec 2025.

Exposure

The torch was very close to the film and I wound the film through the synchroniser using the knob. Result is over exposed.

Developing

To test if the development worked okay, I put three strips in the tank: the torch print, a strip of a Namadgi roll and a strip from Bolex unknown. Results on Namadgi and Bolex are okay. Problems with torch print - 1) film stuck to itself in the tank (tank was single reel 35mm Paterson tank with no reel) 2) very little image.

However, the edge marking are okay ORWO and numbers so this tells me the error is not the development, also supported by good results for Namadgi and Bolex Unknown. Problem is exposure.

Top row: torch and synchroniser

Middle row: frames of Namadgi and Bolex Unknown (B&W neg)

Bottom row: frames of torch light print

Day 2 Thurs 19 Feb

Here's the plan:

change torch luminance, change use of synchroniser - pull the film through rather than use the knob

first development D76 stock solution 5 mins 23 degrees C, constant agitation, then try D76 1+1 7 min, slower development, finer result.

10 June 2026

Thinking about my tenure here in Kambah, it's a lease, 99 years in the ACT for property belonging to the Commonwealth. How does that work when there was no treaty with Ngunawal/Ngambri, no purchase. UOW equity, diversity and inclusion policy fact sheet on terminology gives this definition of decolonise:

The active and intentional process of unlearning values, beliefs and conditions that have caused physical, emotional or mental harm to people through colonisation. It requires a recognition of systems of oppression. 

So 1) you have to know what values, beliefs and conditions have caused harm - physical, emotional and mental. That's the truth telling part and the truth listening part. I believe the truth listening is the current important work. 2) can you/I identify systems of oppression? Incarceration and housing are two that spring to mind immediately. But racism is very high on this list.

The terminology fact sheet provides a definition of oppression:

What will I do?

Here's a list of projects:

torchlight printing - developer decision: D19 vs Paradol

pinhole 16

pinhole develooment - neg and paper

peoples' map - 2023 project that used pinholes, not finished

2021 16mm Orwo - finish development

Gingera - footage after 2020 fires (c. 2021) not developed

Ruapeha - footage of Aotearoa NZ mountains, not developed

Humble Priest in the Family making of - footage not developed

A film of one's own - laying super 8 films inside 16mm, in progress since 2015

screenings

Still life for the home (transferring the super 8 to digital and displaying it on a digital photoframe, ideally one with a light sensor so it comes on when lux reaches a certain low point. Do this with Ruapehu and Gingera.

Panel photographs - put Gingera footage on strips

Screenings of folks from Big River, in CBR and Sydney

The stretch list Fix projecctors Fix steenbeck

Pinholes

solarise, process - Gingera, Ruapehu, Pete, Orwo

strip outputs

moving still lives/still lives for the home (digital photoframes)

expanded performance, mirror +S8, audio??

Megalo

Photoaccess start with Torch printing and develop Seaweed film contact print Gingera, Ruapehu - solarise

Supplies Cyno Stil film same film speed as moving

Budget Screening artist fees

Week 1 Torch print and solarise. Frame print. Seaweed film. cyanos on home made paper - test translucency, test seaweed, test Peter book images Papermaking Try film strip techniques on etching plate.

IDEA Seaweed film

Translucency

Things out of place - not enough (of the )things (we're used to anymore)

Too hot, too cold

We didn't know 1 degree of warming equals ten degrees in reality.

They told us it would be more extreme but we did not imagine effectively.

IDEA A film of one's own - the collage to 16mm and maybe to 35mm transfer. Have to find a way to transfer.

IDEA Lessons on dying, lessons in the later phases

IDEA a film a day, Peter and the S8, Oli and the S8.

They face the light. The light is the pergola side. Teh camera looks into the kitchen. It is one bolex wind. Then the S8 is like a suncatcher rainwbow that chases over the image and there is a vector - a yellow beam or diamond. This involves digital.

Outputs

1 cyano

2 solarised stills

3 solarised film

4 on location

5 immersive digital

Projects by format

Try it in cyanotype, then on film with a torch, then solarise

Try solarising still film

Try own emulsion

Try liquid light

Screen others

So I have a total volume of 4250 ml, ideal would be 42.5 g of methyl cellulose.

But MC is a bit special so we might use shop bought gelatine.

So I’m going to take out 500ml of pulpy water and mix this with dissolved sizing.

500 ml of mixed methyl cellulose, mixed 5g dissolved in hot water.

My practice focuses on what's right in front of me and what I can do everyday, all the time. I do that with analogue film (16mm, super8), I do that with watercolour, occasionally I do it with oil paint, I do that with analogue photography like pinhole photographs and in this picture, cyanotypes. What I'm after is a reflection on reality as my eye and body experiences in the moment of making the image. This image has a history - it was drawn and then the cynotypes were added. The first drawing washed off in the process of making the cynotypes. I drew it again. Later I added the acrylic triangles. You can also see repairs in torn sections of the paper.

This picture is an experiment in extending my sense of reality by placing different registers of reality next to each other. The result is awkward. For me, it has a truth.

Cynotypes are made by direct contact between UV light (in this case from the sun). The objects you see were at hand - an orange bag, a feather from a young cockatoo. For me, this is the undeniable hardness of actual things. The drawing brings my body into the picture - you are seeing the relationship between my eye, my hand and time. The yellow triangles are inarticulate. While my body was there to make them, they don't represent what is visible. Instead they link, connecting one thing to another.

This image is made on a piece of brown wrapping paper on a painting stretcher. It is 45 x 45 cm and 3 cm deep.

And this one:

Thinking drawing (film)

For me, I check in on my mental state through drawing. Am I well? A measure for me is the way my 'eye is in', which for me is about the connection between my eye, my hand and the physical space I am in. The way my eye sees surprises me. In the calm of the picture, I also listen in on my thoughts.

In this picture, the thoughts are leading, making something new for me, a film.

Here's the reference list:

Curham, L. (2021). Tending the archive – how re-use of ephemeral artworks contributes new knowledge to the archive that preserves them, strengthening the artworks and aiding their survival [University of Canberra]. https://researchprofiles.canberra.edu.au/en/studentTheses/tending-the-archive-how-re-use-of-ephemeral-artworks-contributes-

Curham, L. (2023). Let’s talk about expanded cinema in our Asia Pacific region. 27th SEAPAVAA Conference 10 – 11 May 2023, Mahatai Pattaya Convention Center in Pattaya, Thailand. https://www.tumblr.com/lcurham/716090393699254272/seapavaa-poster-expanded-cinema-in-the-asia?source=share

Curham, L. (2024). Manual Making for Ephemeral Art. National Gallery of Australia. https://nga.gov.au/stories-ideas/manual-making-for-ephemeral-art/

Depocas, A., Ippolito, J., & Jones, C. (Eds.). (2003). Permanence Through Change: The Variable Media Approach. Guggenheim Museum Publications and the Daniel Langlois Foundation for Art, Science, and Technology. http://www.variablemedia.net/e/preserving/html/var_pub_index.html

Ihlein, L., & Curham, L. (2009). (Wo)Man With Mirror: A User’s Manual [Print]. https://teachingandlearningcinema.org/wp-content/uploads/2010/01/woman-with-mirror-users-manual.pdf

Laurenson, P. (2006). Authenticity, Change and Loss in the Conservation of Time-based Media Installations. Tate Papers, 6. https://www.tate.org.uk/research/publications/tate-papers/06/authenticity-change-and-loss-conservation-of-time-based-media-installations

Lawson, L., Huyton, S., Marçal, H., & Ribeiro, A. (2022). Institutional Practices: Collecting Performance Art at Tate. Tate Research Publication. https://www.tate.org.uk/research/reshaping-the-collectible/institutional-practices-collecting-performance-art-at-tate

Loo, L., & Curham, L. (2019). Stand-in Lab [Mixed media].

Vall, R. van de, Hölling, H., Scholte, T., & Stigter, S. (2011). Reflections on a Biographical Approach to Contemporary Art Conservation. ICOM-CC: 16th Triennial Conference, Lisbon, 19–23 September 2011: Preprints, 2011, 2011, 1–8. https://www.academia.edu/34636715/Reflections_on_a_biographical_approach_to_contemporary_art_conservation

Walley, J. (2020). Cinema expanded: Avant-garde film in the age of intermedia. Oxford University Press.

Summary of talk:

Since about 2005, artists and researchers Lucas Ihlein and Louise Curham have been working on how to keep alive art that involves performance and AV materials. In the 1960s into the 1970s, artists started to use audiovisual media like 16mm to make performances. This work is known as expanded cinema [1]. Its politics were about seizing control of media production and emphasising a more equal relationship between audiences and creators.

Two good examples of expanded cinema come from one of the world's most successful artist run initiatives, the London Film Makers' Co-op. Malcolm Le Grice's Horror Film 1 (1971) involves a performing walking backwards from a projection screen towards three projectors. Coloured loops run in the projectors. The walking figure makes a series of body movements that interact with the projection loops. This very simple set up creates visual complexity and poetry from the interplay of the body shadow with the three loops.

Another example is Anthony McCall's Line Describing a Cone (1973) in which an animated line forms a circle over a 30 minute duration. There is a small amount of smoke in the room and as the circle forms, the smoke picks up the projection beam and forms a cone. The audience is free to move around the room and interact with the cone as it forms.

The features of these expanded cinema works is that they draw attention to the audience, the physical space in which the event occurs and the mechanism of the projection as well as what's on the film itself. This is quite different from others uses of motion picture which seek to absorb the audience into the story on the screen. The point of expanded cinema was the live relationship of the event.

Working under the nom de plume Teaching and Learning Cinema, Lucas and Louise have applied their instruction or user's manual making work to ensure Horror Film 1 can be performed into the future.

Stop 1 Charging in Lyneham

It stopped charging after just 11 mins, adding only 9% new charge.

Why did it stop the charging? Internet says could be:

1) cable plug in sequence

2) app must be up to date etc

3) charging limit set or scheduled charge set

11 min charge cost about $4, delivered 63% to 72%, gave us the following: 176 km minimum range for our 72% charge

Stop 2 Lake George Winery

App is Exploren ACTEW AGL app, 2 x ccs2s, looks good, car stats:

60% min range 145km, average was about 100km/hr

This is one is faster 60 kw compared 35 at lyneham,

This one is great! Cost $7, reached 80% in 22 mins. The app is clear and easy to use. Enjoyed checking out the tiny houses in www.Tiny Away.com

Stop 3 Goulburn KFC - south Goulburn near the Big Merino

What Plugsghare says is true just one charger with two CCS2 plugs, both in use at midday on a Monday. It’s in the KFC car park. Next door a new big Tesla station is under construction- looks like about 10 chargers ie 20 cables but likely Tesla only.

Exciting at this LFMC 2 charger CCS2 site was another Inster! CBR plates, matt green exterior, green leather interior, very nice!

Lunch at Goulburn at 70% after 44 kms

Stop 4 Goulburn North in the metro petrol station. Two old NRMA stations with four CCS2 plugs, none working. One new Chargefox working fine, two CCS2 plugs, friendly BYD sedan driver from CBR topping up there. We charged to 85% cost $7.60, time about 20 mins. PlugShare app says NRMA is replacing those chargers.

Stop 5 Marulan northbound

2 x Ccs2 , BP pulse app all looks fine, we didn’t test this one.

Stop 6 Sutton Forest northbound mc Donald’s car park, Evie app and stations, 4 stations 8 charging points CCS2, only one in use while we check it out - seems ok but another new app

Effective Storytelling/The Power of Interpretation for land care

* Storytelling gets to the heart of the matter - facts and data only get us so far, storytelling helps us get to the connections. How do we change up our stories for different situations/people?

* What are the conditions for storytelling? Eg Listening, having a story to tell. 

* Storytelling allows different perspectives. How have we heard the story of our patch or our projects told in different ways?

Dr Louise Curham is a lecturer in the Curtin University iSchool, teaching in the archives and records area. Louise joined the university sector in 2020 after two decades working in government information, community records and archives and audiovisual collections. She has held policy and project-based roles in national cultural collections and she has been an advisor in the community archives sector. Louise's PhD was completed at the University of Canberra. She has information management qualifications from Charles Sturt University and Edith Cowan University. Louise first trained in film. That thread has continued, as questions around managing complex analogue and digital objects have been a feature of her career. Louise's research focuses on objects that elude meaningful digitisation.

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Dr Louise Curham is an archivist, media artist and researcher based in Canberra. She is an online lecturer in Curtin University's iSchool, teaching into the archives, records and digital preservation subjects. Louise uses her expertise in archives and media art to explore themes that flow from old media, ranging from digitisation to the impact of algorithm-based technology on citizens.

Her PhD research explored looking after heritage items that elude digitsation. A key historical influence for her media art is expanded cinema, a form from the 1960s and 1970s that combined live performance with media. It's combination of a focus on the relationship with the audience and the performance of technology has seen a wave of international activity and scholarship in the area of expanded cinema; Louise is actively involved in this. Re-enacting expanded cinema has formed a key part of Louise’s work in the past decade within the artist group Teaching and Learning Cinema (TLC) with artist and scholar Lucas Ihlein.

In her art practice, Louise makes performances, photographic works, video and 16mm films and installations. The themes she explores are decoding the ‘black box’ of contemporary technology and extending the life of old media through creative archiving. Her methods include hand processing super 8 and 16 mm film, making performances using old media and re-enacting early media art performance.

Drawing together communities around media has also formed part of Louise’s work. She was a convenor of regular media art screenings and performances through the Sydney Moving Image Coalition (2002-5) and its successor group TLC (2006– ). Current projects extend Louise’s practice of building communities around media to questions of how communities represent themselves through technology. This takes the form of a community locative media project, The West Kambah Peoples’ Map. This project connects Louise’s work in old media with her work as a leader in environment volunteering in her local area, surfacing the potential for ecological thinking that engaging with old media contains.

Since the early 1990s, Louise has presented exhibitions, public programs and community events throughout Australia and internationally. Her art has been supported by ArtsACT (2020, 2013), Bundanon Trust (2012), BankART1929 (Yokohama, Japan), UNSW Student Union (2002), Creative New Zealand (1995). Her research has been supported by the University of Canberra Centre for Creative and Cultural Research (2016). She is a recipient of the Margaret Jennings award of the Australian Society of Archivists and the University of Canberra Pitch for Funds (joint winner 2016). Her film works are in the collection of Ngā Taonga Sound and Vision (NZ) and the National Film and Sound Archive (Australia).

Bio 2016: Louise Curham uses her art and her expertise as an archivist to explore how we can look after things we can’t digitise. Louise invites us to think about the wisdom that accompanies things we want to keep and how we can pass that on.

Louise writes: Keeping heritage can be a difficult business. Our commonsense assumption is that the internet and digital systems will save and store everything, but some things don’t digitise well. Here’s an example: under the nom-de-plume of ‘Teaching and Learning Cinema’, an artist-colleague and I re-enact Expanded Cinema, a form of live art that involves film projection and performance. One of our projects re-enacts a seminal British expanded cinema work, Guy Sherwin’s Man With Mirror (1976). When we first made this re-enactment, we produced a user’s manual. We recently tested the manual with Australian artist Laura Hindmarsh. 

Laura’s experience shows that the ‘item’ Man With Mirror is an example of heritage that can’t be comprehensively recorded and transferred textually or diagrammatically.   It includes a batch of ‘embodied data’ that needs  body-to-body transmission, passing on in person from one user to the next. For Laura to carry out her own re-enactment, despite the diligent instructions in the manual, she relied upon information conveyed in-person in real time from my colleague Lucas and I, as indeed, before her, Lucas and I had relied upon information from Guy Sherwin to make our re-enactment.  What this means is that we need to keep the things, and the wisdom that goes with them.

Louise is a researcher in the Centre for Creative and Cultural Research at the University of Canberra, until very recently, an archivist in the Australian Government and an artist who specialises in obsolete technology. Louise trained in film, later in live arts and archives. Both live arts and archives continue to run parallel in her career. Currently finalising her PhD at the University of Canberra, Louise’s research draws together art and archives, exploring how we keep things we can’t digitise. The data set for this research takes the form of performance art re-enactments from the 1970s.

As an archivist, Louise works for the Australian Government, setting policy and curating future archives. As a consultant archivist Louise has conducted significance assessments on several seminal small arts collections. In live art, Louise performs with obsolete media such as 16mm and super 8mm film. She collaborates with luminaries in Australian contemporary, classical and jazz music, in key venues and festivals in Australia and internationally. Louise’s films are in the collections of the region’s film archives. 

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CV

Education PhD, Centre for Creative & Cultural Research, Faculty of Arts & Design, University of Canberra (2014–) Graduate Diploma Information Science (Archives & Records) Edith Cowan University 2010 Graduate Certificate Audiovisual Archiving, Charles Sturt University, 2005 Master of Fine Arts, College of Fine Arts, UNSW, Sydney 2004 Bachelor Film & Television, VCA School of Film & Television, Melbourne 1993

Solo exhibitions A Film of One’s Own [Archive Fever], PhotoAccess, Canberra, November 2015 A Film of One’s Own [Fugue Solos], Performance Space 2005, NZ Film Archive Media Gallery Wellington 2006, Te Manawa ART Palmerston North, NZ 2006 Floodgate (2006) College Gallery, QUT in the OtherFilm Festival, 2006 Moving Still Life Blackwood Gallery Melbourne 1999, UNSW Hutchison Gallery 2002, Kudos Gallery Sydney 2004 Herbaceous, NZ Film Archive Auckland, 2003

Selected group exhibitions The Stand-in Lab with Lynn Loo, PhotoAccess Canberra 2019 Encyclopedia of Forgotten Things, Faculty Arts & Design Group Show, Belconnen Arts Centre, May 2016 Slowing Down Time, Belconnen Arts Centre 2015, Articulate Project Space, Sydney Mar 2014 & FCA Gallery, Wollongong Aug, 2014 Still Life | Moving Fragments, Belconnen Arts Centre; Tin Sheds Gallery, Sydney 2012 Propositions and Game Plans, Melbourne International Arts Festival, 2007

Selected re-enactment events Teaching & Learning Cinema expanded cinema re-enactment projects inc. Horror Film 1, CCAS June 2014; Hollow in the Paper, CAST, Hobart 2013; Unconscious Archives Salon, London 2013; The Parlour in 13 Rooms, Sydney April 2013; Imprint, Artspace Sydney, 2009; Performance Space, Sydney 2007.

As curator & convenor Stand-in Lab events program in the Stand-in Lab exhibition, PhotoAccess Canberra 2019 Poetry Film screening in Poetry on the Move symposium, University of Canberra, Sep 2016 Teaching & Learning Cinema events 2006 ongoing. Highlights include Photochemical Games and 16mm from the ‘70s the films of artist Malcolm Le Grice at Belconnen Arts Centre, Canberra 2013.

Selected performances Yokohama Flowers with Erik Griswold, Brisbane 2019 In a Bone Way with Debra Di Centa, Dance on the Edge, Belconnen Arts Centre, 2018 Tracer film performance for prepared screen and haiku in You Are Here Festival, Canberra, April 2016 Room 40's Open Frame with Chris Abrahams, Carriageworks Sydney, July 2015 The Film Remains the Same film performance in You Are Here Festival, Canberra 2014 Unconsious Archives at Café Oto, London, June 2013 SoundOut Festival, Canberra 2013, 2014 Melbourne International Arts Festival, Soak, with the Australian Art Orchestra, 2010 Jazz Visions Festival, Sound Lounge, Sydney, 2010 NZ International Film Festival, Frames Per Second A Film of One's Own, Auckland, 2009 Waiting to Turn into Puzzles at the Australian Centre for the Moving Image, 2008 Val Camonica Pieces, Victorian Arts Centre, 2007 OtherFilm annual festival, Brisbane 2006-8; NowNow annual exploratory music festival, Sydney, 2006-9

Residencies Bundanon 2012; University of Wollongong artist-in-residence 2008; BankART 1929 Artists-in-studios residency Yokohama Japan 2007; Performance Space 2007; UNSW union artist-in-residence 2002

Appliance checker

FREE

Krita for concept creation

Inkscape for vector design

OpenToonz and Pencil2D Animation

Blender for 3D animation

Natron for compositing

OBS Studio for live streaming

ShareX for screencasting

OpenShot Video Editor for streamlined video editing.

VPT – Toolkit free projection mapping tool. Have to learn it, for creating shows, comes with all the essentials you need, like OSC, midi, audio analysis. Built using C++ if you are a creative coder this can be your tool of choice to create mind-blowing shows.

Synthesia Live – Live Visuals - good for audio-reactive generative visuals. Free

NOT FREE

Resolume - widely used easy for beginners - Resolme Arena for video mapping, LED installs - good starting place

Modul8 - for Mac - easy connects with MadMapper for video projection - can control lights etc

MixEmergency - connects to Serato series of software. Easy, can send and receive high definition video streams, can mix video between computers, easily change between Video DJs, mix with 3 or more decks

VUO – Interactive Media for creating new media installations. VUO is similar to creative coding tools like Processing, OpenFrameworks, TouchDesigner, etc. It comes with easy to use modules that can get you started with a variety of interactive video projects without any coding.

Painting with Light – Video Art for generating content on the fly. video mapping tool for static and moving images through any video projector onto 3D physical objects.

NotchVFX – Real Time Graphics a real-time production software. Works with a media server - make motion graphics, real-time tracking, virtual worlds and a whole lot more. Real time/live.

VDMX live video input, quartz compositions, custom layout, audio analysis for live visuals, audio-reactive content, music events

Arkaos full-blown VJ software inc projection mapping, musicians like it, inks directly with Pioneer Pro DJ network.

CoGe VJ – VJ Tool limit is the computing power of your machine/graphics card. connects with software like Quartz, IFS generator, VUO image generators, Syphon sources for live camera and other inputs.

VVVV – Interactive Media - toolkit, a node based software that opens up the creative abilities of your hardware. Allowing you to create just about anything you can visualize. Live data input, motions tracking, OpenCV, multi-screen projection. Create live media environments.

Sparck – Immersive Content - immersive interactive spatial augmented reality installation, can project real-time generated virtual content. It helps you to turn your world into a 360° VR environment no matter the shape of your surfaces.

Smode Studio – Interactive Media Server VJ software along with a media server. Control visuals using Audio, Midi, OSC and display directly or use the power of Smode with spout to run visuals into your VJ software

MPM - open source framework for 3D projection mapping using multiple projectors. It contains a basic rendering infrastructure and interactive tools for projector calibration.

Visution – Projection Mapping versatile video projection mapping software. Allows interaction by pixel rather than other tools which restrict you with grid points. The good part is Mapio2 allows you to throw virtually any video format into your media playlist. For multi-screen setups, projection mapping and permanent installs with a show mode and autostart.

Vioso – Projection Mapping - to align multi projection set ups

Scalable Display – Auto Projection Alignment & Blending uses a camera to automatically wrap and align projectors up to 16 from a single PC. For a permanent installation, this can be very useful, reducing on-site visits and provide robust software to align and wrap your image.

Edge – Media Server - for video mapping. Use this for permanent installations for advertising, museums, retail and other places where you need a robust solution. Edge C is a video server, Edge DS is for digital signage

Mapstard – Media Server This is a timeline controlled video server, not really for live VJing. For controlled shows, where you have pre-defined content to play. DMX functionalities allow timeline control.

Dataton Watchout – Media Server Works on a network of computers connecting your main machine to control slave machines. Allowing you to connect as many projectors as your hardware can handle. Easily create timeline shows, similar to using video editing tools. This is a great option for corporate shows where you need to run content on cue. Watchout display output only works if you buy their dongle.

Millumin – can be used as a media server, can load 3D models for mapping, control light fixtures, connect with external controllers, timeline your show and much more.

Ai Server – Media Server Integrates with leading hardware and software that run behind the console for large scale setups, permanent installs. Integrates with NotchVFX for your real-time shows.

Disguise – Media Server

D3 media server for light shows, do the whole show with this.

Hippotizer – Media Server

Hippotizer - media server for pixel mapping to projection mapping, small scale to large scale

Comes from https://limeartgroup.com/the-mega-list-of-vj-software-and-tools/

Malika Maria

Starting creative coding - what kit do I need?