Log in

Search Results

Advanced Search
KML CSV GeoJSON RO-Crate
KML CSV GeoJSON
3D Viewer Cluster Journey Route Werekata Flight by Route Temporal Earth

Note: Layers are contributed from many sources by many people or derived by computer and are the responsibility of the contributor. Layers may be incomplete and locations and dates may be imprecise. Check the layer for details about the source. Absence in TLCMap does not indicate absence in reality. Use of TLCMap may inform heritage research but is not a substitute for established formal and legal processes and consultation.

Log in to save searches and contribute layers.
Displaying 1 result from a total of 1:

SORT: Placename | State | LGA | Feature_term | Latitude | Longitude | Start Date | End Date |

Wade Marynowsky

Layer
DAOO Artists with known birth places and birth years
Type
Other
3D Viewer Temporal Earth Google Maps Trove Search

Details

Latitude
-33.867778
Longitude
151.21
Start Date
1974-01-01
End Date
1974-01-01

Description

Sources

ID
tb9957

Extended Data

DAAO URL
https://www.daao.org.au/bio/wade-marynowsky-1
Birth Place
Sydney, NSW, Australia
Biography
Wade Marynowsky works across a number of new media forms including video, music, installation and interactive media. His work mocks the stereotypes of Australian visual culture while constructing a critique of the way new media has engaged – or failed to engage – with an audience. Performance video pieces such as The_Geek_From_Swampy_Creek [2007] has gentle fun with the clichés of new media, mocking the nerdish stereotype of the boffin-artist, while Uranium Country [2005] revels in ridiculous meetings of nature and technology – a glowing koala head with swirling red mandala eyes floating over a rapidly moving background. Although broad in their delivery, Marynowsky’s live video mix performances have at their centre a sophisticated notion of transmutation as a defining characteristic of the relationship between sound and image, a continual and subtle evolution of one state to another.Working in what the artist describes as “serious mode (no costumes)” pieces such as Apocalypse Later [2004] reveal the complexity of Marynowsky’s project. Using a vast array of material recorded around the country – including images of nature from national parks and historical re-enactments from theme parks – Apocalypse Later was produced using a custom-designed computer program to create a live mix of sound and image. The result evoked the visual clichés of Australian nationhood while leaving the distinct impression that the construction of its national identity grew from distinctly unnatural forms. Marynowsky’s Autonomous Improvisation VI [2007] explored the notion of the uncanny through the presentation of an automaton – in this case a computer-controlled Pianola – and a three-screen video installation of musical performances by musicians and burlesque artists. Like his live video mixes, Autonomous Improvisation VI offered an intriguing take on the notion of improvisation, asking if the mere coincidence of data equated to a real or “unreal” experience. Writers: Andrew Frost Date written: Last updated: Status: moderator approved
Born
b. 1974
Summary
Media artist working across robotics, immersive and interactive installation, performance, music and video. His work straddles both 'artificial-life' and 'live art'.
Gender
Male
Died
None listed
Age at death
None listed