The clips below represent a selection of material that reflects my ongoing research into Dystopian millennial culture and digital aesthetics (2010-2014). I have also included a few early video art experiments, music clips and narrative shorts 2004 and beyond. The content has been sourced from material archived at my Vimeo and YouTube sites.
Mineral Machine Music (2014)
Mineral Machine Music (Preview Clip) on Vimeo.
Mineral Machine Music was audio visual collaboration between geologist Clement Fay and media artist Mitch Goodwin. Mineral Machine Music is a collaborative exploration of the fabric of the earth as seen from the stage of a microscope and the lens of the industrialized city. Blending cityscape with substrate Fay & Goodwin compliment the imagery with layers of sonic noise – musical representations of tectonic activity, echoes of the universe from deep space and the groans of the restless earth all juxtaposed against the industrial machine ambiance of a New York city subway.
The project was recently shortlisted for the prestigious Lumen Digital Arts Prize and will tour Athens, New York, London, Cardiff and Amsterdam from late 2014 into early 2015. The film debuted in its original installation configuration at the Synthesis Exhibition at Umbrella Studios in Townsville in January 2014. Since that time the work has been selected as a finalist for the Arcanum Film and Animation Festival in Estonia, screened at the Color Arts Festival in Hungary (June 2014) it was again installed in its gallery configuration at Prism 16 at Sheffield in the UK (July 2014) and will screen at the Electric Shorts film festival at the Melbourne Fringe (October 2014).
Dark Euphoria: Unclassified Media Exhibition Documentation (2012)
Summary compile of video documentation for the exhibition Dark Euphoria: Unclassified Media at the eMerge Media Space, Townsville, Australia in September 2011. The exhibition explored the darker tendencies of the contemporary digital aesthetic and the larger meta-narrative of the mass media network in this period of millennial change. Featuring photography, video remixes of contemporary screen culture, multi-channel video works, image manipulation, glitch art and electronic music the exhibition is also accompanied by a web portal for extra content and work-by-work deconstructions (darkeuphoria.info). The exhibition space and the web content seek to unpack the modern mediascape and to tease out links and synergies with the previous century’s techno-futurist obsessions. Full length versions of the video works featured in this highlight reel are archived online. For a detailed theoretical background and associated content, please visit the Dark Euphoria project site: darkeuphoria.info
As I Stood Idly By (2010)
A media art installation designed for an exhibition marking the 40th birthday of James Cook University. The work takes as its basis the involvement, as a figurehead, of Queen Elizabeth II in the inauguration of the university. Reflecting on the role of the monarchy, or more importantly the lack thereof in subsequent global and considerably more tumultuous events, the work presents aspects of growth and decay at the microcosm level of the university itself, expanding out to draw on often conflicting narratives by media figures and wider juxtapositions of concerns regarding events and developments in society, science, politics, media and new technologies.
Produced with sound artist Steven Campbell, the main sequence represented here is designed for a large LCD TV and to be accompanied by a full wall projection of a another sequence, QEII. The work was also featured in the “Lock-Up” component of the Electrofringe Festival in October 2010. Photographed & Assembled by Mitch Goodwin. Sound design by Steven Campbell.
Vonnegut’s Fire Fight Fuzz Box (2011)
Competing screens and competing time slots keep the fuzz box busy. When computer screens are used to recruit instruments of war, 4 year olds in plastic tiaras pull off booty slaps and the world’s most wanted channel flicker is caught catching up with the BBC World Service you know that times are tough – and weird. So… as it has been 10 years since the befuddled distraction of Story Time with George it’s probably best to see if Uncle Kurt can guide as through the hills and furrows of this very 21st C coming of age story. Ladies & Gentlemen, Vonnegut’s Fire Fight Fuzz Box.
My Endless Dystopian Summer Blockbuster (2011)
My Endless Dystopian Summer Blockbuster is collage of film and TV documentary programs which focus on themes of post-apocalyptic or dystopian futures, internet or computer technology paranoia, and impending end of world scenarios. Preference was given to films that fall within the decade spanning either side of the millennium. Screened as a two channel video installation filling the north and south walls of the exhibition space the piece was originally exhibited at the eMerge Media Space in Townsville Australia as a part of the exhibition Dark Euphoria: Unclassified Media. More detail and theoretical back grounding can be found at the project site: darkeuphoria.info/the-endless-dystopian-summer/. Collated, captured and edited by Mitch Goodwin (September 2011).
A sequence of glitches captured during playback of MP4 conversions of segments of dystopian and computer hacking films and apocalyptic scenario TV documentaries. Each image is a 1920×1080 HD frame, and were intended as standalone printed works however they appear here as they were submitted as a video gallery sequence for London’s Furtherfield Gallery exhibit, Glitch Moment/ums. Collated, captured and edited by Mitch Goodwin (originally September 2011, post produced May 2013).
An experimental sound and video collage with Gold Coast musician Lani Motiekaitis. Recently screened as a part of the Electroprojections exhibit at the G3 Artspace in Parkdale Victoria in 2012. Vitamin B shot provided by Naomi Watkins. Designed, edited and photographed by Mitch Goodwin, 2004.
A short from 2004 that completes the trilogy of Howard-Bush-Iraq-Refugee political films. Featuring a young artist and Afghan refugee Sakhi Hazara the piece was derived from a story idea by Greg Manson who wrote the final screenplay and produced with Susan Presto. Original music by Lani & Sheri. Musafari theme performed by Sakhi Hazara. Directed, edited and photographed by Mitch Goodwin. A Club Peerless Production and Manno Enterprise 2004.
Miss You (2003)
A 2003 cover of the Rolling Stone’s Miss You by Gold Coast singer-songwriter Kristy London. The clip was produced by Natalie Harker, lighting serviced by Ben Daly, restaurant location provided by Vinnie’s Restaurant Labrador, Gold Coast and the dolly track was expertly constructed and kindly donated by Greg Manson. Directed, edited and photographed by Mitch Goodwin. Club Peerless Productions 2003.
Under The Milky Way (2001)
Video clip from 2001 of Brisbane band George performing Under the Milky Way by the legendary Church. Filmed on location at the equally legendary Healer in Fortitude Valley, Brisbane. This sequence would form the centerpiece of a longer film, George-WDC, which was the first of what would be a trilogy of political films from the Howard-Bush-Iraq-Refugee era. George Engineered & Mixed by Justin Tressider. Photographed & Edited by Mitch Goodwin.
Impermanence is a video art/poetry assemblage from 2000. It was the culmination of an ongoing collaboration between the Post Hoc Performing Word Company from Griffith University’s School of Arts on the Gold Coast and media artist Mitch Goodwin. Impermanence was the final incarnation of a project which was first developed for the Adelaide Fringe Festival in 1998 and consequently toured the Brisbane Writers Festival (1999) and the Electrofringe Festival (2000) in Newcastle. Impermanence won the inaugural Evolution Arts Festival $10 000 first prize in 2000 and went on to screen at the All That Glitters retrospective exhibition at the Gold Coast Arts Centre in 2003.
Text and spoken word composed by members of the the Post Hoc Performing Word Company: Jaimee Edwards, Sarah Dennis, Paul Gough, Sarah Isakhan, Sally Breen, Luke Terbutt, Katrina McMahon and Alksei Wechter. Narrated by Sarah Dennis & Paul Gough. Performed on screen by Paul Gough and Sarah Isakhan. Text edited by Sally Breen & Mitch Goodwin. Word Collage designed by Jaimee Edwards. Music by David Guarde. Solo Guitar Caleb Byrnand. Directed, edited and photographed by Mitch Goodwin.
The videos embedded above are a selection from my archive on Vimeo, which also includes further music clips for the likes of Kristy London, Dick Desert’s Shotgun Country Club and Firesign, some very early short films, as well as short excerpts from Impermanence. There are also some less formal listings to be found over at YouTube.