The Slow Down Time project is an aesthetic and technical investigation of the procedural outcomes of generative AI routines as both standalone works of visual culture and the stealthy speculative practices of diffusion models and big data sets. As an exercise in new media curation, the assemblage operates as both a performative and conceptual response to algorithmic black-box processes in the form of a slow-media / slow-synthesis art intervention.

Project site: http://slowdowntime.com

A series of of generative AI images produced on the occasion of the launch of online archive Project Anywhere via an invitation from the project’s long serving curator, Sean Lowry. Sean and I talked about absence and deep space and Robert Barry and readymades. I was thinking about Richard Long and flat tracks of grass and David Bowie imagining the Internet on BBC Newsnight. Pangs of archive fever, pompt wrangling can do that to you.

Local project page: http://mitch.art/synth-3

Screengrab International was an annual media arts award and exhibition originating out of Townsville, Australia. Each year’s theme was a provocation that engaged with critical media theory in the context of a techno-social condition of network culture at the time of each artist call. Past themes included: Intervention (2009), Network (2010), Nostalgia (2011), Control (2012), Ambience (2013) Velocity (2014) and Resistance (2015).

Loca project page: http://mitch.art/screengrab

A film by Mitch Goodwin & Clement Fay

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 are all juxtaposed against the industrial machine ambiance of a New York City subway.

Archived project site: https://mitchgoodwin.wordpress.com/mineral-machine-music/

Vimeo page: https://vimeo.com/88855295

Much has been written about the shortcomings of government and industry during 'the time of corona virus'. America, a global beacon - for art, technology and buffalo wings - was greatly diminished by the myopia of the Trump doctrine. The administration's sycophantic leadership and wilful denial of reality resembled the behaviour of a failed state. As POTUS45 crashed headlong into the COVID19 an incomprehensible death toll mounted.Description goes here

Project site: https://potus45covid19.com/

A film by Mitch & Maisy Goodwin

Truth, lies and screen time in the city :: A glimpse of the ambiguous and the synthetic - post-truth image making on the network :: Improbable cyborgs meet CGI models and cheeky chat bots :: Tweets, clowns and avatars burning red, green and blue :: Meanwhile, the city shimmers and the pixels blink as the robot in the garden downloads an update and ... waits.

Blindside Gallery project site: https://blindside.org.au/program/becoming-indeterminate

Vimeo page: https://vimeo.com/368412225

For my feature essay contribution to the M/C Journal’s special issue on the Nineties I wrote a piece that burrowed into the circuitry and virtuality of the mid-nineties. Particularly the speculative sci-fi film making of the period, which I have labelled “netploitation cinema”. It was when California techno-culture first gave VR a red-hot go and it was also the moment when the Internet - and the threat of networked information - first went viral. This series of media assemblages blend imagery lifted from Johnny Mnemonic (Long, 1995) and Strange Days (Bigelow, 1995) along with my street photography from Melbourne’s inner north.

Local project page: http://mitch.art/gallery-screen-circuits

Original essay published at M/C Journal