RealTime E-dition
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THE SUSTAINABILITY OF RENEWABLE ANXIETY     From domestic comedy-drama to cheap horror to the Sublime, the art that scares us is the art we often yearn for. It’s a coping mechanism, like a bad dream. We learn from the fear. We’ll manage. It was fun, mostly. It’s vigilance too—never forget the danger that can actually strike, like disastrous climate change, already well underway in the worst-case real-world scenarios of scientific prediction and a tsunami of apocalyptic movies, games and sci-fi-ish novels. But our imaginings can also lock into ultimately evasive and fatalistic clichés. Anxiety is invaluable but exploitable. How can we sustainably manage our concerns—crank up the fear voltage, invent new horrors or seek out alternative visions and possible solutions?

These are the kinds of questions asked by Lyndon Blue and Francis Russell on seeing exhibitions about art and ecology at PICA in Perth and apocalypse at Success arts space in Fremantle. Hugh Davies reviews Screen Ecologies, an Australian book we’d love to read about the variety of screen-based artist responses to climate change in our Asia-Pacific region—art that’s actually close to home. Often we feel left out of the action—when did our own government last engage us directly in sustainable environmental programs in the everyday? Anxiety is perpetually renewable but only sustainable when rooted in an evolving, nuanced exchange between research, fact and fine imaginings.

Keith and Virginia

Radical Ecologies
DEGREES OF GREEN ART RADICALISM          Lyndon Blue writes that works in PICA’s Radical Ecologies by Pony Express, Peter and Molly, Katie West, Matt Aitken and Rebecca Orchard variously throw into relief the meaning of ‘radical.’
SLOW TRAUMAS OR APOCALYPSES OF CHOICE? Reflecting on curator Laetitia Wilson’s Inanition: A Speculation on The End of Times, Francis Russell seeks works that go beyond “the conventional moralism of eco-crisis” to the likes of “the more progressive tropes of science fiction.”
Liquid Architecture
AUTOTUNE EVERYTHING      Tom Smith wonders if the metaphorical title for this major Liquid Architecture event extends to encompass critical discourse about sound. Featured artists included Johannes Kreidler, Seth Kim-Cohen, Andrew McLellan, Chun Yin Rainbow Chan and Erik Demetriou.
Chunky Metadata
INQUISITIVE PAIRINGS OF DATA AND FORMS      Moments of creative encounter and collision in new work from De Quincey Co and Chunky Move's Next Move program.
BIFEM overview
BIFEM 2016: THE BIG PICTURE   Matthew Lorenzon applauds the Bendigo International Festival of Exploratory Music’s successful amalgam of the micro and the macro in intimate solos, powerful pairings, large ensembles and a community orchestra.
BIFEM 2016: SIMULCAST      Virtuoso percussionist Leah Scholes, writes Alex Taylor, reveals “the uncomfortable interaction, the friction, between sound and meaning, and the slippage and failure of language” with theatrical flair.
BIFEM 2016: MARATHON     Bec Scully sees in Peter de Jager’s open responsiveness to Xenakis’ unbelievably demanding scores for piano and harpsichord vindication of the composer’s “deep sense of cultural and social responsibility in his art.”
Screen Ecologies
A significant new book by four RMIT academics critically surveys the responses of innovative Asia-Pacific artists to climate change via many manifestations of the screen, writes Hugh Davies.
Improv Idol
IMPROV IDOL 2016          
After its riotous success in 2015, this “one part talent show, one part improvisation laboratory” returns Thursday night this week in Melbourne with an impressive list of contenders and panel of judges.
BIFEM 2016: MACHINE FOR CONTACTING THE DEAD      Conducted by Carl Rosman, ELISION ensemble and ANAM students combined to produce a superb performance of a Liza Lim master work, writes Zoe Barker. [ELISION perform other works free tonight RMIT, 6.30pm]

RealTime E-dttions are published by Open City an Incorporated Association in New South Wales. Open City Inc is supported by the Australian Government through the Australia Council, its arts funding body, and by the Visual Arts and Craft Strategy [VACS], an initiative of the Australian, State and Territory Governments. RealTime’s Principal Technology Partner is the national communications carrier, Vertel.

Opinions published in RealTime are not necessarily those of the Editorial Team or the Publisher. 

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