Australian
and international
exploratory
performance and
media arts

Issue 53:

Screen culture: be alert, be alarmed

Mick Broderick

1 February 2003

Space travels

Mireille Juchau

1 February 2003

Unsettling realities

Zsuzsanna Soboslay

1 February 2003

The personality problems of documentarians

Catherine Gough-Brady

1 February 2003

The gallery as squatspace

Teri Hoskin & Russel Smith

1 February 2003

Up and coming, ready or not

Andrew Beck

1 February 2003

Beckett-land: spirit and letter, stage and screen

Keith Gallasch

1 February 2003

Time_Place_Space: weapons of mass distraction

Time_Place_Space: weapons of mass distraction

David Williams

1 February 2003

Lightning conductor: IHOS' Tesla

Susanne Kennedy

1 February 2003

Visions, illusions and delusions

Peter Anderson

1 February 2003

Erotic lunacy in the digital age

Erotic lunacy in the digital age

Sue Moss

1 February 2003

Our island homes

RealTime

1 February 2003

It must be the weather

It must be the weather

Virginia Baxter

1 February 2003

The right time, the right place

The right time, the right place

RealTime

1 February 2003

The NOW now: time slices

Gail Priest

1 February 2003

Global, local, digital: Adelaide's film fest

Julianne Pierce

1 February 2003

Defining moments: the Nimrod story

Donald Pulford

1 February 2003

Laboratory discoveries

Sue Moss

1 February 2003

The screen divided

Anna Munster

1 February 2003

Poolside performance

Susanne Kennedy

1 February 2003

Singing the poetry of Australian history

Singing the poetry of Australian history

Keith Gallasch

1 February 2003

Boys, birds, bombs

Jean Poole

1 February 2003

Country, city, present tense

Clare Grant

1 February 2003

MEMF: An eye on electronic music

MEMF: An eye on electronic music

RealTime

1 February 2003

ISEA Nagoya: hi-tech, low output

Bruce Mowson

1 February 2003

A monstrous science

Anni Davey

1 February 2003

Editorial RT53

RealTime

1 February 2003

ISEA Nagoya: the delightful slowness of being

ISEA Nagoya: the delightful slowness of being

Melinda Rackham

1 February 2003

The revolution is no circus

Keith Gallasch

1 February 2003

Many shades of white

Many shades of white

Diana Klaosen

1 February 2003

The Monaco Dance Forum: everything and more

Erin Brannigan

1 February 2003

Day trading aesthetics: playing with Murdoch

Ned Rossiter

1 February 2003

Of terrorism and tourism

Of terrorism and tourism

Jeff Khan

1 February 2003

In-Space: conversations in movement

Anne Thompson

1 February 2003

Theatre in Vienna and Berlin: vision & scale

Laura Ginters

1 February 2003

Public art, river dreams

Keith Gallasch

1 February 2003

Benji Reid: winning body popper

RealTime

1 February 2003

Women's work

Virginia Baxter

1 February 2003

Jay Younger: the politics of exuberance

Barbara Bolt

1 February 2003

Girls just wanna…?

Eleanor Brickhill

1 February 2003

Melbourne theatre: in search of surprise

Anke Schaefer

1 February 2003

Tied to an estranged self

Jacqueline Millner

1 February 2003

In-Space: the interactive audience

In-Space: the interactive audience

RealTime

1 February 2003

Australian music: storing, selling, hyperlinking

Keith Gallasch

1 February 2003

Lighting the peripheries

Jena Woodburn

1 February 2003

Civic interventions, aesthetic protest

Philipa Rothfield

1 February 2003

Dorothy Napangardi

RealTime

1 February 2003

New media, nightlife in the museum

RealTime

1 February 2003

Fallings, failings, squishings

Eleanor Brickhill

1 February 2003

realtime

RealTime is published by Open City, an Incorporated Association in New South Wales.Open City 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.

Open City 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.

Australia Council for the Arts

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

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