The Australia Council was formed in 1973 by the Whitlam government and was given statutory authority in March 1975 by the Australia Council Act.
Founded as a community broadsheet in 1983, Photofile has evolved over three decades into a national forum for the exploration of photography in its shifting forms and contexts. The publication will be relaunched in new print and digital versions in 2013.
The Fairlight CMI (Computer Musical Instrument) is a digital sampling synthesizer. It was designed in 1979 by the founders of Fairlight, Peter Vogel and Kim Ryrie, and based on a dual-6800 microprocessor computer designed by Tony Furse in Sydney, Australia. It rose to prominence in the early 1980s and competed...
MAAP has been operating since 1998. The organisation was established to bring focus to “unmapped” media art activity from Australia, Asia and the Pacific. Between 1998 and 2006, MAAP cultivated an international reputation for annual and biannual media art festivals. In all, MAAP produced 7 international media art festivals...
New York MoMA's Retrospective of Moffatt’s films and videos, offering a comprehensive look at her moving-image oeuvre. All works are from Australia and written and directed by Tracey Moffat. Organized by Jenny He, Curatorial Assistant, Department of Film. The exhibition was made possible by The International Council of The Museum of...
The Australian Experimental Art Foundation (AEAF) was established in 1974 by a small group of Adelaide artists and theorists in order to both encourage new approaches to the visual arts and to promote the idea of art as 'radical and only incidentally aesthetic'. Its inaugural Director was...
A series of 79 art works commissioned, curated and produced for ABC television's late night music program, Rage, by Kim Machan.
Eat Carpet was an Australian television series aired on SBS free-to-air television. It premiered alongside other programs such as MC Tee Vee and The Noise. Each hour-long episode consisted of up to a dozen short films shot by independent directors or experimental makers from all over the world. An estimated 3,000...
Curated by Brian Langer, the fourth video festival was entitled Videoforms: Passages in Identity.
The Media Resource Centre (MRC) started life in 1974, and is one of the longest established members of the Screen Development Australia national network. The first MRC was located at 1 Union Street Adelaide and moved to a larger location in Pirie Street during the early 1980’s. The Centre recognised...
Creative Nation: Commonwealth Cultural Policy released. The first national cultural policy in Australia, the document argues for the recognition of a common heritage and a policy that acknowledges the essential role of culture, identity and technology in national politics. Film, television, radio and multimedia were highlighted as a significant part of the...
Essays on Cinema, Video Art and New Media Published by Artspace & Power Publications, 2008 Mutant Media gathers together a selection of John Conomos’ essays across the years, tracking the trajectory of his cinephilia since the 1960s, his ongoing interests in film criticism and theory, as well as his deep involvement in...
HDCAM was the first High Definition video tape format available in Betacam form.
Digital Betacam (commonly referred to as DigiBeta, D-Beta, DBC or simply Digi) was ldeveloped by Sony. It supersedes both Betacam and Betacam SP, while costing significantly less than the professional D-1 format.
The 8mm video format was developed by Sony during the 1980s, to compete with other domestic video tape recording systems of the time (such as VHS-C and Betamax). The analogue video format was improved by successor Hi8 (analog video and analog audio but with provision for digital audio), and was...
D-1 was digital recording video standard introduced through the efforts of the SMPTE engineering committees. It began as a Sony and Bosch product, and was the first major professional digital video format.
The D-2 tape format was developed by Ampex and others working through a standards group of the Society of Motion Picture and Television Engineers (SMPTE). D-2 was a professional digital recording videocassette format introduced as a lower-cost alternative to the D-1 format.
The S-VHS compact cassette tape format was developed and released by JVC and other companies. S-VHS was an improved version of the VHS standard for consumer-level analog recording videocassettes. JVC introduced the new standard in Japan with the HR-S7000 VCR, and in certain overseas markets soon afterward. It was also important in...
Betacam SP tape format is released by the Sony Corporation. This improvement of the Betacam format increased horizontal resolution considerably, and the new larger cassette tape was capable of recording 90 minutes of colour video. The SP stood for "Superior Performance", and it quickly became the industry standard for television and high-end...
