The world has become data centric, as human movement, online activity, purchasing habits and personal features are tracked and analysed by governments and businesses.
Mary Mainsbridge’s live composition, Data Lies, uses the data of body movement and voice to activate virtual instruments and reclaim control from mass corporations that use information about individuals for digital surveillance.
Data Lies is a live work for voice, drums, electric bass and movement-controlled instrument, the Telechord. The piece integrates the physical experiences and intuitive rhythms of the performer’s vocal and movement phrases with electronic processes and media, inspiring new choreographies and relationships between human and digital data. Through processed vocal textures, improvised rhythms, interactive audio and video projections, the work exposes patterns and connections in human data, revealing secrets about the self and human relations.
Mary Mainsbridge is a performer and composer of live electronic and movement-controlled musical performance. Her works span audio-visual compositions, interactive installations, and solo shows at events throughout Europe, Australia and the UK, including the Institute of Contemporary Art, London, Museum of Contemporary Art (MCA) Sydney, Pohoda Festival in Slovakia, and local festivals Vivid Sydney, Electrofringe, Underbelly Arts, and Beams. Her orchestral work, Concentric Motion: Concerto for Voice, Piano and Gestural Controller, was shortlisted in the innovative category of the International Space Time Concerto competition.
Her work explores the possibilities of new digital instruments modes and interactive environments where all sound, vision and lighting can be directly controlled through the body.
Deprogram is an audio-visual collective creating custom body instruments that control interactive music and video. The ensemble have toured internationally, released four albums, achieved high rotation on Triple J and Radio Prague, and are regular performers at Vivid Sydney and Electrofringe events including the Electrosocial, 2019. Starting as a solo act in 1997, the outfit has evolved into an ever shifting membership of instrumentalists, video artists and programmers.
The current line-up features composer, Mary Mainsbridge; programmer, Nick Mainsbridge; drummer, Robbie Mudrazija; bassist Meeghan Oliver, and video artist, J D Young
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People of all ages, interests and walks of life participated with over 100 communities and cultures represented, more than 75% came from outside the Metropolitan area. Truly an activation for all ages ranging from 0 to 90 and the average age of 25 to 55. GOOD SPACE was a diverse, family-friendly and safe place in all senses of the term.
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Cultural participation & representation is the core mechanism for strengthening ties between individuals & communities
Covid-19 has wrought havoc on our collective social connection, though, ironically, it is also one of the few things that literally every Australian has personal experience of. As we emerge from two years of the pandemic, the time is ripe for celebrating our shared humanity with positivity and joy.
During the GOOD SPACE Festival activation periods, employment has been generate for hundreds of people and organisations from the arts, cultural, environmental, social enterprise, hospitality, production, retail and service sectors at a time when employment opportunities in those sectors are drastically needed.
GOOD SPACE will be a place for Sydney to celebrate and embrace its own diversity in a joyful union.
GOOD SPACE will greatly benefit not just the city’s economy, but equally – the physical and mental health of its population through satisfying its clear hunger for culture, and with the additional aid of specific wellness-aimed events and workshops.
GOOD SPACE is positioned to be a vital nexus for re-establishing old community and social connections and forging new bonds, based on culture, humanity, and empathy.
Furthermore, GOOD SPACE will shine a spotlight on indigenous cultures, as well as bring together other diverse communities.
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Opportunities for creatives who are not part of the conventional cultural milieu to move further into professional practice are rare. GOOD SPACE promotes art/culture as a legitimate career and industry to the wider community and will embrace digital platforms to promote the work of the artists to the rest of Australia and the world. It also provides significant opportunities for cross-population of skillsets and collaborations.
GOOD SPACE believes an important part of the sustainability of our cultural industries is not just finding fresh ideas from hitherto ignored voices, but also offering professional assistance to produce their work and to empower them to recreate that process.
Securing Equity: GOOD SPACE actively seeks out artists from all backgrounds. The team is aware of issues of cultural sensitivity when working with a diverse group of performers, and places the artist at the centre of the conversations of how the work should proceed.
Pays its contributors. 70% of all ticket and art sales go back to the original creator and production, personnel and marketing costs are covered by GOOD SPACE.
Creates crucial connections between creators who would normally never be exposed to each other’s work or ideas.
Builds audiences for creators. GOOD SPACE attracts audiences as diverse as the artists, who will be exposed to art or performance they’ve never seen before. Creators will leave GOOD SPACE with new audiences.
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