Welcome to Cybershire - is published as part of the proceedings of the 32nd Congress of the International Committee of the History of Art, convened by the University of Melbourne January 2008.
This research focuses upon the issue of image-making using new technology – specifically, 3D modelling and rendering. Of particular interest are the demands of the medium, the aesthetics that result from its use and the current status of computer-generated art in the marketplace.

Rising Tide With Blue Plastic Bag
 - is published by Murdoch University through Portal as part of ACM International Conference Proceeding Series; Vol 274. Proceedings of the 2nd international conference on Digital interactive media in entertainment and arts. DIMEA '07, Perth September 2007
We have little trouble accrediting photography with the ability to produce a “true likeness” a credit that is seldom extended to painting or etching or sculpture. We endow the medium with an evidential quality that only gives way in the face of the most blatant amendment. 

Drawn From Life – Badly:
Why we need a better understanding of the virtual world - is published by  Curtin University as part of the Biennale of Electronic Arts Perth and Proceedings of perthDAC 2007: the 7th Digital Arts and Culture Conference: The Future of Digital Media, September 2007
In this paper we suggest that in the virtual world the time has come for computer science to make room for and provide a welcome to others - especially women, minorities and artists and for artists to summon their courage, dispose of their distaste and get to grips with the technology. In particular, we point to the dangers associated with the window/mirror nature of the virtual world – a nature with which artists are traditionally quite familiar and we question the current production of games and the current nature of university games-making programs.

In The Eye of the Storm: An unexpected calm may be discovered in the crafting of virtual worlds - is published by Curtin University as part of the Biennale of Electronic Arts Perth for CADE 2007 Computers in Art and Design Education - Stillness Conference. Perth September 2007
3D software provides for an animation industry in which computer-generated action and special effects are the order of the day. The end results may be cartoonish or they may be intended to replace actual footage of actors – they are seldom quiet or still. A curious effect becomes evident to the independent image-maker, however, when using the same technology, an effect that may be likened to being at the calm eye of the technological storm.

Database As Art in the Age of the Virtual Camera is published by Murdoch University through Portal as part of ACM Conference Proceedings Series; Vol. 223. Proceedings of the 2006 international conference on Game research and development. Perth December 2006
n this paper I will explore what has been lost and what gained with the rising popularity and increasing use of the photorealistic image generated by the making of virtual worlds using 3D modelling and rendering. I consider the strengths and limitations of that medium as a tool of visual culture and note its current influences. Ultimately, the paper raises the question of aesthetics in contemporary art and asks what role the medium is playing in the development of that aesthetic – if any. 

Is Resistance Futile? - was presented at RMIT School of Creative Media National Conference - Vital Signs. Melbourne, September 2005.
In 1958 Hannah Arendt, in The Human Condition, observed that “what we make, makes us.” Fifty years on it may be timely then to examine just how “consensual” Gibson’s “consensual hallucination experienced daily by billions of legitimate operators" – actually is and, indeed how “legitimate” the operators, because if Arendt is correct then some of us will undoubtedly feel the need to question the legitimacy and resist the consensus.

What Did We Swallow? - is published through Informit and delivered at RMIT School of Creative Media Annual Conference, Image, Text and Sound:- Change and Continuity. Melbourne, September 2003.
This paper argues for focus and determination on the part of new media artists, in resisting the insistent demands of traditional communicators using word, image, moving image etc. and the nearly tsunamic demands of the commercial and other vested interests behind the new technology we use. I argue here that the tools may be new but they are also so demanding that they steal away the time we once had for reverie and creative reflection, to the detriment of the resultant works.