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Hazel Smith Hazel Smith i(A7509 works by)
Also writes as: Australysis
Born: Established: 1950
c
United Kingdom (UK),
c
Western Europe, Europe,
;
Gender: Female
Arrived in Australia: 1988
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Works By

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1 Walk to the End of Whistling i "last night I walked to the end of whistling", Hazel Smith , 2023 single work poetry
— Appears in: Axon : Creative Explorations , November vol. 13 no. 2 2023;
1 The Vengeful, Directive Angel i "The branches of the family tree kept breeding, uncontrollably.", Hazel Smith , 2023 single work poetry
— Appears in: Axon : Creative Explorations , November vol. 13 no. 2 2023;
1 From Rubble to Reliving i "memory is", Hazel Smith , 2023 single work poetry
— Appears in: Axon : Creative Explorations , November vol. 13 no. 2 2023;
1 Heimlich Unheimlich Hazel Smith , 2023 single work poetry
— Appears in: Axon : Creative Explorations , November vol. 13 no. 2 2023;
1 Extracts from Heimlich Unheimlich Hazel Smith , 2023 single work essay
— Appears in: Axon : Creative Explorations , November vol. 13 no. 2 2023;
'These texts and images, ‘Heimlich Unheimlich’, ‘From Rubble to Reliving’, ‘The Vengeful, Directive Angel’ and ‘Walk to the End of Whistling’ are extracts from Heimlich Unheimlich, a gallery installation and book created by poet Hazel Smith (Writing and Society Research Centre, Western Sydney University) and artist Sieglinde Karl-Spence.' (Contextual statement : Introduction)
1 Dolphins in the Reservoir Hazel Smith , Roger Dean , Will Luers , 2022 single work prose
— Appears in: TEXT Special Issue , no. 69 2022;
'‘Dolphins in the Reservoir’ is an interactive recombinant work of moving images, text and sound. It confronts the many social challenges we face through the subjective, contradictory and often uncanny experiences of individuals. Thematically it passes through challenges to health, the environment, and fast-eroding democracy; our attempts to educate order out of chaos; philosophical and scientific ways of thinking about consciousness; and possible futures, including the rise of AI. Its recurrent dolphin theme transmutes many of these ideas.Saturated with media, the individual experiences a multimodal montage of the imaginal and mundane, the institutional and vernacular, the dystopian and utopian.. Juxtaposed and multilayered, the text, images and sound employ polysemy and synaesthesia while the interface evokes a murky, liminal realm. ‘Dolphins’ is structured in six distinct cycles, which repeat with variation. A single cycle of the work grows from isolated media fragments towards a dense plurality and diversity. V/users can drive the piece with clicks, and they can drag to rearrange elements. Three preformed musical sources juxtapose acoustic and digitally transformed sound, including sonified Covid-19 wave statistics. ‘Dolphins’ features trumpet by internationally renowned soloist John Wallace, our collaborator in (austra)LYSIS, the creative ensemble of which all three authors are part.' (Publication abstract)
1 3 y separately published work icon Ecliptical Hazel Smith , Strawberry Hills : Spineless Wonders , 2022 24477743 2022 selected work poetry prose

'Ecliptical addresses contemporary psychological, ethical and philosophical issues including family secrets and tensions, private and public creativity, the enigma of time, surveillance, fake news, environmental damage and homelessness.

'Ecliptical includes prose poetry and short prose; texts that are synaesthetic, sonic or linguistic explorations, surreal excursions and 'bullet point' adventures in which each line unveils a new observation. Other pieces employ non-literary forms or include documentary or remixed elements. Ecliptical also flirts with the posthuman in some collaborative computer-assisted poems.' (Publication summary)

1 Dedication i "This poem is dedicated to the unknown artists who loom everywhere we go, the folks who", Hazel Smith , 2021 single work poetry
— Appears in: Social Alternatives , October vol. 40 no. 3 2021; (p. 31)
1 The Child i "The child was playing in a garden full of pink camelias and then disappeared.", Hazel Smith , 2021 single work poetry
— Appears in: Social Alternatives , October vol. 40 no. 3 2021; (p. 30)
1 Musing i "All the aphorisms in the world suddenly extended.", Hazel Smith , 2021 single work poetry
— Appears in: Communion Arts Journal , June no. 15 2021;
1 Ash and Berries : Communing with John Ashbery i "Your poem today seems curiously unkempt: as if it needs a shave and a change", Hazel Smith , 2020 single work poetry
— Appears in: Australian Poetry Journal , vol. 10 no. 1 2020; (p. 87)
1 Plague Hazel Smith , 2020 single work prose
— Appears in: TEXT Special Issue Website Series , April no. 58 2020;
1 Travel Diary i "The medieval in Romania spills into the contemporary.", Hazel Smith , 2019 single work poetry
— Appears in: Stilts , December no. 6 2019;
1 The Talkers i "the talkers rampage", Hazel Smith , 2019 single work poetry
— Appears in: StylusLit , September no. 6 2019;
1 Bigfoot i "joints are the points of articulation needed", Hazel Smith , 2018 single work poetry
— Appears in: Southerly , December vol. 78 no. 3 2018; (p. 238-239)
1 Time Machinations i "If the machine that could reverse age", Hazel Smith , 2018 single work poetry
— Appears in: Meanjin , Winter vol. 77 no. 2 2018; (p. 53)
1 Democracy for Dummies i "At dawn democracy was still pretending that it worked. Everything we", Hazel Smith , 2017 single work poetry
— Appears in: Southerly , vol. 77 no. 3 2017; (p. 108)
1 The Computer as Improviser : Computational Text-Generation in Electronic Literature Hazel Smith , 2017 single work essay
— Appears in: Rabbit , no. 22 2017; (p. 100-114)

'In their performative essay, 'E Lit Jazz,' Sandy Baldwin and Rui Torres suggest that electronic literature - literature that is based in computer coding - can learn from jazz (Baldwin and Torres 2017). they draw attention to qualities that electronic literature has in common with jazz, such as a tendency towards collaboration and textual variability. But they also suggest that there are aspects of jazz that electronic literature could emulate further, such as its daring and vitality, thematic complexity and engagement with the body. Although jazz has many evolving harmonic, rhythmic and timbral features that distinguish it aesthetically and culturally from other musics, the essential distinguishing feature of jazz is improvisation. Therefore the most fundamental question Baldwin and Torres ask is 'can code improvise?'' (Introduction)

1 3 y separately published work icon Word Migrants Hazel Smith , Artarmon : Giramondo Publishing , 2016 9187521 2016 selected work poetry

'Hazel Smith’s new poetry collection engages in a direct way with contemporary political and social issues – civil war and the flight of populations, oppressive regimes and the disappearance of dissidents, the unpredictable effects of climate change – relating these issues to the personal experience of death and dementia, abuse and disability and childlessness. The poems project intense psychological states of indecisiveness, anxiety, disorientation and guilt, making use of surreal conjunctions and metaphor to dramatise the sense of unease. Smith is a new media artist and musician, and the poems employ a variety of techniques drawn from these fields, flourishes of linguistic coloratura, the evocation of virtual realities, cutting and pasting from the internet, remixing, sampling and quotation, to drive home their effects.' (Publication summary)

1 Spatial Relationships, Cosmopolitanism and Musico-literary Miscegenation in the New Media Work of AustraLYSIS Hazel Smith , 2015 single work criticism
— Appears in: JASAL , vol. 15 no. 1 2015;
'This essay focuses on verbal and sonic interactions, and the spatial relationships they create, in the new media work of the Australian sound and multimedia ensemble austraLYSIS, of which the author is a founding member. It discusses three recent works by austraLYSIS: motions (2014) and Film of Sound (2013) created together with US-based video artist Will Luers, and Disappearing (2013) jointly made with Sydney-based sound artist Greg White. The essay explores the ‘glocal’ interaction in the work of austraLYSIS between a cosmopolitan, transnational outlook and a strong sense of Australian culture: it suggests that this is part of a broader posthuman cosmopolitanism characteristic of some new media works. The article proposes a new theoretical framework with which to consider word and sound relationships in the fields of intermedia and multimedia work to which austraLYSIS’s creative output belongs. It analyses the non-hierarchical processes by which words and music are juxtaposed, merged or superimposed in such works to create emergent results, employing the concept of semiotic and perceptual exchange. In particular, the essay argues that such crossings of word and music can facilitate various forms of cultural crossing, resulting in what is conceptualized as ‘musico-literary miscegenation’.' (Publication abstract)
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