Multiscreen media art installations create immersive experiences for audiences by relying on opposing techniques of rupture, dissonance as well as convergence of space and time. Artists use various techniques in the production and display where screens become the fields of overlapping spatial and temporal differences. This article analyses Natalie Bookchin’s multiscreen installation Now he’s out in public and everyone can see (2012) to explicate the multiple temporal ranges and durations at work in the installation. Diverse spatio-temporal experiences in the installation are facilitated by the physical arrangement of multiple screens and through the rhythmic editing of the work.

While deeply rooted in Japanese culture, haiku poetry also deals with themes of universal appeal and can thus resonate with people all around the world and through the ages. In this article, I reinterpret the tradition of written haiku poetry into today’s ever-expanding realm of globalisation and visual media. The outcome of this reinterpretation is a photographic concept that I call Visual Haiku. Visual Haiku transfer the essence of traditional written haiku into a new medium, breathing new life into the timeless concepts of haiku, ensuring they resonate powerfully in today's interconnected and visually driven world. I also discuss how Visual Haiku function across two very different cultures and ages.

Truth-to-nature, the eighteenth-century forerunner to scientific objectivity, employed nonlinear approaches to time and place to visualise an observed ‘truth.’ From flora and fauna to the depictions of landscape, truth-to-nature combined science, art, technology, and colonisation to visualise not what is seen but what is seen to be true. While nonlinear chronologies, such as the Everywhen, are deeply connected with Indigeneity, this paper explores the less common instances of the Everywhen in Western image-making practices, particularly the spatiotemporal strategies deployed in truth-to-nature representations. This paper will introduce examples of the Everywhen co-opted in colonial representations of Aotearoa New Zealand. By way of creative practice, I propose a provisional methodology that re-enacts the spatiotemporal tactics operating within truth-to-nature representations. This pictorial paper will critique the exploitation of settler-colonial practices through co-opting the Everywhen worlding potential within truth-to-nature images to explore more just and ethical ways of seeing and relating to land.

Make America Great Again and Again (MAGAA) appropriates the exclusive political slogan “Make America Great Again” to create an inclusive phenomenon through participatory/interactive storytelling art. MAGAA invites visitors beyond the U.S. border to an exhibition space, transforming it into a public sphere where they can manipulate or maintain a large American flag displayed on a white wall, accompanied by the Star-Spangled Banner song. Following the exhibition outside of the United States, the project will return to the United States to showcase external voices and then travel to other countries. Upon its return to the United States, the project will incorporate a broader range of voices from its previous journeys. MAGAA is an ever-evolving open work, as it circulates at different exhibition events. Rather than providing a definitive answer to the questionable slogan “Make American Great Again,” this project provides a public platform for participants to dis-cuss diverse perspectives on the concept of "make America great again." This process naturally visualizes a temporal collage, transitioning from the American flag image to a multi-screen representation created by participants via YouTube.

Tilting Winds is a practice led research project that investigates aesthetic understandings of Wind Turbines. This project asks: can making music or media from and with wind turbines be a way of repositioning and reconciling these objects in a land-scape increasingly marred by climate catastrophe. This paper introduces outcomes of the work which were developed in collaboration with Cementa Inc. in Kandos, a small town in the Central Tablelands of NSW, 40 kilometres from the new Crudine Ridge Wind Farm.