© Norie Neumark, 1998 (Australie)© Scrutiny Associates,
1995 (États-Unis)


Concept, réalisation et création audio : Norie Neumark

Peinture et design : Maria Miranda

Musique : Richard Vella

Production technique et programmation : Greg White

Consultant pour l'interface : David Bartolo


© Norie Neumark, 1998
Shock in the Ear a été développé avec le soutien de : Australian Film Commission, New Media Arts Board of the Australia Council for the Arts, Listening Room, ABC Radio Arts, University of Technology, Sydney

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Norie Neumark is a sound/radio and new media artist. Her radiophonic works have been commissioned and broadcast by the Listening Room, ABC Classic FM. and in the U.S. by New American Radio and the Performing Arts. Norie also works as a lecturer in Media Arts and Production at the University of Technology, Sydney. She has given papers about sound and multimedia at numerous international conferences and festivals and published articles and book chapters. She is currently co-editing a book for MIT Press on the pre-history of the internet, At a Distance: precursors to internet art and activism.

Maria Miranda is a visual/new media artist. Her work has been exhibited in group exhibitions in Australia and overseas. She co-edited and contributed to the zine, Drawing Away in l989 - 1990. Her early new media work includes illustration, design and animation of the CDRom Go For It (1993). She was the digital visual artist on Monster Mouth for Belvoir Street Theatre. Currently (2003) she is completing her MVA at Sydney College of the Arts.

Norie Neumark and Maria Miranda collaborate on new media works, Net.art, installation, and CD-Rom. Their installations have been exhibited in Australia, the USA, and Germany. Recent works include the following. Volcano, an installation, was exhibited at Artspace, Sydney, June 2001 and The Virtual Mine, Saarbrucken, Germany, August-September, 2001 and on line www.the-virtual-mine.net/ Machine_Organs was exhibited in ‘TechFlesh’, in Ctheorymultimedia, June 2001 http://ctheorymultimedia.cornell.edu and d>gest@feast, Arts SA Gallery, Adelaide, October, 2001.

Their most recent net.works have been in the genre of <fictive art> and includeJourney to the Centre, online, http://www.out-of-sync.com/journey. Journey was selected for TypeSlowly, September 2002 (www.typeslowly.org); Media Teche, This is Not Art, Newcastle, October 2002; and Maid in Cyberspace 06:: Active Agent, Montreal, February 2003. Maria and Norie are also contributors to the Local Unit of Missing Links, ICOLS, online,www.icols.org.

Current works in progress include the Institute for the Study of Emergent Emotions and the Museum of Rumour. Their net.art work is accessible through www.out-of-sync.com


Cette oeuvre expérimentale repose sur la poésie orale et la création sonore pour évoquer, de façon sensuelle le moment du choc et ses conséquences. Du choc culturel au choc électrique, SHOCK IN THE EAR est une oeuvre poétique composée d'écrans interactifs, de musique, de performances et de narrations.

(Notes en anglais)

Shock in the Ear is an intense and poetic work, composed (and recomposed by the user) through interactive screens, stories, performances, music, and sound. The work explores the potential of desktop new media for poetic movement, understandings, emotions, and sensations.

"... like an earthquake that suddenly comes into your life and reduces your life into nothing, and when you return to normality your perceptions, your feelings are different. Everytime I see a landstorm, I remember my own landstorm. Very personal... it's like a little secret always I have with me." Juan Miranda, Shock in the Ear

The project of Shock in the Ear is to engage the user at a sensual level with shock as a bodily experience -- to evoke shock not at the crashing sensational moment of impact but its sensual aftermath. It aims to disrupt and shift perceptions as the user explores the moment after the event-- a dislocated time/space in which perceptions and senses are shifted.


Shock in the Ear expresses the shocking concept that sound is essential to interactivity, as a new and engaging artistic form, because sound goes beyond the interface, into time, into the body, and into the imagination. Visually, it disrupts
conventional CDROM aesthetics and kinaesthetics, with its painterly, textured and sensuous images – images that interrogate painting conventions and history and play with the relation between painting and multimedia.

Creating and articulating sound and image together in an innovative way, the work opens interactive possibilities beyond simple point-and -click, immersing the user in emotional, sonic and visual texture. It creates an interactive space that explores the potential for intimacy of the CDROM desktop medium.

Excerpts from Reviews of Shock in the Ear
"Esthetiquemnt, c'est une des plus belles experiences visuelles de toute la programmation" Michel Belair,"Derives, delires et paranoia", Le Devoir,18 Octobre, 1998, Montreal: review of Media Lounge of Montreal international Festival of new Cinema and new Media (Montreal, October)

"Neumark's artistic emphasis on the soft stillness and eery tranquillity of time's suspension contributes to a digital environment in which the retroactive experience of shock can be thought along the divide of its divergent manifestations in culture and history." " "Digital Incompossibility: Cruising The Aesthetic Haze Of The New Media", Fundacio "la Caixa", Barcelona, October 1998 and reprinted in Ctheory, no , 78, Jan. 00 (http://www.ctheory.com).

Prizes, Awards, Exhibitions:
First Prize for multimedia, VideoFormes 2000 (Clermont Ferrand, March, 2000)
First Prize for experimental CD-ROM, ATOM awards, (Melbourne, July, 1999)
First Prize, CD-ROM award at COMTECart (Dresden, November, 1998)
Silver Medal at Invision 98 (San Francisco, November, 1998)
Third Prize in the National Digital Art Awards (September, Brisbane, 1998) [First in CD-ROMs]
Special mention at Videobrasil (Sao Paulo, September 1998) [No award category available for CD-ROMs]
Exhibitions of Shock in the Ear (CD-ROM)

In 2001, selected for exhibition at Nickle Arts Museum, the University of Calgary, Oct.-December. Purchased for permanent collection and exhibition, Cinemedia, Melbourne, July, 2001

In 2000, selected for exhibition at VideoFormes (Clermont Ferrand, March), Dissection, The Macau Museum of Art (Macau, August-November), Siggraph 2000 Art Gallery (New Orleans, July). Jurorís Exhibition, Thaw 00 (Festival of Video, Film, and Digital Media, University of Iowa, April, 2000), ISEA 2000 (September, Paris)

In 1999, selected for exhibition at, among others, "Points of Contact " (Ithaca, New York; Mexico City, Mexico; Virginia Film Festival), CCC Gallery, Melbourne (April); EMAF (Osnabreuck, May); Virtuality and Interactivity: mediARTech (Florence, May); v.1. (Hobart and William Smith Colleges) N.Y. (Sept-May); and DAC Artistsí Salon, Atlanta (Oct)

In l998, selected for exhibition at, among others, Australian Film Commission Annual Conference, 'Being Connected' (July, Melbourne); ACM-SIG Multimedia 98 Art Program (September, UK); Institute of Modern Art (September, Brisbane); WoW film festival (Sydney, September); Montreal international Festival of new Cinema and new Media (Montreal, October); SEAFair 98 (Skopje, October); French-Baltic-Nordic Video and New Media Festival (November, Estonia); Ngapartji Gallery (Adelaide, November)

Exhibition of the prototype released in mid-1997: techne (Perth and Australian National Tour); Matinaze (Sydney); transmedia 97 (Berlin); Australian Centre for Contemporary Art (Melbourne); Altered States/Interact Asia Pacific Multimedia Festival (Melbourne); Institute of Modern Art (Brisbane); Pan-Pacific Festival, Centre for Contemporary Art (Amsterdam); WoW Film Festival (Sydney); arts'_edge (Perth)

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