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COLORS MAGAZINE - NOTEBOOK PROJECT 2006
> Online Version > Artists Statement > Story Summaries > Print Version of Page TECHNOTOPIA STUDIO EXHIBITION:
Wall Street had crashed, the Berlin wall had fallen and the Cold War had thankfully fizzled out due to lack of interest. While the super powers stood around like stunned mullets, the rest of the human race got on with living. In Melbourne the underground arts/music It was also the dawning of the digital multi-media age and that wonder of beasts, the internet. All the years of sci-fi speculation were coming true, suddenly it wasn't theory anymore, it was reality, Virtual Reality. Reality could be whatever your heart desired, and in Melbourne they desired a lot! Enough to make your head spin was the starting point. Moving into the city's office buildings abandoned because of the global recession and living in them, was their first move in taking control of their destiny. Artists know how to live well in poverty, they get lots of practice. The recession simply brought everyone down to their level and gave them a level playing field. Hundreds of artists moved into old business office buildings and warehouses and triggered a new urban trend that produced a multi billion dollar property boom that is still astounding investors 10 years later. Technotopia covers this expansive 1990-95 period of Melbourne's history from the inside, with an insiders eye, 400 photos, 50,000 words and 3 hours of rare video media ( media available on the cd-rom and screened free at the exhibition). A very curious blend of techno, gothic and industrial culture blossomed in the Melbourne underground in this anything goes, we'll do whatever we want, post Cold War - New World utopia. None of them had known anything other than the Cold War world, and they decided they wanted something Technotopia was an ideal achieved, they dreamed it, they did it. Often with no money and a lot of good will. In the e-book Shepherd presents interesting and significant events over the 5 years period from small to large scale and from his insiders eye witness perspective. He's a fastidious documenter, with a quirky eye for the normally overlooked. It's a view from backstage, the staff only area, the dressing room, the back room, back alleys and rooftops, the secret areas of a secretive underground. Often they didn't know what they were doing or how it would turn out, and that was the fun part. Gone was the Cold War
From the summer of 1965, as a 10 year old DJ at the local beach Lifesaving Club dances, Shepherd relates eye witness details of high school revolution, publishing anarchist anti-war underground newspapers, LSD (Acid) parties, the arrival of pub rock, underground band life, and the emergence of experimental electronic music and the synthesiser into the music industry in the late 1960's / early 1970's. Shepherd also describes converting a young Tony Cohen to the ways of electronic music in 1977 and recording Cohen's first sound piece on his experimental quad sound work Wildlife, which Cohen was engineer for, with rock guru Molly Meldrum and a pre Birthday Party Nick Cave's visits to his studio sessions and their reactions to the experimental quad soundwork. Wildlife is released on Electricity A Love Story.Shepherd concludes Analog Daze with the arrival of his first computer, a 1983 CX5M Yamaha music computer (pic left) which still runs a prehistoric Microsoft music software program on just 32K, (yes 'K' not Meg) and the recording of his large work Electricity Is Life with legendary AC/DC live sound man John Bosua, using a 10,000 watt stereo JBL concert rig as the studio monitors, in 1985.
... click here for Technotopia
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