Dr Teri Hoskin is a research-based artist and writer. From 1997 Teri has managed & designed, edited, coded et al eWRe (the Electronic Writing Research Ensemble). As a long running project (pre Web 2.0 days) eWRe acted as a site for many Australian and International visual artists, writers, architects to speculate and engage with the potentials for research and writing in the electronic realm. eWRe has been archived by NLA’s Pandora for many years. Apart from her own numerous web-based works Teri has designed and built key websites for many artists including Linda Marie Walker (an Archaeology of surfaces), and the Noon Quilt for TrAce in the UK, and for the Visual Arts & Design Research Group, UNISA.
In 2000 Teri coordinated and curated Verve: the other writing, one of the key visual arts events for the Adelaide Festival of Arts. Teri has edited, designed and produced many print publications for art writing projects she has curated including Lacuna (1994), eWRe, Lux (1999), and Verve: the other writing. In 2007 Teri produced the time-based B Part Renaissance (BPR) for Thereforever, a group project dedicated to ephemeral public art for the inaugural Port Adelaide festival. She has written reviews and essays for print publications including Real Time, Photofile, Art Monthly; essays for artist publications including Christine Collins, Calin Dan; and for exhibitions including Line Drawing (2008). In 2008 Teri was commissioned to write a design philosophy for award winning environmental design firm Working Images and its Creative Director, Drew Joyce. Currently she is working on a set of oversized artists 'books' under her imprint Slight Books.
Since 1997 Teri has taught as non-tenured lecturer, tutor, and coordinator in visual art and architecture theory, and in architecture studio, in various schools including the South Australian School of Art, and the Louis Laybourne Smith School of Architecture and Design. In 2006 she was the coordinator and lecturer for video and multimedia in the Media Discipline at the University of Adelaide.
In 2003 she acted as a consultant to the South Australian School of Art producing the New Media Art in Education Report. Teri played a key role, along with Ken Bolton, in the research and writing of the highly regarded 2008 Experimental Art Foundation Futures Paper on behalf of the organization for Arts SA.
In 2006 Teri completed a doctorate by research in Architecture and Design. Titled 'Virtual Catastrophes: stories from trauma & technicity' the thesis is performative in its approach to writing and spatial practices. It is a stand-alone print thesis that references sets of videos, still images, and writings made specifically for the internet with the intention of demonstrating new modes of knowledge production and understanding enacted by electronic communications. VT examines catastrophe, technicity and trauma via WWII war memoirs, the development of cybernetics, and the impossible 'local' story of the indigenous trauma and the Hindmarsh Island Bridge. VT’s methodology is interdisciplinary and experimental and works across philosophy, architecture and design, visual arts, new media, film, and literature. The thesis - influenced by the work of Nietzsche, Jacques Derrida and Gilles Deleuze – is structured by a combination of two systems for thinking about form, one from mathematical biology, the other from design practice; Rene Thom’s ‘Table of archetypal morphologies’ and Kojiro Yukio’s Forms in Japan. Gottfreid Leibniz’s notion of disquiet as an affirmative motivator toward creativity underpins the thesis.
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