Linda Dement is a central figure in Australian new media art. Her new media work began in the CD-ROM era and explored the potential for the computer to capture, reconfigure and provide and interface to a messy, uncontrollable and therefore violent flesh that it was so often juxtaposed with – creating the potential for the intensities of the flesh to invade and work through the machine and for the machine to potentialise new and potentially violent or masochistic intimacies or exposures. These themes work through the CD-ROM projects Typhoid Mary (1991), Cyberflesh Girlmonster (1995), In My Gash (1999). Dement was working in collaboration on an interactive work with celebrated American novelist Kathy Acker at the time of Acker’s death from cancer – That work eventually realised the series of digital stills Eurydice (1997-2007). Dement’s work survived the CD-ROM era to explore the potential for the networked and real time synthesis of video across the three screens in the interactive work I Know You Think It’s Too Late (2007). In that work the user is encouraged to explore the hair, fat and blood that festers with generative potential in the shadow of a violent act - interaction/engagement slows down the development of that festering, but also vital, violence – a novel mode of interactive engagement. In 2008 Dement collaborated with a range of artists to create Moving Forest (2008) as part of the Transmediale Festival in Berlin – now employing Processing to create responsive/ performative video synthesis based on incoming live data. In 2009 Dement worked with the collaborative group In Serial (with Petra Gemeinboeck, PRINZGAU/podgorschek, Marion Trankle) on the performative installation On Track (2009) and with Jane Castle on a work concerned with Climate Change The Ends of the Earth (2009).