Creating New Spaces: Interviews with artists redefining spaces through technology

Explore the practice of creating media art installations with the Creating New Spaces podcast. In each episode, the host Robin Petterd brings you interviews with artists who are pushing the boundaries of art and technology. The podcast focuses on the intricacies of media installation and art, revealing the creative and technical processes behind the scenes. Perfect for artists, students, educators, and anyone interested in experimental art practice. Listen to hear conversations that illuminate the processes and challenges of new ways of working.

Creating New Spaces: Interviews with artists redefining spaces through technology is a arts podcast hosted by Robin Petterd, with 34 episodes on record and a Required Pod Score of 80. PitchCentric scores this show on Booking Probability, Listen Score, and live audience signals refreshed every 24 hours.

Robin Petterd hosts Creating New Spaces: Interviews with artists redefining spaces through technology, a arts show with 34 episodes published.

Our AI reads these to draft pitches. Use them as grounding for a pitch that cites a real guest and a specific topic.

• 

  Episode #34

  Public art, permanence and decay with Nigel Helyer

  Aug 7, 202633 min

  In this podcast, Nigel Helyer explains how public artworks are designed for specific lifespans, how media installations can be maintained as their technologies age, and why contracts are central to the long-term maintenance of art in public spaces. Nigel Helyer is an internationally acclaimed Australian sculptor and sound artist who creates public artworks, sound sculptures and interactive media installations. His interdisciplinary practice connects art, science and technology through projects involving environmental research, acoustic mapping, biological systems and spatial sound. In this conversation, Nigel draws on decades of public art practice to question the idea of permanence. He discusses Dual-Nature (Ebb and Flow) , a large-scale sound sculpture installed at Woolloomooloo in Sydney in 1999. Positioned partly within the water, the work used mild steel forms designed to corrode over a calculated 25-year lifespan. He also reflects on other media artworks, including Wireless House and Silent Forest , to consider how changing technologies affect their maintenance and conservation. Listen to this podcast to learn about: Designing public artwork around an intended lifespan. Using corrosion and material decay as planned elements. Maintaining sound and interactive art as technology changes. Preparing maintenance manuals and service arrangements. Negotiating fees, production budgets and contractual risk. Chapters (00:00:09) Rethinking permanence in public art (00:02:46) A 100-year sculpture for the Seoul Olympics (00:03:00) Contracts and expected lifespans (00:04:02) The history behind Dual-Nature (Ebb and Flow) (00:06:00) Calculating corrosion and planned decay (00:07:14) Maintaining an early solar audio artwork (00:09:26) Documenting why the work should rust (00:09:36) Moving from video towards spatial sound (00:13:07) Temporary culture and public art (00:14:18) Turning spaces into places (00:15:24) Contested histories at Franklin Square (00:17:56) Maintaining Wireless House (00:21:36) Updating the technology in Silent Forest (00:23:57) Public artworks that were lost or neglected (00:27:41) Inherent vice in media art (00:28:00) Advice for working in public spaces (00:29:23) Contracts and financial risk (00:30:17) Separating artist fees from production costs About Nigel Helyer Nigel Helyer is an internationally acclaimed sculptor and sound artist based in Australia, known for creating immersive sound sculptures, environmental public artworks and interactive media installations that connect art, science and technology. Public art has been a significant part of Nigel’s practice for decades. He has created large-scale, site-responsive works for urban, architectural and environmental settings, often using sound to shape how audiences experience a place. His projects explore the practical and conceptual challenges of permanence, maintenance, material change and technological obsolescence. Links from the podcast with Nigel Helyer Visit Nigel Helyer’s website Explore Dual-Nature (Ebb and Flow) on Nigel Helyer’s website Learn more about Dual-Nature (Ebb and Flow) through the City of Sydney Read about the conservation of Dual-Nature (Ebb and Flow) Learn more about Wireless House on Nigel Helyer’s website Explore Silent Forest on Nigel Helyer’s website Explore Two Islands , Nigel Helyer’s public artwork in Franklin Square

  ListenShow Notes
• 

  Episode #33

  How Craig Walsh uses projection to transform trees into temporary public monuments

  Jul 3, 202640 min

  In this interview, Craig Walsh explores the creative process behind Monuments . Monuments is a long-running outdoor projection project that uses projected portraits on trees to create temporary public monuments. The project began at Woodford Folk Festival in 1993, when Craig discovered how a projected portrait could align with the form of a tree and become a sculptural presence in public space. Craig Walsh is an Australian artist known for pioneering approaches to projection, installation, and site-responsive public art. Over more than 30 years, his work has animated trees, rivers, mountains, urban architecture, and live event environments across Australia and internationally with projections. In this conversation, Craig discusses how Monuments has evolved from early slide projections into a touring project shaped by each site and community. The structure of the work remains clear: projection, trees, night-time public space, portraiture, and temporary monument. What changes is the community, the selected people, the site, and the local meaning attached to each portrait. Listen to this podcast to learn about: How Craig thinks about projection as sculpture rather than screen-based video. Why subtle movement can be more powerful than direct interaction. What artists need to consider when making media art in public space. Chapters (00:00:00) Working outside the gallery (00:02:18) Projection as sculpture and installation (00:05:42) The origins of Monuments (00:15:18) Choosing who is represented in public space (00:19:10) Stillness, sound and subtle movement (00:20:31) Weather, trees and outdoor uncertainty (00:24:17) Projection, spectacle and light festivals (00:25:59) Touring Monuments and installation process (00:34:20) Trust, responsibility and representing people at scale (00:37:20) Advice for artists working with projection in public space About Craig Walsh Craig Walsh is an Australian artist known for pioneering approaches to projection, installation, and site-responsive public art. Over the last 30 years, his work has animated unconventional sites, including trees, rivers, mountains, urban architecture, and live event environments across Australia and internationally. His practice combines digital media, public space, and strong conceptual frameworks to create large-scale works that respond to the conditions and histories of each site. Craig has also developed major community-based projects, including Home Gwangju in South Korea, Traces—Blue in Setouchi, Japan, and FIVE with DADAA Inc. in Western Australia. Links from the podcast with Craig Walsh Learn more about Monuments Visit Craig Walsh’s website Follow Craig Walsh on Instagram

  ListenShow Notes
• 

  Episode #32

  Using technology as a social instrument with Georgie Pinn

  May 15, 202628 min

  In this podcast you will learn how Georgie Pinn designs interactive media artworks for public space. You’ll hear how Georgie builds participation, accessibility, and emotional impact. This interview is part of our series that focuses on media artworks in public space. In this interview, Georgie Pinn explores the creative process behind Echo, an interactive work that has evolved across multiple public-facing iterations, from an intimate one-on-one booth experience to large-scale outdoor presentation. Georgie describes Echo as an "empathy engine." It is a guided encounter where a stranger’s story is experienced through a face transformation that gradually becomes your own. We discuss the changes when a deeply personal work is placed into public space. This includes designing for walk-up participation, making interaction intuitive across ages, and shaping narrative for unpredictable audiences. Listen to this podcast to learn how to: Design interactive work for public space that supports multiple entry points and non-linear viewing. Create walk-up engagement so audiences understand what to do within seconds. Prototype with unfamiliar participants to refine UI, affordances, and accessibility across ages. Build for touring, with portability and repeatable installation and operation. Chapters (00:00:00) Introduction (00:00:47) Public space origins (00:02:40) Echo empathy booth (00:04:47) Residency spark (00:06:44) Education role (00:07:35) Stories and archive (00:09:53) Consent and ethics (00:11:52) Breaking echo chambers (00:14:16) New iterations ahead (00:16:26) Prototyping process (00:18:50) Collaboration roles (00:20:53) Creative collective (00:22:26) Current projects (00:23:55) Advice for artists (00:26:54) Closing About Georgie Pinn Georgie Pinn is an interactive creative technologist who makes large-scale multi-sensory experiences using projection mapping and interactive, generative, and sound responsive animation. She has over two decades of experience across public art, festivals, cultural institutions, AR and VR experiences, music videos, and stage-based work. Her practice is informed by an ongoing interest in how immersive technology and intimate storytelling can elicit empathy and connection. Her artwork has been presented internationally, including venues such as the Barbican in London, Drive in Berlin, the Powerhouse in Sydney, and Lusail in Qatar. Links from the podcast Learn more about Echo Visit Georgie Pinn’s website Follow Georgie Pinn on Instagram Learn more about Ars Electronica Learn more about the World Science Festival

  ListenShow Notes
• 

  Episode #31

  Listening, prototyping and delivering media art in public space with Betty Sargeant

  Mar 27, 202631 min

  In this conversation, we hear how Betty Sargeant develops site-led installations through listening, prototyping, and stakeholder collaboration. We also discuss why delivery skills matter as much as ideas when working in public space. This interview is part of our series that focuses on media artworks in public space. Betty shares the creative process behind The Fauxrest and what it takes to make media art that can survive real-world conditions, including weather, public interpretation, and the layered expectations of councils, communities, and collaborators. AI sits in the background of this conversation as a conceptual provocation. Betty explains her “AI robot” persona, and how the claim of an “AI-created” installation sparked rumour, backlash, and debate. Those reactions provide a way into bigger questions about trust, authorship, and agency in public space. Listen to this podcast to learn about: How listening builds trust and reduces friction in public space projects Prototyping site-led work through fast sketches, rough models, and material tests Why visual mock-ups are essential for keeping stakeholders aligned over time How participation shifts when audiences have not opted in What it takes to take a public artwork from idea to install, and why project management protects your agency Chapter (00:00:00) Finding the site first (00:00:29) Podcast intro and acknowledgement (00:01:02) Meet Dr. Betty Sargeant (00:01:52) Inside the Fauxrest artwork (00:02:38) Why public art matters (00:04:19) The AI robot provocation (00:06:04) Public reactions and town halls (00:09:38) Fauxrest and Satire (00:10:33) Performing Betty Sargeant AI (00:12:22) Backlash and misunderstandings (00:16:52) Collaboration and stakeholders (00:20:33) Prototyping and models (00:26:11) Visual communication for projects (00:27:24) Three career essentials (00:28:23) Why project management matters (00:29:51) Wrap up and thanks About Betty Sargeant Betty Sargeant is a Melbourne-based media artist and researcher and co-creative director of the art-technology duo PluginHUMAN with Justin Dwyer. Her practice spans public art and immersive installation, using light, moving image, sound, and sculptural form to place audiences inside multi-sensory experiences. She has received Good Design Awards in 2018 and 2020, and a Victorian Premier’s Design Award in 2017. Her recent project, Betty Sargeant AI , uses satire and performance to question authorship, agency, and the stories we tell about automation. Links from the podcast with Betty Sargeant Visit Betty Sargeant’s website Follow Betty Sargeant on Instagram Learn more about The Fauxrest Learn more about Betty Sargeant AI Learn more about PluginHUMAN

  ListenShow Notes
• 

  Episode #30

  Designing public interactions through sound with Michael Baker

  Feb 20, 202626 min

  In this podcast you will learn how sound-led public artworks can turn everyday places into shared, playable environments. In this interview Michael Baker is the Sound Director at Daily tous les jours we explore some of the thinking behind Daily Tous Les Jours’ public artworks. Daily tous les jours is known for large-scale participatory works such as Musical Swings , as well as their book Strangers Need Strange Moments Together , which reflects on designing interaction in public space. This interview is the first in a series that focuses on media art works in public space. Listen to this podcast to learn about: Why music acts as “social glue” in public space and how it supports relationality How the Musical Swings series of works map movement and synchrony into musical structure Designing interactions that are legible without instructions Low-tech prototyping methods (before code) that test the real experience The differences between touring works and permanent outdoor installations Common failure points in public work: weather, wear, and mechanical/electronic overlap Why the “artwork” is ultimately the people using the piece, together Chapters (00:00:00) Finding the hidden rhythm: sound between chaos & musical order (00:00:24) Welcome + acknowledgement of country (00:00:48) Series kickoff: Media art in public spaces (meet Daily tous les jours) (00:01:40) Michael Baker’s role: Why audio is the perfect public-space interface (00:02:44) “Make sure it makes music”: Music as social glue & pre‑verbal play (00:05:24) Accidental encounters: The magic of unexpected public art (00:06:22) Case study: Musical swings—wonder, all ages, all walks of life (00:07:38) Sync & sway: How the swings create emergent harmony (tech + behavior) (00:09:56) From mirror neurons to intimacy: Why we copy each other (00:10:41) Interactive pavement: Grid rhythms, emergent rules & dancing together (00:11:48) No instructions needed: Designing clear, simple gestures (00:13:45) Prototyping at scale: Iteration, tape-on-the-ground tests & deadlines (00:16:13) Tweak vs deliver: Working with clients, museums & touring constraints (00:17:51) Testing with fresh eyes: First-time users as the real benchmark (00:19:25) Temporary vs permanent: Durability, public “hacks,” and extreme weather (00:21:41) Platforms & toolchains: MAX/MSP, TouchDesigner, and choosing what fits (00:23:50) What public media art really is: The artwork is the people (00:25:29) Wrap-up, thanks, and share the show About Daily tous les jours Daily tous les jours is a Montreal-based art and design studio that creates interactive installations in public spaces. Founded in 2010 by Mouna Andraos and Melissa Mongiat, the studio is known for large-scale participatory works such as Musical Swings. Their projects use technology, music and movement to bring strangers together and transform everyday urban spaces into sites of collective experience. About Michael Baker Michael Baker is the Sound Director at Daily tous les jours, where he oversees the sonic landscape of the studio’s interactive installations. In his role, he develops sound palettes, generative compositional systems, and integrated audio environments that respond to movement and collective behaviour in public space. Michael holds a Bachelor of Fine Arts in electroacoustics from Concordia University. An accomplished electroacoustic composer, his work has been presented at international festivals including the 60x60 Festival (Canada/US), the Livewire Festival (Maryland), and the Canadian Electroacoustic Community Symposium (Montreal). Links from the podcast: Learn more about Daily Tous Les Jours Learn more about 21 Balançoires (musical swings) Read Strangers Need Strange Moments Together

  ListenShow Notes

Recent guests on Creating New Spaces: Interviews with artists redefining spaces through technology. Study who booked and why before you pitch.

Based on semantic analysis of episode topics and host coverage, this show is a strong guest fit for executives in:

Industry fit is computed by PitchCentric using vector embeddings of the show's episode catalog.