In February 2006, The Digital Hub called for submissions from artists to respond to six buildings, due for re-development as part of the next phase of The Digital Hub, a nine acre site in the historic Liberties area of Dublin.

The project attracted a huge response and six artists were chosen - Ian Corcoran, Stoneypockets, Anne Maree Barry, Tracy Staunton, The Hyperion Project and Fergus Kelly.
CAPTURED is an exhibition by six digital media artists exploring, documenting and capturing the history of six former Guinness buildings located in The Digital Hub.

Interruption #9 by Ian Corcoran
“It seems that nothing changes and everything is changing all the time. Things change, people leave and it’s like they’ve taken the
changes away with them. In fact they leave the shadow of change behind them.”
- John Waters, “Race of Angels”.
Ian Corcoran is a product of the last great wave of Irish emigration, and has some experience of the Irish Diaspora who maintain a strong attachment to areas in which they grew up, and the stories that go with that. Corcoran’s father grew up in the Liberties and his extended family still live there. This project mimics memory and the layered memory of the sites suggested.

Ian Corcoran is a projection artist who’s practice encompasses large scale urban projection, film, theatre and community cultural development.

Most recently Ian was involved in executing a 100m x 30m projection onto a cooling tower for Melbourne 2006 in the La Trobe valley for the Cultural Program of the Commonwealth Games.

Inheritage by Stoneypockets
How inherited and exterior elements can influence local identities.
Dublin is swiftly changing. Its old stories are being mixed with those of a new population and their own cultural histories and perspectives.
Buildings and entire areas of the city are being converted and repurposed. This is a unique time which inimitably suits representation
in interactive media. Inheritage uses the environment of Vathouse No.7, Crane Street as a base for dynamic narratives that depict
interdependent themes, times, and places.

These Pictures are not Sold Separately by Anne Maree Barry
In 1901 the film trade magazine, The Showman listed the documentary Toilers of the Deep with the following disclaimer: These Pictures Are Not Sold Seperately. At this time, it was customary to project a combination of documentary slides and films. Anne Maree Barry’s work takes its title from this disclaimer as it alludes to early cinematic practices both in form and content.
In These Pictures Are Not Sold Seperately, (2006) scenes of forgotten everyday life are captured on film and presented as part of a trilogy which also includes The Presence of Absence (2003-2005) and I Know This Place (2004). The three films were all shot in the Liberties.

Anne Maree Barry’s work is provoked by an observation of spaces, urban and rural, that appear isolated and empty despite traces of human presence. The intention of her work is to document and reinterpret conventional perceptions of these spaces, making the ordinary appear extraordinary and blurring the lines between reality and fiction.

The Keeper of Secrets Tracy Staunton
“The old house, for those who know how to listen, is a sort of geometry of echoes” - Gaston Bachelard, “The poetics of space”, p.60 “A lighted lamp in the window watches in the secret heart of night” - Rimbaud, “Emmure”
The artist made and printed a number of images onto the walls of No. 84 St. James St. - pictures of the sounds of the house; the sound of leaving, wordless conversations, house calls, the sound of the afternoon. I have captured the house with its echoes on DVD and projected the images into the ground floor window. The house is the keeper of secrets and the window is its inward looking eye.

Tracy Staunton’s practice to date has dealt with buildings and ghosts, places and intimacy, shadows on walls. In her project “10 dreams in Dublin” (2003), and in her commission “museum of minutiae” (2004), she has tried to evoke the echoes of the building with wall prints and sound in a cross section of Dublin buildings.
The resulting installations are videoed. Some of the buildings are now gone, some remain, some have been renovated. The images remain, small ghosts hidden in the fabric of the building, or captured with the building on video. Her work is public art of a private nature.

Timescape The Hyperion Project
Timescape marks a transitional point for Vathouse No. 7 and its surroundings. Using video footage as raw material; sensor, image
manipulation, and networking technologies are the creative tools, as the movement of viewers, on the street and in the gallery space,
become a catalyst for manipulating, collecting, and compiling this footage to generate a final organic print.

Timescape explores the themes of access and evolution in the redevelopment of the Liberties by bridging gaps between systems of alternates – past and future, interior and exterior, private and public, passive and active audiences, static and dynamic art, digital and organic processes.

By challenging these traditional relationships Timescape becomes a piece whose creative influences lie not in the processes and inspirations of an individual artist but in the collective participation of a community responding to its changing environment.

Hyperion Project is a collective of digital artists, individually working in the areas of animation, video and design. In 2005, the group collaborated on Hyperion, a generative Flash installation, utilising networking and sensor technology to explore relationships between digital and biological systems.

Haunted by Fergus Kelly
Haunted is a 3 part project involving a public soundwork, a CD, and a web piece. It gathers recordings and photographs from
ex-Guinness sites on Crane Street and Watling Street.
These sites, once hives of activity, now lie dormant. An inescapable feeling of stopped time hangs in the air. Suspended animation.
A present haunted by the past. Though not for long, as they merely occupy a limbo between one functioning state and another.

In the interstices, the reconfigured material manifests itself…
Auditory apparitions traverse the cobbles of Rainsford Street, invoking a presence from forensically foraged found fragments.
Combing the interiors, the camera captures thick layers of accumulated time to haunt virtual space. Cobwebs for the worldwide web.

A CD creates ear theatre for a textural and tactile narrative to unfold.

Fergus Kelly currently plays live with an invented instrument called The Cabinet of Curiosities. In 2005 he started the Room Temperature CD-R label, with initial releases including his solo CD, Unmoor.