Paper Machine (Carbon Sampler 1.0) - Revisiting Australian CD-ROM Art of the 1990s

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This research focuses on early interactive digital art developed in the 1990s, particularly for CD-ROM—a medium often seen as transitional en route to internet-based media. In Australia, CD-ROMs were central to the federal government’s Creative Nation policy (1994), which aimed to prepare the country to become a producer of digital content. As part of this, $84 million was invested in digital initiatives, including $5.25 million for experimental multimedia projects via the Australian Film Commission—some of which supported artists exploring the new medium. CD-ROMs enabled artists to create complex, non-linear works using image, text, sound, and video. Tools like Macromedia Director lowered the technical barrier, allowing creatives from various disciplines to engage with interactive media. Artists could self-produce and distribute CD-ROMs, reaching international audiences and becoming part of a growing global digital arts network. The format also allowed art to circulate beyond traditional galleries. For example, the Lycette Bros’ Carbon Sampler functioned as both portfolio and commercial introduction. Despite its creative potential, CD-ROM’s built-in obsolescence—highlighted by critics like Douglas Kahn—limited its long-term viability. As access to CD-ROM technology faded, so too did visibility of the works. This erasure was evident in the National Gallery of Victoria’s 2017 exhibition Every Brilliant Eye, which omitted CD-ROM art despite its relevance. The 1990s saw robust discourse in journals like ArtLink and Real Time on how emerging technologies were reshaping Australian art—raising enduring questions about art's place within electronic consumer culture.