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                <text>The Michelangelo project is an interactive CD ROM which involves the construction of facial portraits of Michelangelo through a model based on police identikits and historical material from the writings of Vasari. The work thus bridges the gap between fine art and popular culture and creates a sophisticated intermedia dialogue. The involvement of the viewer and the use of found popular material questions traditional notions of originality and the traditional role of technique and training in artmaking. Nola Farman is a central figure in electronic media-based art.&lt;br /&gt; Source of Description: &lt;a href="http://artworkscatalogue.griffith.edu.au/web/pages/gal/Display.php?"&gt;Griffith University Art Collection&lt;/a&gt;</text>
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                <text>Copyright Nola Farman and Anna Gibbs. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.</text>
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              <text>&lt;a href="http://writing.upenn.edu/pennsound/x/Smith-Dean.php"&gt;http://writing.upenn.edu/pennsound/x/Smith-Dean.php&lt;/a&gt;</text>
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              <text>&lt;a href="http://writing.upenn.edu/pennsound/x/Smith-Dean.php"&gt; Excerpt from PennSound, Center For Programs In Contemporary Writing&lt;/a&gt;</text>
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                <text>A motile and spatial algorithmic speech piece, performed by Greg White and Roger Dean. The text by Hazel Smith which forms the basis of Mid-Air Conversations consists of seventeen short fragments. All the fragments are stylistically and thematically different from each of the others, and explore a variety of locations or historical situations, but there are some overlapping concerns. The piece points to a range of political conflicts but also to another space, one without a specific geographical or historical identity, where such problems might be overcome. To this end the piece includes its own language, constructed out of the words that compose the piece, raising the question: is this the language of that other space and if so how can we begin to adopt and understand it?&lt;br /&gt;&lt;a href="http://writing.upenn.edu/pennsound/x/Smith-Dean.php"&gt;Excerpt from PennSound, Center For Programs In Contemporary Writing&lt;/a&gt;</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3661">
                <text>Copyright Hazel Smith and the austraLYSIS electroband. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.</text>
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        <name>Greg White</name>
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        <name>Hazel Smith</name>
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          <name>Platform</name>
          <description>Software platform or means of display e.g Installation / YouTube / HTML / Flash / Twitter / QuickTime</description>
          <elementTextContainer>
            <elementText elementTextId="2697">
              <text>Video installation</text>
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          <name>Work URL</name>
          <description>The URL of the original work, included as an HTML link.</description>
          <elementTextContainer>
            <elementText elementTextId="2698">
              <text>&lt;a href="http://www.mca.com.au/collection/work/20128/"&gt;http://www.mca.com.au/collection/work/20128/&lt;/a&gt;</text>
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              <text>Grant Stevens, Mingling, 2011, digital video with sound, 5 min 30 sec, video still, courtesy the artist and Sullivan + Strumpf, Sydney</text>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Identifier</name>
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            <description>A name given to the resource</description>
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              <elementText elementTextId="2694">
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            <name>Date</name>
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              <elementText elementTextId="2696">
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            <name>Language</name>
            <description>A language of the resource</description>
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            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4128">
                <text>Digital video</text>
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              <elementText elementTextId="4129">
                <text>Video installation</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4156">
                <text>The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.</text>
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        <name>Grant Stevens</name>
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        <name>Video installation</name>
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          <name>Platform</name>
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              <text>Multimedia</text>
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          <name>Work URL</name>
          <description>The URL of the original work, included as an HTML link.</description>
          <elementTextContainer>
            <elementText elementTextId="1945">
              <text>&lt;a href="http://katerichards.net/art/dawes-point/"&gt;http://katerichards.net/art/dawes-point/&lt;/a&gt;</text>
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              <text>Development stage of a multi-disciplinary performance work based on the notebooks of First Fleet marine/astronomer/surveyor William Dawes who recorded his encounters between 1788-1790 with the indigenous peoples of the Sydney foreshore area most notably young Cadigal woman, Patyegarang.[...]The live action process will involve the opening up of the primary source notebook text through the actor's physiology of movement, voice, physical and emotional inter-relationships with Dawes text (words, correction marks, and spaces/silences between the words) and each other. Other source material will be diaries and letters that refer to Dawes and Patyegarang (i.e., Elizabeth Macarthur's letters &amp; journals). The secondary source material will be current writings and interpretations of their encounter (i.e. Inga Clendinnen's Dancing With Strangers). The other source text will be what the artists bring of themselves to the work, personal text, cultural stories, constellation and creation myths  and their 'speakings back' to Dawes and Patyegarang from varying viewpoints. We aim to devise a chorus ensemble of indigenous performers to counterpoint the dual Dawes  Patyegarang  protagonist/s structure.</text>
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          <name>Source of Artist Statement</name>
          <description>The source of information included in the Artist Statement, included as an HTML link to the relevant URL where possible.</description>
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              <text>&lt;a href="http://katerichards.net/art/dawes-point/"&gt;Excerpt from author's website&lt;/a&gt;</text>
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            <name>Identifier</name>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Mr Dawes Pronounces Well</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="1940">
                <text>Richards, Kate</text>
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                <text>Gibson, Ross</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="1943">
                <text>2009-ongoing</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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              <elementText elementTextId="1948">
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3526">
                <text>&lt;strong&gt;Artist Statement&lt;/strong&gt;&lt;br /&gt;Development stage of a multi-disciplinary performance work based on the notebooks of First Fleet marine / astronomer / surveyor William Dawes who recorded his encounters between 1788-1790 with the indigenous peoples of the Sydney foreshore area most notably young Cadigal woman, Patyegarang.[...]The live action process will involve the opening up of the primary source notebook text through the actor's physiology of movement, voice, physical and emotional inter-relationships with Dawes text (words, correction marks, and spaces/silences between the words) and each other. Other source material will be diaries and letters that refer to Dawes and Patyegarang (i.e., Elizabeth Macarthur's letters &amp;amp; journals).&lt;br /&gt;The secondary source material will be current writings and interpretations of their encounter (i.e. Inga Clendinnen's Dancing With Strangers). The other source text will be what the artists bring of themselves to the work, personal text, cultural stories, constellation and creation myths and their 'speakings back' to Dawes and Patyegarang from varying viewpoints. We aim to devise a chorus ensemble of indigenous performers to counterpoint the dual Dawes Patyegarang protagonist/s structure.&lt;br /&gt;&lt;a href="http://katerichards.net/art/dawes-point/"&gt;Source of Artist Statement&lt;/a&gt;</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4138">
                <text>The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.</text>
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        <name>Kate Richards</name>
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        <name>Ross Gibson</name>
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              <text>Video</text>
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          <name>Platform</name>
          <description>Software platform or means of display e.g Installation / YouTube / HTML / Flash / Twitter / QuickTime</description>
          <elementTextContainer>
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              <text>Flash</text>
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          <name>Genre</name>
          <description/>
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          <name>Work URL</name>
          <description>The URL of the original work, included as an HTML link.</description>
          <elementTextContainer>
            <elementText elementTextId="315">
              <text>&lt;a href="http://chriscaines.com/?page_id=66"&gt;http://chriscaines.com/?page_id=66&lt;/a&gt;</text>
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          <name>Source of Description</name>
          <description>The source of information included in the Description, included as an HTML link to the relevant URL where possible.</description>
          <elementTextContainer>
            <elementText elementTextId="317">
              <text>Gillian Fuller</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="308">
                <text>Caines_museum</text>
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                <text>Museum of Fire</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="310">
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="312">
                <text>1991</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="316">
                <text>Museum of Fire is one third of a three part portmanteau project made in collaboration with John Conomos and David Haines. The work plays with and across various types of motion landscapes: an early motif for many new media artists in the 1980s and 90s. The work's text is placed over multiple moving and abstracted motion landscapes, both visual and aural. The text itself is multi-sourced, comprising found texts and first person narratives. Motifs of acceleration, driving, train travel, ships on the ocean create a 'oceans of static' as communications and transport merge creating a cinematic world in which split screens of dreamscapes and motionscapes merge into one abstract contemplation of ' the history of luminous motion'.&lt;br /&gt;Gillian Fuller</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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          <element elementId="47">
            <name>Rights</name>
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                <text>Copyright Norie Neumark and Maria Miranda. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.</text>
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                <text>"‘Name that Movie’ explores common colonisation techniques through the “gods eye” of mainstream movies with an international reach. When witnessing a recurring action, some say ‘I’ve seen that movie’. it is an ambiguous expression of dismissal / resignation / fatigue, recognising predictability and history repeating itself, unless of course you haven’t seen the movie or are unaware of the history. Then the expression is a way of opening up discussion. naming and defining is a way of breaking down the power of neo-liberal actions. In this instance ‘name that movie’ is a video that’s set up like a game, a drinking game maybe?&#13;
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              <elementText elementTextId="4145">
                <text>The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.</text>
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              <text>Cloned sheep with teeth outside their skulls, recreate the cloning gone bad process with a hyperpoetic context. Includes an embarrassingly bad "matrix" interface.</text>
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                <text>Copyright Jason Nelson. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.</text>
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          <name>Work URL</name>
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                <text>Denham_no_strings</text>
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                <text>Copyright Ben Denham. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.</text>
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              <text>Twills is a generative video work, dynamic and mostly text-based. It was projected on the wall in the show and explores the roles of medication in contemporary life and the complex responses people have to these. I harvested twitter for several months in 2013 looking for interesting tweets containing the words pills or medication and built a database of over 500 tweets. Then I wrote a program to assemble random collections of tweets into structured collages of these many different hopes, fears, problems, solutions and experiences of medication. People are remarkably candid on twitter and their tweets are thought-provoking in themselves, but when they are combined in unexpected ways, new stories are continually generated. &lt;a href="http://sallypryor.com/works/med.html"&gt;Excerpt from author's website&lt;/a&gt;</text>
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                <text>Copyright Sally Pryor. The copyright of images posted on the ADELTA Website belongs to third parties and is included on this website by permission from copyright holders. Apart from any use permitted by the Copyright Act 1968 (including fair dealing) the images may not be downloaded, adapted, remixed, printed, emailed, stored in a cache or otherwise reproduced without the written permission from the copyright holder.</text>
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              <text>&lt;a href="http://www.sounddesign.unimelb.edu.au/web/biogs/P000300b.htm"&gt;Excerpt from the Australian Sound Design Project&lt;/a&gt;</text>
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                <text>A temporary installation to accompany Suite Talk, for the Adelaide Festival Fringe. The work is made of books and has a sound work of a variety of exclamations.&lt;br /&gt;&lt;a href="http://www.sounddesign.unimelb.edu.au/web/biogs/P000300b.htm"&gt;Excerpt from the Australian Sound Design Project&lt;/a&gt;</text>
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              <text>other[wize] is a new media arts project that celebrates the lives of Yugambeh family members that were moved from their traditional homelands in SE "Queensland", to work on properties in the Gulf of Carpentaria. The project highlights an era of 1800's colonial australia and explores the prickly issues of Native Policing, dispossession, displacement, massacres and survival [… ]other[wize] is an interactive work where stories are imparted through the use of family photographs, video, audio, and text - including Yugambeh language and relevant  historical documents.  The 'objects' are representative of important people or events and they transport the viewer to a story about someone from the past […] Events evolve in a non-linear way, grasping at the unknown, not sure of what will be found or how it relates to other information, until perhaps another time, leaving the viewer without a Narrator.  This concept reflects how many Aboriginal people experience family histories.  The viewer has the opportunity to experience a similar 'fragmentation' of history and they might think about their own relationship to place and times.</text>
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                <text>In her multimedia installation, other[wize], Jenny Fraser recounts and reflects on her family history, and she describes it as ‘celebrating the lives of Mununjali family members that were moved from their traditional homelands in South East Queensland, to work on properties in the Gulf of Carpentaria’. Memory is pivotal and, as Salman Rushdie writes in Imaginary Homelands, ‘the struggle of man against power ... is the struggle of memory against forgetting’. &lt;a href="https://www.academia.edu/2223656/other_wiz"&gt;Excerpt from Other[wize] essay, Linda Carroli&lt;/a&gt;</text>
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