Willow Pattern
Collaborative writing
Digital books
Digital media
Electronic writing
Online
Artist Statement<br />On 11 June 2012, if:book Australia challenged a team of writers and editors to collaborate, write, and publish a book in a single 24-hour period. At midday, the writers gathered at the State Library of Queensland and began working furiously. Their stories were written live on the day, with work in progress posted online to allow readers to watch the story unfold and to submit ideas, suggestions and contributions across media. As the stories were completed, a team of bleary-eyed editors took the text from manuscript to a book.<br /><a href="http://24hb.pressbooks.com/front-matter/how-this-book-was-made/">Simon Groth, if:book Australia</a>
Amsterdam, Steven
Currier, Christopher
Davidson, Rjurik
Earls,Nick
Groth, Simon
Kneen, Krissy
Lemon, Geoff
Newton, P.M.
Slatter, Angela
if:book Australia
2012
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.
English
Amsterdam_willow_pattern
Tree of Fortune
Electronic text
Installation
Public installation
Unbearable Lightness (tree of fortune) is a collaboration between Keith Armstrong and Linda Carroli recontextualising the Christmas tree. On the South Bank Cultural Forecourt, a fig tree is decorated with small glowing baubles which on closer inspection are digital 'text modules' each with their own message.<br /><a href="http://www.realtimearts.net/article/58/8987">Excerpt from RealTime<br /></a>
<strong>Artist Statement</strong><br />Tree of Fortune was a major public artwork comprising of 130 LED scrolling text boxes distributed throughout a large tree. Each module displayed an individual scrolling message presented in red LED text, created in collaboration with Brisbane writer Linda Carolli. The work was commissioned for and presented in a prominent riverbank location at Christchurch's 2004 Biennial. It was accompanied by a high quality catalogue publication. The project sought to foster private reflection amongst its viewers around the context of contemporary ecological crises, whilst also calling upon the power of their imagining as a method for retaining positive and critical mindsets in the face of adversity.<br />This was achieved through ostensibly presenting texts in the form of 'fortune cookie' style statements, but then configuring them to require a personal response. This sense of unravelling questions and answers was further cemented through the qualities of each scrolling text, which only revealed a small part of each phrase at any one time.<br /><a href="http://embodiedmedia.com/homeartworks/tree-of-fortune">Source of Artist Statement</a>
Armstrong, Keith
Carroli, Linda
2003
Copyright Keith Armstrong and Linda Carroli. 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.
English
ARmstrong_tree_fortune
Long Time No See
Generative media
Locative work
Online artwork
Participatory project
<strong>Artist Statement</strong><br />Long Time, No See? is a collaborative, online artwork that focuses Australian and global audiences upon our long-term futures. The project seeks to link the local and the everyday with the global and the distant future, generatively mapping the ever-changing relationships between each project participants' ideas and visions. The raw content for the artwork is created by members of the general public undertaking walks in their local communities, assisted by a custom Smartphone App that choreographs and records their creative processes and physical journeys. The online artwork then presents this content relationally along with other generative media and sound. In all of these ways the project engages new audiences and participants to collaboratively 'design' pathways towards feasible and 'sustain-able' long term futures. Participants in locations across Australia and the world will each get the chance to share their visions of long futures and be enabled to collaborate, imagine, reflect, learn and act for change through optional local workshop processes.<br /><a href="http://embodiedmedia.com/homeartworks/long-time-no-see">Source of Artist Statement</a>
Armstrong, Keith
Carroli, Linda
Sade, Gavin
Dean, Roger
2012-2015
Henderson, Robert
Nyfantis, Petro
Copyright Keith Armstrong, Linda Carroli, Gavin Sade and Roger Dean. 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.
English
ARmstrong_long_time
The City We Build
App for mobile
Collaborative digital book
Tablet
<strong>Artist Statement</strong><br />Get lost in the hidden places of Brisbane's Fortitude Valley. Discover secret doorways and forgotten phone boxes, dance with ghosts of the streets' past and future. In The City We Build, create your own pathways. Weaving words into the physical spaces that we walk around daily, three Brisbane poets take you on an experimental journey of poetic storytelling through the rich hunting grounds of Fortitude Valley, unearthing its abundance of night spots, unusual characters, river posts, and alleyways. Beginning at the iconic Judith Wright Centre of Contemporary Arts, these poetic trails combine language and landmarks to showcase 'the Valley' in a whole new light. And you lead the way Traverse the Brisbane River and discover the fluidity of choice with Julie Beveridge. Delve into the rock 'n' roll underbelly of the Valley with Carmen Leigh Keates. And travel through time and space, into Brisbane's past and through its future, with Chris Lynch.<br /><a href="https://itunes.apple.com/us/book/the-city-we-build/id599211495?mt=11">Authors' description from iTunes</a>
Beveridge, Julie
Keates, Carmen Leigh
Lynch, Chris
Keong, Cindy
if:book Australia
2013
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.
English
Beveridge_city_build
Sansuigo
Drawing
Installation media
Interactive work
Spatiotemporal schematics
Bowman, Chris
2010
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.
English
Bowman_Sansuigo
[Geo] Landscape .01 & .02
Drawing
Installation media
Interactive work
Spatiotemporal schematics
Bowman, Chris
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.
English
Bowman_geo_land
Spring and Asura
Drawing
Installation media
Interactive work
Spatiotemporal schematics
Artist Statement<br />.02 Spring and Asura is an interactive artwork that explores the interconnectivity of the animate and the inanimate. This work explores the relationship between video images of the natural world and the poem Spring and Asura written by Kenji Miyazawa translated into English by Hiroaki Sato. [ ]Using a combination of image and motion capture technology, the artwork explores the movement of light and shade in the video recordings and responds to the visitor in the space. This self generating interconnected system creates an ordering and reordering of the poetry text resulting in shifts in time movement and abstraction through the viewing of the work.<br /><a href="http://cargocollective.com/cbowman/Spring-and-Asura">Source of Artist Statement</a>
Bowman, Chris
2006-ongoing
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.
English
Bowman_springAsura
_ID_xor.cism
Code.work
Mezangelle
Net art
Net.wurk
Breeze, Mez
Copyright Mez Breeze. 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.
English
Breeze_IDxorcism
_Types.of.Und.Fineable.Ware[z]_.
Code.work
Mezangelle
Net art
Net.wurk
Breeze, Mez
Copyright Mez Breeze. 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.
English
Breeze_typesUnd
______dis[ap]posable_
Code.work
Mezangelle
Net art
Net.wurk
Breeze, Mez
ongoing
Copyright Mez Breeze. 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.
English
Breeze_Disposable
#OutsideUrDoor
Live
Performance
Reality game
Twitter
<strong>Artist Statement</strong><br />Exhibited via a Live Trans-Reality Performance Event held simultaneously via Twitter streams, The Web, and geophysically at the Inspace Gallery as part of Inspace's 'No One Can Hear You Scream'/The Third International Conference on Interactive Digital Storytelling: '...the knitting 2gether of the #OutsideUrDoor synthetic/real-time action created through the @MrShamble, @Nozfera2 and @vvolfmaan characters via multiple projections/soundtrack/linked cues with geophysical audience participation [and those exclusively in the twittersphere] was marvellous. the [micro in more than 1 sense] narrative gradually unfolding in front of a live audience based in Scotland just mixed reality ftw:) this type of net-native work[ing] really extends + [weirdly] collapses so many conventions/distinctions.<br /><a href="http://iloveepoetry.com/?p=39">Author's description from the website I [Love]_ E-Poetry</a>
Breeze, Mez
2010
Copyright Mez Breeze. 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.
English
Breeze_outside
_:terror(aw)ed patches:_
Live concurrent editing
Mezangelle
This collaborative work created in the now-defunct Google Wave is documented as a video which shows writing at different stages scrolling up the screen. Each screen-captured image scrolls upwards at a speed that allows readers to apprehend most of the work-less if you're unfamiliar with mezangelle- visually enacting the wave metaphor.<br /><a href="http://iloveepoetry.com/?p=2583">Excerpt of Leonardo Flores' description, I love E-Poetry</a>
Breeze, Mez
2009
Hinton, Shane
Copyright Mez Breeze. 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.
English
Breeze_terror
_cross.ova.ing ][4rm.blog.2.log 07/08 XXTRACTS_
Code.work
Interactive
Mezangelle
Net art
Net.wurk
<strong>Artist Statement</strong><br />_cross.ova.ing ][4rm.blog.2.log][_ is a "netwurk repository" that's been in operation since 2003. these "wurks" r inscribed using the infamous polysemic language system termed _mezangelle_. this language evolved/s from multifarious computer code>social_networked>imageboard>gamer>augmented reality flavoured language/x/changes. 2 _mezangelle_ means 2 take words>wordstrings>sentences + alter them in such a way as 2 /x/tend + /n/hance meaning beyond the predicted +/or /x/pected. _mezangelling_ @tempts 2 /x/pand traditional text parameters thru layered/alternative/code based meanings /m/bedded in2 meta-phonetic renderings of language. _cross.ova.ing ][4rm.blog.2.log][ /m/ploys a base standard of code>txt in order 2 evoke imaginative renderings rather than motion-based>flashy graphics.<br /><a href="http://collection.eliterature.org/2/works/mez_crossovaing.html">Author's description from The Electronic Literature Organization website</a>
Breeze, Mez
2007-2008
Copyright Mez Breeze. 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.
English
Breeze_crossova_extracts
_cross.ova.ing ][4rm.blog.2.log] (Live Journal)
Code.work
Mezangelle
Net art
Net.wurk
Breeze, Mez
ongoing
Copyright Mez Breeze. 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.
English
Breeze_crossova_journal
pro] [tean] [.lapsing.txts
Code.work
Mezangelle
Net art
Net.wurk
Breeze, Mez
2002
Copyright Mez Breeze. 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.
English
Breeze_protean
_][s][hut][ters][ of d.funct meat_/ /Shutters of Defunct Meat
Code.work
Interactive
Mezangelle
Net art
Net.wurk
Breeze, Mez
2002
Copyright Mez Breeze. 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.
English
Breeze_shutters
Real_Time_"1sts!" [or: PanoptiConned Imagery From the Scene]
Code.work
Interactive
Mezangelle
Net art
Net.wurk
This work is inspired by the real-time events triggered by a fatal shooting incident in MIT and a manhunt for suspects allegedly involved in the Boston Marathon bombings as reported through social media, particularly Twitter.<br /><a href="http://iloveepoetry.com/?p=2584">Excerpt from Leonardo Flores' description in I love E-Poetry</a>
Breeze, Mez
2013
Copyright Mez Breeze. 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.
English
Breeze_realtime
The Dead Tower
Code.work
Interactive
Mezangelle
Net art
Net.wurk
This narrative poem is arranged on a darkly atmospheric virtual world designed to both creep you out and pull you in through curiosity. Like the proverbial moth, the reader's attention is drawn towards the brightest things around: white words float in the air, static or rotating. And the lines of mezangelle verse both heighten the dread by telling fragments of a ghostly narrative prefigured by the bus crash site the reader finds herself in and soften the tone with hints about the interface that nudge the fourth wall.<br /><a href="http://iloveepoetry.com/?p=302">Excerpt from Leonardo Flores' description in I love E-Poetry</a>
Breeze, Mez
2012
Campbell, Andy
Copyright Mez Breeze. 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.
English
Breeze_dead_tower
Feral "C"
Live
Performance
Reality game
Twitter
<strong>Artist Statement<br /></strong>Feral "C" is a socumentary which is textually driven by the interactions of five Twitter chars [primary characters or entities] and their Pupa Mistress (PM). The PM initially functions as a Twitter based information hub for the tweet interactions between the chars and other contributing entities (such as yourself).<br /><a href="http://netwurker.net/">Source of Artist Statement</a>
Breeze, Mez
2010
Copyright Mez Breeze. 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.
English
Breeze_feral
Twitterwurking
Live
Performance
Reality game
Twitter
Artist Statement<br />_Twitterwurking_ comprised of sequential "tweets" posted via a microblogging platform called Twitter. The work itself was written in my mezangelle language - a type of merging of programming languages/code with poetic elements. The Twitterwurk sought to incorporate specific users into the narrative by typing the "@" symbol before their name. The users were then made aware of this focused reply and thus deliberately enfolded into the tweetstream/project.<br /><a href="http://conference.conlang.org/lcc3/posters/Mez_Breeze-Twitterwurking.pdf">Description from a transcription of Twitterwurking, created in the New Media Scotland Twitter Residency</a>
Breeze, Mez
2008
Copyright Mez Breeze. 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.
English
Breeze_twitter
the data][h!][bleeding texts"
Code.work
Interactive
Net art
Mezangelle
Net.wurk
This multimedia poem gives a voice to a body and mind imagined through computational conditions. Mary Anne Breeze / Mez / Netwurker has developed a language practice known as mezangelle, which she uses in this poem to create a cyborg lyric voice. The implied metaphor in the title is that data has a body and it is bleeding, perhaps it has been wounded. Mapped onto electronic texts, the displayed texts are the skin, while the code is the rest of the body, including the blood. What we read is a combination of computer and natural languages, both of which are executable.<br /><a href="http://iloveepoetry.com/?p=171">Excerpt from Leonardo Flores' description in I love E-Poetry</a>
Breeze, Mez
Copyright Mez Breeze. 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.
English
Breeze_datableed
IUXTA
Algorithmic realtime data reinterpretation
New media
<strong>Artist Statement</strong><br />IUXTA investigates the narrative possibilities of the network. IUXTA generates a user generated, augmented reality network will evolve across world. I invite you to participate in this multi-nodal narrative, a narrative that is always in a flux of fragmentation and recombination. Chapter 1 was presented as part of ISEA 2013 and now Chapter 2 begins to evolve centered around Adelaide and ISMAR 2013. In IUXTA I ask you to help spread and embed my own personal and historical narrative into the physical world around us. Over time, this narrative will proliferate according to its own inner logic. You can use the IUXTA mobile viewer to observe and listen to the narrative's current state in real time and in relation to your own physical location. You can also use the IUXTA web app not available on mobile devices) to explore a simulation of the narrative network. Physical locations where narrative nodes are concentrated are marked but not labeled. The IUXTA app is now available on the app store and the Google play store.<br /><a href="http://iuxta.cc/">IUXTA Project website</a>
Burrell, Andrew
2013
Copyright Andrew Burrell. 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.
English
Rodley_Burrell_IUXTA
Flight Recorder
Electronic writing
Video
Caines, Chris
2005
Copyright Chris Caines. 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.
English
Caines_flight
Sixteen Days
Electronic writing
Video
Caines, Chris
2002
Copyright Chris Caines. 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.
English
Caines_sixteen
Year on the road project: Mathematics
Electronic writing
Video
Caines, Chris
Copyright Chris Caines. 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.
English
Caines_math