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              <text>&lt;a href="http://www.lalouver.com/html/gallery-history-images/other-resources/Stevens-LATIMES-Pagel-2013.pdf"&gt;David Pagel, Los Angeles Times&lt;/a&gt;</text>
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              <text>Grant Stevens, Tranquility Falls, 2013, digital video with sound, 3 min 3 sec, video still, courtesy the artist and Sullivan + Strumpf, Sydney</text>
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                <text>Tranquility Falls, is a floor-to-ceiling projection of what appears to be a synthetic waterfall and a cascade of phrases that describes various features of self-help culture. The words start slowly, earnestly and meditatively. Accelerating to an annoying crescendo, in three short minutes they leave viewers with a snide sense of being superior to such well-meaning illusions. &lt;a href="http://www.lalouver.com/html/gallery-history-images/other-resources/Stevens-LATIMES-Pagel-2013.pdf"&gt;David Pagel, Los Angeles Times&lt;/a&gt;</text>
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                <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>&lt;a href="http://www.lalouver.com/html/gallery-history-images/press-releases/grant-stevens-supermassive-press-release.pdf"&gt;Rogue Wave Projects&lt;/a&gt;</text>
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                <text>Working in a variety of media, including sculpture, drawing and photography, as well as video, Stevens experiments with sound, text and imagery to explore and manipulate the conventions of narrative. At the core of his practice is a desire to understand how we construct and communicate our experience lived and imagined, social and psychological. The largest work in the exhibition is a four-channel video installation that Stevens describes as 'a visualization of a mental landscape based on abstract, spatial representations of text.' The viewer is immersed in a moving, abstract environment of text clusters that refer to seemingly diverse and dissonant topics: self-affirmations, an Indian restaurant menu, the periodic table, and common prescription drugs. As each cluster was sourced online, it bears the trace of how one navigates through online information. Another single-channel video features a flowing, animated waterfall, sentimental stock music, and text appropriated from a popular talk show host's self-help advice. &lt;a href="http://www.lalouver.com/html/gallery-history-images/press-releases/grant-stevens-supermassive-press-release.pdf"&gt;Rogue Wave Projects&lt;/a&gt;</text>
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                <text>Copyright Josephine Starrs and Leon Cmielewski. 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>Players clean up the kitchen laboratory of a home biotech enthusiast using weapons such as dish cloths and egg flippers. The player is attacked by nasty mutant vegetables which are the product of genetic nouvelle cuisine, and learns throughout the game of a world wide corporate conspiracy to take over the entire food chain. Bio Tek Kitchen: a computer game patch on theme of public IP loss via biotech patenting.</text>
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                <text>Bio Tek Kitchen takes the form of a first person role playing game, deploying both the pixelated aesthetics and simple but multiple narrative outcomes of early video games. The work playfully engages with many of the tropes of bio-art at the time, which critically interrogated biotechnology and its impact on public IP and agricultural workers, highlighted by the contemporaneous work of artists such as CAE, (Critical Art Ensemble) and Eduardo Kac. In Bio Tek Kitchen a first person 'shooter' uses 'weapons' that are domestic rather military to 'clean up' rather than create mess. In so doing the work not only engages with the politics of biotechnology also deploys and flips multiple early gaming conventions. Gillian Fuller</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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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="2442">
                <text>Smith_instabilities2</text>
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          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="2443">
                <text>Instabilities 2</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2444">
                <text>Smith, Hazel</text>
              </elementText>
              <elementText elementTextId="2969">
                <text>Dean, Roger</text>
              </elementText>
            </elementTextContainer>
          </element>
          <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="2446">
                <text>2009</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="2447">
                <text>White, Greg</text>
              </elementText>
              <elementText elementTextId="2448">
                <text>Evans,Sandy</text>
              </elementText>
              <elementText elementTextId="2449">
                <text>Slater, Phil</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2452">
                <text>Instabilities 2 [...] subjects a discontinuous text to various kinds of processing. The screen is divided into three sections which counterpoint each other. The top section consists of a video made by Hazel Smith comprising twelve short texts. The middle section consists of the same material processed in the program Jitter by Roger Dean, and involves various forms of overlaying, erasing and stretching of the words. In a third section of the screen the same texts together with others which do not appear in the top movie are processed in real-time by Roger Dean by means of a Text Transformation Toolkit (TTT) written in Python. The processing substitutes words and letters so that new text emerges, together with a spoken realization of some parts of the text, new and old. The pre-written fragments circle around the idea of social, historical, and psychological instabilities, but during the processing new instabilities syntactical, semantic, and phonemic also arise. In addition, computer-synthesised voices add an aural dimension to textual change.&lt;br /&gt;&lt;a href="http://www.drunkenboat.com/db12/06des/smith/statement.php"&gt;Excerpt from Drunken Boat, an online journal of art and literature. Issue No.12&lt;/a&gt;</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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              <elementText elementTextId="2455">
                <text>English</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3663">
                <text>Copyright Hazel Smith, Roger Dean, Greg White Sandy Evans and Phil Slater. 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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    </elementSetContainer>
    <tagContainer>
      <tag tagId="165">
        <name>Generative text</name>
      </tag>
      <tag tagId="185">
        <name>Hazel Smith</name>
      </tag>
      <tag tagId="193">
        <name>Performative multimedia work</name>
      </tag>
      <tag tagId="27">
        <name>Roger Dean</name>
      </tag>
      <tag tagId="192">
        <name>Verbal interactivity project</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
