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              <text>Think about Ludea as a 21st century version of the board game Ludo. On the streets of Melbourne three warring cultures struggle for territory: Neo-Materialists use traditional forms of communication such as words. Post-Symbolics communicate only through images, and Post-Humans are reliant on machines for communication. Each tribe gathers resources and tags in colour - Neo-Materialist orange, Post-Symbolic green and Post-Human blue. Victory goes to the clan that achieves the widest domain. Ludea is a micro-nation seeping into our own world and visible for the first time.</text>
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                <text>&lt;strong&gt;Artist Statement&lt;/strong&gt;&lt;br /&gt;Think about Ludea as a 21st century version of the board game Ludo. On the streets of Melbourne three warring cultures struggle for territory: Neo-Materialists use traditional forms of communication such as words. Post-Symbolics communicate only through images, and Post-Humans are reliant on machines for communication. Each tribe gathers resources and tags in colour - Neo-Materialist orange, Post-Symbolic green and Post-Human blue. Victory goes to the clan that achieves the widest domain. Ludea is a micro-nation seeping into our own world and visible for the first time.&lt;br /&gt;&lt;a href="http://vimeo.com/45110334"&gt;Description from Vimeo&lt;/a&gt;</text>
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              <text>Iconica is an artificial world made of language, populated by lifeforms whose bodies are made of media encoded with different systems of representation. The artificial life model that generates the appearance and behaviour of this world is based on an iconic language which may be combined using grammatical rules to create an endless number of possible meanings. Trans'forms is an abbreviation of the term 'transitional forms' from evolutionary theory. This term refers to the inbetween states that occur when one species evolves into another new species. The new lifeforms depicted above apply this concept to digital media, capturing transitional forms in visual languages as they evolve and adapt to electronic space.</text>
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                <text>&lt;strong&gt;Artist Statement&lt;br /&gt;&lt;/strong&gt;Iconica is an artificial world made of language, populated by lifeforms whose bodies are made of media encoded with different systems of representation. The artificial life model that generates the appearance and behaviour of this world is based on an iconic language which may be combined using grammatical rules to create an endless number of possible meanings. Trans'forms is an abbreviation of the term 'transitional forms' from evolutionary theory. This term refers to the inbetween states that occur when one species evolves into another new species. The new lifeforms depicted above apply this concept to digital media, capturing transitional forms in visual languages as they evolve and adapt to electronic space.&lt;br /&gt;&lt;a href="http://vimeo.com/45054742"&gt;Description from Vimeo&lt;/a&gt;</text>
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                <text>&lt;strong&gt;Artist Statement&lt;/strong&gt;&lt;br /&gt;Banalities for the Perfect House is a collaborative installation &amp;amp; performance work premiered at Sydney's Performance Space theatre on Sept 9 2005. The work posits the house as a condition through which we perceive the world - the city an extension of grid-like structures viewed through the frame of an open window. The performance space is arranged with wooden frames, boards and barricades resembling, in abstract form, a housing construction site. Each surface is rendered with text creating an immersive environment that can literally be read, and heard as speech.&lt;br /&gt;&lt;a href="http://www.rainerlinz.net/NMA/articles/perfecthouse/"&gt;Source of Artist Statement&lt;/a&gt;</text>
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                <text>Constructed of five hundred and fifty 55 gallon drums, this architectural scale installation explores the limits of language and its capacity to adequately convey meaning in the cross-cultural context. Drawing on the post-colonial texts of the Indian post-colonial theorist Ashis Nandy, Lewis isolates 'abject words', puzzling statements, euphemisms and aphorisms whose meanings are unclear or uncertain. Transcribed as sound and form, the abject text is transformed, animated, and offers itself in an experimental relationship between (non)sense and poetry, creating a new space for cross-cultural engagement.&lt;br /&gt;&lt;a href="http://ccca.concordia.ca/nuitblanche/nuitblanche2008/artists/c3.html"&gt;Description from The Centre for Contemporary Canadian Art's website (CCCA)&lt;/a&gt;</text>
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                <text>The works by Ruark Lewis and Jonathan Jones are orchestrated in a colour symphony of reds, blacks and whites. As one enters the space, you are greeted by 'flags' with superimposed printed text, objects that are painted over with stripes, and a curiously long sketch that stretches most of the perimeter of the wall space The audio work start to creep under one's skin as we walk from the front space to the back, like being in a live theatre performance. The sound installation utters, stammers and bewilders. The cacophony range of nuances in 'b' and 's' sounds, are startling and at best, brilliant. As the sound installation loops, we are presented with a range of bare minimal sentences, half uttered words that express Anger (the most distinct), Sadness, Calmness and so on. Ironically, a flag, a 'sign' and an object communicates too, with the stenciled words 'silence is golden'. It leads me to speculate that the works could deal with the gaps of communication, between silences, mutters and tone of voice.&lt;br /&gt;&lt;a href="http://boonscafe.wordpress.com/2007/09/29/index-of-kindness-by-ruark-lewis-and-jonathan-jones/#comments"&gt;Description from Boonscafe, an Art review blog based in Singapore&lt;/a&gt;</text>
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                <text>Drawing on the rich cultural history of the CarriageWorks building, the surrounding suburb of Redfern and his grandfather's heritage as a labourer, Jonathan Jones collaborates with Ruark Lewis to create a striking installation piece from raw materials, mounted lighting, and reconfigured text. Ruark: "We have designed this work as a lightly installed architectural installation. It is a floor work almost 7m long. Each of the 40 coloured planks are inscribed with descriptions of the wool industry in New South Wales. We have been working with Jonathan's grandfather recording his oral history which tells of the 85 year old's early life as a wool classer. Beneath each plank we are planning to install rows of fluorescent lights. The lights will form a sequence of patterns by tilting the planks recto &amp;amp; verso. We have constructed something like a hovering mid-twentieth century night harvester."&lt;br /&gt;&lt;a href="http://arttalk.podomatic.com/entry/2007-10-11T05_47_59-07_00"&gt;Abstract of artists' interview by Sean O'Brien in Art Talk's podcast&lt;/a&gt;</text>
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              <text>Pirating sensor data from the Roller Derby players to use as framework to trigger text feeds - past, present &amp; realtime from skaters, audience and artists. Expanding the action on the track, the screen displays a data-mash: live tweets &amp; text feeds, mapped with the cyclic rolling energy of the skaters, building vibrancy. A montage of conversation, description, conjecture &amp; moments pirated from history and literature.</text>
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              <text>This videoblog has existed in various locations since 2000 and is being consolidated here. The work is made by Adrian Miles and is experimental, which means it might not work for you. I have written extensively about video blogging and what I have called 'softvideo' and this site is a blog come portfolio of my softvideo practice. I have used several CMS's, including Movable Type and WordPress, and after experimenting with a new template (style) in WordPress decided it was just making everything too complicated. So I've returned to storing all the content in Tinderbox with good old fashioned export of static html and then just synchronising it via FTP to my host. Is this still a blog? I'm not sure. I am not offering comments, but I think comments get in the way of blogging. However, via this method I can't support trackback but if I pay attention to referrer information via something like Google Analytics then you can usually see who links here. However, this is only going to be video and I have an active blog (vlog 4.0) where I do my writing and more usual blogging.</text>
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              <text>&lt;a href="http://vogmae.net.au/vog/about.html"&gt;Description from artwork's website&lt;/a&gt;</text>
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                <text>Vog a (BETA) videoblog: Compendium of works</text>
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                <text>Copyright Adrian Miles. 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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