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                <text>The idea of a raft is of something lashed together, an inventive solution to a problem, of making do from available materials, of creating something which may be lifesaving. A raft also suggests travelling, and specifically travelling over water. This particular raft however is associated with the desert through the text laboriously stenciled onto its surface. It is a raft therefore which could never have the opportunity to float. The text begins in one corner of the structure and unfolds continuously in 24,948 characters which comprise several thousand words in six different languages. It can not be read in an unbroken sequence however as whole lines are obscured by the structure of the raft itself, by the object created to float these ideas expressed in words.&lt;br /&gt;&lt;a href="http://www.artgallery.nsw.gov.au/collection/works/75.2008/"&gt;Excerpt from the Art Gallery of New South Wales' website&lt;/a&gt;</text>
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                <text>Homeland Illuminations</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>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>An Index for Kindness</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>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://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>Euphemisms for The Intimate Enemy</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>Copyright Benjamin Laird. 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>[Ensemble Logic + Choragraphy] is a 'project' with many components. A series of eight lectures were posted to the site at two weekly intervals, beginning June until September 1998. The invited theorists, artists, writers where each asked to speak from their own practices to the consideration of an electronic poetics. The papers where made specifically for this project with this medium (a networked screen environment) in mind. Five artists new to this medium were invited to make work as a critical response to the papers. An email list serv acted as the 'backbone' to the project, as an experiment, to see if we could create an email rhetorics/poetics between us. Some of the enslogers also met via IRC and at LinguaMOO.&lt;br /&gt;&lt;a href="http://ensemble.va.com.au/enslogic/index.html"&gt;Teri Hoskin, Ensemble Logic + Choragraphy&lt;br /&gt;&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>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;a href="http://ensemble.va.com.au/meme_shift/"&gt;http://ensemble.va.com.au/meme_shift/&lt;/a&gt;</text>
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                <text>Meme_Shift#0</text>
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                <text>Hoskin, Teri</text>
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                <text>English</text>
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            <name>Rights</name>
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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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        <name>Teri Hoskin</name>
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