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Continuing the artists' practice of exploring the info-aesthetics of contemporary political issues, both the practices and aesthetics of information technologies are highlighted as visitors biometric data is both requested and involuntarily taken, databased and reused in the installation. Gillian Fuller"]],["elementText",{"elementTextId":"3491"},["text","<strong>Artist Statement</strong><br />Trace is a mixed media installation exploring [...] biometric themes, a subject that becomes increasingly significant as the 'global war on terror' escalates and government security organisations are collecting physical data from citizens for identification purposes. In the first part of the installation the viewer engages with the biometric station, encouraged by friendly instructions to voluntarily register using palm scans, iris scans and voice analysis. Further into the exhibition an involuntary image capture occurs. Viewers can access these images from a database of previous exhibition visitors where the biometric data is blended with the captured images.<br /><a href=\"http://lx.sysx.org/?page_id=13\">Source of Artist Statement</a>"]]]],["element",{"elementId":"44"},["name","Language"],["description","A language of the resource"],["elementTextContainer",["elementText",{"elementTextId":"2597"},["text","English"]]]],["element",{"elementId":"47"},["name","Rights"],["description","Information about rights held in and over the resource"],["elementTextContainer",["elementText",{"elementTextId":"3676"},["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. 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For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"43"},["name","Identifier"],["description","An unambiguous reference to the resource within a given context"],["elementTextContainer",["elementText",{"elementTextId":"2658"},["text","Stevens_tranquility"]]]],["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"2659"},["text","Tranquility Falls"]]]],["element",{"elementId":"39"},["name","Creator"],["description","An entity primarily responsible for making the resource"],["elementTextContainer",["elementText",{"elementTextId":"2660"},["text","Stevens, Grant"]]]],["element",{"elementId":"40"},["name","Date"],["description","A point or period of time associated with an event in the lifecycle of the resource"],["elementTextContainer",["elementText",{"elementTextId":"2662"},["text","2013"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"2665"},["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. 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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. This was achieved through ostensibly presenting texts in the form of 'fortune cookie' style statements, but then configuring them to require a personal response. 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