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              <text>Floating territories uses a series of screen based games to explore issues of migration, border protection and asylum. The project was designed to take place on the ferry that crossed the Baltic Sea between Helsinki and Tallin at the 2004 ISEA event. A swipe card, issued to ISEA participants with the boat boarding passes arbitrarily assigns a tribal allegiance. Each tribe is represented by it's own distinctive iconography and has it's own role and goals: escape, defend, petition, colonise, wander, converge. When the player swipes their card at the computer, a game is activated that is moderated by the card's particular code.</text>
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                <text>Floating Territories uses both the site (non)specificity of a ferry in Baltic Ocean (the site of ISEA 2004 for which the work was devised) and video-gaming to explore issues around real and 'virtual' territories. Presented as a game, players were assigned tribes before playing. Each tribe is represented by its own distinctive iconography and has its own role and goals: escape, defend, petition, colonise, wander, converge. When the player swipes their card at the computer, a game is activated that is moderated by the card. Gillian Fuller</text>
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                <text>&lt;strong&gt;Artist Statement&lt;/strong&gt;&lt;br /&gt;Floating territories uses a series of screen based games to explore issues of migration, border protection and asylum. The project was designed to take place on the ferry that crossed the Baltic Sea between Helsinki and Tallin at the 2004 ISEA event. A swipe card, issued to ISEA participants with the boat boarding passes arbitrarily assigns a tribal allegiance. Each tribe is represented by it's own distinctive iconography and has it's own role and goals: escape, defend, petition, colonise, wander, converge. When the player swipes their card at the computer, a game is activated that is moderated by the card's particular code.&lt;br /&gt;&lt;a href="http://lx.sysx.org/?page_id=29"&gt;Source of Artist Statement&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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        <name>Josephine Starrs</name>
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              <text>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.&lt;a href="http://lx.sysx.org/?page_id=13"&gt; Excerpt from authors' website&lt;/a&gt;</text>
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                <text>A playful mixed media interactive installation that showcased biometric technologies, such as iris, palm and voice scanners, image capture and cumulative databases to engage visitors with everyday biometric technologies and the practices of biometric capture and archiving. 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</text>
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                <text>&lt;strong&gt;Artist Statement&lt;/strong&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;a href="http://lx.sysx.org/?page_id=13"&gt;Source of Artist Statement&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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                <text>&lt;strong&gt;Artist Statement&lt;/strong&gt;&lt;br /&gt;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.&lt;br /&gt;&lt;a href="http://lx.sysx.org/?page_id=11"&gt;Source of Artist Statement&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>In the Fuzzy Love Dating Database people voluntarily photograph themselves and answer a series of questions as a kind of entry fee allowing access to the database of previous respondents, however access is limited to searching through responses to more obscure questions like 'what is your favourite bodily fluid?', the database can't be searched by image or sexual preference</text>
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                <text>[Lux]: is an array of texts by local and international writers and artists whose practices extend to online digital environments. The works published here were originally exhibited as text on paper at Adelaide's Contemporary Art Centre of South Australia - a publicly funded art space committed to contemporary visual art practices.&lt;br /&gt;&lt;a href="http://ensemble.va.com.au/lux/intro.html"&gt;Teri Hoskin, excerpt from lux: notes for an electronic writing&lt;/a&gt;</text>
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                <text>Copyright Linda Carroli and Josephine Wilson. 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://komninos.com.au/underground/entry.html"&gt;http://komninos.com.au/underground/entry.html&lt;/a&gt;</text>
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              <text>&lt;a href="http://iloveepoetry.com/?p=400"&gt;http://iloveepoetry.com/?p=400&lt;/a&gt;</text>
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              <text>&lt;a href="http://iloveepoetry.com/?p=400"&gt;Heather McHugh's description from I love E-Poetry&lt;br /&gt;&lt;/a&gt;</text>
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                <text>Zervos, Komninos</text>
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                <text>A perceptual joy-ride, full of visual attractions and sonic energies, cyberpoetry underground is notable for its sheer momentum and solid graphic punsmanship. Animated text, three-dimensional letter-forms and 360-degree views turn electronic space into an extra-literary passage, certain areas of which the viewer can negotiate. At the end of some tunnels are the objects of cybertext poems, graffitissimi ultimately serving to remind us that getting there can be more than half the fun. For romping humor, cinematic verve and swerve, cyberpoetry underground earned its place among the top three.&lt;br /&gt;&lt;a href="http://iloveepoetry.com/?p=400"&gt;Heather McHugh's description from I love E-Poetry&lt;/a&gt;</text>
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                <text>Copyright Komninos Zervos. 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://iloveepoetry.com/?p=401"&gt;Excerpt of Leonardo Flores' description, I love E-Poetry&lt;/a&gt;</text>
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                <text>Zervos, Komninos</text>
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                <text>The first two of this list of poems stand out because of their use of Flash. Komninos' approach to Flash in his poem 'Beer' is similar to the work he published in animated GIFs: a sequence of words, morphing from one to the next producing surprising and amusing juxtapositions. It is with 'Love' (image above) that he took advantage of Flash's strengths: responsiveness to user input and audio synchronization. 'Love' creates a simple interface that triggers some not-lovely sounds when moused over or clicked on. The words readable within its circles are replaced by their opposites, portraying love as a kind of minefield full of triggers that can turn trust into jealousy, heartache into separation, or simply cause pain.&lt;br /&gt;&lt;a href="http://iloveepoetry.com/?p=401"&gt;Excerpt of Leonardo Flores' description, I love E-Poetry&lt;/a&gt;</text>
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                <text>Copyright Komninos Zervos. 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.wordcircuits.com/gallery/childhood/index.html"&gt;http://www.wordcircuits.com/gallery/childhood/index.html&lt;/a&gt;</text>
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              <text>&lt;a href="http://directory.eliterature.org/node/370"&gt;Tammy Suzor&lt;/a&gt;</text>
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                <text>In Childhood in Richmond, Komninos Zervos uses a collage of photos to tell a story about his life in 1950s Richmond, Victoria. The piece begins, 'I remember my childhood in the backstreets of Richmond/And the visions that leave a lasting impression/ Where I lived in a fish shop with my mother and father.' Black and white photographs appear on the screen as negatives. The opening page contains rollovers that trigger visual changes and audio clips. As the reader advances through the poem, the photos change colours and are more distinct. Black flies and fish float over the collage of photos. By clicking on a specific black fish or black fly, the poem will advance to another collage of photos. The names of fish appear superimposed over the photos, referencing a segment of the poem, 'And flake and couta and bream and schnapper/ To the window, to attract the eyes of the buyers.' These function as links to a line of the poem, which may link back to the same page. This interactive Flash piece provides a poetic experience, as Zervos narrates his poem with spoken words. The dynamic presentation is supported by instrumental drums and cymbals, accentuating the narrative. The poem ends with Komninos remembering his mother, 'And her legs would swell up from all of that walking/ And I often saw her in some corner crying/ In a fish shop, in Richmond, from where I came".&lt;br /&gt;&lt;a href="http://directory.eliterature.org/node/370"&gt;Tammy Suzor&lt;/a&gt;</text>
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                <text>Copyright Komninos Zervos. 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>Cyberpoetry&#13;
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        <name>Komninos Zervos</name>
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      <name>ADELTA Item</name>
      <description>Items included in the Australian Directory of Electronic Literature and Text-based Art (ADELTA).</description>
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        <element elementId="95">
          <name>Platform</name>
          <description>Software platform or means of display e.g Installation / YouTube / HTML / Flash / Twitter / QuickTime</description>
          <elementTextContainer>
            <elementText elementTextId="2848">
              <text>gif animation</text>
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          <name>Work URL</name>
          <description>The URL of the original work, included as an HTML link.</description>
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              <text>&lt;a href="http://komninos.com.au/cyberpoetry/cyberpoetry1995-1997/animgif.html"&gt;http://komninos.com.au/cyberpoetry/cyberpoetry1995-1997/animgif.html&lt;/a&gt;</text>
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          <name>Source of Description</name>
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              <text>&lt;a href="http://iloveepoetry.com/?p=404"&gt;Excerpt of Leonardo Flores' description, I love E-Poetry&lt;/a&gt;</text>
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              <text>Web based digital poetry</text>
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            <name>Identifier</name>
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                <text>Zervos_dimocopo</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Dimocopo - digital moving concrete poetry</text>
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            <name>Creator</name>
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                <text>Zervos, Komninos</text>
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            <name>Date</name>
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                <text>1995-1997</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>This suite of 28 early animated poems from 1995-1997 were created as animated GIFs but are really powered by a vibrant enthusiasm over the ability of computers to write kinetic language. In this suite, we see words morph into other words and into objects, words whose movements evoke their meanings, words used to build landscapes full of objects (a decade before WordWorld), and phrases reconfiguring and reshaping themselves into new ones - as is the case with 'she left' (above). This poem is very economical with its language resources, yet so effective in describing the psychological process of a breakup in a relationship.&lt;br /&gt;&lt;a href="iloveepoetry.com/?p=404"&gt;Excerpt of Leonardo Flores' description, I love E-Poetry&lt;/a&gt;</text>
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            <name>Language</name>
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                <text>English</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="3686">
                <text>Copyright Komninos Zervos. 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>Subject</name>
            <description>The topic of the resource</description>
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                <text>Animated gif</text>
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                <text>Cyberpoetry</text>
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                <text>Digital moving concrete poetry</text>
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                <text>Kinetic</text>
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        <name>Digital moving concrete poetry</name>
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        <name>Komninos Zervos</name>
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