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                <text>A temporary installation in the Perth Institute of Contemporary Art. A hole is cut into a sealed over fireplace in what was once a boy's classroom.. A sound work is placed inside the chimney of a lesson being given on the human digestive system. A stream of red pencils seems to flow from the chimney through a hole in the floor. The sound track is very quiet. The smell of camphor flakes wafts up with the air movements within the chimney.&lt;br /&gt;&lt;a href="http://www.sounddesign.unimelb.edu.au/web/biogs/P000305b.htm"&gt;Excerpt from the Australian Sound Design Project&lt;/a&gt;</text>
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                <text>Copyright Nola Farman. 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>A temporary installation to accompany Suite Talk, for the Adelaide Festival Fringe. The work is made of books and has a sound work of a variety of exclamations.&lt;br /&gt;&lt;a href="http://www.sounddesign.unimelb.edu.au/web/biogs/P000300b.htm"&gt;Excerpt from the Australian Sound Design Project&lt;/a&gt;</text>
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                <text>Copyright Nola Farman. 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>A cast book with a Braille text has photosensitive cells which when touched produce sounds which can be heard from speakers located around the ceiling. The sounds allude to the meaning of the text that can only be fully understood by Braille readers. Materials: electronics and sound system, polyester resin, acrylic.&lt;br /&gt;&lt;a href="http://www.sounddesign.unimelb.edu.au/web/biogs/P000303b.htm"&gt;Excerpt from the Australian Sound Design Project&lt;/a&gt;</text>
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                <text>Copyright Nola Farman and Anna Gibbs. 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>A miniature TV monitor is embedded in an illustrated dictionary. A viewer can sit at a desk an put on earphones. The sound track is a monologue on reading &amp;amp; writing - the constructing of meaning through these practices. The video shows archival footage of the construction of books from early bookbinding to contemporary computerised mass production. Text written &amp;amp; performed by Anna Gibbs (This work has been shown at PICA &amp;amp; at Experimenta in Melbourne).&lt;br /&gt;&lt;a href="http://www.sounddesign.unimelb.edu.au/web/biogs/P000302b.htm%5D"&gt;Excerpt from the online database Australian Sound Design Project&lt;/a&gt;</text>
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                <text>Two armchairs face each other across an island of carpet. One of them is occupied by a large red plastic love heart, steadily beating and pulsing with light. As anyone approaches, the heart beats faster and louder, subsiding as s/he moves away again. (the heart's 'sensitivity' to the spectator's presence is simulated by the action of two fields of ultrasonic radar which regulate the rhythm of its beat). For some people, the Heart appears to be excited at their approach and for others it seems to be alarmed. When anyone sits in the empty chair it causes the telephone to ring. The telephone plays an endless loop tape (Text written and performed by Anna Gibbs). The contents of the tape consist of a voice which insists by means of a persistent monologue, on the distance as well as proximity or intimacy offered by the telephone to the user - but the person using the telephone is not alone. The telephone is called the Heart Line. A surveillance camera is always trained on the empty or occupiable chair and the image relayed to the outside of the installation. The room is controlled by two fields of ultra sonic radar.&lt;br /&gt;&lt;a href="http://www.sounddesign.unimelb.edu.au/web/biogs/P000307b.htm"&gt;Excerpt from the Australian Sound Design Project&lt;/a&gt;</text>
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                <text>Copyright Nola Farman and Anna Gibbs. 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.sounddesign.unimelb.edu.au/web/biogs/P000306b.htm"&gt;Excerpt from the online database Australian Sound Design Project&lt;/a&gt;</text>
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                <text>Several sections of old cars have been dragged into the gallery and electronically activated in some way - by sound and/or video. This piece was made in collaboration with Anna Gibbs, Brad Clinch and Helen Britton. An additional sound track of a rusty car disintegrated was conceived of and produced by Ros Bandt. The rear vision mirror has a miniature TV inside. The video is about memory and the processes of forgetting and remembering. Rear vision or an endlessly receding past. This piece is silent. The boot or trunk section is lit red to engage with the idea of the car as a body - a prosthetic. This section has a sound track and a TV in the floor of the boot - the road seems to continually pass beneath the car. Anna Gibbs wrote and produced the sound track in the dashboard. The sound of a car crash comes from the fender. Timed to occur unexpectedly but activated by people walking in front of it.&lt;br /&gt;&lt;a href="http://www.sounddesign.unimelb.edu.au/web/biogs/P000306b.htm"&gt;Excerpt from Australian Sound Design Project&lt;/a&gt;</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Copyright Nola Farman, Anna Gibbs, Helene Britto, Brad Clinch and Roz Bandt. 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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          <description>The URL of the original work, included as an HTML link.</description>
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              <text>&lt;a href="http://www.sounddesign.unimelb.edu.au/web/biogs/P000308b.htm"&gt;Excerpt from the online database Australian Sound Design Project&lt;/a&gt;</text>
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                <text>A temporary installation for an exhibition at the Women's Gallery in Melbourne - curated by Penny Webb. The work was made in collaboration with Anna Gibbs who wrote &amp;amp; performed the sound work with Nola Farman. The work used net hammocks &amp;amp; other net materials with light. The text referred to the construction of gender through a paraphrasing of an early twentieth century amateur zoological text on the life of the spider. The optimum listening position was experienced by a person lying suspended in one of the hammocks.&lt;br /&gt;&lt;a href="http://www.sounddesign.unimelb.edu.au/web/biogs/P000308b.htm"&gt;Excerpt from Australian Sound Design Project&lt;/a&gt;</text>
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                <text>Copyright Nola Farman and Anna Gibbs. 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.sounddesign.unimelb.edu.au/web/biogs/P000313b.htm"&gt;Excerpt from the online database Australian Sound Design Project&lt;/a&gt;</text>
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                <text>From within the pile of books, on an endless loop, comes the sound of two voices telling an endless story. The story is made from quotations from more than sixty different novels. The pieces are put together in such a way that they suggest a narrative. Something is happening, but just as you feel you know how the plot will go, it slides seamlessly to another story. It seems to be the same story but the narrative never finds resolution. It is a restless text held in permanent suspense. The text was written and performed by Nola Farman and Anna Gibbs. With thanks to Andrew Smith for the assembly of the installation.&lt;br /&gt;&lt;a href="http://www.sounddesign.unimelb.edu.au/web/biogs/P000313b.htm"&gt;Excerpt from Australian Sound Design Project&lt;/a&gt;</text>
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                <text>Copyright Nola Farman and Anna Gibbs. 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://artworkscatalogue.griffith.edu.au/web/pages/gal/Display.php?irn=1980&amp;amp;%3C/div%3E%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%20%3Cdiv%20class="&gt; Griffith University Art Collection&lt;/a&gt;</text>
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                <text>The Michelangelo project is an interactive CD ROM which involves the construction of facial portraits of Michelangelo through a model based on police identikits and historical material from the writings of Vasari. The work thus bridges the gap between fine art and popular culture and creates a sophisticated intermedia dialogue. The involvement of the viewer and the use of found popular material questions traditional notions of originality and the traditional role of technique and training in artmaking. Nola Farman is a central figure in electronic media-based art.&lt;br /&gt; Source of Description: &lt;a href="http://artworkscatalogue.griffith.edu.au/web/pages/gal/Display.php?"&gt;Griffith University Art Collection&lt;/a&gt;</text>
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            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="3568">
                <text>Copyright Nola Farman and Anna Gibbs. 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.cybertribe.culture2.org/jennyfraser/artist_bio.htm"&gt;http://www.cybertribe.culture2.org/jennyfraser/artist_bio.htm&lt;/a&gt;</text>
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              <text>Triptych prints/Installation</text>
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              <text>&lt;a href="http://www.cybertribe.culture2.org/jennyfraser/artist.htm"&gt;http://www.cybertribe.culture2.org/jennyfraser/artist.htm&lt;/a&gt;</text>
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                <text>Jenny Fraser works within a fluid screen-based practice of bold and confronting art that utilises popular cultural references as a bridge to challenge viewer’s frames of reference. Her practice has also been partly defined through a strong commitment to collaboration with others and she is motivated to redefine the art of curating as an act of sovereignty and emancipation, founding cyberTribe online gallery over a decade ago.&lt;br /&gt;&lt;a href="http://www.cybertribe.culture2.org/jennyfraser/artist_bio.htm"&gt;Source of Description&lt;/a&gt;</text>
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              <elementText elementTextId="4147">
                <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>other[wize] is a new media arts project that celebrates the lives of Yugambeh family members that were moved from their traditional homelands in SE "Queensland", to work on properties in the Gulf of Carpentaria. The project highlights an era of 1800's colonial australia and explores the prickly issues of Native Policing, dispossession, displacement, massacres and survival [… ]other[wize] is an interactive work where stories are imparted through the use of family photographs, video, audio, and text - including Yugambeh language and relevant  historical documents.  The 'objects' are representative of important people or events and they transport the viewer to a story about someone from the past […] Events evolve in a non-linear way, grasping at the unknown, not sure of what will be found or how it relates to other information, until perhaps another time, leaving the viewer without a Narrator.  This concept reflects how many Aboriginal people experience family histories.  The viewer has the opportunity to experience a similar 'fragmentation' of history and they might think about their own relationship to place and times.</text>
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              <text>CD ROM / interactive installation / Linker social software</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://www.wooloo.org/exhibition/entry/81087"&gt;http://www.wooloo.org/exhibition/entry/81087&lt;/a&gt;</text>
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                <text>In her multimedia installation, other[wize], Jenny Fraser recounts and reflects on her family history, and she describes it as ‘celebrating the lives of Mununjali family members that were moved from their traditional homelands in South East Queensland, to work on properties in the Gulf of Carpentaria’. Memory is pivotal and, as Salman Rushdie writes in Imaginary Homelands, ‘the struggle of man against power ... is the struggle of memory against forgetting’. &lt;a href="https://www.academia.edu/2223656/other_wiz"&gt;Excerpt from Other[wize] essay, Linda Carroli&lt;/a&gt;</text>
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                <text>&lt;strong&gt;Artist Statement&lt;/strong&gt;&lt;br /&gt;other[wize] is a new media arts project that celebrates the lives of Yugambeh family members that were moved from their traditional homelands in SE "Queensland", to work on properties in the Gulf of Carpentaria. The project highlights an era of 1800's colonial australia and explores the prickly issues of Native Policing, dispossession, displacement, massacres and survival [… ]other[wize] is an interactive work where stories are imparted through the use of family photographs, video, audio, and text - including Yugambeh language and relevant historical documents. The 'objects' are representative of important people or events and they transport the viewer to a story about someone from the past […] Events evolve in a non-linear way, grasping at the unknown, not sure of what will be found or how it relates to other information, until perhaps another time, leaving the viewer without a Narrator. This concept reflects how many Aboriginal people experience family histories. The viewer has the opportunity to experience a similar 'fragmentation' of history and they might think about their own relationship to place and times.</text>
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            <elementTextContainer>
              <elementText elementTextId="4146">
                <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>"‘Name that Movie’ explores common colonisation techniques through the “gods eye” of mainstream movies with an international reach. When witnessing a recurring action, some say ‘I’ve seen that movie’. it is an ambiguous expression of dismissal / resignation / fatigue, recognising predictability and history repeating itself, unless of course you haven’t seen the movie or are unaware of the history. Then the expression is a way of opening up discussion. naming and defining is a way of breaking down the power of neo-liberal actions. In this instance ‘name that movie’ is a video that’s set up like a game, a drinking game maybe?&#13;
The object of the game is to guess the movie through summary cues and a film excerpt. There are only nine (re)colonisation techniques named here, but there are plenty more. If you don’t recognise these movies then when you’re next on the couch – keep your sharp eye open. If you do recognise these colonisation techniques, then you need to get off the couch – with your sharp tongue! keep naming the movies."</text>
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