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                <text>Copyright William Seaman. 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>The installation has a large cylindrical projection screen with a round motorised platform in its centre, a computer and three video projectors that project onto a 120-degree portion of the screen. Continuous rotation of this viewing window around the screen reveals the full 360-degree computer-generated scene. While the work is controlled and generally viewed from within the circumference of the screen, the projected image can also be seen on its outside surface. The user interface in this work is a modified video camera. By rotating this camera and using its zoom and play buttons, the viewer controls his forward, backward and rotational movements through the virtual scene as well as the rotation of the platform and of the projected image around the circular screen.</text>
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                <text>This work extends the tradition of panorama painting, photography and cinematography in the vector of simulation and virtual reality. A rotating platform with three video projectors allows the viewer to interactively rotate his window of view around a circular projection screen and so explore a virtual three dimensional world constituted by an emblematic constellation of panoramic photographic landscapes.&lt;br /&gt;&lt;a href="http://www.iamas.ac.jp/interaction/i97/artist_Shaw.html"&gt;Excerpt from IAMAS, the Institute of Advance Media Arts and Science&lt;/a&gt;</text>
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              <text>In this installation a rotating platform allows the viewer to interactively rotate a projected image within a large circular projection screen and explore a three dimensional virtual environment constituted by an emblematic constellation of panoramic locations and cinematic events. The work presents a virtual landscape containing eleven cylinders that show particular sites in the Ruhr area. The viewer can navigate this 3D space and enter these panoramic cylinders, inside each of which a surrounding cinematic sequence fills the projection screen and presents a 360 degree pre-recorded situation and acted event[...]A microphone on top of this interface camera picks up any sound that the viewer makes, and this causes the release of continuously moving three dimensional words and sentences within the projected scene.</text>
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              <text>The World Machine originates in Ludea. Its function is to transmutate the city streets to provide a suitable habitat for Ludean lifeforms. At its core are seven tags that appear in scenes that are at once familiar and alien  simultaneously read by humans and machines  augmenting and mutating urban space.</text>
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                <text>&lt;strong&gt;Artist Statement&lt;br /&gt;&lt;/strong&gt;Postcard from Tunis is not an objective documentary (if such a thing actually exists). Instead, it's a playful, artistic exploration of writing: its histories, its inscriptions, its relationships with pictures and its relevance to the human-computer interface. This is set in a very personal, audiovisual portrait of Tunis, the capital of Tunisia. This is a city and culture that I love, and the home of my former family-in-law. I programmed the unique interface so that it echoes an actual visit, where you can't help learning a few Tunisian words and with time, maybe starting to read written Arabic. Although it was designed for adults, children have shown a strong affinity with the CD-ROM and the interface is bilingual in English and French.&lt;br /&gt;&lt;a href="http://sallypryor.com/works/tunis/details.html"&gt;Source of Artist Statement&lt;/a&gt;</text>
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                <text>Rain Shadow [1997] is a highly post produced 5 minute audio-visual work that creates a complex multimodal poetics through the use of original and found footage, (often embedded into each other by use of multiple screens in one screen), slices of texts animated and overlaid on screen. Cryptic and often discordant noises coupled with often barely discernible words form a soundscape that resembles a 'drunk tuning a shortwave' (text from work). Together these elements and a voice over explore and disrupt and offer alternatives to cinematic notions of narrative.&lt;br /&gt;Gillian Fuller</text>
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                <text>Copyright Chris Caines. 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.htm"&gt;http://www.cybertribe.culture2.org/jennyfraser/artist.htm&lt;/a&gt;</text>
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