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1. Out of Touch

   In our world of perpetual connectivity, touching interfaces that keep us out of reach, we form attachments whilst remaining detached, by turns kindling and dampening emotions. Conceived as the first in a series of musings on the paradoxical and sometimes poignant nature of human relationships amid networked life, Out of Touch was created in Flash and incorporates text sequences, randomness, intensively filtered video, sound and cut-up voices.

   This Out of Touch episode was commissioned by the San Francisco Museum of Modern Art for the Third Hand Plays series curated by Brian Stefans, who wrote:

   Christine Wilks - 07.10.2011 - 15:29

2. Machine Libertine

   Machine Libertine is media poetry group. The method of our work is the exploration of the role of media in the development of literary art practices including video poetry, text generators and performance art. The main principles of the group are formulated in our Machine Poetry Manifesto pointing out the idea of liberation of the machines from the routine tasks and increasing the intensity of their use for creative and educational practices. Machine Libertine had been founded in December 2010 starting with a video poetry called Snow Queen, a piece for British Council and presented recently at Purple Blurb series at MIT and Harvard. It is a combination of masculine poetry «Poison Tree» by William Blake contrasted to mechanic female MacOS voice and cubistic video imagery of Souzfilm animation «Snow Queen» (1957). We are exploring how the text can be transformed by mechanized reading and visualizing it and what are the possible limits of this transmedia play of interpretation.

   Natalia Fedorova - 18.01.2013 - 11:47

3. natyr

   Description from Festival Images Contre Nature, Marseille 2013: programme identité

   "natyr" est la troisième vidéo dans laquelle l'artiste norvégien Ottar Ormstad combine à de la poésie concrète, image, musique et son. Dans ce cas, la vidéo se construit sur le travail du peintre norvégien Knut Rumohr (1916-2002) ayant surtout réalisé des peintures abstraites à la tempera, inspirées par la nature d'un fjord sur la côte ouest de la Norvège. Ormstad, une fois de plus, continue de mélanger des mots de différentes langues. Un concept qu'il a présenté dans "La Non-Traduction comme Expérience Poétique" à la conférence Translating E-Lit, en 2012 à Paris. Le mot "natyr" ne peut exister dans aucune langue, mais peut être éprouvé grâce à différentes associations liées à la nature. La vidéo (HD 16:9) est faite pour une diffusion plein écran (4:45 min). Exceptée l'animation d’Ina Pillat, direction et création sont de Ormstad, photographie et musique incluses.

   Ottar Ormstad - 29.04.2013 - 15:40

4. The Unexplored Link: Electronic Literature and Interaction Design

   In 2010, Serge Bouchardon provocatively suggested that electronic literature can figure as a catalyst for disciplinary concerns, thus foregrounding its heuristic value. Bouchardon did not suggest that electronic literature cannot or should not be studied in its own right, for its literary, artistic, and conceptual qualities and histories, but rather, that it in addition to such concerns can function as a lens through which scholars can re-examine well-established notions within their disciplines. This paper proposes to do an inverse move and use recent ideas emerging in the field of interaction design to ask questions about the aesthetic and interaction qualities of electronic literature. It has become a commonplace to analyze electronic literature from neighboring fields such as art history, media studies, new media art, or performance studies. It is equally common for critics to note how electronic literature moves beyond conventional processes of creation and reception such as reading, viewing, and writing.

   Maria Engberg - 21.06.2013 - 16:40

5. Reading at the Thresholds to Electronic Literature: A Paratextual Study

   This study relates to Gérard Genette’s book-based theory on paratexts published with Seuils in ’87 and proposes to adapt it to literature in programmable media. Electronic literature often is experienced and in theory discussed as “works without end”. An article by Yellowlees Douglas, author of The End of Books – or. Books without End (2001) investigates the reading experience of interactive narratives and tellingly asks: “How Do I Stop This Thing?” (1994). Similar to the nature of endings, fixed beginnings in turn often are not a given in electronic literature: Some works randomly generate beginnings according to programmed algorithms such as in ingen elge på vejen den dag http://www.loveis-in-the-air.dk/digidrama/ (Sonja Thomsen) in which the works development is dependent on the weekday it is accessed at. Other works such as hypertexts offer readers a choice of links to choose from to begin a reading (e.g. Twelve Blue

   Patricia Tomaszek - 27.06.2013 - 09:53

6. Huckleberry Finnegans Wake

   Huckleberry Finnegans Wake is a combinatoric performance work bringing together Mark Twain’s Adventures of Huckleberry Finn and James Joyce’s Finnegans Wake. With both texts based around river culture, contextual imbrications can be formed by folding one text into the other and through this combinatorial engines can be developed for the texts as well as implied visual and auditory material. Though both source texts are replete with exclusive language (regional dialects, neologisms, etc.) when brought together what emerges is a fantastical environment lacking specificity, but for the rivers (the Liffey and the Mississippi) that run through both. Imagine steamboats on River Liffey, the Pike County dialect being spoken in County Dublin, or Shem and Huck on the banks of the Mississippi.

   Talan Memmott - 06.09.2013 - 10:09

7. Transient Self-Portrait

   Transient self–portrait is an artistic research project questioning notions of reading and the electronic medium while exploring the possibilities of coding to interact with the work. I take as the point of departure two pivotal sonnets in Spanish literature that are normally studied alongside each other, En tanto que de rosa y azucena by Garcilaso de La Vega, a 16th Century Spanish poet, using Italian Renaissance verse forms and Mientras por competir con tu cabello by Luís de Gongora, a 17th Century Spanish poet from the Baroque period. Gongora's sonnet is a homage to Garcilaso's and the styles and the cultural aspects that appear on the sonnets are very different reflecting the attitudes from the Renaissance and the Baroque. This project is a response to some of the concepts that emerge from these sonnets; ephemerality of life, consummation, transient entities, fragility, which are also relevant to our age and the electronic world we inhabit.

   Maya Zalbidea - 30.07.2014 - 12:05