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Les 12 Travaux de l'Internaute / The 12 Labors of the Internet User
In this piece, the internet user is regarded as the Hercules of the Internet. Often, he has indeed the impression to have to achieve Herculean labours. It can be a question of blocking popups which keep coming when one would like to see them disappear (the Lernean Hydra), cleaning the inbox of its spam (the Augean Stables), driving away the advertising banners (the Stymphalian Birds) or retrieving specific information (the Belt of the Queen of the Amazons)... This work draws upon the mythology of everyday life. It does not consist in showing the tragedy of existence, but in transforming our daily activities into a myth. It is consequently a question of experiencing technology in an epic - but also humoristic - mode.
(Source: Author's description)
Serge Bouchardon - 21.09.2010 - 12:00
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abcdefghijklmnopqrstuvwxyz (Performance Work)
Piringer's work is made for live performance, integrating a vocal performance by the author which controls and interfaces with the movement of letters on the screen, patterned by programmed agents.
The author's description from his site is "abcdefghijklmnopqrstuvwxyz is an audiovisual voice performance. image and sound are created in real-time through custom written software that analyzes and captures the sound of my voice to create animated abstract visual text/sound-compositions. the autonomous movement and behaviour of visual element on the screen again influence the sound which creates an audiovisual feedback loop or an autopoetic live performance system.
using my voice as the interface and medium in a dynamic electronic environment takes the ideas of the early avantgarde sound and visual poets a step further: my custom written software makes it possible to generate unforeseen and vanishing abstract text/sound-compositions that are created on the spot while performing and are not meant to last.
Scott Rettberg - 21.01.2011 - 11:42
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slippingglimpse
In slippingglimpse, we model a ring in which the roles of initiator, responder, and mediator are taken by all elements in turn. Our mantra for this: water reads text, text reads technology, technology reads water, coming full circle. Reading then comes to mean something different at each stage of the poem, in all cases involving sampling. Ryan reads and captures the image of 'chreods' (dynamic attractors) in water. Strickland's poem text, by sampling, appropriating, and aggregating artists' descriptions of processes of capture, reads this process of capture. And the water reads, via Lawson Jaramillo's motion-capture coding, by imposing its own sampled pattern. A variety of reading experiences are enabled: reading images while watching text; reading in concert with non-human readers, computer and water; reading frame breaks (into scroll or background); or reading by intervening. For instance, reversibility and replay are available on the scroll, as are reading in the direction and speed you wish; while, in the water, regeneration of text is available, as are unpredictable jostling and overlays.
Eric Dean Rasmussen - 31.01.2011 - 13:07
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lala
Extracts from Artist's Statement:
In this piece, I use my childhood doll as an interface for engaging with text projected on a screen. The text is inspired by the types of behaviors a child attributes to her doll or imaginary friend, such as "It wasn't me! Lala was the one who broke the vase." The doll has a sensor inside of her that can detect position, which I use to control the speed of text filling up the screen.
I used open-source code from Jared Tarbell's site as the basis for the text display. After I figured out how to read values from an accelerometer into Flash, I found a way to control the speed of the text based on the position of the sensor. Simple up-down motion wasn't so exciting, and I hit upon the idea of shaking the doll to "shake" the words out onto the screen - so I needed to capture the rate of change of the sensor's position (thanks Daniel Howe!). mouse-triggered demo page:
Patricia Tomaszek - 06.03.2011 - 00:30
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Game, game, game, and again game
Game, game, game and again game is a digital poem, retro-game, an anti-design statement and a personal exploration of the artist's changing worldview lens. Much of the western world's cultural surroundings, belief systems, and design-scapes, create the built illusion of clean lines and definitive choice, cold narrow pathways of five colors, three body sizes and encapsulated philosophy. Within net/new media art the techno-filter extends these straight lines into exacting geometries and smooth bit rates, the personal as WYSIWYG buttons. This game/artwork, while forever attached to these belief/design systems, attempts to re-introduce the hand-drawn, the messy and illogical, the human and personal creation into the digital, via a retro-game style interface, Hovering above and attached to the poorly drawn aesthetic is a personal examination of how we/I continually switch and un-switch our dominate belief systems. Moving from levels themed for faith or real estate, for chemistry or capitalism, the user triggers corrected poetry, jittering creatures and death and deathless noises.
Scott Rettberg - 15.04.2011 - 14:43
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No matter
No matter
Giovanna Di Rosario - 22.09.2011 - 17:21
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Cityscapes: Social Poetics / Public Textualities
Cityscapes is an exploration of how to integrate e-poetry into the realm of social and urban poetics. This work began to germinate in 2002 during my artist's residency in Tokyo at the time. Immersed in a world of moving/electronic signs, ever changing, flickering and in flux, I wanted to be able to reproduce this experience of linguistic signs devoid of semantic meaning –as a non Japanese reader- and consequently transform them into textual images, by use of digital technologies. I became excited by the idea of a new calligram, the calligram of the city, and how this would change from city to city; what poetics every city would offer?
Scott Rettberg - 22.09.2011 - 17:27
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Imposition
imposition was presented in an installation version at e-poetry 2007 in Paris. imposition was set up in amphiX of Université Paris VIII during the lunch-time intermission of the e-poetry symposium on 22 May from about 11.30 am until 2.00 pm.
Those visiting the installation were invited to take along a QuickTime and wireless-enabled laptop. They downloaded a 'listening' movie of their choice - one of the 'demons of imposition' - that was networked with the main installation. The main installation ran continuously at the venue and the viewer-participants played their downloaded movies and so, together, constituted a distributed, extensible, networked installation, manifested in literal and sound art, with some correlative imagery.
Simon Biggs, who participated in e-poetry 2007, wrote the following notice of the imposition installation:
Scott Rettberg - 03.02.2012 - 13:44
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JB Wok
Hello world, this is J B Wock, and this is my blog!
Actually, I am a PHP script , and (almost) every night
I write a short phrase about whatever comes to my mind.My method is:
- I find a phrase that I like on the Internet.
- I twist the phrase until I'm pleased with it.
- When everything's ready, I publish my post.(Source: Description on the project site)
Scott Rettberg - 16.06.2012 - 11:39
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Nobody knows but you
nobody knows but you was written for Double-Cute Battle Mode, an application prototype for a VJ (video jockey) remix battle. DCBM allows two players to combine visuals and special effects in a playful competition for screen space. Using joysticks, players plug their imagination into their computer and share a creative space in an intuitive video-game style interaction. The piece was conceived as a way to ease text back into an image-dominated culture by treating it simultaneously as a visual special effect and as a poem. The twenty-three verses appear on a plane in three-dimensional space. A cube shape displays additional visuals. Both the cube and the plane may be scaled and rotated, and the reader has control over which verse or image is displayed. You may notice in the image at top left, or while watching the installation video, a twelve-year-old girl plopped down in front of the installation. She played with the piece on and off for three hours. She began singing the words, making up melodies and turning certain verses into refrains. There is a clear lack of literature that responds to the intellectual and creative needs of young people today.
Luciana Gattass - 14.11.2012 - 17:08
