Search

The search found 5 results in 0.011 seconds.

Search results

1. Wish4[0]: 40 Days. 40 News Items. 40 Creative Responses.

   Wish4[0] takes as its inspiration the perpetual tugging at a user’s consciousness by the digital. Each work takes as its immediate inspiration a headline (or item) drawn from the electronic news cycle of that specific day. The resulting block of poetic works: 1) Act as a digital and creative “literary snapshot” of a specific period. 2) Highlight the accelerated nature of an electronic/networked-based news cycle. 3) Illustrate the discrepancies – and perhaps similarities - between how a digital audience responds to items deemed newsworthy and creative responses to such items. 4) Echo (and partially emulate) elements of digital culture that have become seamlessly integrated into our everyday lives (including programs such as Twitter, Facebook, Pinterest, Vine, Snapchat and Instagram). This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

   mez breeze - 05.05.2014 - 12:45

2. Abra

   Abra is an exploration and celebration of the potentials of the book in the 21st century. A collaboration between Amaranth Borsuk, Kate Durbin, Ian Hatcher, and a potentially infinite number of readers, the project merges physical and digital media, integrating a hand-made artist's book with an iPad app to play with the notion of the “illuminated” manuscript and let readers "hold the light" of language. In the artist’s book, the poems grow and mutate as the reader turns the pages, blurring the boundary between text and illumination, marginalia and body. Animating across the surface, the poems coalesce and disperse in an ecstatic helix of words, taking turns "illuminating" one another's margins and interstices.They play with the mutation of language, both by forming new portmanteaus and conjoined phrases, and also through references to fecundity as it manifests in the natural world, the body, human history, popular culture, decorative arts, and architecture, placing the shifting evolution and continuous overlap of all these spheres in dialogue with the ever-changing technology of the book.

   Thor Baukhol Madsen - 29.01.2015 - 15:06

3. The Reverberatory Narrative: Toward Story as a Multisensory Network

   The Reverberatory Narrative: Toward Story as a Multisensory Network is an evolving, transmedia series that employs print, film, installation and digital practices in the assembling and disassembling of lyric essays, poetry, graphic design, photography and physical artifacts in an experimental documentary of memory, time and story. The initial form of this documentary work was an installation at the photography gallery Agnes in Birmingham, Alabama in 1993, titled "Undressing Audrey," in which the viewer physically "undressed" the book, slipping text from a woman's garments, one button and layer at a time. Through subsequent, increasingly digital interpretations, Pretty relied on a layered structure that attempted to approximate the original installation experience through a series of overlapping narrative threads that could be sorted and resorted by different contexts and media types, such as time, place, character, artifact, image, audio, and video, among others.

   Magnus Lindstrøm - 05.02.2015 - 15:40

4. Round

   Round is a computational poem that is both non-interactive and deterministic. It is computational in that computation is an essential aspect of the work, non-interactive because there is no input accepted as the program runs, and deterministic because the text produced should be the same each time on any properly-functioning computer. The poem is also infinite (in the sense of boundless); there is no final line or internally specified condition that will cause the program will stop. Round is not never-ending, since whatever computational resources one has will eventually be exhausted, but there is no pre-set length to the poem. The poem is assembled out of ten fragments, one of which is a newline (line break). The other nine are strings of legible text. Round computes the digits of π, pausing after each digit is computed. (Each time Round is loaded, it begins at 3, continues to 1, continues to 4, and so on.) For each digit computed, the fragment corresponding to that digit is added to the poem. If the fragment selected is a line break, Round begins a new line. (Source: author description)

   Eivind Farestveit - 10.02.2015 - 15:39

5. Separation

   Le projet La Séparation réunit des artistes (du groupe ALIS et du collectif I-Trace), des enseignants-chercheurs et des élèves-ingénieurs (de l'Université de Technologie de Compiègne) autour de "la poésie à 2 mi-mots", inventée par Pierre Fourny. La "poésie à 2 mi-mots" s'attache d'abord à l'aspect visuel des mots et se fonde sur "la police coupable", police de caractères permettant de couper les mots en deux horizontalement et d'associer la moitié obtenue à une autre moitié pour former un nouveau mot. Très vite, Pierre Fourny a fait développer un logiciel (le combinALISons), lui offrant la possibilité de trouver un nombre de combinaisons impossibles à saisir par un cerveau humain moyen, formé à la lecture dite "rapide et silencieuse". Bientôt, la "police de l'ombre" allait également voir le jour (grâce au logiciel), révélant la présence de mots contenus dans d'autres. Aujourd'hui, une "centrale police" s'impose également. La "poésie à 2 mi-mots" est désormais une pratique éprouvée regroupant différents procédés qui permettent de jouer d'une manière originale, sur scène et au-delà, avec la forme des mots.

   Thor Baukhol Madsen - 12.02.2015 - 15:01