Search
The search found 62 results in 0.009 seconds.
Search results
-
Diagrams Series 6: 6.4 and 6.10
Diagrams Series 6 is the latest in a life-long series of Diagram Poems, the earliest experimentations for which began in 1968. Although I have been making interactive works since 1988, Diagrams Series 6 is actually my first work written in a fully interactive way: from beginning to end in one interactive environment where the word object is playable at every stage of its development, from temporary unassembled scrap all the way to its final location in a finished piece. This environment is part of an ongoing project which I call Hypertext in the Open Air, implemented in a programming system called Squeak. It allows the works to be played on all popular computing platforms, including Macintosh, BSD, Linux, and Windows. Diagrams Series 6, consisting of the works 6.4 and 6.10, strives to return to the intense diagrammicity of some of my earlier non-interactive works, Diagrams Series 4 and Diagrams Series 3. The diagram notation acts as a kind of external syntax, allowing word objects to carry interactivity deep inside the sentence. Interactivity, in turn, allows for juxtapositions to be opened so that the layers in cluster can occupy the same space and yet be legible.
Patricia Tomaszek - 11.01.2011 - 12:42
-
Poemas no meio do caminho
This is a combinatory text. There are two versions of the text – two ways of reading it: horizontally and vertically. Both versions allow the reader to save her own textual production, and then to send that production to a weblog. The reader can recombine the text according to the paradigmatic axis of language: the reader selects, the machine morphs/combines. However, some “obligatory” options resist. By quoting Dante, Poemas no meio do caminho is a metaphor of the reading practice: “poemas no meio do caminho da leitura” (“poems midway upon the journey of reading”). It suggests an ephemeral poetic construction that appears and vanishes in a click. On the one hand these poems destroy the sacredness of the poetic language; on the other they realize the poïesis.This work has won (ex-aequo) the 4t Premi Internacional "Ciutat de Vinaròs" de Literatura Digital.
Patricia Tomaszek - 13.01.2011 - 17:49
-
First Screening: Computer Poems
A suite of a dozen kinetic poems programmed in Apple BASIC. Later, as the first versions became inaccessible, the works were recreated in HyperCard in the early 1990s (after bpNichol's death), and then in 2007 recreated in javascript for the web, and simultaneously the original BASIC and Hypercard files were republished for download.
Jill Walker Rettberg - 08.02.2011 - 21:04
-
wotclock
wotclock is a QuickTime "speaking clock." This clock was originally developed for the TechnoPoetry Festival curated by Stephanie Strickland at the Georgia Institute of Technology in April 2002. It is based on material from What We Will, a broadband interactive drama produced by Giles Perring, Douglas Cape, myself, and others from 2001 on. The underlying concepts and algorithms are derived from a series of "speaking clocks" that I made in HyperCard from 1995 on. It should be stressed that the clock showcases Douglas Cape's superb panoramic photography for What We Will.
(Source: Author description).
Eric Dean Rasmussen - 26.04.2011 - 09:01
-
White-Faced Bromeliads on 20 Hectares
White-Faced Bromeliads on 20 Hectares is a JavaScript investigation of literary variants with a new text generated every ten seconds. Its goals are as follows. (1) To present a poetic evocation of the images, vocabulary, and sights of Costa Rica's language and natural ecosystems though poetic text and visuals. (2) To investigate the potential of literary variants. Thinking of poems where authors have vacillated between variant lines, Bromeliads offers two alternatives for each line of text thus, for an 8 line poem, offering 512 possible variants, exploring the multi-textual possibilities of literary variants. (3) It explores the richness of multiple languages. (4) It mines the possibilities of translation, code, and shifting digital textuality. Having variants regenerate every ten seconds provides poems that are not static, but dynamic; indeed one never finishes reading the same poem one began reading. This re-defines the concept of the literary object and offers a more challenging reading, both for the reader and for the writer in performance, than a static poem. The idea is to be able to read as if surfing across multiple textual possibilities.
Eric Dean Rasmussen - 28.04.2011 - 10:42
-
[theHouse]
[theHouse] is a digital poetry piece which takes the form of computer-based spatialized organism.world. Through the process of enacting texts within, alongside, and outside of the text of computational code, this autobiographical work is regulated by the computational process of the sine wave. Here, the text is written upon "rooms," and these rooms emerge to create "houses" next to and among the intermingling text. As in much of electronic literature, the experience of the work as an intimate, interactive, screen-based piece is essential to understanding and appreciating it. Indeed, the work is only realized through user interaction and navigation. How does everyday spatial practice bring into focus the relationship between code, language, and relationships? What are the key characteristics of digital relationships as seen through this light? Does the recurring emphasis on process, chance, and interactivity also function as an indicator of larger questions about the chance writing of the text? The poem presented is autobiographical in nature yet engages the conceptualization of both language and embodiment as the text creates its own types of organism.
Eric Dean Rasmussen - 10.05.2011 - 13:15
-
AndOrDada
AndOrDada is a road poem. The reader strolls through town and her immediate area generates a poem. She walks further through town or rides a bus and the poem changes according to her location in town. AndOrDada is an endless poem; AndOrDada is adaptive locative Dada. It reads, writes out and interprets the subconscious social structure of a town.
The AndOrDada software works as an adaptive poetry-tool with locative levels. It generates new scenes and environments in the tradition of the situationists. It captures wlan waves in the immediate area of the reader and converts the wlan-waves into poetic objects. The software not only manages to generate subjects and objects, as a crucial addition for the poetic value of the project it manages to create verbs from the captured hotspots. AndOrDada features three distinct modes: The first mode manages to create a story; the second mode generates a narrative with your friends which are being retrieved from the address book; and the third mode shows a lyric approach and creates a dadaistique poem.
Beat Suter - 01.10.2011 - 14:54
-
Noise
Noise was made for thetextisthetext (Patriothall Gallery, Edinburgh, 2011). It is a concrete poem which offers a representation of computer noise, shown as a series of 0s and 1s randomly flipping back and forth. As the noise increases, the typefaces begin to change. Noise is a lo-fi piece, essentially a flip book animation transferred from page to computer screen: the image had to be moving in order to represent noise, and I could see no reason why a concrete poem had to be a still image. The content was gathered using Word before transferring it over to Director for the animation. Whilst referring to computer noise, this piece is not a mimetic representation. The layout was set to resemble that of a poem on a page rather than the usual images of binary code on screen which signify computer. Likewise, instead of machine-readable fonts I used Times New Roman as the main typeface. The poem on the page provided the reference point and this was to show that, like most remediations, the computer progresses partly by denying itself. (Source: author)
Gerald Smith - 02.11.2011 - 16:50
-
Amor-mundo, ou a vida, esse sonho triste (cn)
Amor-mundo, ou a vida, esse sonho triste [World-love, or life, that sad dream] is an animated text which proposes generative schemes of both visual and audio animation. Building on metaphors and images from the works of the Portuguese poet Florbela Espanca, and using as its starting point the Actionscript code of Jared Tarbel, this work includes five poems: Part 1 - Deixa-me ser a tua mais triste mágoa; Part 2 - Eu queria ser o mar alto; Part 3 - Passo no mundo a ler o misterioso livro; Part 4 - Sou o vento que geme e quer entrar; Part 5 - Horas mortas. The reader can add to these poems random spatial layers that allow the creation of multiple constellations of meaning.
Rui Torres - 25.11.2011 - 19:35
-
Mar de Sophia
Mar de Sophia é um conjunto de poemas virtuais apresentados em formato hipermédia, nos quais o texto animado na tela é gerado automaticamente a partir do léxico da poeta Sophia de Mello Breyner Andersen, previamente estudado em termos de frequência. Esse léxico-base, que (re)constitui a obra de Sophia, e a classifica e mapeia na rede, está indexado em listas codificadas em linguagem XML, acessíveis ao leitor de vários modos, o qual as pode alterar ou adicionar novos vocábulos ou unidades de sentido. A animação do texto está ainda inscrita na componente sonora das variações combinatórias que deste processo resultam. Sempre que uma palavra se altera, o poema activa uma busca em bases de dados de som, com leituras do texto-base de que se aproveitou a sintaxe e a estrutura formal. Desse modo, o leitor pode recriar, no eixo combinatório da linguagem, um poema de Sophia, adaptando-o ao seu gosto, bem como enviar algumas das suas realizações, tanto sonoras quanto verbais, para um servidor PHP instalado num servidor da Internet. Aí, ficam arquivadas as várias versões de todos os leitores que participam na (re)leitura do poema.
Rui Torres - 25.11.2011 - 22:03
