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Transfixions
The Internet represents and extends human consciousness. Distraction explores the changing
cultural and personal implications of the web through a live performance of improvised blogging and
generative searching. Through the interaction between human and machine, the artist dramatizes
her personal experience with technology.(Source: description from the Electronic Literature Exhibition catalogue)
Note: This work was featured in the 2012 Electronic Literature Exhibition on the computer station featuring Future Writers--Electronic Literature by Undergraduates from U.S. Universities--Works on Desktop
Meri Alexandra Raita - 30.01.2012 - 21:28
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Search Trilogy
The SEARCH TRILOGY (search lutz!, 2006 - searchSongs, 2008 - searchSonata 181 , 2011) performes algorithmically generated texts. The consistency of this trilogy is the usage of words that are typed in real time into searchengines like Google & Co. These search terms are processed by algorithm for further use. In the first piece of work, searchLutz (2006), the search terms are processed into texts, in the second piece, searchSongs (2008), into sounds and melody, and in the latest piece, searchSonata 181, into phonetics as an acoustic bridge between text and sound. The web interfaces of search Lutz!, searchSongs and searchSonata 181 are a means to an end. The essence emerges with a live performance of the algorithmically generated texts. The texts are played back into real space: the message has to pass through the algorithm without getting caught there.
Elisabeth Nesheim - 12.08.2012 - 12:13
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The Final Problem
The Final Problem will be a city-specific multi-disciplinary project encompassing elements
of writing, text mining, data-visualization, and community psychogeography, woven together through algorithmic composition. The piece will loosely appropriate the conventions and mechanics of a crime novel as constraints for the filtering and framing of content and the development of narrative rules. There will be three in-gallery manifestations: augmented installation, real-time performance, and free lunch.Elisabeth Nesheim - 24.08.2012 - 14:22
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Search Lutz!
More than 50 years ago a calculator generated a literary text for the first time ever. This happened in Stuttgart, Germany. In 1959 Theo Lutz wrote a programme for Zuse Z22 to create stochastic texts. Following Max Bense’s (Stuttgardian philosopher) advice, he took sixteen nouns and adjectives out of Kafka’s "Schloss," which the calculator then formed into sentences, following certain patterns. Thus, every sentence began with either "ein" or "jeder" ("one" or "each") or the corresponding negative form "kein" or "nicht jeder" ("no" or "not everybody"). Then the noun, selected arbitrarily from the pool of sixteen given nouns, was linked through the verb "ist" ("is") with the likewise arbitrarily chosen adjective. Last, the whole construction was linked up through "und," "oder," "so gilt" ("and," "either," "thus") or given a full stop.
Johannes Auer - 05.11.2012 - 12:29
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Collage / Montage: Idensen live!
eft channel: hyper reader and writer hei+co@hyperdis.de (aka heiko idensen) says "live" what comes to his head ... (= SPEAK) right channel: cut-ups and collages of historical/hysterical hyper texts (= LISTEN) the mix is the bottom line: who's sitting at the mixing desk? when is something faded in resp. out? which parameters and effects are used? a hyper-text audio-book should definitely have a record button! whilst hyper-text theorists and prophets predicted an exponential, uncontrollable increase of the electronic text rotation, publishing houses respond to the growing breakdown of the book market with audio books as a remedy. as a consequence, in dealing with literature a revolution comparable to that in the music industry of the 1980s triggered off with the introduction of the walkman is finally happening: a mobilization of the listening situation taking the urban environment into account; the possibility to mix the internal listening space with any desirable external sound environment or everyday sound-scape.
Johannes Auer - 06.11.2012 - 11:01
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Free Lutz!
50 years ago a calculator generated a literary text for the first time ever. And this was in Stuttgart my hometown.
Theo Lutz wrote 1959 a program for Zuse Z22 to create stochastic texts. On the advice of the Stuttgardian philosopher Max Bense, he took sixteen nouns and adjectives out of Kafka’s “Schloss,” which the calculator then formed into sentences, following certain patterns. Thus every sentence began with “ein” or “jeder” (“one” or “each”) or the corresponding negative form “kein” or “nicht jeder” (“no” or “not every”). Then the noun, selected arbitrarily from the pool of sixteen, was linked through the verb “ist” (“is”) with the likewise arbitrarily chosen adjective. Then the whole assembly was linked up through “und,” “oder,” “so gilt” (“and,” “either,” “thus”) or given a full stop. Following these calculation instructions, by means of this algorithm, the machine was able to construct such sentences as:EIN TAG IST TIEF UND JEDES HAUS IST FERN
(A day is deep and every house is distant)
JEDES DORF IST DUNKEL; SO GILT KEIN GAST IST GROSS
(Every village is dark, thus no guest is large)Johannes Auer - 06.11.2012 - 13:51
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#OutsideUrDoor
exhibited via a Live Trans-Reality Performance Event held simutaneously via Twitter streams, The Web, and geophysically at the Inspace Gallery as part of Inspace’s “No One Can Hear You Scream”/The Third International Conference on Interactive Digital Storytelling: “…the knitting 2gether of the #OutsideUrDoor synthetic/real-time action created through the @MrShamble, @Nozfera2 and @vvolfmaan characters via multiple projections/soundtrack/linked c[l]ues with geophysical audience participation [and those exclusively in the twittersphere] was marvellous. the [micro in more than 1 sense] narrative gradually unfolding in front of a live audience based in Scotland…just…mixed reality ftw:)…this type of net-native work[ing] really extends + [weirdly] collapses so many conventions/distinctions.”
Leonardo Flores - 14.03.2013 - 21:58
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Troubadours & Troublemakers: Stirring the Network in Transmission & Anti-Transmission
Presented as part of an ELO 2014 conference panel session, "Troubadours of Information: Aesthetic Experiments in Sonification and Sound Technology," led by Andrew Klobucar. In his work, Trouble Songs: A Musicological Poetics, Johnson literally tracks the ways the word “trouble” passes through popular 20th and 21st century song, and the ways trouble is and is not represented via the Trouble Song. For Johnson, there is both a transmission and an anti-transmission of trouble in Trouble Songs: The singer performs an exorcism of trouble, or contributes to a discourse of authenticity with an audience of trouble voyeurs. (These are distinct but related processes, as the trouble singer can relate trouble from outside the community, and can as well—or instead—relate to the troubles of a community; likewise, the trouble singer can reflect, deflect or project trouble.) Trouble itself appears here simultaneously desired and feared, invited and expelled. “Trouble” replaces trouble as a protective spell, as a fetish, and as a generic signifier. The Trouble Song is cast as a spell that evokes and dispels trouble.
Jeff T. Johnson - 27.06.2014 - 20:48
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Insertos en tiempo real
The series of projects called Insertados en Tiempo real (Inserted in Real Time), began in 2001. These projects raise the question of the definition of art and the limits between a performance and a real-life situation. The name "inserted" translates the intention these works have of interrupting, questioning or twisting real situations in real time. All inserted were played by actors (professional or non-professional, actors in the sense that they act following certain instructions) and function in several contexts, not necessarily art exhibition contexts (Source: Collection FracLorraine).
Maya Zalbidea - 04.08.2014 - 13:34
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Tales from the Towpath
Tales from the Towpath is an immersive story inspired by Manchester’s waterways and their ecological fate. It spans the Victorian city to an uncertain future 50 years from now. Three characters circle one another across time, with fragments of their stories found in geocaches (past), live performance (present) and augmented reality Zappar codes (future). (Source: http://talesfromthetowpath.net/)
Daniela Ørvik - 22.01.2015 - 16:01
