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FALSE WORDS 流/言
FALSE WORDS 流/言 is an automatic writing machine recombining and reiterating the words “我沒有敵人” (I have no enemies), a quote by the late Nobel Peace Prize laureate Liu Xiaobo in an endless cycles of word play.
Posing as an imaginary conversation, the writing machine spits out rounds of questions and answers by recombining the original words in real-time, forming sentences that are absurd, senseless while at times suggestive and provocative.
During the rounds of writing, an unexpected image and pattern emerges: the character “人” (human) becomes exceptionally legible and discernable, standing out amongst the obscured words and layered texts. These dispersed “humans” however are eventually being devoured and buried in the process of the endless writing, like all things in history.
-https://www.ipyukyiu.com/false-words
Hans Ivar Herland - 10.11.2019 - 22:04
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Kulaktan kulağa, Chinese whispers, or Arabic telephone
“I’m on the hard drive. When the gift came. Both disk and memory disappear”. Kulaktan kulağa, Chinese whispers, or Arabic telephone reveals mis(machine)translated stories of found images through tangible interaction. The installation uses what is (at first glance) just a box of old photographs to examine the western-centric lens of the internet by humanising machine translation errors. The artist collected old photographs from London’s flea markets, and wrote short stories for each photograph in her non-native English. Using an online machine translation tool, she machine-translated the stories into her native Turkish, and into other ‘foreign-looking’ languages such as Chinese and Arabic. The garbled outcome then is machine-translated back to English, carrying its inaccurate interpretation alongside. The stories and photographs are integrated into an interactive installation that invites readers to reveal mistranslated stories through tangible interaction. The installation invites spectators to pick a photograph from an old box and explore its interpretation.
Vian Rasheed - 11.11.2019 - 22:47
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Has Been Hero
Logline: In a time of peril, one self-styled vigilante's mission to pummel a super-villain is thwarted only by his own decline as both hero and villain search for fulfillment. “Has Been Hero” is the story of how Jack Lee, a juggernaut, must confront his most formidable enemy yet: inevitable physical decline. This is a humbling and disempowering experience for Jack, a self-styled vigilante who saw himself as a soldier dedicated to dispensing his own brand of justice.
Once a fearsome powerhouse, Jack Lee fought crime and was the spectacle of public praise and ridicule. Now in the twilight of his life and in ill health, Jack finds himself forgotten by the public, bored in retirement, and bitter.
Old age is often viewed by the young as something that happens to other people, and is an outcome that can be avoided through sheer will. The truth is that it happens to everyone, even superheroes.
Vian Rasheed - 11.11.2019 - 23:25
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Wired Monkeys
Wired Monkeys is a cross-genre short film that intends to blend conventional narrative with music video. Its purpose is to reflect a journey from self-realization to self-discovery of a shared hidden history all humans have. A protagonist sets out find peace as he retraces his own path of spirituality that he discovers extends far back into pre-history.
A robot protagonist was chosen to portray what a wired monkey metaphorically represents: a programmed human. A gray metal, mostly faceless, machine that executes the same task every day. No other lifeforms seem to exist in his stark reality.
The juxtaposition of color and black and white illustrate the stark differences between the programmed robot world and the colorful world of real human feelings. The colored lips, tragic images of the world, and beauty of nature are all meant to remind us that we are often only reminded of our humanity when pushed to the fringes of our emotions.
Most importantly, the song which serves as the inspiration and bedrock for this narrative is also titled “Wired Monkeys” and bathes the viewer in an empowering Folk-Americana score.
Vian Rasheed - 11.11.2019 - 23:47
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Blister Skin
Blister Skin is a hyper-local and hyper-ephemeral intervention in filter bubbling. We are so used to being alone with the internet that our actions there feel private as a bedroom or a body: screensharing may make our typing slow or anxious, we may choose cafe seats that shield our computer screens from strangers’ eyes, and questions about our phone activity may feel invasive. Algorithms of such companies as Google and Facebook further alienate our online lives by making the internet we live in materially different from that occupied by our friends. Indeed, while our activity online is near-invisible to those around us, it is transparent to those companies. This online alienization, of course, leads to radicalization with grim political effects -- for example, the election of the current American president. Blister Skin invites us to invade the (capitalist white American straight cis-male) bot gaze by watching what others do online. It thus reminds us that we are not alone with our screens, but constantly watched/directed. At the same time it reveals, through subtle differences in search habits, how distinct our internet lives have become.
Vian Rasheed - 12.11.2019 - 00:01
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I am not listening
The reading of any text, or the translation from one language (or mode) to another relies on a process of interpretation. Following Derrida, in his theory of translation, Lawrence Venuti writes that ‘Because meaning is an effect of relations and differences among signifiers along a potentially endless chain (polysemous, intertextual, subject to infinite linkages), it is always differential and deferred, never present as an original unity’ (Venuti 2008: 13). These plural and contingent relations that have the capacity to produce different meanings were played out in Ana Cavic and Sally Morfill’s animation for ELO 2016 (Rules that order the reading of clouds). Lines, as signifiers, developed through gestures of drawing, reformed repeatedly to create different relations, and produce new meanings that shifted between the contexts of image and text. In the process of making Rules (2016), the active space where interpretation occurred and meaning was produced lay between the frames of animated movement. This between space, or gap - prone to perceptual failings - is at the core of a new collaboration between Cavic, Morfill and Tychonas Michailidis.
Vian Rasheed - 12.11.2019 - 02:51
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“hearing litoral voices / bearing literal traces”: Subliteral Narratives
This collaborative project brings together the narrative practice of Joanna Howard and John Cayley’s digital language art research on the reading of subliteral differences. Particularly in certain fonts, differences of less-than-a-letter distinguish certain pairs of English words – hearing/bearing, litoral/literal. Howard composes brief narratives laced with words from these pairs such that, when the subliteral differences are realized, the narratives are developed, subverted, folded in on themselves: bearing the literal traces of narrative experiences within which tiny formal differences, actualized by digital affordances, generate aesthetic and critical reading.
Vian Rasheed - 12.11.2019 - 02:57
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River Writer VR
River Writer is a proof of concept for virtual-reality based interactive poetry-writing application. Set on a virtual levee at golden hour, users fish words out of a literal stream of consciousness-- words put into an array that flow from spawning volumes into an kill volume. This method creates randomization. The user then has the ability to carry and drop these word selections on an environment that essentially acts as a couplet palette in the three cardinal directions opposing the river of words. Over the course of “creative play,” a user has space to create at least 3 couplets or 6 lines of poetry, intentionally placing the randomized, fished diction on the level. The diction utilized for this proof of concept was taken from the digital born text “Diamonds in Dystopia” (written by Vincent A. Cellucci, published in Absence Like Sun" (Lavender Ink. 2019) and anthologized in Best American Experimental Writing, 2018, Wesleyan University Press), but other texts can be substituted in future iterations. This application and level was created by Vincent Cellucci with assistance from Marc Aubanel using Unreal Game Engine 4.
Vian Rasheed - 12.11.2019 - 03:04
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Seedlings_
Seedlings_ is a digital media installation that plants words as seeds and lets them grow using the Datamuse API, a data-driven word-finding engine. It is at once an ambient piece in which words and concepts are dislocated and recontextualized constantly, and a playground for the user to create linguistic immigrants and textual nomads. In Seedlings_, a word can be transplanted into a new context, following pre-coded generative rules that are bundled under the names of plants (ginkgo, dandelion, pine, bamboo, ivy…). These generative rules consist of a series of word-finding queries to the Datamuse API such as: words with a similar meaning, adjectives that are used to describe a noun, words that start and end with specific letters. They are then grouped in modules to represent the visual structure of the corresponding plant and can be constrained with a theme word. A new plant can be grafted on top of the previous plant by switching to a new starting point from the latest generative result.
Vian Rasheed - 12.11.2019 - 03:28
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Grip’s Evermore and Other (Word) Landscapes
In the video, Grip's Evermore, words become landscape - in a black and white and infinite internal terrain, text defines the horizon and flattens space.
Vian Rasheed - 14.11.2019 - 00:08
