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"Where you will have been I am..." [not yet found]
"A short, live performance work, the words for which will have been written with and against their Google-indexed networked corpus. The words may ask, 'Where were you, after we heard about the accident but as yet we did not know?' I will ask the audience to make simple gestures in order to hear the language of the piece."
(Source: author-submitted abstract.)
Eric Dean Rasmussen - 20.01.2011 - 18:51
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...Reusement
...Reusement
Eric Dean Rasmussen - 10.03.2011 - 09:57
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Along the Briny Beach
Along the briny beach a garden grows. With silver bells and cockleshells, cockles and mussels, alive, alive oh. A coral orchard puts forth raucous pink blossoms. A bouquet of sea anemones tosses in the shallows. A crop of cliffs hedges a sand-sown lawn mown twice daily by long green-thumbed waves rowing in rolling rows. The shifting terrain where land and water meet is always neither land nor water and is always both. The sea garden’s paths are fraught with comings and goings. Sea birds in ones and twos. Scissor-beak, Kingfisher, Parrot and Scissor-tail. Changes in the Zoology. Causes of Extinction. From the ship the sea garden seems to glisten and drip with steam. Along a blue sea whose glitter is blurred by a creeping mist, the Walrus and the Carpenter are walking close at hand. A pleasant walk, a pleasant talk along the briny storied waiting in-between space. Wind blooms in the marram dunes. The tide far out, the ocean shrunken. On the bluff a shingled beach house sprouts, the colour of artichoke. On the horizon lines of tankers hang, like Chinese lanterns. Ocean currents collect crazy lawn ornaments. Shoes and shipwrecks, cabbages and kings.
J. R. Carpenter - 30.05.2011 - 20:53
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remixthebook
A model of contemporary remixing and a groundbreaking reflection on digital media. Digital technology has transformed contemporary culture. New social media, hyperlinks, and cut-and-paste techniques have changed the way we write. E-books, which allow us to carry entire libraries with us, are bringing new browsing and reading habits. Digital editing and other on-the-fly postproduction processes have altered how we make music, films, and visual art. A key rhetorical trope employed in all aspects of digital media is the remix, the creation of innovative new works of visual, literary, and performance art through the mashup. In remixthebook, Mark Amerika explores the mashup as a defining cultural activity in the digital age. A pioneering media artist and acclaimed cultural theorist, Amerika offers a series of philosophical essays that trace the art of the remix to previous forms of avant-garde and modernist art through mashups of deftly sampled phrases and ideas from a wide range of visual artists, poets, novelists, musicians, comedians, and philosophers—among them Alfred North Whitehead, Guy Debord, William S. Burroughs, Kathy Acker, and Allen Ginsberg.
Eric Dean Rasmussen - 22.06.2011 - 11:51
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Performing Digital Texts in European Contexts
Performing Digital Texts in European Contexts: collecting, recollecting and commenting on digital texts and contexts operating in the inter-zones where digital media, literature, visual art and performance practices meet.
J. R. Carpenter - 25.11.2011 - 13:02
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The Broadside of a Yarn
The Broadside of a Yarn is a multi-modal performative pervasive networked narrative attempt to chart fictional fragments of new and long-ago stories of near and far-away seas with naught but a QR reader and a hand-made map of dubious accuracy. This project may perhaps be best understood as an assemblage of interrelated narrative elements mediated across a continuum forms - a collection of stories, a folio of broadsides, or an unbound atlas of impossible maps composed of a combination of historical sources, interspersed with "found" images, quotations from well known sailors’ yarns, and my own drawings and photographs, and fiction. These printed maps are embedded with QR codes link mobile devices to computer-generated narrative dialogues which may then serve as scripts for poli-vocal performances, and/or suggest a series of imprecise pervasive performative walks. This project is, in a Situationist sense, a wilfully absurd endeavour. How can I, a displaced native of rural Nova Scotia (New Scotland), perform the navigation of a narrative route through urban Edinburgh (Old Scotland)?
Elisabeth Nesheim - 24.08.2012 - 12:09
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The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore
"The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore", by J. R. Carpenter, reflects upon The Broadside of a Yarn, a multi-modal performative pervasive networked narrative attempt to chart fictional fragments of new and long-ago stories of near and far-away seas with nought but a QR code reader and a hand-made print map of dubious accuracy. The Broadside of a Yarn was commissioned by ELMCIP for Remediating the Social, an exhibition which took place at Inspace, Edinburgh, 1-17 November 2012. The Broadside of a Yarn remediates the broadside, a form of networked narrative popular from 16th century onward. Like the broadside ballads of old, the public posting of The Broadside of a Yarn signified that it was intended to be performed.
J. R. Carpenter - 16.10.2012 - 14:52
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Dramaturgy and the Digital
a look at new dramaturgical strategies prompted by digital practice.
J. R. Carpenter - 11.03.2013 - 19:15
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Two Poems and a Conversation With J.R. Carpenter
Sina Queyras interviews J. R. Carpenter about two prose poems, "I've Died and Gone to Devon" and "A Turn for the Cold".
J. R. Carpenter - 15.10.2013 - 17:46
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Performing Assemblages of Collective Enunciation in 'The Broadside of a Yarn'
Traditionally, visual, computational, performing, and literary arts referred to separate corpora, theoretical frameworks, modes of production, venues, and audiences. This persistent separation proves problematic for creating, disseminating, experiencing, and theorising multi-modal work which draws equally upon multiple artistic and scientific traditions. This paper adopts a necessarily hybrid approach to addresses a multi-modal body of practice-led research. The Broadside of a Yarn remediates the broadside, a performative form of networked narrative popular from 16th century onward. Like the broadside ballads of old, the public posting of The Broadside of a Yarn signifies that it is intended to be performed. Embedded within the cartographic space of the printed map are QR codes which link to computer-generated narrative dialogues composed of fragments culled from a corpus of print literature. These are presented as performance scripts replete with ‘stage’ instructions suggesting how and where they might be performed. As such, these points on the physical map point to potential events, to utterances, to speech acts.
J. R. Carpenter - 21.11.2013 - 17:02
