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1. A Trace

   Explained very simply, this piece is a story about a man being presented with a mysterious object that is either:

   1. Directions upon which he must act or
   2. Documentation of his own origins

   If they are the former, then the events that are listed are the events that proceed. If they are the latter, the events that proceed are his re-encounter with how he came into being not as an organism, necessarily, but as a someone who believes in space, physicality, reason, etc.

   The piece alternates between two locations: "in here", which is where the narrator builds a space in order to orient himself in relation to the question the mysterious object presents, and "that sort of place", which is where the narrator is presented with new information that both helps and antagonizes him. The juxtaposition of the closed, structured space of "that sort of place" with the open sprawl of "in here" invokes the question that the narrator circles around - whether he can recreate or reconstruct his own beginnings or origins to the point of creating the closed, structured space in which he exists now.

   Cassie Spiral - 03.04.2020 - 19:40

2. The Lips Are Different

   The Lips are Different  is about the Canadian citizen Suaad Hagi Mohamud — born in Somalia — who was accused of not being a Canadian citizen when she tried to return to Canada from Kenya in 2009. The work links over-surveillance, racial discrimination, photography, media representation and issues of identity. It comprises real-time video written in Jitter; improvised music based on a comprovisation score and both performed text and screened text.

   An article about the piece Creative Collaboration, Racial Discrimination and Surveillance in The Lips are Different  containing the piece itself can be found here.

    

   Hazel Smith - 20.03.2021 - 08:28

3. Intertwingling

   INTERTWINGLING is a work for the web and for live performance, which involves hypertext and improvised music. The hypertexts are very diverse and include aphorisms, parodies, poems, fragments of narratives, and quotations. These are connected by hyperlinks, which allow the screener to take many different pathways through the work, so each screening will be different (and not all will include every text). In a live performance, the improvising musicians must respond to the hypertexts sonically, but they can do so in any way they choose. The hypertexts were written and visually designed by Hazel Smith, with image backgrounds supplied by Roger Dean. The sound is taken from a live performance of the work, given in December 1998 at the Performance Space, Sydney, which involved extensive digital processing of electronic and acoustic sound, played by the austraLYSIS Electroband (Roger Dean, Sandy Evans, and Greg White). The recorded sound has been slightly edited, and is presented playing both forwards and backwards, in streaming audio. 

   Hazel Smith - 26.03.2021 - 12:12

4. complete Covid-19-genome as a soundpoem

   The complete genome of the Covid-19-virus is read aloud as a soundpoem. The four letters representing the nucleotides (A, T, C, and G) are read aloud by an automated voice, resulting in a rapid succession of sounds. 

   Lene Tøftestuen - 06.05.2021 - 16:39

5. Platform Collaboration, Creativity and Determinism in Virtual Reality (VR): An artist paper the making of The Key To Time, a work for VR, domes and CAVEs.

   Addressing conference themes of platform utopias, determinisms, identities, collaborations and modes, this conversational presentation discusses ways that concepts of time, space and narrative are expanded in The Key To Time https://unknownterritories.org/keytotime/. The Key To Time is a surreal and lyrical work for immersive, cinematic art experiences such as domes and 360 degree cinemas as well as for individual viewing on head-mounted virtual reality devices. Bridging 1920's silent film and virtual reality, the surface story draws viewers into a playful exploration of genre, identity and desire. In doing so, the work unravels narrative underpinnings of myths, genres, and technological constructs of time.
    

   Milosz Waskiewicz - 25.05.2021 - 15:17

6. We zijn begonnen

   Onderdeel van Tsead Bruinjas poeziebundel 'Overwoekerd.' Het gedicht heeft meerdere animaties die gemaakt zijn door studenten van Artez. Zij maakten gebruik van beeld, geluid, interactie en typografie.

   David Peeters - 11.06.2021 - 14:19

7. Salon Jan 11, 2022: Figurski on the Radio!

   Radio made the hypertext star! and Richard Holeton and John Barber will introduce the radio adaptation of the Famous Figurski at Findhorn on Acid!

   Join us as we merge technologies and adapt to radio and sound in a favorite work.

   About this work:
   What began as a pioneering work of electronic literature is now a radio theatre performance. But it took more than twenty years for this to happen.

   Richard Holeton first published Figurski at Findhorn on Acid in 2001 using Storyspace software. This novel length, comedic hypertext featured thousands of links, three main characters, three significant locations, one (perhaps two) mechanical pigs, and yes, THAT acid. Wild acclaim followed initial publication.

   Hannah Ackermans - 15.02.2022 - 13:21

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