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1. daddylabyrinth

   daddylabyrinth is an interactive new media memoir, a combination of traditional writing and personal video assembled and delivered through the authoring system SCALAR <http://scalar.usc.edu/scalar/>. It exists at the cusp of several forms—the lyric essay, the archive, the family history, the home movie—and delves into questions that shape our contemporary narrative practices, such as navigational readership and new ways of experiencing the cinematic. daddylabyrinth is a father/son book, in a long tradition of such, refracted through the lens of new media’s narrative possibilities. The legacies of my father that I carry—objects he left behind and a flotilla of unresolved emotions that continue to vex my self-identity nearly forty years after his death, when I am a father myself— resist any single linear narrative. I turned to SCALAR for this project because it lets me create multiple, interlocking narrative lines, through which I explore interrelationships between objects, incidents, and impressions.

   Thor Baukhol Madsen - 06.02.2015 - 11:45

2. Round

   Round is a computational poem that is both non-interactive and deterministic. It is computational in that computation is an essential aspect of the work, non-interactive because there is no input accepted as the program runs, and deterministic because the text produced should be the same each time on any properly-functioning computer. The poem is also infinite (in the sense of boundless); there is no final line or internally specified condition that will cause the program will stop. Round is not never-ending, since whatever computational resources one has will eventually be exhausted, but there is no pre-set length to the poem. The poem is assembled out of ten fragments, one of which is a newline (line break). The other nine are strings of legible text. Round computes the digits of π, pausing after each digit is computed. (Each time Round is loaded, it begins at 3, continues to 1, continues to 4, and so on.) For each digit computed, the fragment corresponding to that digit is added to the poem. If the fragment selected is a line break, Round begins a new line. (Source: author description)

   Eivind Farestveit - 10.02.2015 - 15:39

3. Ice-bound

   Ice-bound is an interactive novel that combines a printed art book with an iPad app. Our goal was to create an experience with both high-quality surface text and significant player agency. The story concerns an encounter with a fictional artificial intelligence, a simulation of a long-dead author who enlists the player's help to finish his original's final novel. Inspired by the dense, labyrinthical texture of works like Nabokov's Pale Fire and Mark Danielewski's House of Leaves, the novel is a unique collaboration between two artists, both of whom are writers, coders, and graphic designers. Each story is built around a dynamically chosen set of symbols representing possible elements of the story. These might be traits a character could have, or plots that could be included in the story. When a story is first visited, the symbols are assigned to an author-defined group of sockets which can be turned on or off by the player. However, the player can only turn a limited number of sockets on at one time.

   Elias Mikkelsen - 10.02.2015 - 15:43

4. best.hello

   best.hello is a web poem, composed of original and appropriated texts. The appropriated texts were liberated from emails received by the author. Both bodies of text have been fed through a text-manipulation program to reorder the words, interleaving them to unfold new layers of meaning or interpretation. The resulting poem, best.hello, utilizes the affordances of both time-based visual media and the encounter with a ‘pop-up’ ad or alert box on the web. When combined, the two create a dialogue between them that refuses to be ignored or passively experienced: the alerts trigger the browser to jump to the front of other running applications, asserting the poem even after it has been minimized or concealed behind other applications. Even while the text obscures itself, several orders removed from its original context, shifting in and out of legibility, it demands to be read. What would be the "best" hello? Is it one that cannot be ignored? best.hello exists in the tension between restraint and release, hiding while wanting to be found in the most mundane of cultural exchanges: the greeting.

   (Source: ELO 2014 Conference)

   Marius Ulvund - 10.02.2015 - 15:50

5. Douglas Rushkoff's New Book

   Douglas Rushkoff, author of Program or Be Programmed, quit Facebook in 2013 because “it does things on our behalf when we’re not even there. It actively misrepresents us to our friends, and worse misrepresents those who have befriended us to still others.” Using MySocialBook – an online platform that allows to print books from both personal Facebook profiles and the ones of friends and pages – I made a book out of the fan page that Rushkoff abandoned in 2013, selecting the period of time in which he was actively using it. (Source: http://silviolorusso.com/douglas-rushkoffs-new-book/ )

   Magnus Lindstrøm - 12.02.2015 - 14:02

6. Vniverse iPad App [iOS adaptation]

   The VNIVERSE app is a poetry instrument you can play. In DRAW mode, touch and drag to create your own constellations. In CONSTELLATIONS mode, explore the ten constellations found in the coordinate print book, V : WaveTercets / Losing L’una (SpringGun Press, 2014). WAVETERCETS plays the entire run of poem tercets for you, starting at the beginning. Or, by touching any star, you may begin anywhere you like. ORACLE lets you pose seven questions to the sky. CLEAR button clears the sky. Stephanie Strickland’s V was first published by Penguin (2002) as an invertible book with two beginnings, V : WaveSon.nets / Losing L’una. Mid-book, a URL leads to V : Vniverse (2002, Director project with Cynthia Lawson Jaramillo). Another part of V is the Flash poem, Errand Upon Which We Came (2001, with M.D. Coverley). The Vniverse app for iPad was created in 2014 with Ian Hatcher.

   Sumeya Hassan - 12.02.2015 - 14:30

7. Loss of Hover: Re-implementing Director Vniverse as an App for Tablet

   Proposal:
   V appeared in 2002, distributed across an invertible two-in-one print book from
   Penguin, V : WaveSon.nets / Losing L’una, and two online locations: the first, V:
   Vniverse, a Director project with Cynthia Lawson published in the Iowa Review Web,
   and the second, Errand Upon Which We Came, a Flash piece with M.D. Coverley
   published in Cauldron and Net. The print book contained at its center, approached
   from either direction, the url for the Vniverse site.

   Elias Mikkelsen - 12.02.2015 - 14:57

8. Separation

   Le projet La Séparation réunit des artistes (du groupe ALIS et du collectif I-Trace), des enseignants-chercheurs et des élèves-ingénieurs (de l'Université de Technologie de Compiègne) autour de "la poésie à 2 mi-mots", inventée par Pierre Fourny. La "poésie à 2 mi-mots" s'attache d'abord à l'aspect visuel des mots et se fonde sur "la police coupable", police de caractères permettant de couper les mots en deux horizontalement et d'associer la moitié obtenue à une autre moitié pour former un nouveau mot. Très vite, Pierre Fourny a fait développer un logiciel (le combinALISons), lui offrant la possibilité de trouver un nombre de combinaisons impossibles à saisir par un cerveau humain moyen, formé à la lecture dite "rapide et silencieuse". Bientôt, la "police de l'ombre" allait également voir le jour (grâce au logiciel), révélant la présence de mots contenus dans d'autres. Aujourd'hui, une "centrale police" s'impose également. La "poésie à 2 mi-mots" est désormais une pratique éprouvée regroupant différents procédés qui permettent de jouer d'une manière originale, sur scène et au-delà, avec la forme des mots.

   Thor Baukhol Madsen - 12.02.2015 - 15:01

9. Pedestrionics: Meme Culture, Alienation Capital, and Gestic Play

   This presentation considers the rhetoric and poetics of meme culture and social media
   platforms.

   Internet memes, in their essence, are methods of expression born from the attention
   economy of networked culture. At times they can be epistolary, aphoristic, polemic,
   satirical, or parodic; and they may take the form of performative actions and photo fads
   such as planking, teapotting and batmanning or iterative processes such as image macros
   and advice animals including lolcats, Bad Luck Brian and Condescending Wonka. In either
   case they are conditioned by rhetorical formulas with strict grammars and styles.
   In the case of image macros, the rhetoric is sustained through correlations between the
   image and its caption. If we line-up the thousands of Condescending Wonka memes side
   by side, we will find very little difference between them aesthetically – the same image is
   repeated, along with captions at the top and bottom of the image. In the captions we find
   a specific tone that is also repeated one image to the next.

   Thor Baukhol Madsen - 12.02.2015 - 15:12

10. Ink After Print

    The interactive literary installation Ink (Accidentally, the Screen Turns to Ink, created by the authors in a collaboration with Roskilde Library, CAVI and Peter-Clement Woetmann) is a unique experimental public display created in 2012 for the library space and exhibited at more than ten Danish libraries, at conferences, festivals and events. Ink is unique in being a large, public, social and performative digital literary installation designed to give library audiences an experience of digital literature through an affective, ergodic proces. Ink has been presented at several conferences, including the ELO 2013 conference in Paris.

    Thor Baukhol Madsen - 13.02.2015 - 10:11

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