Search
The search found 2 results in 0.008 seconds.
Search results
-
101, Performance with a Mediapoetry Beads
101 performance is a collective reading of a human performer with a mediapoetic instrument. 101 is a mediapoetry instrument that counts the sonic beads of the 99 names of Allah. It is based on the use of built in camera as a movement sensor (Isadora), databases of musical sounds and text (Abelton Live). The sound is triggered with the movement of hand. The work reflects on the possibilities of relationships with the other: be it a parent, a colleague, a teacher, a spouse, or a god. The names avoid nomination, rather mark a universal catalogue of qualities of an other: superior, generous, only one, but at the same time torturer, killing, humiliator, reducer. In Islamic world these 99 names are used as a prayer. In the piece a pronoun “my” replaces the traditional definite article and male gender. This can bee seen as an act of both personalisation and desacralisation: the reducer – my reducer, the extender – my extender. The “my” is also a l’hommage to the Charles Bernsein poem My/My/My that was remediated by Nick Montfort and Anna Tolkacheva. Performer reads the list of names in choir with the machine.
Gyurim Lee - 31.08.2017 - 05:45
-
Concrete Poetry as Vehicle for Exploring Digital Materiality
Digital materials protrude into the most intimate corners of our lives, are part of the architectures that shape our dreams and desires. Yet the modes of their production are comparably poorly understood. In the described talk, I provide a discussion of the status of concrete poetry as a tool for practice-based research into the characteristics of digital materiality. As long as we allow code to slip through the cracks of the collective imaginary, it remains easy for corporate actors to misrepresent the character and influence of coded infrastructures: It is imagined to exist elsewhere, in server farms, on the quantum physical plane of the infinitesimal, within the disembodied sphere of formal logic, but not among us, not as part of everyday reality.
While its effects, social media platforms, word processors, smartphone applications, are part of everyday reality, its digital substrates seem not to be. Resultingly, code is allowed to have unobserved social effects. Those who control the conditions of its production and operation are free to deploy this invisibility for any strategic goal they see fit.
Jorge Sáez Jiménez-Casquet - 17.11.2019 - 13:40
