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Connected Memories
This piece is an exploration of oral histories and the use of technology as a participatory and inviting medium to perform and share stories.
It is an interactive piece, which consists of a series of extracts from interviews of refugees living in London and the connection between them. They are compiled in a database and linked by common key words. To represent the fractured realities and the formations of connected memories, the viewers need to interact with the piece by clicking on the coloured activated 'common keywords' in order to generate extracts of narrations from the different participating refugees. As an installation the piece includes a microphone to invite the viewers to read aloud and share with other viewers the experience of performing the work through their reading.
Eric Dean Rasmussen - 25.01.2011 - 18:01
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Sous Terre, The Subnetwork
Sous terre is an order of the RATP for the celebration of the centenary of the Parisian subway in the year 2000. Under ground, the subway, his memory, his internal organization, his/her/its history. His tunnels, of travelers that pass and iron. All one life that we forget under streets. The subway is useful, it serves to go from a point to another, to move without being confronted to the urban chaos. It is another city, but of passages, of flux, of cuts,: a network. Between time, in the displacement, it is necessary to kill the time, not to feel the surrounding intensity, all these people that us meet without recognizing them, the out-flow of the maintaining chanted by the scrolling of stations. To the difference of the other means of transportation the subway doesn't ask for no attention of travelers as for the taken road. One only waits. The subway requires to face the other travelers then, to look at them while waiting to arrive to destination. Travelers are held seated or standing. Some watch on the right, on the left, of others no. A woman reads a book, a man a newspaper, of others merely the emptiness.
Scott Rettberg - 06.10.2011 - 10:46
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Solstice
Goss went to an internet cafe in the lower east side on the winter solstice of December 21st and again on the summer solstice of June 21st.
"Solstice" is made from the words and phrases that appeared in Google on the cafe's computers on those days. The computers were set to "autoComplete" so by simply typing a letter, she could see all previous searches done beginning with that letter.
The result is a combinatory found poem generator that the user configures by hitting individual keys to add phrases beginning with the corresponding letter.
(Source: Author's description)
Scott Rettberg - 16.06.2012 - 23:07
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(S)PACING
(S)PACING is a poetic performance piece that reflects upon the nervous habit of pacing and ideas of internal dialogue while walking as a source of poetic inspiration and contemplation, if not procrastination. The application for performance can either be played on the keyboard, or use live video motion tracking to access and combine screen-based still image, video, text, and audio content. The title of the piece refers not only to the act of pacing but also to pacing as a measure of time. The addition of the (s) at the beginning of the title, rendering the title spacing, could be said to refer not only to the locative and defamiliarizing spatial variations in the piece but also to formal aspects of poetry such as meter, feet, line breaks and stanzas. Though the performance, the actions of the performer may be fundamentally pedestrian they are put in contrast with mental and poetic machination in terms of the poetic output generated by the movement. In effect, the performer develops a system of, and has live action control over the scansion of the generated poem while handing over control of the vocalizations, imagery, and textual display to the application.
Talan Memmott - 22.10.2012 - 00:40
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Pyxis Byzantium
Pyxis Byzantium is a hypermedia narrative investigation into the fall of Byzantium in 1453. Surrounded by enemy forces for decades, the final invasion of the city was widely anticipated by some of the populace, denied by others, and a focus of wonder and prayer. This piece imagines several different residents of the city, their fears and hopes, and their beliefs about the sources of destiny. The navigation includes maps of the city, sacred holidays, and the chronology of the destruction. Because of its extensive use of Flash, it is not currently playable in original form.
Artist's Statement:
Scott Rettberg - 09.01.2013 - 16:24
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Waxweb
"Wax..." was my first feature, executed from 1985-1991 with a variety of arts funding, and a co-production commissioning from ZDF in Germany. The narrative is grotesque, an unresolved and unresolvable tragedy revolving around the perceptual and ethical misperceptions of one Jacob Maker, flight simulation systems programmer, and amateur beekeeper. Half-way between suspense and suspension, the movie moves through space, as the protagonist is translated from his home in Alamogordo out to the Army's Deseret Test facility, and beyond, to caves or the world of the dead, and perhaps even further, if his endless talking voice is to be believed (it should be). Dislocated, disoriented, fragmented, and finally flying, the hero and all those bees and other pictures accompanying him fly backwards and forwards through time. And in a sense the viewer does too.
Scott Rettberg - 19.01.2013 - 01:39
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En réponse à la lampe
« En réponse à la lampe » a été publié dans le journal « alire n°6 » pour la première fois en 1992. En 1996, un portage informatique a été réalisé. Ce poème animé donne une possibilité importante de lectures grâce à l’apparition et la disparition de nombreuses bribes. Le poème bouge sur un écran noir, et le texte est pour la plupart imprimé en blanc. Le poème est composé de quelques éléments plutôt stables dans le temps, qui permettent au lecteur de pouvoir mémoriser un très petit nombre de vers, puis d’autres éléments ou vers apparaissent et disparaissent à leur guise, n’importe où à l’écran, rendant difficile de remédier à un sens quelconque, à cause de l’aspect transitoire du poème. Une esthétique de la frustration surgit de ce poème car, au moment où les vers apparaissent, ils s’estompent aussitôt. Cependant, l’aspect transitoire du texte permet une lecture temporelle, basée sur la mémoire du lecteur.
Johanna Montlouis-Gabriel - 13.09.2014 - 21:53
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Le Nouveau prépare l'ancien
En 2008, Philippe Bootz a publié une version monographe du journal alire, pour l’anniversaire de la publication de ses poèmes programmés qui datent de 1977-1978 (poésie matricielle) et de 1988, la première version d’Alire (0.1) qui a été présenté en 1989 au Centre Pompidou. Dans Alire 13, Bootz nous présente des œuvres inédites ou difficilement trouvables.
Sergio Encinas - 15.09.2014 - 16:56
