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1. Monoclonal Microphone: The Movie

   A looping video (c. 20 mins – time could be adjusted) that both explores the world of “Monoclonal Microphone” and also reveals certain processes from its open-ended manufacture/generation. The video zooms in and out of a large field of generated poems; shows the underlying program running (generating verses and searching for them with internet search); and provides some expository captioning for the project. More information can be found at http://programmatology.shadoof.net/index.php?p=works/monoclonal/monoclon... (Source: ELO 2015 Conference Catalog)

   Hannah Ackermans - 30.11.2015 - 10:08

2. text, sound, electronics, live coding

   This is a performance by Hazel Smith and Roger Dean, involving a strong sonic and musical element interwoven with text. It includes sampled text and sound, electronics and live coding of text and sound. The performance will include two pieces, Metaphorics and Bird Migrants. These two works were performed earlier this year in the UK and Australia, but have undergone considerable development. Every iteration and performance of them (particularly of Metaphorics) is substantially different. Metaphorics (2014) for voice and coded sound This piece employs live voice, live-coded sound (using the platform Gibber by Charlie Roberts, University of California at Santa Barbara), and live algorithmic sound. It involves samples from a recording of parts of the text, together with electronic and sampled instruments. The piece is about metaphor: it also employs metaphor while at the same time deconstructing it. Historically metaphor has been one of the main tools of poetry. Attitudes towards metaphor have been very important in contemporary poetry and poetics, but have caused divisions in the poetic community. Some poets have clung to metaphor as a traditional mainstay of their craft.

   Hannah Ackermans - 30.11.2015 - 10:15

3. The Exquisite Corpus

   The video-essay features interviews with 17 electronic literature scholars and practitioners including Mark Amerika, Simon Biggs, Serge Bouchardon, J. R. Carpenter, John Cayley, Cris Cheek, Maria Engberg, Jerome Fletcher, Maria Mencia, Nick Montfort, Jörg Piringer, Jill Walker Rettberg, Scott Rettberg, Alexandra Saemmer, Roberto Simanowski, Christine Wilks, Jaka Železnikar. The production method for the video-essay is interesting in that the questions being asked of the interviewees are never explicitly pronounced. Rather, the video is divided into sections based on the general themes Futures and Foci, Platforms and Politics, The Human Problem, Senses and Screens, Reading and Writing. The answers given by the various interviewees are wide-ranging and address issues as diverse as the future of electronic literature, the ownership of data, the roles of author and scholar, and the issue of national models of electronic literature. What emerges from the video-essay is a sense of the dynamism and complexities that make up electronic literature as a field. (Source: ELO 2015 Catalog)

   Hannah Ackermans - 30.11.2015 - 10:34

4. Shy Nag Code Opera

   Co-teaching an online course at UnderAcademy College, Chris Funkhouser and Sonny Rae Tempest co-authored the libretto Shy nag by applying a series of intensive digital processes to a piece of hexadecimal code (derived from a .jpg image). Shy nag, after a year of intensive deliberations with regard to media application in a performance setting, is now a multimedia, “code opera” that transforms (repurposes) the same piece of code to add visual display (scenery) audio component(s) to the work. In Shy nag, Microsoft Word and numerous other programs and processing techniques have a non-trivial presence in the composition. Software serves as a type of interlocutor that sustains the writers’ experimental objective – a time-consuming process blends creative and uncreative. The exercise also contains destructive qualities as the code migrates to language, image, and sound – although the authors prefer foregrounding its multi-level transformative properties.

   Hannah Ackermans - 30.11.2015 - 10:43

5. Poetry Chains and Collocations

   Poetry Chains and Collocation Nets are two intertwined projects that investigate the 1955 edition of Emily Dickinson’s complete poems through various interactive animated navigations of collocated words. As such, they perform what Samuels and McGann term “experimental analyses.” Each of the visualizations displays a different presentation of her work. Poetry Chains begins with two words and attempts to find a chain of words in a specified number of lines that connects them together, displaying them as it succeeds. Collocation Nets begins with a single word centered in the middle of the screen. When the user selects the word, a random selected of its collocations pops out in a surrounding ring. Any of those words can be selected, which results in collocations of that word appearing. A user can toggle into an ambient mode of this visualization that automatically eventually cycles through all of the words, forever. These visualizations offer a continuously dynamic remapping of Dickinson’s work.

   Hannah Ackermans - 08.09.2015 - 10:10

6. Inside the Distance

   In boxing “the distance” refers to the scheduled length of a fight, 9 rounds or 12. For the boxer, as for all of us, the goal is to stay standing, inside the distance. Inside the Distance—a web documentary and an installation with video and a touch-screen interactive interface—documents victim/offender mediation practices in Belgium, where Restorative Justice is institutionalized within the criminal justice system. The project examines how mediation poses a potential cultural alternative to dominant modes and theories of retributive justice and punishment. The interactive interface, which includes interviews with Mediators, Criminologists, Victims and Offenders conducted in Leuven and Brussels, focuses on the subject positions of victim, offender and mediator and the notion that those subject positions are fluid. The content of the project is organized into three parts: • “The Accounts” – presents the narratives of mediation cases as described in interviews with Mediators.

   Hannah Ackermans - 10.09.2015 - 09:58

7. OTTARAS: 3 CONCRETE - LONG RONG SONG, NAVN NOME NAME, kakaoase

   Projected on a grid of particles that at times seem ordered, while sometimes chaotic and always in flux, Ormstad's constructed language poetry is exposed and read by the author while performing to Mashtalir's pulsating music and Vojjov's atmospheric scapes in the first two works LONG RONG SONG and NAVN NOME NAME. The first is based on Ormstad's language research project from his second book of concrete poetry from 2004. Here he creates words that may exist or not in any language, and this is related to Vojjov's creation of numbers, geometric forms and abstract shapes. The second work is made from Ormstad's collection of poetic family names used in Oslo, Norway, also here accompanied by Vojjov's world of cosmic shapes. The last track, kakaoase, is based on a printed picture by Ormstad, made of sound poetry where he's playing with the Norwegian language. Most of the words have no – or almost no – meaning, and here Mashtalir's music makes this an exceptional possibility for participating and dancing to concrete poetry!

   Hannah Ackermans - 30.11.2015 - 10:21

8. Text/Sound-Videos

   # text/sound-movies text/sound-movies are works of abstract poetry created with the means of digital video and audio. the image is extreme typography. the sound is digital sound poetry. each video is centered around a single topic or source material. please read below for a description of the 6 videos. ## vorsprung is a clip taken from the the video-performance spambot that dealt with propaganda and advertisment. ## sig all source material in this video originates from radio jingles of various broadcasting companies. ## broe sell a typographic video about stock markets. ## mmmatn a video about money and currency. ## ff oitl text and sound are taken from a sneakers commercial ## rr ii rr ii is visualized sound poetry or a sonified visual poem. the material of the acoustic and visual part consists only of electronically modified representations of the sound R. (Source: ELO 2015 Catalog)

   Hannah Ackermans - 30.11.2015 - 10:48

9. Inextrinsix: Multilingual, Collaborative Digital Poems

   This is a presentation with commentary of two experimental original, collaborative digital poems: one with variora in two voices; and the other somewhere between a translation and a multilingual composition in English, Italian and French. “Digital Poetry” is understood to be language-based, formally structured art to which the digital dimension is indispensable in at least one of the following elements: composition, performance, or reception. We are two published poets who have worked for many years with translation in literature. This collaboration takes us into an exploration of the continuous re-invention of the speaking Subject through traversing languages in digital space. It breaks new ground in opening on to potential poetic conversations across cultures, even where interlocutors are far from fluent in each others’ languages. It is potentially an immediate way in to the kinds of discovery that can make translation so rewarding, but that are not generally easy to access without relatively long experience, especially in a literary context.

   Hannah Ackermans - 30.11.2015 - 10:54

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