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Lombrices (Minhocas)
Author statement: "Estuve haciendo un video con Ricardo Pons. Compré frente al Club de los pescadores en la Costanera Norte un paquete de lombrices grandes, gordas. Las lavé en un balde para sacarles la tierra y las puse en el medio de una tabla blanca de 100 x 70 centímetros. Ricardo las filmaba mientras las lombrices se corrían hacia los costados cubriendo todo el rectángulo. Resultó un cuadro movedizo. Pensé terminar el video con una gallina hambrienta comiendo vorazmente el dibujo. No sé si lo voy a hacer. Pero me gusta la idea del arte que dibujan las lombrices, que luego es comido por la gallina y que después, se puede terminar, es defecado sobre un infierno de Boticelli. Es decir cubrir todo el ciclo: arte animal, arte comido y arte defecado sobre la idea principal de nuestro patrimonio cultural: arte suplicio, arte infernal, arte castigo. No se cómo llamar a esos cuadros horribles tan bien pintados." (Ferrari, Official Site)
Luciana Gattass - 23.11.2012 - 15:22
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Window
As a poetic mediation on place and experience, Window encourages you to explore the things at the edges. The ordinary moments—sounds, sights, memories, thoughts—that make an environment familiar, that make it ‘home’. My inspiration came, and continues to come so often, from John Cage—and I made this work in 2012, the centenary of his birth. His music, writing, and thinking—the way he lived his life—are a wondrous integration of art and ordinary experience. Interwoven with fragmentary texts, themselves hidden at the edges, and only available through exploration, are a separate series of short essays. Some are about John Cage and some are personal reflections as I looked, listened and collected the sounds and images that provide the material for this piece. I did this over a period of a year—listening, looking, snapping photos and recording sounds. Arranged in ‘months’, there are various ways to interact with Window. The choice is yours—listening, reading, looking, and travelling from one time of year to another. For each month the images and sounds were actually recorded in the month concerned.
Scott Rettberg - 01.12.2012 - 12:50
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Words and pictures ex machina? Hypertext and ekphrasis
Following the concept of "remediation" and the premise that "all of our examples of hypermediacy are characterized by this kind of borrowing, as is also ancient and modern ekphrasis" (Bolter and Grusin, 1999: 44-45), I would like to take under consideration a literary work of Portuguese poet Vasco Graça MouraGiraldomachias / Em demanda de Moura (co-author Gérard Castello-Lopes; 2000).
Scott Rettberg - 09.01.2013 - 10:28
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Fugues: An Associative Project on Reading Poetry through the Use of Hypermedia
Fugues, a project of the NT2 Laboratory at the Université du Québec à Montréal, is both an hypermedia adaptation of the poem Piano published 2001 by Quebec author René Lapierre and a literary critical analysis of that same poem. The Fugues Project originally came about when Bertrand Gervais asked NT2 Lab students to think about how to read and to analyze a paper-published poem through hypermedia. Instead of writing a dissertation as one usually does when reading a text in a literature classroom, participants were asked to adapt Piano through hypermedia. The goal was to think about new ways of reading printed text using electronic tools. The participants came up with an associative way of exploring this particular poem. This experimental project was designed not only to build an audience for new media literary works and writing by just presenting existing hypermedia works, but also to ask these literary scholars to think how they would go about writing a paper about a poem in a non-textbook manner. The idea behind this was to put theory into practice.
Scott Rettberg - 09.01.2013 - 13:45
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Una Selva Oscura
Inspired by one of Tom Phillips' illustration for his Dante's Inferno (Talfourd Press, 1983), "Una selva oscura" is a digital visual poetry framework providing readers with different poems and the possibility to write their own.
Artist Statement:
My work has been driven by three main themes: interpretation through adaptation, little acts of unacknowledged violence, and the expression of a sexual self. What is at stake in those themes is three aspects of the act of representation. By adapting somebody else's work, I present it anew, in a different context that has to do with the original work but also with my reaction to it, my interpretation of it. By representing little acts of violence in an absurd, cynical or sarcastic way, I provide a depiction of them that acknowledges what would otherwise be left unspoken. By expressing a sexual self that is feminine and feminist, outspoken and in charge of her sexuality, I provide the representation of a reality that is too often left in the dark because of taboos, repression and censorship.
Scott Rettberg - 13.01.2013 - 18:08
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Lace (Dentelle)
An animated translation of a concrete poem in French. The French poem Dentelle by Pierre Albert-Birot appears at the left side of the window; the English translation is on the right.
(Source: 2002 ELO State of the Arts gallery)
Scott Rettberg - 13.01.2013 - 20:57
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Nostalgia
Created specifically for the ELO Symposium, this piece is a textual response to net art and electronic literature, in the form of an essay/poem/opinion as animated gif. Words replace each other over time. The user is not allowed to interact in any way other than opening or closing the page. The piece exposes a personal nostalgia for linear things, exact categorization, and known objects as well as a simultaneous excitement and apprehension regarding the future or net art, virtual worlds, and abstract literature.
(Source: 2002 State of the Arts gallery)
Scott Rettberg - 13.01.2013 - 22:12
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E:Electron
E:Electron is an extended structural analogy, using the periodic table of elements to muse on the life of a love affair and states of mind. Three pieces work together to create nuances of connections and relations. A poem hidden in the periodic table of elements leads to the stages of a relationship. Each element adds a new electron or word association, cumulating in a lifetime of memory. These connect to an intricate series of poems that fill each electron shell with musing.
(Source: 2002 ELO State of the Arts gallery)
Scott Rettberg - 13.01.2013 - 23:43
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CHAOSity
One challenge of General Education is that of finding ways to develop student interest in, and enthusiasm for, reading written texts or critically viewing visual texts. CHAOSity was created to address that issue. CHAOSity is a collaborative, original cultural work that involves individual readers as co-creators. CHAOSity questions the "linear, rigidly logical development of plot" and the "facile interpretation of life's complexities" that strict adherence to linearity, what author Carole Maso calls "the tyranny of narrative," can imply. The resulting multi-threaded story, told in text, animation, images and sound, permits both linear and nonlinear reading. CHAOSity includes 49 prose/poems Flash movies, 49 event sounds and legend.
(Source: ELO 2002 State of the Arts gallery)
Scott Rettberg - 15.01.2013 - 18:39
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COG (I)
COG is a user-interactive experiment in the visual possibilities of a poem. Accordingly, COG contains textual and visual material that determines its field of expression. However, as a user is wont to bring their baggage to any reading of a poem, why not give in and leave certain dynamics of the composition in the reader's hands? The idea is that, as visual and lexical materials are never fixed -- most certainly not in the mind of a user -- hot spots here allow programmed aesthetic modulations of the composition. These provide slight alterations of the composition, offering alternative vantage points in the visual field that are subtle, not chaotic but cotangential. This is not an exercise about impenetrability; rather, COG offers a Zen garden of visual verbal shades that awaits the subtle strokes of the viewer's rake-cum-Rodentia.
(Source: 2002 State of the Arts gallery)
Scott Rettberg - 15.01.2013 - 19:19
