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11 Ways to Escape the Symbolic Field
11 Ways to escape the Symbolic Field is a hybrid work consisting of various Internet accessible pieces in which texts found on the Internet are combined with original digital art works. The texts are presented on the screen in different, mostly hermetic ways, to emphasize the eroding effects the internet has on the literacy of the ‘general audience’. The author intends to question the ‘authority’ of the found texts by deforming them and to render them illegible. Together with each – projected–piece is a sound track with recordings of spoken poetry in English and Dutch from the artist. The poems juxtapose each piece with political driven subjectivities. This series of work is building upon previously created works such as Semantic Disturbances (2005) and La Resocialista Internacional (2011) by the same author. (Source: GalleryDDDL description)
Alex Belov - 18.11.2013 - 15:12
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Signagens
Signagens (Signings) is a series of videopoems (1985-89) developed by E.M. de Melo e Castro with the support of the Portuguese Institute for Distance Learning (IPED) and later by the Open University of Lisbon, in its electronic and digital TV studios. According to Melo e Castro, "this project intended first of all to investigate video possibilities as a new medium for reading poetry. It was meant to be used in classes of literature and of Portuguese language. Very soon I realized that intersemiotic translation of print-based visual and experimental poems was obvious, as video seemed to me a perfect medium for animation of letters and words." (Media Poetry: An International Anthology, 2007: 180-181) For the full series, including all the videos:
Alvaro Seica - 11.12.2013 - 15:32
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How I Loved the Broken Things of Rome
How I Loved the Broken Things of Rome pieces together fragments of history, poetry, video, photography and cartography collected during an extended stay in Rome. This work reflects upon certain gaps - between the fragment and the whole, between the local and the tourist, between what is known of history and what is speculative. Rome is among the largest and oldest continuously occupied archaeological sites in the world. Daily life is complicated, even for the locals. Everything is running late, circuitous, or quasi-rotto. Romanticism and pragmatism must coexist. My struggles with slang, schedules, and social vagaries reminded me acutely of when I first moved to Montréal. Understanding what's going on around me now seems to be less a question of the acquisition of language than one of overcoming the dislocation of being a stranger. In her poem The Fall of Rome: A Traveller's Guide Montréal poet Anne Carson writes: "A stranger is someone desperate for conversation." I certainly found that to be the case. There were days in Rome that I did not, could not, speak to anyone.
J. R. Carpenter - 12.12.2013 - 12:48
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Lyric Economy
Светодиоды, пластик, электроника собственной разработки Экономика и жизнь, физики и лирики: эти устой- чивые словосочетания сразу вызывают поток ассоциаций из глубокого детства, залитого (из каталога выставки) солнечным светом и чувством бесконечного счастья: И как всякий художник, Аристарх Чернышев достает эти воспоминания из своей памяти и делает из них искусство, своими, сразу узна- ваемыми выразительными средствами, исполь- зуя прием деконструкции информационного потока (вспомните инсталляции ‘Окончатель- ная настройка’, ‘Жевательная грязь’, ‘Жажда’, объект ‘ТелеБластер’), только теперь приме- ненного к тексту. В споре между физиками и лириками победили менеджеры, так как и физики и лирики оказа- лись всего лишь разными подвидами наивных романтиков. В современном мире нет места лирике. Сегодняшняя поэзия — это биржевые сводки, курсы валют, цены на нефть и золото. Объект ‘Поэтическая экономика’, выполнен- ный в стиле дивайс-арт, ярко воплощает в себе эту идею, все же оставляя зрителю надежду на то, что еще есть в жизни место искусству, хотя бы в виде мерцающих огней рекламных вывесок.
Natalia Fedorova - 12.12.2013 - 20:58
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Tipoemas y Anipoemas
"Anipoemas" son poemas animados en los que las letras explican el contenido del título del poema. La autora juega con la semántica, utilizando significantes para expresar un significado. En "Paronama desde un tren" las letras "t" en movimiento se convierten en los tendidos eléctricos de la luz que veríamos desde un tren. En "Hojas rojas secas" las letras caen simulando el movimiento de las hojas. En "Gimnasia" las letras parecen hacer ejercicios, provocando la sonrisa del lector ante tal sorpresa divertida. En "Primavera" las letras "q" y "p" parecen flores creciendo desde el suelo. Estos poemas animados invitan a los lectores a divertirse y sorprenderse encontrando un lenguaje poético por medio de sencillas letras animadas. (Origen: Maya Zalbidea)
Maya Zalbidea - 01.03.2014 - 20:07
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“Dois palitos” (Two matchsticks)
“Two matchsticks” (2008) is the title of an e-poem by short story writer, Samir Mesquita based on “Two matchsticks,” a popular saying in Brazil. The origins of this Brazilian folk expression are difficult to determine, but its significance indicates the rapid execution of a task. The matchbox is a Brazilian’s old friend. Even with the absence of musical instruments several sambas have been created accompanied only by the cadenced rhythm of these improvised little rattles. Today, in the Internet and microblogging age, the matchboxes inspires new literary genres.
(Source: Luís Claudio Fajardo, I ♥ E-Poetry)
Ian Rolon - 09.04.2014 - 21:18
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Wish4[0]: 40 Days. 40 News Items. 40 Creative Responses.
Wish4[0] takes as its inspiration the perpetual tugging at a user’s consciousness by the digital. Each work takes as its immediate inspiration a headline (or item) drawn from the electronic news cycle of that specific day. The resulting block of poetic works: 1) Act as a digital and creative “literary snapshot” of a specific period. 2) Highlight the accelerated nature of an electronic/networked-based news cycle. 3) Illustrate the discrepancies – and perhaps similarities - between how a digital audience responds to items deemed newsworthy and creative responses to such items. 4) Echo (and partially emulate) elements of digital culture that have become seamlessly integrated into our everyday lives (including programs such as Twitter, Facebook, Pinterest, Vine, Snapchat and Instagram). This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
mez breeze - 05.05.2014 - 12:45
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Cuando enciendas los párpados
Los vídeos multimedia de Oscar Martín Centeno forman parte de la sección visual de los recitales multimedia. No son videopoemas, es decir, no están pensados para ser visionados de forma autónoma, sino para formar parte de un espectáculo donde la música en directo, la presencia escéncia y la interacción son elementos fundamentales. Aún así, el autor pretende que puedan acercar a los usuarios a la simbiosis de lenguajes artísticos que este género poético propicia. Cuando enciendas los párpardos es un poema multimedia que incluye música, poesía animada por ordenador, imágenes y la voz del poeta recitando el poema. Los versos, la música y el vídeo han sido creados por el propio autor. En el poema las palabras se mueven en forma de espiral y aparecen luces en las esquinas, hay sobras de personas que parecen la audiencia que está viendo la instalación como en una acción performativa. El poema trata del amor, la esperanza y el mar, aparecen peces danzando en el agua cuando el poeta menciona el mar. Este poema pertenece al libro de poemas Je suis le diable-Las Cántigas punlicado por la editorial Ya lo dijo Casimiro Parker (Maya Zalbidea Paniagua 2014).
Maya Zalbidea - 25.07.2014 - 13:36
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Alexandrins au Greffoir
Alexandre au Greffoir fait référence à une méthode de transformation de texte. Elle a été publiée dans la Bibliothèque Oulipienne en 1986. Ces alexandrins sélectionnés proviennent des alexandrins les plus connus de la poésie française. Marcel Bénabou et Jacques Roubaud ont collaborés afin de retenir les alexandrins les plus connus de la poésie française en faisant marcher leur mémoire. Par conséquent, ils n’ont pas été puiser dans des anthologies ou des dictionnaires afin de sélectionner les meilleurs vers. Une fois la liste établie, ils ont eu recours à la greffe d’hémistiche. Les alexandrins sont coupés à la césure, puis reconstitués comme l’utilisateur le souhaite avec d’autres hémistiches, tel un moule. La méthode de l’ALAMO offre donc une fonction configuratrice au lecteur. Cette greffe obéit à plusieurs contraintes sémantique, syntaxique, prosodique pour respecter jusqu’au nombre de pieds d’un alexandrins (prenant donc en compte les phénomènes d’élision). Alexandre au Greffoir de l’OULIPO est un programme applicationnel qui sélectionne également les hémistiches dans l’inventaire de Bénabou et de Roubaud.
Jonathan Baillehache - 01.09.2014 - 18:41
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Dizains
Les Dizains is a combinatory program/ text generator created by Marcel Bénabou. The work was presented at the Pompidou Center in 1985. The online version for the ALAMO website was made by Eric Joncquel. The program generates “dizains” (poems consisting of ten lines) in an exponential method. The “texton” (the original text the program uses to generate new poems) is one ten-line poem with five pairs of rhymes. The program allows the reader to access different permutations of these ten original lines. The generator uses a randomization function with stylistic constraints related to the rhyme structure. The constraints make it so that any two lines that rhyme can only be separated by 0, 1 or 2 other lines. These constraints yield a large but not unmanageable number of “scriptons” (possible new poems) (145,920). For example, it would not be impossible to read all of these poems over the course of several years. In this program, the role of the reader is to interpret the different permutations produced by the randomization function of the generator.
Erin Stigers - 02.09.2014 - 01:12
