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Collocations
Collocations is a work of experimental writing that explores the philosophical implications of quantum mechanics by appropriating and transforming two key texts from Niels Bohr and Albert Einstein’s historic debates about the complementary relationship between position and momentum. By interacting with Collocations, the user turns into an experimenter, observing and physically manipulating the device to materialize unique textual configurations that emerge from within Bohr and Einstein’s original writings. Striking a balance between predetermined and algorithmically influenced texts, Collocations constructs a new quantum poetics, disrupting classical notions of textuality and offering new possibilities for reading. (Source: ELO 2015 catalog)
Hannah Ackermans - 03.09.2015 - 09:54
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if-notNow, if-then-when-else
if-notNow, if-then-when-else www.alintakrauth.com/ifthen is an interactive 3D html5 piece that looks at the theme of climate change as an environmental disruption, through the lens of glitch art and code poetry. The piece opens on a page of movable squares, purposefully reminiscent of digital pixels, but moving and squirming, much like watching people move through a city from above. These boxes can be clicked on to zoom in and back out again, in order to read the coded and glitched poetry.
Both glitch and code are clear visual examples of what goes on behind the scenes in a digital world, and here this is juxtaposed with real-world human-made disruption. In the artist’s native home country of Australia, where the glitched footage is taken, this constant tug between too little and too much rain is now experienced on a yearly basis, and the poetry within this piece reflects that sense of too little vs. too much through the cause and affect relationship of “if-then statements” – a particular cause and affect coding statement.Hannah Ackermans - 05.09.2015 - 10:43
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A Nervous System
This is an interactive poem-fiction hybrid exploring unexplored taxonomies through a touch focused 3-D depth experimental interface. To understand, to translate the world, the objects and creatures and geographies around us, into meaningful (meaningless?) symbols, shareable concepts, we developed language. Then to further understand the differences and similarities of everything around us, to narrow down and dissect function and association, we created labels, categories and systems of taxonomy. And while these developed taxonomies and hierarchies are useful to organizing and departmentalizing our complex land/city/culture/art/literary-scapes, they can also hinder new possibilities and understandings. What if defining the function of the lung or leaves limits alternative and possibly powerful uses, keeps us from exploring what some might call “fringe” science? A Nervous System explores these alternative understandings of biological organisms, systems and organs.
Hannah Ackermans - 05.09.2015 - 11:19
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The ChessBard Plays
In short, the ChessBard inputs the algebraic notation for a chess game in .PGN format (digital file format for archived chess games) and outputs a poem. The poems are based on 12 source poems I wrote, 6 poems for the white pieces, 6 poems for the black pieces: there is a 64 word poem for each colour’s pawns, knights, rooks, bishop, queen and king. When a piece lands on a square it triggers a word from the source poems and the translator compiles them together and outputs a poem. For more, see http://chesspoetry.com/about/about/. The site itself includes a translator capable of inputting any chess game in .pgn format as well as a playable version that combines the translator with a chess-playing AI. In my performance I play a game versus the ChessBard on chesspoetry.com and project it and the subsequent poems that are translated in real-time.
Hannah Ackermans - 05.09.2015 - 11:53
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Jason Nelson Digital Magic Show and Poetic Interfaces
It is overly simplistic to state that my digital poems come entirely from building/discovering interfaces. Any artist’s creative practice is a merging/melding mix of fluid events and inspirations. But with all my digital poems there is one commonality, the emphasis on interface. Rarely do I even reuse interfaces, and when I do it is only as one section of a larger work. This continual drive to create new ways to rethink the structure, organization and interactive functionality of my digital poems comes from a variety of internal influences. Most importantly is how these interfaces are not just vessels for content, they are poems in themselves. In the same way digital poetry might be best defined by the experience, rather than a description. Or similar to a digital poet and their works being described by the events and stories surrounding the creation and building process, an interface is the life, the body, and a poetic construction in itself. And through the artist performance I will explore/perform numerous of my interfaces, discussing/reading from them, eluding to how they were made, their inspirations and my thoughts on how they could be reused by other poets.
Hannah Ackermans - 30.11.2015 - 08:35
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Zenon Fajfer’s EYELIDS_Book of Emanations
Powieki (eng. “eyelids”, also a pun on “forever”) is one of the crucial examples of Polish electronic poetry, authored by Zenon Fajfer, a contemporary Polish avant-garde poet, and creator of liberature, a literary genre integrating text and the material shape of the book (http://techsty.art.pl/powieki/). His volume of poetry is both in the form of the printed book and the accompanying CD included at the end of the volume; its on-line version premiered a year later (Szczecin: Forma, 2013). Fajfer introduced into poetry an original, interactive form called “the emanational poem,” in which he creates invisible, simultaneously coexisting dimensions of text that can be actualized in their kinetic (electronic) versions. Powieki is a multimodal cycle of such emanational poems. This textual labyrinth can be entered through different entrances and explored upwards, downwards, left and right to discover passages and openings unavailable in its printed form.
Hannah Ackermans - 30.11.2015 - 09:00
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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
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panTVcon
Although This work was presented by Scott as being located in the library at the opening of the End(s) of Electronic Literature Festival Exhibition at The Arts Library. Its was in fact not a part of the official Electronic Literature Organization 2015: The End(s) of Electronic Literature festival, and yet it was there.
The meta-story of this "space-hack" should be seen in relation to the history of the physical object itself (TV), (Taroko-remix),e-poetry as well as Foucault work Discipline and Punish, Panopticism and the power institutions.The digita part of the Take Gonzo was hosted on the secret sub folder together with to the rest of the digital works presented in the End(s) of Electronic Literature Festival Exhibition Kiosk.
Anders Gaard - 04.10.2016 - 21:36
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Entropic Texts
Entropic Texts is an interactive html5 browser-based artwork co-authored with Jason Nelson. This piece debuted at ISEA2015 (International Symposium of Electronic Art) in Vancouver, Canada, as a part of the exhibition ‘New Text: An Exhibit about Literary and Artistic Explorations into What It Means to Read, Write, and Create’ Curated by Dene Grigar. The theme of ISEA2015, and thus this exhibition, was ‘disruption’.
The idea behind this artwork/digital poem/electronic literature piece, was to consider entropy through a variety of different means. The first way, was through creating an imaginary space where the entropy actually worked faster – imagining a world where there was a corner of the earth in which things aged and decomposed quicker. For this we chose a junkyard – a space of decay. Secondly we considered how entropy would affect certain types of data, and how it could be represented through data – both visual and textual. For this we decided to use a variety of glitching techniques. Finally, we considered how a conceptual entropy could affect a website interface, as the user moved through it.
Alvaro Seica - 05.11.2016 - 16:15
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⌰ [Total Runout]
Ian Hatcher’s online and kinetic poem ⌰ [Total Runout] (2015) critiques corporate and governmental black boxing, at the level of its code, text, visual output and live sound performance. The poem is part of the series Drone Pilot, and it is presented in different versions: a Web-based work, a sound piece and a performance. It remixes appropriated text from a WikiLeaked manual by the UK Ministry of Defense, essays on artificial intelligence, and Hatcher’s own text. The overall versions of the work, understood as variable events, boldly problematize communication and cognitive processes in networks—whether they are implemented in computer systems by secret agencies or corporations. Hatcher’s critique to black boxes entails recreating issues of security, control and surveillance, as controlled systems are increasingly paving the way for less privacy and less knowledge about their inner workings. As a result, the poem questions the essence of privacy, redaction, and systemic violence, when access is a privileged asset of agents with security clearances or those with a deep knowledge of programming.
(Source: Álvaro Seiça)
Alvaro Seica - 22.03.2017 - 18:45
