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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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House of Trust
House of Trust is a generative poem that addresses issues of information access and control in the 21st century. It proposes that free libraries are houses of trust. At the same time, it brings up images of redaction and censorship as well as broaching many concerns about the technical developments associated with information sharing. House of Trust consciously positions itself in a tradition of e-literary work: it is based on Alison Knowles and James Tenney’s A House of Dust (1967), generally considered to be the first computer-generated poem, which had its beginnings at an informal Fluxus seminar in which Tenney demonstrated how the Fortran language could be employed in chance operations in artmaking. (source: ELO 2015 catalog)
Julianne Chatelain - 29.11.2014 - 15:48
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Abra
Abra is an exploration and celebration of the potentials of the book in the 21st century. A collaboration between Amaranth Borsuk, Kate Durbin, Ian Hatcher, and a potentially infinite number of readers, the project merges physical and digital media, integrating a hand-made artist's book with an iPad app to play with the notion of the “illuminated” manuscript and let readers "hold the light" of language. In the artist’s book, the poems grow and mutate as the reader turns the pages, blurring the boundary between text and illumination, marginalia and body. Animating across the surface, the poems coalesce and disperse in an ecstatic helix of words, taking turns "illuminating" one another's margins and interstices.They play with the mutation of language, both by forming new portmanteaus and conjoined phrases, and also through references to fecundity as it manifests in the natural world, the body, human history, popular culture, decorative arts, and architecture, placing the shifting evolution and continuous overlap of all these spheres in dialogue with the ever-changing technology of the book.
Thor Baukhol Madsen - 29.01.2015 - 15:06
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Stéphane Mallarmé's The Conversation
Stéphane Mallarmé's “Demon of Analogy” is a prose poem about demonic nature of mishearing. Francis Ford Coppola's “The Conversation” is about the demonic technologies that allow us to hear all-too-well. Joe Milutis' “Stéphane Mallarmé's 'The Conversation,'” with little to no editing mashes up these classic texts, to suggest that one may be a mishearing (or spooky translation) of the other. In addition, the original text of the Mallarmé poem is translated by way of a number of bending techniques that, while getting back to the original sound and meaning of the French, bend, distort and remix the original. This project is part of a larger scholarly and creative exploration of experimental translation as an extension of remix and appropriation practices. A number of chapbooks, videos, lectures and performances have emerged from this project, including Monkey pOm!
Marius Ulvund - 05.02.2015 - 15:38
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The Reverberatory Narrative: Toward Story as a Multisensory Network
The Reverberatory Narrative: Toward Story as a Multisensory Network is an evolving, transmedia series that employs print, film, installation and digital practices in the assembling and disassembling of lyric essays, poetry, graphic design, photography and physical artifacts in an experimental documentary of memory, time and story. The initial form of this documentary work was an installation at the photography gallery Agnes in Birmingham, Alabama in 1993, titled "Undressing Audrey," in which the viewer physically "undressed" the book, slipping text from a woman's garments, one button and layer at a time. Through subsequent, increasingly digital interpretations, Pretty relied on a layered structure that attempted to approximate the original installation experience through a series of overlapping narrative threads that could be sorted and resorted by different contexts and media types, such as time, place, character, artifact, image, audio, and video, among others.
Magnus Lindstrøm - 05.02.2015 - 15:40
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And Speak of Long Ago Times
A 21st century art historian confronts the known and the unknown in both his life and his work, as - in a polyphonic 19th century remix - And Speak of Long Ago Times replays the words of 19th century Florentine sculptor Giovanni Duprè; replays Giuseppe Verdi's words from his autobiography that concern his antislavery opera Nabucco; replays the Narrative of the Adventures and Escape of Moses Roper from American Slavery which was published in London in 1837 and went through at least 11 editions. It is 1842. The Irish American sculptor Hiram Powers is in his studio in Florence, creating a model for The Greek Slave. It is the year that Nabucco premiered at La Scala in Milan. The Irish woman poet Frances Browne has just published "Songs of Our Land" in the Irish Penny Journal.
Marius Ulvund - 05.02.2015 - 15:51
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Round
Round is a computational poem that is both non-interactive and deterministic. It is computational in that computation is an essential aspect of the work, non-interactive because there is no input accepted as the program runs, and deterministic because the text produced should be the same each time on any properly-functioning computer. The poem is also infinite (in the sense of boundless); there is no final line or internally specified condition that will cause the program will stop. Round is not never-ending, since whatever computational resources one has will eventually be exhausted, but there is no pre-set length to the poem. The poem is assembled out of ten fragments, one of which is a newline (line break). The other nine are strings of legible text. Round computes the digits of π, pausing after each digit is computed. (Each time Round is loaded, it begins at 3, continues to 1, continues to 4, and so on.) For each digit computed, the fragment corresponding to that digit is added to the poem. If the fragment selected is a line break, Round begins a new line. (Source: author description)
Eivind Farestveit - 10.02.2015 - 15:39
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best.hello
best.hello is a web poem, composed of original and appropriated texts. The appropriated texts were liberated from emails received by the author. Both bodies of text have been fed through a text-manipulation program to reorder the words, interleaving them to unfold new layers of meaning or interpretation. The resulting poem, best.hello, utilizes the affordances of both time-based visual media and the encounter with a ‘pop-up’ ad or alert box on the web. When combined, the two create a dialogue between them that refuses to be ignored or passively experienced: the alerts trigger the browser to jump to the front of other running applications, asserting the poem even after it has been minimized or concealed behind other applications. Even while the text obscures itself, several orders removed from its original context, shifting in and out of legibility, it demands to be read. What would be the "best" hello? Is it one that cannot be ignored? best.hello exists in the tension between restraint and release, hiding while wanting to be found in the most mundane of cultural exchanges: the greeting.
(Source: ELO 2014 Conference)
Marius Ulvund - 10.02.2015 - 15:50
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Rea and the Squaw
Rea and the Squaw is a kinetic poetry piece I created three months after my Grandma Rea died at the age of 96 on December 18, 2012. When she died, I was left with: memories, some pictures, and pages and pages of her unpublished and published poetry. So I began to dissect her poetry, dissect each word. And then I couldn’t stop. I wanted to mold her words, shift them, strain them. I wanted to understand where these words could be cornered, shaped, and colored. I cherished them, chained them, tamed, and mazed them. I sized and seized them. Who was this woman? How has she influenced who I am as a person? As a poet? The words on the digital interface are hers, and the particular shaping, movement, and coloring of the words is proof that I’ve traversed them.
(Source: ELO conference: First Encounters 2014)
Eivind Farestveit - 12.02.2015 - 09:26
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ION 1
ION 1 is a crowd-sourced series of 111 sound poems-in-progress by mic mac (Michael MacKenzie) in collaboration with the Post Art Poets spanning Gertrude Stein's ‘Tender Buttons’ (which can be freely read here: www.bartleby.com/140/). The work layers 7 (and in later instances as many as 32) readings of the ‘Tender Buttons’ poems into single clips. To participate, unaltered found or original human voice recordings may be submitted and will appear in subsequent installments of the poem. Send submissions to my email (below). An award system (called Copycoins) provides funds for more in-depth interaction with the poems. Statistics particular to each reading will appear in the sound-files’ [Youtube] descriptions. Each of the poems here are in their seventh installment. The playlists will grow and be modified as time passes; the poem is expected to run indefinitely - until I or the community lose(s) interest in it. Thank you. (Source: Elo conference: First encounters 2014)
Eivind Farestveit - 12.02.2015 - 14:08
