Search

The search found 93 results in 0.012 seconds.

Search results

1. Um Corvo Nunca Mais

   Generative and combinatory translation of "O Corvo/The Crow" (Fernando Pessoa / Edgar A. Poe). Created for the Núcleo de Estudos do Modernismo em Língua Portuguesa, Universidade Fernando Pessoa.

   Rui Torres - 25.11.2011 - 23:03

2. Apenas estas palavras mutantes

   Apenas estas palavras mutantes

   Rui Torres - 04.12.2011 - 17:59

3. R, Adieu

   A harrowing alphabetical excursion into the world of the rolled r. Milutis tracks—and, through sounds and videos, shows—the primal violence and utopian trill of 'the most rrresilient of locutions' in sound poetry, regional dialects, and televisual affects, from Kurt Schwitters to Georges Perec to Rodgers and Hart to Charles Bernstein.

   Joe Milutis - 22.01.2012 - 21:15

4. Computerpoesie: Studien zur Modifikation poetischer Texte durch den Computer

   The conception and realisation of computerised poetry is based on a computer’s inherent qualities and characteristics. Resulting works are hybrid, multimedia and interactive texts comprising typeface, image and sound; they can neither be printed on paper nor viewed without a computer, or to be more precise, an electronic apparatus (holography, monitor, virtual reality). This study explores the historical origins of electronic poetry and, on the basis of the switch from paper to computer, analyses the significance these fundamental shifts have had on the aesthetic interaction of language and text: Typeface starts to move and in this way challenges the poetic production and our perception. (Source: http://www.saskia-reither.de/?p=374&lang=en)

   Jörgen Schäfer - 06.03.2012 - 13:44

5. Primal Affective Ground and Digital Poetry

   Since the first symbolic scripts emerged, language has always been visual. My own work explores how language's visual can be read both as art and as poetry; how affect is amplified by sound; how generative and combinatorial layouts of text-video-sound open art from linear readings into infinite variations perspectives.
   For ELO, I am interested in creating an artist talk that utilizes content derived from two essays on digital poetry written for my comprehensive exams in the summer of 2009. The original essays are entitled: "Affecting Language: interdisciplinary explorations of emotion (new media, neuroscience, phenomenology and poetry)" and "Defining Creative Conduits: mediations on writing in digital media". Since both essays (as take-home exams) were each written over a brief 72 hour span, I look fwd to the opportunity of synthesizing and refining their argument into a presentation format.
   (Source: Author proposal)

   Eric Dean Rasmussen - 20.03.2012 - 12:42

6. Código de barras

   Bar codes, each accompanied by fragments of sentences and a play button are arranged on opposite sides of the page. Pressing the play button of the bar codes on the right hand side the user hears the words read aloud in a warm, present voice. The bar codes on the left side of the page also have voice recordings, but this voice sounds tinny and distant and speaks single English words, such as "distance", instead of the longer Spanish phrases that are written beneath each bar code.

   Jill Walker Rettberg - 28.03.2012 - 11:05

7. Sound Rites: Relationships Between Words and Sound in New Media Writing

   While discussion of the relationship of image and word has been prominent in the discourses
   surrounding new media writing, the role of sound is rarely addressed in this context, even
   though words are sounds and sounds are a major component of multimedia. This paper
   explores possibilities for new theoretical frameworks in this area, drawing on musico-literary
   discourse, intermedia theory and inter-cultural theory, and using ideas about semiotic and cultural exchange as a basis.

   Eric Dean Rasmussen - 14.06.2012 - 15:17

8. Das Epos der Maschine

   This work uses pictures and sound to make it more interesting. It looks and sounds creepy. The focus of the story is the interaction between man and machine. 

   Scott Rettberg - 16.06.2012 - 21:47

9. Substratum

   “Substratum” is an audiovisual artwork and the first in a series of collaborations by artist-composer duo, Alison Clifford and Graeme Truslove. This collaboration combines both of their artistic practices in an attempt to explore the space “between” abstract sound and image. Truslove’s work is typically concerned with exploring the space between acoustic and electro-acoustic sound, and between improvised and fixed forms. The audio in “Substratum” is devised from samples of bowed notes performed on a double bass, multiplied and arranged into rich, deeply layered textures by digital montage processes and computer algorithms. Clifford’s artistic practice is concerned with the process of translating between different forms of visual media, exploring what is lost or gained through such interpretation. For “Substratum”, she developed computer algorithms that “translate” samples from still photographic light paintings into animated fragments. She then sculpts the fragments into multi-layered moving image works that interpret the deep textures of the audio, creating an immersive audiovisual experience.

   Meri Alexandra Raita - 18.06.2012 - 19:17

10. Palimpsest

    “Palimpsest” is an audiovisual work exploring the space between sound and image through collaboration. Two distinct narratives, audio and visual, collide to find alternative paths and perspectives around a virtual light sculpture. The piece reinterprets one of a series of photographic light paintings taken during a drive at night [see image 1]. The photographs were experiments: improvisations with long exposures, motion and gesture. As images in themselves however, the collaborators found them to be engaging both visually and conceptually. Visually they bring to mind the poetic: the camera has captured ethereal light trails drawn by the motions of passing traffic in mid-air, giving them an almost sculptural quality. They suggest contours, energies, volumes and spaces that are open to further exploration and interpretation. Conceptually, their contradictory nature seems to suggest ideas of the interstitial - the space or place in-between things - or what Duchamp termed the “infrathin”. The light-forms captured in the image, exist in-between the real and the virtual, brought together in a moment by the camera.

    Meri Alexandra Raita - 18.06.2012 - 19:22

Pages