Search

The search found 2570 results in 0.064 seconds.

Search results

1. Li Po :: 8888

    

    

   in a planet earth with out humans a old chinese poet is still alive a fight vs the alien occupation and extraction of earth. Is the battle of the carbon based life in planet earth. So a ambassador from the year 8888 came to 4444 to hear the poems of Li Po. Then, the antidote to capitalism that we know thanks to Li Po poems is send to our times for sell as Rice to prevent the alien occupation. 8888 is the code that the future send with the antidote.

   Cecilie Klingenberg - 27.02.2021 - 15:52

2. Voidopolis

   Voidopolis is a digital performance about loss and memory that is currently unfolding over 40-ish posts on my Instagram feed (@kmustatea). It is a loose retelling of Dante’s Inferno, informed by the grim experience of wandering through NYC during a pandemic. Instead of the poet Virgil, my guide is a caustic hobo named Nikita. Voidopolis makes use of synthetic language, generated in this instance without the letter ‘e’ and the images are created by “wiping” humans from stock photography. The piece is meant to culminate in loss, so will eventually be deleted from my feed once the narrative is completed. By ultimately disappearing, this work makes a case for a collective amnesia that follows cataclysm.

   (Source: Author's Statement)

   Cecilie Klingenberg - 27.02.2021 - 16:02

3. The Hollow Reach

   The Hollow Reach is a choice-based virtual reality (VR) experience built on becoming posthuman to overcome the trauma of emotional and physical loss. What at first appears to be an adventure game turns out to be an exploration of psychological and physical recovery, not a retreat from reality but a coming to terms with it. In this interactive puzzle game, virtual reality offers a space of recuperation through adaptation and prostheses. In this piece, the player progresses from the human to the post-human only by letting go of their notions of what is and is not under their control to encounter a life augmented and transformed by the digital.

   Cecilie Klingenberg - 27.02.2021 - 16:13

4. Gnarly Posthuman Conversations: John Ashbery, W. H. Auden, Wallace Stevens, and GPT-2

   In a 1980 interview with David Remnick, John Ashbery describes the formative impact that the poetry of W. H. Auden had on his writing: “I am usually linked to Wallace Stevens, but it seems to me Auden played a greater role. He was the first modern poet I was able to read with pleasure…” In another interview Ashbery identifies Auden as “one of the writers who most formed my language as a poet.” For Auden’s part there was a mutual yet mysterious appreciation for the younger poet’s work; Auden awarded Ashbery the Younger Yale Poets prize for his collection “Some Trees”, with the caveat: “...that he had not understood a word of it.”

   Cecilie Klingenberg - 01.03.2021 - 15:13

5. LOW Prophet

   This short video work was filmed in New York in 2000 and involves a plastic owl reading Bill Joy's text "Why the Future Doesn’t Need Us", published in Wired magazine in 2000. The text outlines a dystopian future where humans a rendered obsolete and are replaced by the sentient beings they created. The plastic owl whose sole purpose is to scare pigeons from the rooftop of the house in the west village spins whilst the words are whispered and the pigeons continue to go about their business paying no regard to it.

   (Source: Author's Statement)

   Cecilie Klingenberg - 01.03.2021 - 15:22

6. Código de barras. (The Only Bush I Trust is My Own)

   "Código de barras" forma parte de una exposición colectiva titulada "The Only Bush I Trust is My Own). La persona visitando la galería donde fue expuesta esta serie de trabajos revelaba mensajes políticos y poéticos mediante un lector de códigos de barras. El trabajo se presenta contra las "barras" del imperialismo, del consumismo, y del control informático, así como denuncia la violencia de género.

   Tina Escaja - 12.03.2021 - 02:38

7. Robopoem@s

   Robopoem@s consist of five insect-like robots whose legs and bodies are engraved with the seven parts of a poem@ (“poema” in Spanish) written from the robot’s point of view in bilingual format (my original Spanish with English translations by Kristin Dykstra). Voice activation, micro-mp3 players, and response to sensors (reactive to obstacles) allow these quadrupeds to interact with humans and with each other, emphasizing the existential issues addressed in the poem. The final segment of the poem, number VII, re-phrases the biblical pronouncement on the creation of humans, as perceived by the robot: “According to your likeness / my Image.” With this statement, the notion of creation is reformulated and bent by the power of electronics, ultimately questioning its binary foundations.

   Tina Escaja - 12.03.2021 - 03:36

8. Heimlich Unheimlich

   Heimlich Unheimlich is a screened, collaborative work consisting of visual collages, performed and displayed mixed genre texts (poetry, narrative, memoir, documentary), manipulations of image using the computer language MAX/MSP/Jitter, composed and improvised music, and vocal and instrumental sound samples. 

   Heim in German means home, so Heimlich Unheimlich could translate loosely as Homely Unhomely. However, heimlich more usually means secretive or hidden while unheimlich means uncanny or weird, so the connotations of the two words can overlap. This relationship between heimlich and unheimlich (discussed in Sigmund Freud’s essay ‘The Uncanny’) underlies the content of the piece. 

   Hazel Smith - 19.03.2021 - 03:17

9. soundAFFECTs

    soundAFFECTs, employs the text of 'AFFECTions' by Hazel Smith and Anne Brewster, a fictocritical piece about emotion and affect as its base, but converts it into a piece which combines text as moving image and transforming sound. For the multimedia work Roger Dean programmed a performing interface using the real-time image processing program Jitter; he also programmed a performing interface in MAX/MSP to enable algorithmic generation of the sound. This multimedia work has been shown in performance on many occasions projected on a large screen with live music; the text and sound are processed in real time and each performance is different. Discussed in Hazel Smith 2009. “soundAFFECTs: translation, writing, new media, affect” in Sounds in Translation: Intersections of Music, Technology and Society, Amy Chan and Alistair Noble (eds.), ANU E Press, 2009, pp. 9-24. (Republication of earlier version of the article published in the journal Scan).

   Hazel Smith - 20.03.2021 - 02:32

10. Instabilities 2

    Instabilities 2 [...] subjects a discontinuous text to various kinds of processing. The screen is divided into three sections which counterpoint each other. The top section consists of a video made by Hazel Smith comprising twelve short texts. The middle section consists of the same material processed in the program Jitter by Roger Dean, and involves various forms of overlaying, erasing and stretching of the words. In a third section of the screen the same texts together with others which do not appear in the top movie are processed in real-time by Roger Dean by means of a Text Transformation Toolkit (TTT) written in Python. The processing substitutes words and letters so that new text emerges, together with a spoken realization of some parts of the text, new and old. The pre-written fragments circle around the idea of social, historical, and psychological instabilities, but during the processing new instabilities syntactical, semantic, and phonemic also arise.  Improvised and composed music is performed by Roger Dean, Greg White, Phil Slater and Sandy Evans. In addition, computer-synthesised voices add an aural dimension to textual change.

    Hazel Smith - 20.03.2021 - 03:06

Pages