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Directions
Directions combines poetic fragments, visual images, prose narrative, and sound to create a deep, dazzling, and often startling work.
Rob Swigart calls Directions "a quasi-sentimental pseudo-scientific hyperpoem." Centered on the periodic table of the elements, Directions combines poetic fragments, visual images, prose narrative, and sound to create a deep, dazzling, and often startling work. (Macintosh only, requires HyperCard)
(Source: Eastgate Systems)
Alvaro Seica - 09.05.2015 - 12:52
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Grain: A Prairie Poem
An animated gif poem which visually plays with the letter "g."
Alvaro Seica - 09.05.2015 - 13:13
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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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Grita
It is a digital poem that can only be read by screaming to the screen. Once the user screams the verses of the poem appear and when the user stops, the words are not longer seen. It is an interactive sound poem. It can be related to Loss of Grasp by Serge Bouchardon and Vincent Volckaert and Zang Tumb Tumb by Filippo Tommaso Marinetti. Aburto is a Peruvian poet and professor at the PUCP. Having worked in Communicative Arts has permitted him use different formats for his poetry: oral, written and digital. His Peruvian origin can be seen in the way his work relates to other 2000s writers from Peru: vindication of publication of poetry and interest for combining conceptual, textual and visual aspects. In this work, the use of the screen, the microphone and the appearing and disappearing letters permit a communicative situation between poet and reader, the reader becomes a creator of the poem because his participation is essential for watching the words. The effort of crying out loud that the work demands to the reader increases the effects of the messages of desperation and vindication
(Source: Maya Zalbidea)
Maya Zalbidea - 08.01.2016 - 20:28
