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1. Infinite Verse

   Infinite literature is abundant, often conceptually simple, and often formally easy to understand. For critics and poets to explore infinite forms of literature further, it is important to clarify their essentials. In this discussion I will describe properties of infinite (or, to phrase it differently, “boundless”) poetry. I specifically consider verse — poetry which, when composed, is “turned” into lines in some typical or unconventional way. These verse works, or segmented verbal works, need not be digital: There are many infinite artworks that are not based on digital computation or even what people would usually describe as “technology,” while there are many finite (bounded) artworks that are computational. Some of the works I will cover are thought of as prose fictions, but I will demonstrate that to attain boundlessness they need at least one turn of the sort that is characteristic of verse.

   Nick Montfort - 06.09.2019 - 22:48

2. Waveform (Film)

   An experimental piece, drawing from the artist's Waveform project, this 10 minute film depicts a single, overhead shot of incoming ocean waves, which are scanned and analysed at various points by a machine vision system, which then parses the data gathered into short, poem-like texts. This film marks an attempt at using the dynamics of the moving image to better apprehend both the subject matter and the technical processes behind Waveform.

   This piece was displayed at the Peripheries: Electronic Literature and New Media Art exhibition held at the Glucksman Gallery, Cork, as part of ELO2019, in July 2019.

    

   Richard Carter - 31.10.2019 - 21:14

3. Dairbhre: One Walk

   Dairbhre is a lyric poetry project about attempting to know a desired place by walking the roads of that place in that place, in memory, and most accessibly/obsessively, in Google Street View. There are many walks. “One Walk,” a poem in 7 sections, goes from Knightstown to a specific house in Upper Tinnies on Valentia Island. Although the project is intended to be about place and displacement, it manifests currently as being about metaphor, a form of transport I find particularly challenging. And they’re all challenging. The poem is composed primarily in Google Street View, but also on the actual road, and allowing memory. Its intended form is audio-visual recording but at the ELO, I will simply read several sections, without the video

   Vian Rasheed - 12.11.2019 - 02:19

4. Diamonds in Dystopia: container & tool

   What does a cutting-edge collaboration between music, visual, and literary artists look like and how did it evolve? This ongoing, transdisciplinary collaboration between said types of artists evolves a born digital interactive poetry application for every presentation and exhibition opportunity. Our mission as collaborators is to open up creative workflows for interactive technologies and artists interested in using them to benefit the presentation and experience of the visual, musical, or literary arts. We developed an interactive, live-streaming poetry web app that takes audience response to trigger improvisations, sensory experiences, and create an event-specific poem collectively. The user acts as collaborator by sending word selections that resonate with individual users by tapping text from a born-digital “seed poem” on their mobiles to trigger Markov chain reactions, which enables succinct recombination of massive amounts of language as source material.

   Vian Rasheed - 12.11.2019 - 03:11

5. Mining Linguistic Content from Vast Audio and Video Archives for Multimodal Poetry

   This 20-minute presentation highlights research conducted as a Fellow in the MIT Open Documentary Lab developing a methodology and software for parsing linguistic and semantic information from vast quantities of audio and video files for playback and synchronization across networked computers. The presentation will focus on the expressive potential of this methodology to create new forms of multi-modal digital poems. The goal of this research is to extend recent advances in computational text analysis of written materials to the realm of audio and video media for use in a variety of different language centered media production contexts. This methodology and software provides the ability to parse vast quantities of audio and video files for topics, parts of speech, phonetic content, sentiment, passive/active voice and language patterns and then playback the video or audio content of the search for consideration in an aesthetic context. Queries that are intriguing can be saved and sequenced for playback as a poetic remix of linguistic patterns on one or multiple monitors.

   Vian Rasheed - 14.11.2019 - 01:25

6. Eccentric Peninsular: The Cornish Coast as a site for Deconstruction in Intermedia Poetry

   This paper analyses the use of ‘the coast’, particularly the coast of England’s South-West Peninsular, as a site for deconstruction in the works of a number of intermedia poet-artists. It is based primarily on selected readings of digital literature works which specifically engage with the South-West coast, covering works by Mark Goodwin, Andrew Fentham, Penny Florence and JR Carpenter (including the latest work by JR Carpenter ‘This is a Picture of Wind’, shortlisted for the New Media Writing Prize 2018). The reading considers the texts’ representations of ‘coasts’ and ‘peninsulars’ and their relationship to the de-stabilisation and frustration of positions of authority and authoritative structures (especially positions and structures of nationalism and sexism). The South-West peninsular can itself be considered de-centred and eccentric, remote from England’s administrative and financial centres and with a rich history of translocal interactions and migrations (c.f. Natalie Pollard) between other peripheral artistic and cultural regions and nations (especially those with Celtic heritage).

   Vian Rasheed - 18.11.2019 - 01:19

7. Always Tomorrow

   Always Tomorrow is a virtual reality fiction piece for HTC Vive. The viewer/reader is positioned in the centre of an infinite visual galaxy populated by 40 small interactive spheres, suggestive of planets but textured with distorted images that resonate with the stories they hold within. The viewer touches the spheres in any order to activate audio and unfold a time-twisting, fringeaffirming, ether-inflected love story set in Berlin in the Weimar Republic with a tomorrow already speaking itself on the protagonists’ lips. We hope the piece resonates with the contemporary moment, too, somewhere between histories and futures; the objects of our desires and our longing, the periphery of the culture and its centre. It’s also a mediation on the power of poetry.

   Vian Rasheed - 18.11.2019 - 15:49

8. Bots

   Momenteel onderzoek ik de mogelijkheden om (chat)bots als poëtisch gereedschap in te zetten. Dit onderzoek wordt ondersteund door het Nederlands Letterenfonds en valt onder de regeling Digitale Literatuur. In 2017 organiseerde ik als onderdeel hiervan in Perdu een tweedaagse workshop in samenwerking met collectief Hackers&Designers en Botsquad.

   Mijn eerste bevindingen en experimenten werden gepubliceerd in het “Vintage-nummer” van DWB, 2018-1. Daarnaast kruipen momenteel verschillende chatbotjes rond op deze site. Deze botjes bevinden zich in hun peuterpuberteit, er gaat nog wel eens iets mis. Naar aanleiding van de gesprekken die ze voeren, probeer ik ze te verbeteren. Spreek ze gerust aan, wellicht vindt u uw woorden nog eens terug in de poëzie.

   David Peeters - 10.05.2021 - 10:44

9. Grappling With the Actual: Writing on the Periphery of the Real

   This essay considers literary realism in relation to two of my own recent works of digital literature: This is a Picture of Wind: A Weather Poem for Phones, and The Pleasure of the Coast: A Hydro-graphic Novel. Both of these web-based works grapple with the actual world we live in: a post-digital world, in which invisible layers of data inform our daily thoughts and actions; a post-human world, of vast oceans and ceaseless winds. These works use the affordances of the internet to call attention to the historical, colonial, elemental, and material substrate of the internet; both attempt to represent the reality of the vast corpus of non-human writing which lurks beneath the mere appearance of the screen. Methodologically, this essay grapples with the material and contextual actualities of these works by turning its attention to earlier analogous moments in the intertwined histories of technology, science, and writing. In particular, this essay is concerned with the technology of the ship, the science of measurement, and the writing of the vast non-human systems of coastlines and winds.

   J. R. Carpenter - 27.08.2021 - 12:54