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slippingglimpse
In slippingglimpse, we model a ring in which the roles of initiator, responder, and mediator are taken by all elements in turn. Our mantra for this: water reads text, text reads technology, technology reads water, coming full circle. Reading then comes to mean something different at each stage of the poem, in all cases involving sampling. Ryan reads and captures the image of 'chreods' (dynamic attractors) in water. Strickland's poem text, by sampling, appropriating, and aggregating artists' descriptions of processes of capture, reads this process of capture. And the water reads, via Lawson Jaramillo's motion-capture coding, by imposing its own sampled pattern. A variety of reading experiences are enabled: reading images while watching text; reading in concert with non-human readers, computer and water; reading frame breaks (into scroll or background); or reading by intervening. For instance, reversibility and replay are available on the scroll, as are reading in the direction and speed you wish; while, in the water, regeneration of text is available, as are unpredictable jostling and overlays.
Eric Dean Rasmussen - 31.01.2011 - 13:07
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E-Formes 2: Au risque du jeu
Présentation de l'éditeur :
Cet ouvrage est l'occasion d'une réflexion croisée de chercheurs et d'artistes de provenances très diversifiées, sur un domaine dont les productions brouillent les frontières entre les arts et les usages et échappent aux paradigmes conventionnels de l'analyse et de la critique.
En effet, pétries de nombres et modelées par les programmes informatiques, les " e-formes " s'actualisent néanmoins par des mots, des images et des sons. Ainsi, le plus souvent à la frontière entre les objets artistiques mis en ligne sur le Web et les objets de communication conçus pour lui, elles se réapproprient les formes traditionnelles, les incorporent dans leur propre médium et composent entre programmations et pratiques interactives.
Que l'on s'inquiète de leur fondement ludique, de leur légèreté inconséquente, de leurs faux-semblants, ou que l'on se réjouisse de leur sens parodique ou de leur génie poétique, il importe d'admettre que ces e-formes participent d'un paysage culturel encore flou que les textes ici réunis ont le mérite d'explorer et de commencer à clarifier.
Sommaire:
Scott Rettberg - 26.04.2011 - 15:25
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The Distributed Legible City
A later version of The Legible City (1989) encompasses all the experiences offered by the original version, but introduces an important new multi-user functionality that to a large extent becomes its predominant feature. In the Distributed Legible City there are two or more bicyclists at remote locations who are simultaneously present in the virtual environment.They can meet each other (by accident or intentionally), see abstracted avatar representations of each other, and when they come close to each other they can verbally communicate with each other.
While the Distributed Legible City shows the same urban textual landscape as the original Legible City, this database now takes on a new meaning. The texts are no longer the sole focus of the user's experience, but instead becomes the con_text (both in terms of scenery and content) for the possible meetings and resulting conversations (meta_texts) between the bicyclists. In this way a rich new space of co-mingled spoken and readable texts is generated. In other words the artwork changes from being merely a visual experience, into becoming a visual ambiance for social exchange between visitors to that artwork.
Scott Rettberg - 24.05.2011 - 12:23
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Sydney's Siberia
Sydney's Siberia is a zoomable poem.
It is not technology making our wires, nodes and swimming data streams, our ever growing networks, beautiful. Instead it is the stories/poetics, the forever coalescing narratives that form the inter/intranet into a vitally compelling mosaic To explore, simply mouse-over/navigate to an appealing square, click and click, read, contemplate connections and repeat. Sydney’s Siberia recreates how networks build exploratory story-scapes through an interactive zooming, clicking interface. Using 121 poetic/story image tiles, the artwork dynamically generates mosaics, infinitely recombining to build new connections/collections based on the users movements.
Meri Alexandra Raita - 03.03.2012 - 18:49
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Una Selva Oscura
Inspired by one of Tom Phillips' illustration for his Dante's Inferno (Talfourd Press, 1983), "Una selva oscura" is a digital visual poetry framework providing readers with different poems and the possibility to write their own.
Artist Statement:
My work has been driven by three main themes: interpretation through adaptation, little acts of unacknowledged violence, and the expression of a sexual self. What is at stake in those themes is three aspects of the act of representation. By adapting somebody else's work, I present it anew, in a different context that has to do with the original work but also with my reaction to it, my interpretation of it. By representing little acts of violence in an absurd, cynical or sarcastic way, I provide a depiction of them that acknowledges what would otherwise be left unspoken. By expressing a sexual self that is feminine and feminist, outspoken and in charge of her sexuality, I provide the representation of a reality that is too often left in the dark because of taboos, repression and censorship.
Scott Rettberg - 13.01.2013 - 18:08
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COG (I)
COG is a user-interactive experiment in the visual possibilities of a poem. Accordingly, COG contains textual and visual material that determines its field of expression. However, as a user is wont to bring their baggage to any reading of a poem, why not give in and leave certain dynamics of the composition in the reader's hands? The idea is that, as visual and lexical materials are never fixed -- most certainly not in the mind of a user -- hot spots here allow programmed aesthetic modulations of the composition. These provide slight alterations of the composition, offering alternative vantage points in the visual field that are subtle, not chaotic but cotangential. This is not an exercise about impenetrability; rather, COG offers a Zen garden of visual verbal shades that awaits the subtle strokes of the viewer's rake-cum-Rodentia.
(Source: 2002 State of the Arts gallery)
Scott Rettberg - 15.01.2013 - 19:19
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hyPoem
A dynamic interactive environment for typographic hyperpoetry. Four poems and an open system to create your own.
Scott Rettberg - 17.01.2013 - 12:42
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Slamming the Sonnet
Slamming the Sonnet is a website emerging from the collaborative partnership of Jayne Fenton Keane (poet) and David Keane (artist and programmer). It investigates the construction of virtual bodies by using Slam poetry as a device to explore implications of re-theorizing the role of authors in habitats of poetry that are made of technological flesh rather than processed tree matter.
This site investigates alternative models of interactivity through engagement with a virtual body made of space, movement, sound and flesh. It becomes terra electra, replete with multiple species of texts, some of which evolve in direct response to the user's actions. It becomes a dismembered cyborg that becomes a part of you as you navigate through it; as your senses are seduced by its voices, breathing and gaze. In other words, it interacts with you beyond the computer screen; it infiltrates your body. It subverts identity and creates a hyperreal competition where everyone is given equal status in its time and space: dead or alive, famous or unknown.
Scott Rettberg - 17.01.2013 - 23:12
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Nothing You Have Done Deserves Such Praise
Nothing You Have Done Deserves Such Praise is an art/ poetry/ adventuring game, a playland for exploring our ever-present desire for constant and over-blown rewards. Our worlds (digital and breathing) are filled with needless and unearned praise, we are built to love exploding trophies for fifth place. This art/poetry game satisfies your compliment addiction by celebrating your walking/ jumping/ falling through strange and wondrous anatomical lands.
Nothing You Have Done Deserves Such Praise is a 2013 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was funded by the National Endowment for the Arts.
(Source: Turbulence)
Scott Rettberg - 25.09.2013 - 15:47
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Sim/Oui
Sim/Oui
Scott Rettberg - 25.09.2013 - 16:57
