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Nightmares for Children
“Nightmares for Children” is a found-footage virtual reality installation with a fictional backbone and original soundscape created for Oculus Rift with touch. The viewer/reader will be immersed in 360 video with VR assets and 2D video as overlays and will navigate through a series of dreamy horrors in different emotional registers using the intuitive Oculus touch interface. The piece allows for a very small child’s voice and infant storytelling to sound fully, but at the same time is crafted as a meditation on the imagery in children’s dreams and what it might trigger in the adult imagination - the authors’ hands are apparent in the way the sometimes banal horror of the dreamscapes extends and escalates. “Nightmares for Children” also constitutes an e-lit experiment in the Rift guided by the premise that personal VR headsets enabling immersive electronic literature might constitute ideal dream machines. Tech requirements: we will bring a laptop and Oculus RIFT.
(Source: ELO 2017: Book of Abstracts and Catalogs)
Filip Falk - 06.09.2017 - 17:09
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Andromeda and Eliza
Andromeda and Eliza is a work of interactive fiction that combines Twine hypertext with parser-fiction interactions to invite readers to consider choice and agency. You, as Andromeda, are caught in every woman’s dilemma, with only a few choices for escape--and none of them good. Perhaps you can find a meaningful way out, or perhaps you will be enticed into an endless discussion with a hypocritical ELIZA that questions your intentions and your morality. How long will you engage?This work builds on layered adaptations, drawing from both the mythical story of Andromeda and the original code of the ELIZA bot. Both Andromeda and ELIZA are ultimate examples of women without agency: one is chained to a rock to await demise for the apparent sin of beauty, while the other is a procedural therapist who exists in an endless state of questioning and response, programmed to show nothing but interest and patience with even the most obnoxious of queries. By rewriting the code of the original story (and of the ELIZA bot herself) we will re-imagine the woman’s journey from victim to co-author of her own fate.
Filip Falk - 06.09.2017 - 17:34
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Intimate Fields
Intimate Fields is a compact installation work that can be placed on a small table for display. The installation consists of a wooden laser cut box with multiple compartments. The box is embedded with an NFC (Near Field Communication) chip reader connected to a Raspberry Pi and miniature thermal printer. Items in the box include printed scrolls and notes containing NFC stickers, textile items containing knotted codes, and a series of five ceramic/steel rings with embedded NFC chips. On touching the scrolls, notes and rings to the NFC reader, scripts are triggered to generate love poetry remixed from a range of historical and contemporary texts. The poetry snippets are simultaneously printed locally and posted automatically to twitter. The individual printed messages can be taken away by the viewer as a keepsake. The box plays upon the concept of the “poesy”or “posy ring”, a jewelry item customarily used in the early modern period to convey messages of love, fidelity and faith. Examples of these rings are held in archives such as the Ashmolean.
Filip Falk - 06.09.2017 - 17:47
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Loominary
A new installation for the Arts Festival for the 2017 Electronic Literature Organization conference that speaks to the translation of player story into a visual narrative in a tangible artifact. The installation “Loominary” invites the reader to interact with a text-based Twine game through a digitally augmented physical tabletop loom. “Loominary” was created as a reaction to the impermanent nature of player’s choices in games. Player choice is the basis for interaction and the decisions made are the building blocks for stories players retell about their experience with the game. These player narratives are frequently more interesting and important to the player than the story created by the designers. While players create their own narratives, their choices are rarely captured by the game in a form that exists beyond the end of play, and instead rely on the player to memorize or capture the details of their choices. With “Loominary”, each choice in the game is color-coded and the player makes their choices by weaving with the appropriate color on the loom.
Filip Falk - 06.09.2017 - 18:08
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Mind Machine
In this performance, an intersemiotic translation occurs between the visual artist’s demoscene videos and the performer’s live text generation. The performance continues the tradition of looking at electronic literature as something that is also created in front of a live, physically present audience. It challenges the notion of digitally native writing in that, as long as the writing is being performed by a human and not by a machine, there is always an organic, bodily dimension to everything natively digital. How can human writing then be born digital, if we are to take the term literally? In this sense, the performance re-situates the human performer. In another version of the performance, shown earlier in 2017, a robot writes in parallel and on stage with the human performer. In Porto, though, we'll leave the robot at home or have it only telepresent to bring attention to the contrast of human and machine embodiment in electronic writing.
Filip Falk - 06.09.2017 - 19:13
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dadaoverload
Dada was a mental system cracker. Think about the poem-algorithm. dadaoverload adapts the mechanics and adds the destruction mode. Tweets are fighting for dominance in this society of the spectacle. enough dada! “zersetze dada!” The world is filled with a dada overload. Today’s source material for Dada are tweets and spam messages, ads and any kind of short messages. Dada (Tzara) used newspaper clippings, cut them down to words and randomly reassembled them. Dada was a creative process in 1916. Today, 100 years later, Dada is everywhere and nowhere. It is massive disintegration of language and communication. It is a process of decomposition as tweets retweet themselves to stay alive. Our Dada destroys tweets. It subverts, undermines, disintegrates and decomposes tweeted messages. You have a stream of live tweets from different sources. You choose a tweet and shoot individual letters out into the tweet universe. Each letter bullet hits a tweet and disintegrates all equivalent letters in this tweet. The tweet now reads different. This happens fast and to all tweets on screen.
Lisa Berwanger - 07.09.2017 - 09:18
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The Hater’s History of Polish Literature
During our presentation, we will take on the role of the literary adept and talk with a chatbot, who we will treat as our master. We’ll ask him questions about how to write, present our works for his evaluation, and try to receive feedback. The Master will use phrases, sentences and paragraphs of texts, which until now have been used in literary discussions. The chatbot that we propose is based on texts from the history of Polish literature, foremost taking into account the exchange of views between literary critics and historians. It is said that one of the peculiarities of Polish mentality is strife, which especially in the digital age takes on monstrous proportions in the form of an uncontrolled wave of hate on the internet and verbal abuse that falls below the belt.
Filip Falk - 07.09.2017 - 22:10
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Turn on Literature
3 Libraries in Romania, Norway and Denmark have joined forces to “turn on literature” by creating 3 generative literature machines (poetry machines) and 3 authors have written texts for the machines. The poetry machine is designed to involve users in the creation of e-lit in the library space. Through a game-like interface the user combines the author’s sentences into a poem, which will then be printed onto a library receipt creating an intermedial translation. At the same time, the poem will be projected onto projection surfaces in the other participating libraries making the installation transnational. The poetry machine translates the concept of e-literature into a tangible object (a printed poem) and transforms the solitary activities of writing and reading into a social undertaking since three simultaneous users can interact with the machine creating a poem together. Our installation is located within the “Translations” strand of the festival. The festival in Porto will be the very first showing of the installation, which is an up-scaled re-design and re-writing of the Ink installation presented at the ELO conference in Milwaukee in 2014.
Filip Falk - 07.09.2017 - 22:36
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Ouroboros and Jabberwock
This diptych or bi-fold work presents readers with two re-workings of Lewis Carroll’s “Jabberwocky:” on one hand, a fixed, cyclical hypertext in seven parts (Ouroboros), and on the other, an endless generative deformation that refigures the mock-epic as tennis game in Hell (Jabberwock). Both options are available at the start, but only in faint, translucent lettering. Letting the cursor dwell on one side or the other activates a sound track -- on the O side, a poetic voice whispering words of wisdom; on the J side, various monstrous re-mixes of Thursday, July 2017.This diptych or bi-fold work presents readers with two re-workings of Lewis Carroll’s “Jabberwocky:” on one hand, a fixed, cyclical hypertext in seven parts (Ouroboros), and on the other, an endless generative deformation that refigures the mock-epic as tennis game in Hell (Jabberwock). Both options are available at the start, but only in faint, translucent lettering. Letting the cursor dwell on one side or the other activates a sound track -- on the O side, a poetic voice whispering words of wisdom; on the J side, various monstrous re-mixes of those words.
Raoul Karimow - 11.09.2017 - 12:49
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LAMENT (The Mine Has Been Opened Up Well)
LAMENT is a mixed reality performance that excavates sites, histories, and languages of mining in a poetics of generative telegraphy, geophysical extraction, and the multilingual hauntings of forgotten laborers. Immersed in a lush 3d point-cloud derived from Lidar scans of a defunct copper mine, two performers, I (input) and O (output), operate a custom augmented reality system to extract, hoist, encrypt and decrypt language from original and archival sources while composing through a database of 30,000 telegraph codes used for electrical communications of the mining industry in the 19th and early 20th century. LAMENT is a sited compression of the work, SMOKEPENNY LYRICHORD HEAVENBRED, adapted for the Translations festival and the Mosteiro de São Bento da Vitória. Translation manifests in the work through the reanimation of a mine captured by remote sensing, the use of AR to scan and transform its surroundings, and the multivalent SHUDDERING of telegraphic codes that radiate towards their linguistic surface connotations and their arbitrary meanings in codebooks and encryption techniques.
Lisa Berwanger - 11.09.2017 - 13:10
