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We Descend: Archives Pertaining to Egderus Scriptor, Volume Two
Every writing addresses someone; this someone is often said to be the author's Ideal Reader. But "ideal" connotes a conceptualized, even perpetrated entity that is an entirely different creature from the real person one addresses when speaking. Now it may be useful to make this distinction in order to discuss, in the abstract, the *process* of writing, but the *practice* is wholly different: in writing anything, you address a real person, and, by addressing, conjure that person into your presence — the "materiality" of this being is, well, immaterial. When a real reader (in contrast to an ideal one) takes up an author's writing, she encounters not a voice speaking to *her*, or not to her directly: she comes in on a conversation already in progress, between the author and the person he is addressing in the writing. Given a sense of the occasion she has just joined, she will wisely keep still at first and pay attention, not just to the author's voice, but also to the silence of the other person listening to him at that moment. Thus she comes to know them both.
Eric Dean Rasmussen - 14.06.2012 - 16:09
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Nanowatt
A single-loading VIC-20 demo (3583 bytes) presented on November 30, 2013 at Récursion in Montréal. Nanowatt is a 3.5 KB assembly-language program for a 1981 computer that can display only 22 characters on a line. This demo was completed and first shown publicly at Récursion, a demoparty in Montréal, on November 30, 2013. Montfort developed the concept and programmed the demo working with French and Beckett expert Patsy Baudoin and with Michael Martin, who wrote the music and programmed the music system, Soundnaif. Nanowatt is not simply inspired by Samuel Beckett’s second novel, Watt; it, like Jorge Luis Borges’s famous author Pierre Menard, produces a long passage from Watt (and from the French translation of Watt) verbatim. (Source: Author's description)
Alvaro Seica - 14.11.2014 - 13:28
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Ink After Print
Ink After Print is a digital literary installation exhibited in public settings such as libraries. The installation allows readers-users to perform, reenact and rewrite recombinant poems written by Peter-Clement Woetmann "and you" (user-reader). AS -- Ink After Print is an interactive, participatory, digital literary installation made in a collaboration between PIT-researchers, CAVI/Tekne Productions and Roskilde Libraries initiated during the Literature Takes Place (Litteraturen Finder Sted) project and first exhibited in 2012. Ink is designed to make people affectively engage with, and reflect on, the ergodic qualities of digital literature in public settings such as libraries and events. Through their engagement with Ink, people can – individually or collaboratively – produce poems by interacting with three books embedded with a custom-made sensor system, the DUL Radio. The interactive books let people control a floating sentence in an ocean of words toward a sheet of paper to produce a poem, all visualized on a large display. The sentences, written by Danish author Peter-Clement Woetmann, are retrieved from a database.
Alvaro Seica - 04.12.2014 - 12:19
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Thanner Kuhai - 'The Water Cave'
Thanner Kuhai is a short work of digital poetry, an elemental metaphor about wrestling with depression and finding hope against all odds. The reader/player is transported into an environment where language becomes intertwined with nature in a flooded subterranean world. Navigate tunnels and passageways teeming with strange life and shadows of words. Submerge beneath the water. Or seek escape to the surface. Available in English and Tamil.
Shanmuga Priya - 15.03.2018 - 07:02
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Postmodern: An Anagrammatic Slideshow Fiction
Richard Holeton’s gleefully, not to say Gaudi-ly, illustrated glidepath through the remnants of language that trail beyond the (littoral, literal) “postmodern” like the tail of a forlorn freeform comix comet, manage—as the Oulipo poet Michelle Grangaud might have said in her own Formes de l’anagramme à faire plusieurs fois des Temps rondo, in an eschatological imagetext mashup of demon storm troops, pert rodents, and skidrow resident poets, porn purveyors, and sperm donors via Flickr borrowings, Wiki burrowings, and whole tons of homebrew images bluesily rendered ala twerk.
(Source: Vassar Review introduction)
Richard Holeton - 20.04.2018 - 09:17
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Penelope
Penelope is a combinatory sonnet generator film based on the Odyssey, addressing themes of longing, mass extinction, and migration. Recombinations of lines of the poem, video clips, and musical arrangements produce a different version of the project on each run. Penelope was co-produced by Alejandro Albornoz (Sound), Roderick Coover (Video), and Scott Rettberg (Text and Code). Using a similar combinatory structure to that of Raymond Queneau's Cent mille milliards de poèmes, the computer-code-driven combinatory film can produce millions of variations of a sonnet that weaves and then unweaves itself. The program writes 13 lines of a sonnet and then reverses the rhyme scheme at the center couplet. Each 26 line poem is produced as an audiovisual composition, with lines spoken by voice actress Heather Morgan. The system determines their composition, produces and plays the video and musical composition, and then displays the text of the generated poem before composing a new sonnet pair. The videos by Roderick Coover and the sound compositions by Alejandro Albornoz also recombine in an algorithmic structure.
Scott Rettberg - 13.08.2018 - 20:48
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Hand Lamb or Ham Hockery
Hand Lamb or Ham Hockery
Cal LaFountain - 17.08.2018 - 21:21
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Robopoem@s
Robopoem@s are robots created by Tina Escaja. Robots that are designed to take the apearance and function of poems, able to move, and even "speak" different poems.
Tina Escaja - 27.08.2018 - 01:13
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Tales of Automation
Tales of Automation is a collection of nine short "tales" that explore the effects of digital automation - algorithmic behavior modification, quantified feedback, life-logging, etc. - on daily life and subjectivity. Each tale is a never-ending cycle of asynchronous loops (of text and video) that present a single character at a moment of distracted attention, attempting and always failing to self-narrate experience in its complexity, materiality and abstraction. Notifications, data and spam intrude on consciousness at the cusp of self-awareness. Vision is composited, filtered and collaged. The multiplicity and variability of nested loops means that the short fictions are without beginnings or ends, or rather they begin in medias res and end when the nature of the characters' situation becomes evident.
The work is best presented in full screen mode on any browser, but preferably Chrome. Interaction with each tale involves a simple click, page scroll or mouse movement. In Tale 7, the central image can be dragged to read what is underneath. There is no sound in this work.
(Source: Author's description)
Filip Falk - 29.08.2018 - 12:53
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Se souvenir des morts
"Le 1er octobre 2015, dix personnes ont été tuées par balle au Umpqua Community College à Roseburg en Oregon. l’université de l’état de Washington où j’enseigne se situe assez près de la scène du massacre pour que les médias traitent la nouvelle comme étant locale et envoient des journalistes sur les lieux. C’était définitivement assez près de la scène pour que je pense: «et si…».
La fusillade de Umpqua, écrit Nick Wing dans The Huffington Post, a été la 45e fusillade de l’année s’étant produite dans un établissement scolaire, ainsi que la 142e ayant eu lieu depuis la tuerie de la Sandy Hook Elementary School à Newtown au Connecticut en décembre 2012.
Plusieurs de ces fusillades ont été qualifiées de mass killing, qui se définit par le FBI comme un massacre par arme à feu comprenant quatre victimes ou plus excluant l’auteur de la tuerie. Beaucoup de personnes sont mortes dans nos écoles.
Antoine Fleury - 31.08.2018 - 15:21
