Search

The search found 6 results in 0.008 seconds.

Search results

1. LYMS

   In the video lyms (which is a non-semantic word), I have solved the question of translation in a special way: words in different languages like spanish, french, german, english and scandinavian are put together.  None of them have the same meaning, the viewer may just taste on the words.  In the first part of the video all the words are starting with f.  In the beginning the f's are exposed in a way they constitute different pictures. The system of the expositions are based on how I made concrete poetry in the sixties. Instead of repeating them differently line by line, the new technology allows me to expose them differently through time.  Then more and more letters are shown, until all the words are exposed.

   Each viewer will have a different experience dependent upon their language background, and the ability to enjoy the poetic combination of the words and the visuality together with the music.  

   Patricia Tomaszek - 12.01.2011 - 18:22

2. Poemas no meio do caminho

   This  is a combinatory text. There are two versions of the text – two ways of reading it: horizontally and vertically. Both versions allow the reader to save her own textual production, and then to send that production to a weblog. The reader can recombine the text according to the paradigmatic axis of language: the reader selects, the machine morphs/combines. However,  some “obligatory” options resist. By quoting Dante, Poemas no meio do caminho is a metaphor of the reading practice: “poemas no meio do caminho da leitura” (“poems midway upon the journey of reading”). It suggests an ephemeral poetic construction that appears and vanishes in a click. On the one hand these poems destroy the sacredness of the poetic language; on the other they realize the poïesis.This work has won (ex-aequo) the 4t Premi Internacional "Ciutat de Vinaròs" de Literatura Digital.

   Patricia Tomaszek - 13.01.2011 - 17:49

3. 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

4. The Last Performance

   Author description: The Last Performance [dot org] is a constraint-based collaborative writing, archiving and text-visualization project responding to the theme of lastness in relation to architectural forms, acts of building, a final performance, and the interruption (that becomes the promise) of community. The visual architecture of The Last Performance [dot org] is based on research into "double buildings," a phrase used here to describe spaces that have housed multiple historical identities, with a specific concern for the Hagia Sophia and its varied functions of church, mosque, and museum. The project uses architectural forms as a contextual framework for collaborative authorship. Source texts submitted to the project become raw material for a constantly evolving textual landscape.

   Eric Dean Rasmussen - 24.02.2011 - 08:10

5. The Inframergence

   The outer interface of this work is a spiral of buttons, each of which leads to an interactive screen. Beginning at the outside, the screens consist of overlaid polylinear skeins. Each skein has an “obverse,” which goes in the opposite direction. As the reader proceeds through the spiral to the center, nonlinearity emerges. The skeins become more concentrated and are then replaced by clusters; the clusters then clump together into structures, in which some elements are dominant over others; and eventually a full diagrammatic syntax appears, in which any element can be connected to any other using the full complexity available to networks.

   (Source: Jim Rosenberg in http://www.giarts.org/article/travels-contemporary-new-media-art)

   Patricia Tomaszek - 04.03.2011 - 22:19

6. about nothing, places, memories, and thoughts: robert creeley (1926-2005) and patricia tomaszek

   about nothing, places, memories, and thoughts: robert creeley (1926-2005) and patricia tomaszek in a cut and mixed poem-dialogue
   

   Patricia Tomaszek - 04.03.2011 - 22:24