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1. OneSmallStep: a MySpace LuvStory

   "OneSmallStep: a MySpace LuvStory" is an unfolding automated jam—a conscious sampling and randomized regurgitation of MySpace.com media archeology wherein desire, fantasy and fetish form a composted feast for the withered and lonely senses in an eternally habitual loop of voyeuristic consumption, spectacular regurgitation, virtual intimacy and identity production/consumption. 

   Artist Statement

   We are not ourselves. We cut and paste as we are cut and pasted. We are the remix of images and sounds that never existed outside of this mediated dream. And we are happy to exist this way. 

   "OneSmallStep: a MySpace LuvStory" is an unfolding automated jam - a conscious sampling and randomized regurgitation of MySpace.com media archeology wherein desire, fantasy and fetish form a composted feast for the withered and lonely senses in an eternally habitual loop of voyeuristic consumption, spectacular regurgitation, virtual intimacy and identity production/consumption. 

   With each launch, "OneSmallStep" runs continuously while randomly remixing content from a database that is periodically updated.

   (Source: 2008 ELO Media Art show)

   Scott Rettberg - 09.01.2013 - 22:40

2. Kodachrome Blue Syntax

   Kodachrome Blue Syntax" is a digital composition that explores how a sense of one's past is represented and re-inflected through a montage of archival film clips and a chorus of looping, poetic voices transcoded across multiple media formats. 

   Scott Rettberg - 13.01.2013 - 17:53

3. Inanimate Alice, Episode 3: Russia

   This is a work of fiction told in verse, cinematically, and with video games about the coming of age of a girl named Alice. This novel— self-consciously labelled as such to evoke the original meaning of the term: a new genre— reinvents the genre in digital media for a generation portrayed through Alice.

   Even though Alice’s circumstances are atypical (living around the world with her oil industry employed father and being home-schooled by her artist mother), she is emblematic of a generation whose experience of the world is deeply interconnected with digital media. Her developing literacy includes programming her animated creation and imaginary friend Brad on a portable device that allows her to take photographs and videos, play games, search information, and symbolically be a part of her, containing some of her memory and identity. This device is the 21st century version of the journal or diary, in which an Alice from previous centuries would have developed her voice and identity through writing, drawing, painting, scrapbooking, and other multimodal forms of writing compatible with paper-based technologies. Curiouser and curiouser.

   Hannelen Leirvåg - 10.02.2013 - 15:03

4. Pause

   This visual work could be seen as a kind of visual poem, scroll drawing, or webcomic strip. Seemingly the result of tracing or drawing by hand on thin paper, the piece has two layers of drawing: one layer is presented at the beginning of the piece for a few seconds before it fades into an opacity that mimics ink shining through from the other side of thin caliper paper. To add complexity, the work seems to be created on a long strip exposed to view partially through a scrolling mechanism we cannot control and which goes by at a rate that is challenging to keep up with. Zellen acknowledges this desire for control by pausing the scrolling just for a moment and briefly bringing up the word “pause” before continuing the rapidly scheduled presentation of the work.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 15.02.2013 - 14:27

5. All the News that's Fit to Print

   This generated poem takes a deceptively simple concept and executes it beautifully. It harvests headlines and cover images from the New York Times published between 2005 and 2006 and randomly combines them to create a mock cover. This juxtaposition of text and images re-contextualizes both to create an incisive and occasionally humorous comment on the content of news coverage at this time in American history. Because the images refresh every 6 seconds, the sequence created between headlines form a kind of poetic text, a layering of lines over time that forms fascinating streams of compressed, verse-like texts. By providing images of the front page of the NY Times, she reminds us of the original context, which we are now predisposed to read with ironic detachment.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 19.02.2013 - 18:53

6. Noiselines

   This collaborative poem is composed on a “page space” created by Valdeomillos to explore the signal-to-noise-ratio by placing interface, image, and text in a relation by which they create noise for each other.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 28.02.2013 - 13:54

7. Dibagan

   In this collaborative poem Geniwate takes a relatively simple interface and page space designed by Stefans and makes it powerfully political. The audio recording of a reporter telling the story of surviving an RPG attack in Iraq, along with a photograph with a large drop of blood on the lens, make for a chilling backdrop for the poem. With this frame of reference set, the poem is presented as a stack of words at the base of five columns, which the reader can position by placing the mouse on the base of a column until it reaches the desired height on the screen. It takes some time to place and read the words on each column (which are readable both vertically and horizontally), which allows the looping audio clip and changing hues on the image clip to sink in for a visceral experience.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 28.02.2013 - 14:04

8. untitled(to reconstruct)

   This collaborative poem places the same text Jody Zellen wrote for “Cut to the Flesh” into a page space designed by Jason Nelson (originally for “Branch/Branch” and “A Tree with Managers and Jittery Boats”). This tree structure is a fascinating way to organize lines of verse because it creates multiple possible readings as the reader opens up branches in the hierarchy.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 28.02.2013 - 14:07

9. Clippings

   This collaborative narrative was written by Valdeomillos on a page space developed by Jason Nelson for his poems “Dreamaphage” (the first version) and “Between Treacherous Objects.” This space creates spatial layers with an intuitive navigational interface that allows readers to pan, scan, and move back and forth through layers each of which reveals a portion of the narrative, which is structured by a conversation about memory, photography, past, present, and how much you might know someone that you love. The images, textual arrangements, and layers create clusters of spatially organized language that gesture towards poetry with its lines of verse and stanzas.

   (Source: Leonardo Flores, I ♥ E-Poetry)

   Hannelen Leirvåg - 28.02.2013 - 14:19

10. Biggz

    This generative poem is built from four elements: an image, a caption, lines of verse by Simon Biggs, and a JavaScript framework Glazier developed for “White-Faced Bromeliads on 20 Hectares.” The poem and its contextual information are randomly generated whenever the page is loaded, reloaded, or every 20 seconds— which makes a marked difference in how one reads and conceptualizes the poem when compared to “White-Faced Bromeliads,” which refreshes every 10 seconds. Biggs’ lines of verse are perfectly grammatical, but unconventional in its logical formulations in the tradition of Language Poetry or Gertrude Stein, which makes them stand up well to the page’s generative engine.

    (Source: Leonardo Flores, I ♥ E-Poetry)

    Hannelen Leirvåg - 28.02.2013 - 14:24

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