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1. Stéphane Mallarmé's The Conversation

   Stéphane Mallarmé's “Demon of Analogy” is a prose poem about demonic nature of mishearing. Francis Ford Coppola's “The Conversation” is about the demonic technologies that allow us to hear all-too-well. Joe Milutis' “Stéphane Mallarmé's 'The Conversation,'” with little to no editing mashes up these classic texts, to suggest that one may be a mishearing (or spooky translation) of the other. In addition, the original text of the Mallarmé poem is translated by way of a number of bending techniques that, while getting back to the original sound and meaning of the French, bend, distort and remix the original. This project is part of a larger scholarly and creative exploration of experimental translation as an extension of remix and appropriation practices. A number of chapbooks, videos, lectures and performances have emerged from this project, including Monkey pOm!

   Marius Ulvund - 05.02.2015 - 15:38

2. The Reverberatory Narrative: Toward Story as a Multisensory Network

   The Reverberatory Narrative: Toward Story as a Multisensory Network is an evolving, transmedia series that employs print, film, installation and digital practices in the assembling and disassembling of lyric essays, poetry, graphic design, photography and physical artifacts in an experimental documentary of memory, time and story. The initial form of this documentary work was an installation at the photography gallery Agnes in Birmingham, Alabama in 1993, titled "Undressing Audrey," in which the viewer physically "undressed" the book, slipping text from a woman's garments, one button and layer at a time. Through subsequent, increasingly digital interpretations, Pretty relied on a layered structure that attempted to approximate the original installation experience through a series of overlapping narrative threads that could be sorted and resorted by different contexts and media types, such as time, place, character, artifact, image, audio, and video, among others.

   Magnus Lindstrøm - 05.02.2015 - 15:40

3. And Speak of Long Ago Times

   A 21st century art historian confronts the known and the unknown in both his life and his work, as - in a polyphonic 19th century remix - And Speak of Long Ago Times replays the words of 19th century Florentine sculptor Giovanni Duprè; replays Giuseppe Verdi's words from his autobiography that concern his antislavery opera Nabucco; replays the Narrative of the Adventures and Escape of Moses Roper from American Slavery which was published in London in 1837 and went through at least 11 editions. It is 1842. The Irish American sculptor Hiram Powers is in his studio in Florence, creating a model for The Greek Slave. It is the year that Nabucco premiered at La Scala in Milan. The Irish woman poet Frances Browne has just published "Songs of Our Land" in the Irish Penny Journal.

   Marius Ulvund - 05.02.2015 - 15:51

4. Motions

   Motions by Hazel Smith (text), Will Luers (image and coding), and Roger Dean (sound) is conceived as a multimedia web book, and optimized for swiping and scrolling on tablets and computers. It is also a performance piece. It is programmed in HTML 5/Javascript. Motions takes human trafficking and contemporary slavery as its focus. Human trafficking is an accelerating form of crime and is a world-wide problem. It is one of the darker outcomes of globalization, the breakdown of the nation-state, and increasing ease of travel. Static and moving, variable and sequential, the piece presents image and text fragments from different genres: documentary, journalism, poetry and narrative. These fragments are programmed to evoke the subjective experience of enslavement in motion. The sound is constructed as an interactive mosaic. It includes musical transformations of train and plane journeys. It also features two compositions that use instrumental, timbral, rhythmic and harmonic devices characteristic of very different parts of the world. These materials are compositionally transformed with electroacoustic music techniques, including a range of algorithmic compositional devices.

   Elias Mikkelsen - 05.02.2015 - 15:53

5. Round

   Round is a computational poem that is both non-interactive and deterministic. It is computational in that computation is an essential aspect of the work, non-interactive because there is no input accepted as the program runs, and deterministic because the text produced should be the same each time on any properly-functioning computer. The poem is also infinite (in the sense of boundless); there is no final line or internally specified condition that will cause the program will stop. Round is not never-ending, since whatever computational resources one has will eventually be exhausted, but there is no pre-set length to the poem. The poem is assembled out of ten fragments, one of which is a newline (line break). The other nine are strings of legible text. Round computes the digits of π, pausing after each digit is computed. (Each time Round is loaded, it begins at 3, continues to 1, continues to 4, and so on.) For each digit computed, the fragment corresponding to that digit is added to the poem. If the fragment selected is a line break, Round begins a new line. (Source: author description)

   Eivind Farestveit - 10.02.2015 - 15:39

6. best.hello

   best.hello is a web poem, composed of original and appropriated texts. The appropriated texts were liberated from emails received by the author. Both bodies of text have been fed through a text-manipulation program to reorder the words, interleaving them to unfold new layers of meaning or interpretation. The resulting poem, best.hello, utilizes the affordances of both time-based visual media and the encounter with a ‘pop-up’ ad or alert box on the web. When combined, the two create a dialogue between them that refuses to be ignored or passively experienced: the alerts trigger the browser to jump to the front of other running applications, asserting the poem even after it has been minimized or concealed behind other applications. Even while the text obscures itself, several orders removed from its original context, shifting in and out of legibility, it demands to be read. What would be the "best" hello? Is it one that cannot be ignored? best.hello exists in the tension between restraint and release, hiding while wanting to be found in the most mundane of cultural exchanges: the greeting.

   (Source: ELO 2014 Conference)

   Marius Ulvund - 10.02.2015 - 15:50

7. Vniverse iPad App [iOS adaptation]

   The VNIVERSE app is a poetry instrument you can play. In DRAW mode, touch and drag to create your own constellations. In CONSTELLATIONS mode, explore the ten constellations found in the coordinate print book, V : WaveTercets / Losing L’una (SpringGun Press, 2014). WAVETERCETS plays the entire run of poem tercets for you, starting at the beginning. Or, by touching any star, you may begin anywhere you like. ORACLE lets you pose seven questions to the sky. CLEAR button clears the sky. Stephanie Strickland’s V was first published by Penguin (2002) as an invertible book with two beginnings, V : WaveSon.nets / Losing L’una. Mid-book, a URL leads to V : Vniverse (2002, Director project with Cynthia Lawson Jaramillo). Another part of V is the Flash poem, Errand Upon Which We Came (2001, with M.D. Coverley). The Vniverse app for iPad was created in 2014 with Ian Hatcher.

   Sumeya Hassan - 12.02.2015 - 14:30

8. Separation

   Le projet La Séparation réunit des artistes (du groupe ALIS et du collectif I-Trace), des enseignants-chercheurs et des élèves-ingénieurs (de l'Université de Technologie de Compiègne) autour de "la poésie à 2 mi-mots", inventée par Pierre Fourny. La "poésie à 2 mi-mots" s'attache d'abord à l'aspect visuel des mots et se fonde sur "la police coupable", police de caractères permettant de couper les mots en deux horizontalement et d'associer la moitié obtenue à une autre moitié pour former un nouveau mot. Très vite, Pierre Fourny a fait développer un logiciel (le combinALISons), lui offrant la possibilité de trouver un nombre de combinaisons impossibles à saisir par un cerveau humain moyen, formé à la lecture dite "rapide et silencieuse". Bientôt, la "police de l'ombre" allait également voir le jour (grâce au logiciel), révélant la présence de mots contenus dans d'autres. Aujourd'hui, une "centrale police" s'impose également. La "poésie à 2 mi-mots" est désormais une pratique éprouvée regroupant différents procédés qui permettent de jouer d'une manière originale, sur scène et au-delà, avec la forme des mots.

   Thor Baukhol Madsen - 12.02.2015 - 15:01

9. Objective Poet

   Objective Poet is a multimedia object that consists of a computer modelled kinetic sculpture in the shape of modified cube accompanied by sound design, reflecting its microclimate. We plan to install the Objective Poet in a public space where people talk a lot: on a central square, in a cafeteria, etc., in Milwaukee, Wisconsin. A sound capturing device is going to be attached to the artefact to collect the verbal interactions of the passersby in the close proximity. Analyzed using Maximus P modules, the sounds of these conversations will be converted into a sound poem. The text will be vocalized or transmitted in a multichannel configuration.

   (Source: ELO 2014 Conference)

   Magnus Lindstrøm - 17.02.2015 - 15:34

10. Beyond the Googlization of Literature: Writing Other Networks

    It's true, poets have been experimenting with producing writing (or simply writing, just writing of a sort not familiar to us - writing as input and writing as choosing) with the aid of digital computer algorithms since Max Bense and Theo Lutz first experimented with computer-generated writing in 1959. What is new and particular to the 21st century literary landscape is a revived interest in the underlying workings of algorithms, not just a concern with the surface-level effects and results that characterized much of the fascination in the 1970s and 1980s with computer-generated writing. With the ever-increasing power of algorithms, especially search engine algorithms that attempt not just to "know" us but to in fact anticipate and so shape our every desire, our passive acceptance of these algorithms necessarily means we cannot have any sense of the shape and scope of how they determine our access to information, let alone shape our sense of self which is increasingly driven by autocomplete, autocorrect, automata.

    Daniela Ørvik - 17.02.2015 - 15:47

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