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Nous n'avons pas compris Descartes
“Nous n’avons pas compris Descartes”(1991), de André Vallias, aponta para a década que consagrou o uso de softwares de imagem e tornou corriqueiras as animações geradas em computador. É evidente o apelo estético desses recursos. No poema citado aparecem figuras típicas da produção computacional. A de cima sugere o espaço plano, enquanto que as corcovas representadas na de baixo manifestam dois centros de curvatura. O espaço achatado é pressuposto da geometria de Euclides-Descartes, mas caracteriza igualmente a de Minkowski, arcabouço da relatividade restrita de Einstein. O espaço-tempo curvo se associa à outra relatividade, a geral, teoria de gravitação que prevê o arqueamento nas proximidades da matéria, sendo tão mais intenso quanto maior for a densidade.O cogito cartesiano assevera o salto do pensamento abstrato à existência. Do substrato mental ao material. Vallias propõe também um salto: da planura deserta da página para o planar recurvo que desenha a materialidade do poema. Este existe porque existe a página, a tela do computador, a mente.
Luciana Gattass - 26.11.2012 - 21:50
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217 Views of the Tokaido Line
The great Japanese travel artists - Basho, Hiroshige, Soseki - are used as models for a digital journal about traveling the Tokaido train line (Kyoto-Tokyo) with my daughter. Working against the implicit linearity of the journey-the forward motion of the train-the six-minute video loop, with generative haiku, is designed to evoke the ephemeral jolts of contemporary travel and to uncover the moments lost in any narrative retelling.
(Source: Author's description)
Scott Rettberg - 21.12.2012 - 15:16
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Poetic Machines: an investigation into the impact of the characteristics of the digital apparatus on poetic expression
This thesis aims to investigate digital methods of signification in order to examine the impact of the apparatus on poetic expression. This is done through a critical analysis of the translation process from analogue to digital, in the sense that even as we read a page we are in fact translating sight into sound. The resulting effects of this change in form are explored in order to understand their impact on meaning-making in the digital realm. Through this interrogation the comprehension and definition of ePoetry (electronic poetry or digital poetry) is extended, by exposing the unique affordances and specificities of digital expression. Digital poetry theorists such as Loss Pequeño Glazier posit that the emerging field of electronic literature is composed of interweaving strands from the areas of computer science, sociology, and literary studies. This is reflected in the interdisciplinary nature of this thesis, which necessitates an engagement with the broad areas of translation, literature, and digital media studies.
Scott Rettberg - 07.01.2013 - 14:33
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Fugues
Fugues, à la fois adaptation hypermédiatique de Piano (René Lapierre, Les Herbes rouges, 2001) et réflexion critique sur le texte, est une réalisation du Collectif NT2. Le site Web a été conçu par Julie Lapalme, à partir d’un scénario de Bertrand Gervais.
(Source: NT2 project site)
Scott Rettberg - 09.01.2013 - 13:55
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Logozoa
Lo·go·zo·a n [fr. Gk logos word + zoia animals] (2005) 1 : word animals : textual organisms 2 : a phylum or subkingdom of linguistic entities that are represented in almost every kind of habitat and include aphorisms, anti-aphorisms, maxims, minims, unapologetic apothegms, neokoans, sayings, left-unsaids, shamelessly proverbialist word-grabs, epigrammatological disquisitions, lapidary confections, poemlets, gnomic microtales, instant fables, and other varieties of conceptual riffs
Words change everything. We create poems and stories to free the world from itself, to reveal the many feral faces of life. But ironically these liberating words are usually imprisoned on the page or computer screen. Out in the “real” world of day-to-day activity, we use words more bluntly. We put labels and signs on things to tame them—identify, categorize, explain, instruct, proclaim ownership. What if instead the labels could liberate the everyday world from the literal, proclaim rather than cover up the mysteries? What if they could become Logozoa—textual organisms that infest the literal with metaphor and give impetuous life and breath to meaning?
Adopt-A-Zoa
Scott Rettberg - 13.01.2013 - 00:23
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Training Missions
"Training missions" employs a tabular-format, three-part poem as a gateway to discussion-demonstration of three online activities, so defined: imagining, imaging, and logging. Through the use of relatively simple graphics and a few carefully chosen links, the piece lampoons the functional overkill that often under- (and over-!) writes the wholesale use of imagining and imaging technologies. The final section, "logging," begins by foregrounding many of the semantic and syntactic disparities latent in our word processing age---an age in which grammatical niceties are often taken for granted---and concludes by exploring the more seductive implications of media (televisual and Hollywood) culture via a Flash sequence of loglines (with voiceover).
One aim of the work is to draw reader attention back to the title poem, with the hope that readers might spend more time with initial conditions (i.e., the tabular poem that serves as gateway to the piece) in order to think through the conceptual and often conflicting aspects of media work.
(Source: 2002 ELO State of the Arts gallery)
Scott Rettberg - 13.01.2013 - 19:34
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hyPoem
A dynamic interactive environment for typographic hyperpoetry. Four poems and an open system to create your own.
Scott Rettberg - 17.01.2013 - 12:42
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Postales
A woman leaves her country. She tries to meet vacant spaces, to forget paths. She's considering the new territory. She's not stopping. A trip is more a seeking than an adventure. The decision to leave a country first comes from the will to break apart of the family circle, with the blind old uses, and over all, the will to get out from a cocoon, and take the way of self-modification.
Sequences are derogating, asking for answers, facing or not each other. A quest or an escape, or simply to be a Labyrinth, where images goes back to the target, in the central node of it's performance and its hopeless thoughts: the nude, the nude flesh of life.
(Source: 2002 ELO State of the Arts gallery)
Scott Rettberg - 17.01.2013 - 21:46
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Slamming the Sonnet
Slamming the Sonnet is a website emerging from the collaborative partnership of Jayne Fenton Keane (poet) and David Keane (artist and programmer). It investigates the construction of virtual bodies by using Slam poetry as a device to explore implications of re-theorizing the role of authors in habitats of poetry that are made of technological flesh rather than processed tree matter.
This site investigates alternative models of interactivity through engagement with a virtual body made of space, movement, sound and flesh. It becomes terra electra, replete with multiple species of texts, some of which evolve in direct response to the user's actions. It becomes a dismembered cyborg that becomes a part of you as you navigate through it; as your senses are seduced by its voices, breathing and gaze. In other words, it interacts with you beyond the computer screen; it infiltrates your body. It subverts identity and creates a hyperreal competition where everyone is given equal status in its time and space: dead or alive, famous or unknown.
Scott Rettberg - 17.01.2013 - 23:12
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Soothcircuit
Soothcircuit is a large-scale work of Web poetry that relies on interactive mechanisms inspired by the I Ching, an ancient Chinese oracle book. The work echoes the I Chings purpose of providing not so much glimpses into the future as insights into different situations. Each readers individual interaction with the work will produce a different combination of aphoristic stanzas. Each unique result can be approached as both a traditional poem and as a reflection upon the readers unique personal circumstances -- an oracularanalysis of the reader's current situation. If the reader addresses a question to the Soothcircuit, the reading can also be viewed as an (indirect) answer to the question.
Scott Rettberg - 19.01.2013 - 23:27
