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Urs Schreibers "Das Epos der Maschine": Wenn konkrete Poesie digital wird
Urs Schreibers "Das Epos der Maschine": Wenn konkrete Poesie digital wird
Patricia Tomaszek - 23.07.2018 - 16:30
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Cling-Clang-Cornelius: Digital Sound Poetry as Embodied Posthumanism
Starting from the problematic gap between the unicity of the human voice and the socio-cultural variables that are unavoidably attached to her expressions, this presentation proposes the phenomenon of ‘sound poetry’ as paradigmatic bridge between a biological reality and its posthuman condition. The underlying reasoning harks back to media artist and philosopher Norie Neumark’s remark that sound poetry like no other mode of artistic expression “stimulates reflection on the uncanny and complicated relation between embodiment, alterity, and signification” (2010). Most notably the appropriation and – literal – embodiment of electronic technologies in digital sound poetry has recently yielded a new dynamic to the performativity of poetic composition. With today’s technical possibility to sample and mediate minimal acoustic nuances in the here-and-now we are allowed a glimpse into the supplement of meaning generated by the meeting between text/script and voice/sound. Such post-human amplification of an intrinsically arch-human act accordingly finds its broader relevance broadside conventional aesthetic standards.
Carlos Muñoz - 03.10.2018 - 15:57
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Fuora Grenen
Denne digitale fortellingens forgreninger gror frem som fra en væskefylt plante, fylt med opplysninger og sidespor. Ved å likestille informasjon fra ulike felt, vitenskaplige eller personlige, belyser 'Fuora Grenen' nye dødvinkler i det mikro-makro-kosmiske perspektiv. (nrk.no)
Miriam Takvam - 31.10.2018 - 15:50
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Sound Spheres
Sound Spheres combines computational digital media and storytelling techne to provide an interface with which users can create and experience interactive aural narratives. Sound Spheres was conceptualized and created to encourage active engagement with sound sources (the colored spheres) representing narrative elements. Participants may engage these sound spheres to construct aural narratives using multiple interactive techniques. As participants do not know the contents of sound spheres, narratives constructed using this technique are serendipitous, similar to actively tuning a radio from one station to another, hoping to find interesting aural content. Meaning is supplied by the participant's interpretation, which, in turn, depends on memory, cultural context, and previous hearing experiences. Sound Spheres suggests that engaging narratives can be created from non-dialogic sound sources. And, through its remix of radio, aural narratives, and non-linear composition, Sound Spheres demonstrates new methods for creating and experiencing interactive digital storytelling.
Vian Rasheed - 12.11.2019 - 00:14
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Sound and queer affirmative space in augmented reality
Despite the burgeoning interest in the creation of imaginative spaces in AR and VR, very little focus has been given to sound. This paper borrows aspects of cinema studies and cultural geography to argue that sound can create a discursive environment and a queer space in Augmented Reality (AR). Referring to Michel Chion’s Audio-vision (1990), and Steven Shaviro’s Post-cinematic affect (2010), I explore how the assemblage of aural, visual and haptic in AR pieces, such as Caitlin Fisher’s ‘Chez moi’ (2014), create what Lev Manovich (2001) calls ‘hybrid spaces’, spaces visually disjointed but semantically connected. In ‘Chez moi’, Fisher invites the viewer to put on their headphones and watch the video on their smartphone while walking down Hayden street in Toronto, where the lesbian bar Chez moi was located when Fisher was a teenager. The audiovisual piece augment the physical reality of the viewer through a montage of various media forms, such as Fisher’s voice over, images of news reports, and fictitious audio and images.
Vian Rasheed - 12.11.2019 - 03:21
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Digital Sound Poetry: Peripheral Platform for Posthuman Performativity
According to Steve McCaffery (1998), sound poetry’s primal goal concerns “the liberation and promotion of phonetic and sub-phonetic features to language to the state of a materia prima for creative, subversive endeavors.” (163). Accordingly, it thrives on an embodied conflict between expectation and interpretation as it allows communicative ‘uptake’ while problematizing the communicative ‘relation.’ Or, as Brandon LaBelle (2010) argued, “sound poetry yearns for language by rupturing the very coherence of it.” The ‘techniques’ thereby employed vary widely: mounting idiosyncratic language and notational systems, performing spontaneous and improvised poetical oralities, fooling with the performer’s body to rupture the ordered movements of vocality, or indeed by appropriating new technologies and digital devices in order to disassemble, reconfigure, and ‘cobble together’ personal or imported sounds and utterances.
Vian Rasheed - 12.11.2019 - 03:47
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A Trace
Explained very simply, this piece is a story about a man being presented with a mysterious object that is either:
- Directions upon which he must act or
- Documentation of his own origins
If they are the former, then the events that are listed are the events that proceed. If they are the latter, the events that proceed are his re-encounter with how he came into being not as an organism, necessarily, but as a someone who believes in space, physicality, reason, etc.
The piece alternates between two locations: "in here", which is where the narrator builds a space in order to orient himself in relation to the question the mysterious object presents, and "that sort of place", which is where the narrator is presented with new information that both helps and antagonizes him. The juxtaposition of the closed, structured space of "that sort of place" with the open sprawl of "in here" invokes the question that the narrator circles around - whether he can recreate or reconstruct his own beginnings or origins to the point of creating the closed, structured space in which he exists now.
Cassie Spiral - 03.04.2020 - 19:40
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The Lips Are Different
The Lips are Different is about the Canadian citizen Suaad Hagi Mohamud — born in Somalia — who was accused of not being a Canadian citizen when she tried to return to Canada from Kenya in 2009. The work links over-surveillance, racial discrimination, photography, media representation and issues of identity. It comprises real-time video written in Jitter; improvised music based on a comprovisation score and both performed text and screened text.
An article about the piece Creative Collaboration, Racial Discrimination and Surveillance in The Lips are Different containing the piece itself can be found here.
Hazel Smith - 20.03.2021 - 08:28
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Intertwingling
INTERTWINGLING is a work for the web and for live performance, which involves hypertext and improvised music. The hypertexts are very diverse and include aphorisms, parodies, poems, fragments of narratives, and quotations. These are connected by hyperlinks, which allow the screener to take many different pathways through the work, so each screening will be different (and not all will include every text). In a live performance, the improvising musicians must respond to the hypertexts sonically, but they can do so in any way they choose. The hypertexts were written and visually designed by Hazel Smith, with image backgrounds supplied by Roger Dean. The sound is taken from a live performance of the work, given in December 1998 at the Performance Space, Sydney, which involved extensive digital processing of electronic and acoustic sound, played by the austraLYSIS Electroband (Roger Dean, Sandy Evans, and Greg White). The recorded sound has been slightly edited, and is presented playing both forwards and backwards, in streaming audio.
Hazel Smith - 26.03.2021 - 12:12
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complete Covid-19-genome as a soundpoem
The complete genome of the Covid-19-virus is read aloud as a soundpoem. The four letters representing the nucleotides (A, T, C, and G) are read aloud by an automated voice, resulting in a rapid succession of sounds.
Lene Tøftestuen - 06.05.2021 - 16:39
