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To Touch
It may seem paradoxical to create an online work on touching. One cannot touch directly: in this case touching requires a mediating tool such as a mouse, a microphone or a webcam. This touching experience reveals a lot about the way we touch multimedia content on screen, and maybe also about the way we touch people and objects in everyday life. The internet user has access to five scenes (move, caress, hit, spread, blow), plus a sixth one (brush) dissimulated in the interface. She can thus experience various forms and modalities of touching: the erotic gesture of the caress with the mouse; the brutality of the click, like an aggressive stroke; touching as unveiling, staging the ambiguous relation between touching and being touched; touching as a trace that one can leave, as with a finger dipped in paint; and, touching from a distance with the voice, the eyes, or another part of the body. This supposedly immaterial work thus stages an aesthetics of materiality.
(Source: Author's description from Electronic Literature Collection, Volume Two)
Patricia Tomaszek - 17.09.2010 - 22:09
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How to transform dog/horse pron/hump lovers into art patrons
How to transform dog/horse pron/hump lovers into art patrons
Scott Rettberg - 16.06.2012 - 14:37
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Labylogue
Labylogue est un espace de conversation.
Dans trois lieux différents reliés par Internet, Bruxelles, Lyon , Dakar , les visiteurs déambulent dans un labyrinthe virtuel en quête de l’autre.
Deux à deux ils dialoguent en français.
A mi-chemin entre le livre et la Bibliothèque de Babel de Borgès, les murs se tapissent de phrases générées en temps réel, qui sont autant d’interprétations du dialogue en cours. A son tour le texte fait l’objet d’une interprétation orale qui anime l’espace du labyrinthe tel un choeur de synthèse qui vagabonde sur les rives de la langue en action.
La médiation numérique introduit dans la communication des couches d’interprétation qui échappent à l’intention brouillant parfois le sens. La parole reprend alors ses droits. Elle glisse sur l’interprétation de la machine en privilégiant le contact là où la trace écrite dérive.rive.
Patricia Tomaszek - 23.08.2012 - 13:20
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Plural maps: lost in São Paulo
Plural maps: lost in São Paulo é um projeto de net arte colaborativa que incorpora labirintos construídos em VRML e links que levam a pontos específicos da cidade. O objetivo deste projeto é se apropriar da WWW para a construção de uma cartografia da cidade de São Paulo. Essa cartografia será criada a partir de pontos previamente locados pela artista e por escolhas enviadas pelos participantes da WWW. Participação no Projeto Plural maps: lost in São Paulo. O projeto Plural maps: lost in São Paulo é uma estrutura aberta à participação de internautas e será constantemente alterada durante a Bienal. Qualquer pessoa poderá participar do projeto enviando seu mapa ou retrato da cidade (imagens, sons, textos, vídeos, webcams, etc). Cada imagem enviada é um novo olhar sobre a cidade e será incorporada na estrutura do sistema, constituindo um novo link do labirinto em VRML. (Fonte: Descrição da artista)
Luciana Gattass - 28.11.2012 - 15:04
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Poetry Chains and Collocations
Poetry Chains and Collocation Nets are two intertwined projects that investigate the 1955 edition of Emily Dickinson’s complete poems through various interactive animated navigations of collocated words. As such, they perform what Samuels and McGann term “experimental analyses.” Each of the visualizations displays a different presentation of her work. Poetry Chains begins with two words and attempts to find a chain of words in a specified number of lines that connects them together, displaying them as it succeeds. Collocation Nets begins with a single word centered in the middle of the screen. When the user selects the word, a random selected of its collocations pops out in a surrounding ring. Any of those words can be selected, which results in collocations of that word appearing. A user can toggle into an ambient mode of this visualization that automatically eventually cycles through all of the words, forever. These visualizations offer a continuously dynamic remapping of Dickinson’s work.
Hannah Ackermans - 08.09.2015 - 10:10
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Liberdade
Liberdade [Freedom in Portuguese] is a collaborative digital creation that promotes a dialogue between poetry and videogame languages. Both immersive and interactive, integrating poetic language and technological forms, the work reproduces parts of Liberdade, a neighborhood in São Paulo, allowing users to metaphorically explore the concept of memory. These programmed environments can be saved by readers as personal memories. The convergence of stories (mostly microtales), animations (such as stop-motion and video fragments), poems, and a variety of sound textures, provides an experience that challenges ways of reading and writing in programmed 3D environments. Created at the Federal University of Santa Catarina, Brazil, in 2013, by Chico Marinho and Alckmar Santos, with the help of programmer Lucas Junqueira and writer Álvaro Andrade Garcia, a future version of this complex simulated experience will evolve into a multiplayer version, in which different readers/users will be able to interact with each other's memories of the reading experience.
Hannah Ackermans - 11.09.2015 - 11:08
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Eyecode
Eyecode is an interactive installation whose display is wholly constructed from its own history of being viewed. By means of a hidden camera, the system records and replays brief video clips of its viewers' eyes. Each clip is articulated by the duration between two of the viewer's blinks. The unnerving result is a typographic tapestry of recursive observation.
Miriam Takvam - 01.10.2018 - 19:19
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A.I. Seems to Be a Verb
“I live on Earth at the present, and I don't know what I am. I know that I am not a category. I am not a thing –a noun. I seem to be a verb, an evolutionary process– an integral function of the universe.”
– Buckminster Fuller, I Seem to Be a Verb, 1970
‘Bucky’ Fuller’s well-known quote, originally published in his book I Seem to Be a Verb (1970) contrasts human participation in the material world (which Fuller suggests can be described with nouns) and the ongoing evolutionary processes which influence and shape that world (which Fuller suggests can be described with verbs).
Cecilie Klingenberg - 27.02.2021 - 15:23
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Alarmingly These Are Not Lovesick Zombies
alarmingly these are not lovesick zombies could be considered a near unplayable art-game. Each level is built to be both won and lost, where the player shoots strange enemy objects with increasingly absurd and broken guns, and wildly deviating scoring systems. Behind the experience are odd hand-made videos of toy play and between the levels are narrative clips told with old matchbooks from small towns of the prairie. With perhaps the best title ever given to a game or otherwise, ATANLZ is both disrupted art-game and experience in frenetic madness, an interactive collage engine born from the pixilated undead.
(Source: Artist's Statement, The NEXT)
Jonatha Patrick Oliveira de Sousa - 06.10.2021 - 21:04
