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1. Troubadours & Troublemakers: Stirring the Network in Transmission & Anti-Transmission

   Presented as part of an ELO 2014 conference panel session, "Troubadours of Information: Aesthetic Experiments in Sonification and Sound Technology," led by Andrew Klobucar. In his work, Trouble Songs: A Musicological Poetics, Johnson literally tracks the ways the word “trouble” passes through popular 20th and 21st century song, and the ways trouble is and is not represented via the Trouble Song. For Johnson, there is both a transmission and an anti-transmission of trouble in Trouble Songs: The singer performs an exorcism of trouble, or contributes to a discourse of authenticity with an audience of trouble voyeurs. (These are distinct but related processes, as the trouble singer can relate trouble from outside the community, and can as well—or instead—relate to the troubles of a community; likewise, the trouble singer can reflect, deflect or project trouble.) Trouble itself appears here simultaneously desired and feared, invited and expelled. “Trouble” replaces trouble as a protective spell, as a fetish, and as a generic signifier. The Trouble Song is cast as a spell that evokes and dispels trouble.

   Jeff T. Johnson - 27.06.2014 - 20:48

2. Claire Donato's We Discuss Disgust: Patafeminism Rides The Digital Abject: Cixous, Kristeva, Lispector, Jackson, Hayles, Damon, Lorde, and Others

   "Claire Donato's We Discuss Disgust: Patafeminism Rides The Digital Abject: Cixous, Kristeva, Lispector, Jackson, Hayles, Damon, Lorde, and Others" was initially presented at ELO14 as a rhetorical front to conceal Special America Holds the Light. The front was employed prior to Special America's surprise appearance and announcement that it had absorbed the ELO and rebranded the Hold the Light conference as Special America Holds the Light. "We Discuss Disgust" was then folded into Special America's performance. In particular, we incorporated the following description, which had been provided to ELO for the program:

   clairedonato - 27.06.2014 - 21:01

3. Troubadours of Information: Aesthetic Experiments in Sonification and Sound Technology

   When Ezra Pound exchanged his initial affinities for the fin-de-siècle decadence of pre-war London poetics for a growing interest in mediaeval troubadour traditions, he was looking beyond innovations in literary form and technique; there is ample evidence in much of his critical writing even at this early stage in his career that the poet was seeking a more philosophical relationship between representation, social ethos and cultural meaning. In the song and musical customs of the troubadour, as cultivated within the “Romance” languages and traditions of southern Europe, Pound identified a rare instance where an artwork’s material form inspired shared cultural sensibilities that transcended any and all context specific references or allusions. Exemplary of this level of aesthetic idealism in the troubadour romance, for Pound, are the songs of the 13th century Tuscan poet, Guido Cavalcanti (d.1300). Cavalcanti’s remarkably precise dedication to the structure and rhythm of the line, Pound informs us, demonstrates equally the “science of the music of words and the knowledge of their magical powers” (1912).

   Jeff T. Johnson - 27.06.2014 - 21:22

4. HD pen

   HD pour Haute Densité (High Density) mais également pour Harley-Davidson car ma moto est de cette marque, fabriquée à Milwaukee, WI, USA, c'est un modèle Sporster XR 1200 à la géométrie très européenne. C'est sur elle que j'ai filmé un parcours depuis mon domicile (Montreuil) jusqu'au département des cartes anciennes des Archives Nationales (Pierrefitte-sur-Seine). C'est par la vidéo qu'est rendu ce parcours, augmenté, en filigrane, par la lecture (simultanée en français et en anglais) d'un texte venant sampler et discuter celui de Jorge Luis Borges « De la rigueur de la science » dans l'Histoire universelle de l’infamie/Histoire de l’éternité, p. 10-18, Paris (1951, 1994). Dans ce texte l'auteur se livre sous la forme d'une fable, à une réflexion sur le rapport de la carte et du territoire, et pose finalement la question des rapports des arts et des techniques, de la science et du sensible. Je poursuis ici l'idée d'une écriture par le trajet, non déterminé par la nécessité de rejoindre un point donné comme un GPS nous aide à le faire, mais en dessinant sur la carte, des lettres formant quelques mots.

   Luc Dall'Armellina - 10.10.2014 - 15:40

5. Toxi•City

   Toxi•City is a combinatory piece in which narrative segments and a chorus of historical anecdotes chronicling deaths from Hurricane Sandy are drawn from a data-based of materials. The database contains over one hour of materials and the clips are combined based on keywords. In Toxi•City, 6 characters describe conditions living in a future shaped by global warming and climate change. The film takes place in the industrial river setting on the US east coast. (Source: Author's description)

   Alvaro Seica - 11.11.2014 - 21:06

6. Ink After Print

   Ink After Print is a digital literary installation exhibited in public settings such as libraries. The installation allows readers-users to perform, reenact and rewrite recombinant poems written by Peter-Clement Woetmann "and you" (user-reader). AS -- Ink After Print is an interactive, participatory, digital literary installation made in a collaboration between PIT-researchers, CAVI/Tekne Productions and Roskilde Libraries initiated during the Literature Takes Place (Litteraturen Finder Sted) project and first exhibited in 2012. Ink is designed to make people affectively engage with, and reflect on, the ergodic qualities of digital literature in public settings such as libraries and events. Through their engagement with Ink, people can – individually or collaboratively – produce poems by interacting with three books embedded with a custom-made sensor system, the DUL Radio. The interactive books let people control a floating sentence in an ocean of words toward a sheet of paper to produce a poem, all visualized on a large display. The sentences, written by Danish author Peter-Clement Woetmann, are retrieved from a database.

   Alvaro Seica - 04.12.2014 - 12:19

7. View from Within

   View from Within is an experiment in storytelling using an infinite canvas framework. The project was inspired by Scott McCloud’s vision for the future of webcomics as an infinite canvas, with the browser as a portal to an experience unbounded by the traditional borders of the printed page. The work is constructed from layers of hundreds of hand-drawn illustrations all viewed as if at one scale, and thus incapable of forming a coherent scaling scene without a zooming digital framework. When used continuously in this manner, the infinite canvas does not resemble the panel-based methods of sequential art: the space in-between, along, and outside the path are as or more essential than the linear chain of nodes. This iteration is built in Unity as a 2D canvas designed for viewing through a prototype augmented reality headset, the Seebright. The Seebright uses a set of mirrors and optics to overlay a stereographic view of a smartphone screen in front of the viewer. By eliminating the physical screen, we can explore the idea of the infinite canvas as a virtual construction, fully removed from the metaphor of page and portal. (Source: ELO 2014 Conference)

   Marius Ulvund - 29.01.2015 - 14:51

8. Quantum Collocation: Experimental Poems for Mobile Digital Devices

   Quantum Collocation is a work of experimental writing designed as an application for mobile digital devices. An interactive erasure of an excerpted page from a foundational essay by preeminent physicist Niels Bohr, Quantum Collocation applies the laws of quantum mechanics to the user’s experience of the work, allowing her to uncover a range of unique poetic possibilities within Bohr’s original text through her positioning and repositioning of the mobile device in space. The work embodies Bohr’s notion of “complementarity,” in which the way an experimental apparatus designed to measure a particle’s properties is configured is crucial to determining precisely which of those particle’s characteristics become determinate at the moment of observation. In Quantum Collocation, Bohr’s words are the particles under observation, and the mobile device is the experimental apparatus through which those observations are made possible; each of the device’s unique positions in space uncover a unique poetic possibility within Bohr’s original writing.

   Magnus Lindstrøm - 29.01.2015 - 14:54

9. Abra

   Abra is an exploration and celebration of the potentials of the book in the 21st century. A collaboration between Amaranth Borsuk, Kate Durbin, Ian Hatcher, and a potentially infinite number of readers, the project merges physical and digital media, integrating a hand-made artist's book with an iPad app to play with the notion of the “illuminated” manuscript and let readers "hold the light" of language. In the artist’s book, the poems grow and mutate as the reader turns the pages, blurring the boundary between text and illumination, marginalia and body. Animating across the surface, the poems coalesce and disperse in an ecstatic helix of words, taking turns "illuminating" one another's margins and interstices.They play with the mutation of language, both by forming new portmanteaus and conjoined phrases, and also through references to fecundity as it manifests in the natural world, the body, human history, popular culture, decorative arts, and architecture, placing the shifting evolution and continuous overlap of all these spheres in dialogue with the ever-changing technology of the book.

   Thor Baukhol Madsen - 29.01.2015 - 15:06

10. Everything Is Going To Be OK :)

    Teenage heartache has become a public commodity. On social media, young people now broadcast the most intimate moments of their lives to a global audience. Context collapse has replaced the small, specific audiences we once opened our hearts to with a vast, undifferentiated swarm of humanity. Falling in and out of love, breaking up and reconciling, seeking solace or revenge – all are enacted in the midst of the data stream. Everything Is Going To Be OK :) explores this new, performative model for love and loss that is emerging in networked environments. Deploying what might be described as a “poetics of search”, the artwork sources relevant tweets from Twitter in real-time, performs string manipulation and anonymizes them, then assembles the fragments into a three-act dialogue that is projected onto the installation space. What results is an emergent narrative that reflects the new modes of online interaction unique to millennials – but also the timeless tropes, customs, dreams and anxieties experienced by every generation.

    Marius Ulvund - 29.01.2015 - 15:43

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