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1. Entropic Texts

   Entropic Texts is an interactive html5 browser-based artwork co-authored with Jason Nelson. This piece debuted at ISEA2015 (International Symposium of Electronic Art) in Vancouver, Canada, as a part of the exhibition ‘New Text: An Exhibit about Literary and Artistic Explorations into What It Means to Read, Write, and Create’ Curated by Dene Grigar. The theme of ISEA2015, and thus this exhibition, was ‘disruption’.

   The idea behind this artwork/digital poem/electronic literature piece, was to consider entropy through a variety of different means. The first way, was through creating an imaginary space where the entropy actually worked faster – imagining a world where there was a corner of the earth in which things aged and decomposed quicker. For this we chose a junkyard – a space of decay. Secondly we considered how entropy would affect certain types of data, and how it could be represented through data – both visual and textual. For this we decided to use a variety of glitching techniques. Finally, we considered how a conceptual entropy could affect a website interface, as the user moved through it.

   Alvaro Seica - 05.11.2016 - 16:15

2. ROM_TXT

   This bot explores a corpus of textual data from videogame ROM (Read Only Memory), selecting a random snippet, adding a hashtag for the source, mentioning the platform in parenthesis, and publishing the results every three hours. This textual data isn’t just text displayed by the games when they’re running, but also their programming code, which means that its text is sometimes gibberish (perhaps from obfuscated code), formatted using coding conventions, and strange enough to be poetic. This is a rewarding bot to follow from a Critical Code Studies perspective because it invites reflection on the choices made by programmers for variables, data, and language.

   (Source: ELC Volume 3 Editorial Statement)

   Magnus Knustad - 08.11.2016 - 17:57

3. Lulu Sweet: A Gold Rush Tale in 8 Acts

   Lulu Sweet: A Gold Rush Tale in 8 Acts (2015) is a location aware walking tour app situated on the Fraser River, re-imagining the life of Gold Rush actress Lulu Sweet, for whom Lulu Island (Richmond, BC) was ostensibly named.

   Using animations, archival imagery and sound, panoramas, and 19th century newspapers, the artists take viewers on a journey from New York in 1850 through the jungles of Panama, to the mining towns of California and the outposts of colonial England, ending in the footlights of the Gold Rush stages of San Francisco.

   There are nine gps activated hot-spots, each taking you back to a different moment in time, from 1850 to 1863.Lulu takes the stage at the tender age of ten in the rough mining town of Hildreth’s Diggings, California; shares the stage with the notorious Adah Menken in San Francisco; is managed by desperate swindlers and hot-headed gamblers. All of this is set against the backdrop of the Fraser River itself, upon which she and Colonel Richard Moody (the officer charged with surveying the region) sailed in 1861, the ‘moment’ when the island received its name.

   Pål Kjelkenes - 05.12.2016 - 01:51

4. Gerador de Homeóstatos

   Inspirado nos Homeóstatos de José-Alberto Marques, este Gerador de Homeóstatos responde, num primeiro nível, a um motor textual combinatório (10 versões programadas com o poemario.js) e, num segundo nível, 'em cima' de cada variação generativa, pode o leitor gerar indeterminados e variáveis homeóstatos. O Homeóstato N, por sua vez, permite ao leitor inserir o seu próprio texto poético para gerar homeóstatos com o léxico seleccionado.

   Rui Torres - 09.12.2016 - 13:38

5. The Bafflement Fires

   The Bafflement Fires is an interaction fiction/poem in the form of a digital recreation of a Freemason board game from the 1950s. Based on found documents, this game seems an attempt to alter player perceptions through quiz and play. Also attempt at building a part fiction, part creative non-fiction world, told through the surreal and literary answers/questions of someone trying to influence how we perceived the world around/inside us, playable on a screen attempting to create its own pixeled reality.

    

   James O'Sullivan - 17.01.2017 - 22:33

6. ⌰ [Total Runout]

   Ian Hatcher’s online and kinetic poem ⌰ [Total Runout] (2015) critiques corporate and governmental black boxing, at the level of its code, text, visual output and live sound performance. The poem is part of the series Drone Pilot, and it is presented in different versions: a Web-based work, a sound piece and a performance. It remixes appropriated text from a WikiLeaked manual by the UK Ministry of Defense, essays on artificial intelligence, and Hatcher’s own text. The overall versions of the work, understood as variable events, boldly problematize communication and cognitive processes in networks—whether they are implemented in computer systems by secret agencies or corporations. Hatcher’s critique to black boxes entails recreating issues of security, control and surveillance, as controlled systems are increasingly paving the way for less privacy and less knowledge about their inner workings. As a result, the poem questions the essence of privacy, redaction, and systemic violence, when access is a privileged asset of agents with security clearances or those with a deep knowledge of programming.

   (Source: Álvaro Seiça)

   Alvaro Seica - 22.03.2017 - 18:45

7. Una Página de Babel

   Una página de Babel is a glyph generator programmed by Nick Montfort that recombines all the glyphs (15881) in Jorge Luis Borges's short story "The Library of Babel" (1944). Language: to-be-named. Source: Álvaro Seiça

   Alvaro Seica - 25.03.2017 - 13:50

8. Poetry is Just Words in the Wrong Order

   Poetry is Just Words in the Wrong Order (2015) proposes an unconventional way of creating and presenting poetry based on improvisation, language/sound experimentation, fragmentation and randomness. Poetry as a social practice is here developed in an anti-narrative manner. Built with custom code, a computer chooses random phrases from a predetermined Twitter hashtag (e.g. #Syria) and a database of verses which are selected by the two artists (e.g. verses from poems by Arab women writing in English). The phrases and the verses from the two sources are combined partly randomly and partly following a given pattern. At the same time, sound events are being produced by estimating the number of the letters of every incoming word as well as the total volume of the incoming data. When the project is presented live, the three artists build and improvise on the poem that is created by the computer. (Source: Adapted from authors’ text)

   Alvaro Seica - 07.05.2017 - 11:47

9. Punchlines

   Punchlines is a lyric long poem that probes the poetic tensions in the everyday languages of computer-user collaboration. Within the narrative structure of a Canadian couple’s drive down the West Coast of the United States, the poems set this exploration between the call (poem title) and response (the poem itself) of jokes and punchlines, echoing the input-output (call/response) of modern computer-user cooperation, with the ultimate goal of infusing code with poetry and poetry with code. The first section is the initial trip down the coast while the second section houses poems in response to the return trip. There is little stopping in this long poem.

   Lori Ricigliano - 15.06.2017 - 02:30

10. (N)(P)OVO / META(N)(P)OVO

    "Na Europa, para não falarmos de épocas mais remotas, são célebres os papiros mágicos do século V a. C. e o «Ovo» de Símias de Rodes, que data do ano 300 a. C. e cuja técnica de leitura se conhece. Trata-se dum poema bucólico composto graficamente em forma de ovo, sendo essa forma usada como metáfora do processo poético." (Ana Hatherly, in A Reinvenção da Leitura, 1975).

    "O ovo, aliás, mais do que morfema, aparece como ideia incisiva da obra de Silvestre Pestana no núcleo da problemática da potência aristotélica: a fecundação do ser múltiplo é condicionada pelo dispositivo, que permite ou não a sobrevivência. Por isso a associação do ovo ao «povo novo», quer aquele que depois do 25 de Abril, quer aquele que hoje imerso num mundo cada vez mais high tech." (Manaíra Athayde, “PO.EX em EXPO”, 2013).

    Diogo Marques - 27.07.2017 - 12:23

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