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reWrite
interactive language based installation
The focus of an artwork such as reWrite is identity. The work addresses this theme through the use of interactive systems, where the relationship between the viewer and the artwork is explicit and active. This act of interaction functions to raise questions concerning being and, through the process of communication, the linguistic foundations of identity.
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Language artworks, such as reWrite, map an exploration of the manner in which this dynamic of differentiation through reading/writing can be disturbed and opened up as a conscious process. The primary element in this strategy has been the use of auto-generative texts, where the text appears correctly written and to be concerned with a particular subject but where there has been no authorial role other than the processes of a mechanised writing. The intent here is to create instances of textuality where the text is written of itself. That is to say, the text is generated as a function of language itself. Authorial intent is absent, replaced by a process of auto-generative writing.
Simon Biggs - 21.09.2010 - 12:03
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abcdefghijklmnopqrstuvwxyz (Performance Work)
Piringer's work is made for live performance, integrating a vocal performance by the author which controls and interfaces with the movement of letters on the screen, patterned by programmed agents.
The author's description from his site is "abcdefghijklmnopqrstuvwxyz is an audiovisual voice performance. image and sound are created in real-time through custom written software that analyzes and captures the sound of my voice to create animated abstract visual text/sound-compositions. the autonomous movement and behaviour of visual element on the screen again influence the sound which creates an audiovisual feedback loop or an autopoetic live performance system.
using my voice as the interface and medium in a dynamic electronic environment takes the ideas of the early avantgarde sound and visual poets a step further: my custom written software makes it possible to generate unforeseen and vanishing abstract text/sound-compositions that are created on the spot while performing and are not meant to last.
Scott Rettberg - 21.01.2011 - 11:42
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slippingglimpse
In slippingglimpse, we model a ring in which the roles of initiator, responder, and mediator are taken by all elements in turn. Our mantra for this: water reads text, text reads technology, technology reads water, coming full circle. Reading then comes to mean something different at each stage of the poem, in all cases involving sampling. Ryan reads and captures the image of 'chreods' (dynamic attractors) in water. Strickland's poem text, by sampling, appropriating, and aggregating artists' descriptions of processes of capture, reads this process of capture. And the water reads, via Lawson Jaramillo's motion-capture coding, by imposing its own sampled pattern. A variety of reading experiences are enabled: reading images while watching text; reading in concert with non-human readers, computer and water; reading frame breaks (into scroll or background); or reading by intervening. For instance, reversibility and replay are available on the scroll, as are reading in the direction and speed you wish; while, in the water, regeneration of text is available, as are unpredictable jostling and overlays.
Eric Dean Rasmussen - 31.01.2011 - 13:07
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lala
Extracts from Artist's Statement:
In this piece, I use my childhood doll as an interface for engaging with text projected on a screen. The text is inspired by the types of behaviors a child attributes to her doll or imaginary friend, such as "It wasn't me! Lala was the one who broke the vase." The doll has a sensor inside of her that can detect position, which I use to control the speed of text filling up the screen.
I used open-source code from Jared Tarbell's site as the basis for the text display. After I figured out how to read values from an accelerometer into Flash, I found a way to control the speed of the text based on the position of the sensor. Simple up-down motion wasn't so exciting, and I hit upon the idea of shaking the doll to "shake" the words out onto the screen - so I needed to capture the rate of change of the sensor's position (thanks Daniel Howe!). mouse-triggered demo page:
Patricia Tomaszek - 06.03.2011 - 00:30
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my Molly (departed)
my Molly (departed), formerly titled Twittering, is a textual instrument designed as a performance application. The pieces remixes text, image, audio, and video triggered through keyboard interaction. The work has been performed at the OpenPort Performance Festival (Chicago), ePoetry 2007 (Paris), The Codework Workshop (West Virginia University), The Electronic Literature in Europe Conference (Bergen Norway), and the Interrupt Festival (Brown University).
The piece coexists with a novel (Free Dogma Press) that was written simultaneous to the development of this work. Where the novel plays on aspects of time, and draws from sources such as Joyce, Strindberg, Beckett, Dante, among others; the hypermedia textual instrument combines these in a more immediate, collapsed manner.
Eric Dean Rasmussen - 09.03.2011 - 14:52
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...Reusement
...Reusement
Eric Dean Rasmussen - 10.03.2011 - 09:57
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Game, game, game, and again game
Game, game, game and again game is a digital poem, retro-game, an anti-design statement and a personal exploration of the artist's changing worldview lens. Much of the western world's cultural surroundings, belief systems, and design-scapes, create the built illusion of clean lines and definitive choice, cold narrow pathways of five colors, three body sizes and encapsulated philosophy. Within net/new media art the techno-filter extends these straight lines into exacting geometries and smooth bit rates, the personal as WYSIWYG buttons. This game/artwork, while forever attached to these belief/design systems, attempts to re-introduce the hand-drawn, the messy and illogical, the human and personal creation into the digital, via a retro-game style interface, Hovering above and attached to the poorly drawn aesthetic is a personal examination of how we/I continually switch and un-switch our dominate belief systems. Moving from levels themed for faith or real estate, for chemistry or capitalism, the user triggers corrected poetry, jittering creatures and death and deathless noises.
Scott Rettberg - 15.04.2011 - 14:43
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No matter
No matter
Giovanna Di Rosario - 22.09.2011 - 17:21
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Imposition
imposition was presented in an installation version at e-poetry 2007 in Paris. imposition was set up in amphiX of Université Paris VIII during the lunch-time intermission of the e-poetry symposium on 22 May from about 11.30 am until 2.00 pm.
Those visiting the installation were invited to take along a QuickTime and wireless-enabled laptop. They downloaded a 'listening' movie of their choice - one of the 'demons of imposition' - that was networked with the main installation. The main installation ran continuously at the venue and the viewer-participants played their downloaded movies and so, together, constituted a distributed, extensible, networked installation, manifested in literal and sound art, with some correlative imagery.
Simon Biggs, who participated in e-poetry 2007, wrote the following notice of the imposition installation:
Scott Rettberg - 03.02.2012 - 13:44
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Petits Poèmes à Lecture Inconfortable
These little poems ask the reader for a physical effort that disturbs reading. Each poem asks for a different use of the mouse and rebels again what you want to do. The poem acts you ! You totally engage yourself, your body, while reading. Reading is a confrontation with an untamable: you can only grab som scraps of text to construct a meaning, your meaning. Finally, your activity is part of the text itself, the symbol of the necessary conflict with matter to construct life. (http://www.epoetry2007.net/)
Scott Rettberg - 29.01.2013 - 00:24
