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1. Sympathies of War

   My first videopoem, Sympathies Of War, was essentially a poetry performance recorded by a video camera by Richard Elson at the Galerie Vehicule Art in Montreal. One objective was to prevent the performance from being identified as a “poetry reading” (as organizer of the Vehicule Art Gallery’s 1978 poetry reading series, I had been videotaping a great many readings) – I would avoid facing the camera, sitting behind a rear-projection screen, onto which was projected a series of slides I had made of the interior of a STOP sign. [Words by author, from http://www.poetry-quebec.com/pq/history/article_100.shtml ]

   Dan Kvilhaug - 13.03.2013 - 17:06

2. Mummypoem (Sympathies Of War - A Postscript)

   Extending the investigation of the form, the work explores the act of writing, literally. The frame, as in Sympathies of War, is frozen, "mummyfied": it is the close-up the VTR, the lens focused on the moving needle of the audio level meter, as the video of Sympathies of War is playing. The sound is the sound from the video. A 3"x5" tear-off writing pad is underneath the meter. Lines are written on the pad, torn off, new lines are written; it is a performance in real time. Words are written, parts crossed out to form new words, new contexts.

   The poetry here is the revelation of the live writing juxtaposed with the "mummyfied" version of the original poem, a video playing on a machine.

   [Taken from http://www.amproductions.com/videos/artsandsci/videopoetry/videopoetry.htm ]

   Dan Kvilhaug - 13.03.2013 - 17:17

3. 243 cartes postales en couleurs véritables

   Creation of fictional postcards, later included in the work Machines à Ecrire (1999) by Antoine Denize and Bernard Magné.

   Dan Kvilhaug - 08.04.2013 - 13:39

4. Adventureland

   Adventureland

   Jill Walker Rettberg - 02.07.2013 - 22:42

5. La Vie Mode d'emploi

   This is one of the great books of the twentieth century and is worth learning French for. It's a jigsaw puzzle and a massive painting. It's an Oulipean conundrum and a microcosm of the world. It's a clever game and a philosophical investigation. It's all the things that literature should be and, in particular, it shows that, in the end, life does not fit together in a nice, neat pattern.

   Perec himself said he saw a Paris block of flats with the front stripped off so that you could peer into all of the flats and watch the inhabitants go about their daily business. And, to a great extent, that is what this novel is about. He takes a (fictitious) block of flats at 11 Rue Simon-Crubellier and looks at each flat, in seemingly random order (though he uses, like Nabokov, the move of a knight in chess to move through the flats), and their inhabitants, 179 in all. The story is told by Serge Valène, who has lived in the building for fifty-five years and who is a painter who, towards the end of his life, plans on creating a painting summing up all of his life (which, of course, he does not complete).

   Daniele Giampà - 10.04.2015 - 14:39

6. Space Invaders

   Space Invaders (Japanese: スペースインベーダー Hepburn: Supēsu Inbēdā) is a 1978 arcade game created by Tomohiro Nishikado. It was manufactured and sold by Taito in Japan, and licensed in the United States by the Midway division of Bally. Within the shooter genre, Space Invaders was the first fixed shooter and set the template for the shoot 'em up genre. The goal is to defeat wave after wave of descending aliens with a horizontally moving laser to earn as many points as possible.

   Space Invaders was an immediate commercial success; by 1982, it had grossed $3.8 billion, with a net profit of $450 million, making it the best-selling video game and highest-grossing "entertainment product" at the time. Adjusted for inflation, the many versions of the game are estimated to have grossed over $13 billion in total revenue as of 2016, making it the highest-grossing video game of all time.

   Trygve Thorsheim - 18.11.2019 - 17:51

7. Image-Music-Text

   'Image-Music-Text' brings together major essays by Roland Barthes on the structural analysis of narrative and on issues in literary theory, on the semiotics of photograph and film, on the practice of music and voice. Throughout the volume runs a constant movement 'from work to text': an attention to the very 'grain' of signifying activity and the desire to follow -- in literature, image, film, song and theatre -- whatever turns, displaces, shifts, disperses. Stephen Heath, whose translation has been described as "skilful and readable" (TLS) and "quite brilliant" (TES), is the author of 'Vertige du déplacement', a study of Barthes. His selection of essays, each important in its own right, also serves as "the best...introduction so far to Barthesʹ career as the slayer of contemporary myths" (John Sturrock, 'New Statesman).' -- Back cover.

   Ole Kristian Sæther Skoge - 02.10.2021 - 23:30