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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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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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Codeswitching 23μg
CodeSwitching 23µg imagines hypertext at the time when the Web has evolved into Web[∞].
CodeSwitching 23µg attempts to illustrate what will happen if the DNA sequence is replaced with the Dewey Decimal System.
CodeSwitching 23µg establishes how a hypertext might also function as a T-cell receptor complex.
CodeSwitching 23µg follows the information hygiene protocol.
CodeSwitching 23µg is an attempt to come up with impossible, non-existent information technologies.
CodeSwitching 23µg imagines a society where the self has long been proved as fiction; hypertexts in this society are marketed, packaged and sold as events.
CodeSwitching 23µg is part of a series of hypertexts called 1043: Blan©k Fiction.
Theodoros Chiotis - 30.09.2011 - 19:26
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Résumé I?
A 2007 Rhizome commision.
Meri Alexandra Raita - 12.10.2011 - 22:23
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To Be or Not To Be Mouchette
Me, Mouchette, the online virtual character, I have an unusual status of existence. Regarding the art of my website (www.mouchette.org) I am the author and the creation at the same time, and yet through my remote internet life I remain invisible, anonymous, genderless, untouchable, neither alive or dead. Therefore participants of my interactive website confide in me in the most intimate way, as if were an imaginary being, living in their own head. Inside their own thoughts, no subject is taboo, fear, pain, life and death or even the temptation of suicide, and with me people feel free to talk about everything. With the reactions of the participants to my website I have composed animation films displaying many of the texts I received, spoken out by pixellated characters who tell their most private thoughts about their experience of surviving suicide, their own or someone else’s. My personality embraces all of my participant’s minds and together we form a collective consciousness pondering over questions of life and death in the digital era.
David Prater - 24.10.2011 - 10:40
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What we had has not yet been / Wat we hadden is nog niet geweest
Originally conceived as an interactive installation for the 2007 Literature and New Media project in the Waag, Amsterdam, this production by Jan Baeke and Alfred Marseille mixes poetry, moving images and sound in a movie directed by words, and talks about memory, longing, the misguided monologue and the importance of the kitchen in modern society.
Images and sounds are mainly drawn from the Prelinger archives.
This version is an entirely new English language edit made for the 2011 Beijing Book Fair and also featured at the 2011 Noorderzon festival in Groningen (Netherlands).
David Prater - 09.11.2011 - 15:43
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Solstice
Goss went to an internet cafe in the lower east side on the winter solstice of December 21st and again on the summer solstice of June 21st.
"Solstice" is made from the words and phrases that appeared in Google on the cafe's computers on those days. The computers were set to "autoComplete" so by simply typing a letter, she could see all previous searches done beginning with that letter.
The result is a combinatory found poem generator that the user configures by hitting individual keys to add phrases beginning with the corresponding letter.
(Source: Author's description)
Scott Rettberg - 16.06.2012 - 23:07
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Lord's Prayer, The
"Lord's Prayer, The" (2007) takes the original English version of "The Lord's Prayer" (in this case, a variation of the King James Version) and, using the same words, creates an entirely new poem.
(Source: Artist's description, 2008 ELO Media Arts show)
eabigelow - 28.06.2012 - 03:31
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Natural History
An interactive animation (depicting a map of islands and a stretch of the sea) is screened on top of a model of an archipelago. The numbers on the map that signifies the waters' depth are clickable, for each number a short poetic text emerges. When clicking one of the islands, the screening goes dark and the selected island is lit with a green light. A longer text-animation is played. The texts are like notes from a distant future, with elements of slow violence, something lurking beneath the surface. The spectator chooses beginning and endpoint in the viewing - depending on how much time you give the piece the underlying storyline becomes clearer. It is nearly impossible to experience the work identically two times, to follow the same sequence of numbers.
Johannes Heldén - 30.06.2012 - 19:00
