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1. 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.

   ...

   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

2. 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

3. 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

4. Merz-i

   For E-Poetry 2007, i explore the multiple understandings of the PiM's (Personal Investigation Material). The PiM's as Merz-i / Merz-i or as factor i+) is an interactive visual art film, made from "letters & signs",  called i+D/ signs (information + definition / sign). Merz-i or factor i+), associated with a internet engine, allow a  ®≠Make, a re/reading(s) to make in a clash, as a surging opposition ? (http://www.epoetry2007.net/artists/oeuvres/veyrat/merzi.html)

   Scott Rettberg - 30.01.2013 - 01:54