Search
The search found 11 results in 0.008 seconds.
Search results
-
[theHouse]
[theHouse] is a digital poetry piece which takes the form of computer-based spatialized organism.world. Through the process of enacting texts within, alongside, and outside of the text of computational code, this autobiographical work is regulated by the computational process of the sine wave. Here, the text is written upon "rooms," and these rooms emerge to create "houses" next to and among the intermingling text. As in much of electronic literature, the experience of the work as an intimate, interactive, screen-based piece is essential to understanding and appreciating it. Indeed, the work is only realized through user interaction and navigation. How does everyday spatial practice bring into focus the relationship between code, language, and relationships? What are the key characteristics of digital relationships as seen through this light? Does the recurring emphasis on process, chance, and interactivity also function as an indicator of larger questions about the chance writing of the text? The poem presented is autobiographical in nature yet engages the conceptualization of both language and embodiment as the text creates its own types of organism.
Eric Dean Rasmussen - 10.05.2011 - 13:15
-
Huis Clos / No Exit
Huis Clos / No Exit
Elisabeth Nesheim - 12.08.2012 - 12:03
-
The Policeman's Beard is Half-Constructed
With the exception of this introduction, the writing in this book was all done by a computer. The book has been proofread for spelling but otherwise is completely unedited. The fact that a computer must somehow communicate its activities to us, and that frequently it does so by means of programmed directives in English, does suggest the possibility that we might be able to compose programming that would enable the computer to find its way around a common language "on its own" as it were. The specifics of the communication in this instance would prove of less importance than the fact that the computer was in fact communicating something. In other words, what the computer says would be secondary to the fact that it says it correctly.
(Source: from Bill Chamberlain's introduction at Ubuweb)
Scott Rettberg - 25.08.2012 - 14:13
-
[raveling]
Mary Flanagan, State University of New York, Buffalo (USA)
"[raveling]"[raveling] is a poetry performance piece for machines and human about memory and communication which posits verbal communication and text as iterative rituals that can mutate and change over time, distance, and repetition.
Prior to the piece I produced a poem with my computer. This performance was a stream-of-consciousness spoken word event and was translated by the machine. My computer synthesized the words it recognized and I saved these words into a rough poem.
In performance I read this synthesized computer/human poem to the public and to computer #1. This first computer/performer will listen to the poem and after listening, read back the composition as it recognized aloud to the audience and to the second computer/performer. The second computer/performer will listen to the poem composed by the first computer and read back the poem it recognized aloud to the audience. Each computer and human has its own voice and vocal qualities including timbre, speed, etc. They work together to bring meaning to the piece.
Scott Rettberg - 19.01.2013 - 12:58
-
gsm.art
gsm.art
Dan Kvilhaug - 18.03.2013 - 15:54
-
Reading Club
Reading Club is a project started by Emmanuel Guez and Annie Abrahams in 2013. Eleven sessions were organized with more than 40 different “readers” in English and/or French based on text extracts from Raymond Queneau, from Mez and the ARPAnet dialogues to Marshall McLuhan, Michel Bauwens and McKenzie Wark. Guez and Abrahams experimented with different reading and writing constraints (color, duration, text-length, number of “readers”, etc.) and different performance conditions (online vs. live performance, with and without sound, etc.). In a session of the Reading Club, readers are invited to read a given text together. These readers simultaneously write their own words into this text given a previously fixed maximum number of characters. The Reading Club can be seen as an interpretive arena in which each reader plays and subverts the writing of others through this intertextual game.
Scott Rettberg - 25.09.2013 - 11:21
-
From Beyond
The installation plays with the boundaries of form and consciousness through play with the material and the immaterial. From Beyond invites the reader to interact with a digitally augmented Ouija Board. The Ouija Board (also known as the “talking board”) is well-explored in popular culture as a device that is traditionally employed in an attempt to communicate with the dead, who are themselves voiceless and thus can be “heard” only through the indication of written letters. The board is thus itself an interface that plays at the boundaries of the real and the presumed supernatural, as it operates through superstition: readers place their fingers on the planchette and it moves to answer questions, with a “Yes” or “No” placed on the board. Likewise, our digitally enhanced Ouija Board invites the user to guide a planchette (a pointer) as a tactile interface for making binary decisions while traversing a hypertextual work on a screen that serves as a lens between the reader’s world and the world of the story.
Hannah Ackermans - 08.09.2015 - 09:45
-
Wat zegt de zee?
A sea expert interprets the sea and convinces the audience. But the sea doesn’t agree.
(Source: janpeeters.info)
Hannah Ackermans - 17.11.2016 - 09:50
-
What Does The Sea Say?
A sea expert interprets the sea and convinces the audience. But the sea doesn’t agree.
(Source: janpeeters.info)
Hannah Ackermans - 17.11.2016 - 09:54
-
The Aberration of the Translator
The Aberration of the Translator considers virtual reality as a social space, one with its own rules of presentation and communication. Gloria Anzaldua’s “How to Tame a Wild Tongue” is sampled and celebrated to create a microcosm of colliding quotations that break and collide across the virtual space of the CAVE. Every language is a foreign language, learned through memorized rules and societal agreements. In Walter Benjamin’s “The Task of the Translator,” refastening shards of a shattered vessel is compared to the act of translation; writing must be fragmented and then reassembled to traverse barriers of language. The Aberration of The Translator acknowledges the world which utilizes linguistic tools to order, colonize, and develop architectural space, specifically interrogating the act of code-switching and the multilingual experience.
Jane Lausten - 26.09.2018 - 15:52
