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1. BDP: Big-Data Poetry

   Big data is a buzzword, as is cloud computing. But the data science and network-clusters behind both of these terms present extraordinary viable unprecedented computationally-tractable opportunities for language processing and radical poetry generation. In the summer of 2014 I took an intensive 11-week course in data science programming using Python. Based upon this theoretical and practical coding knowledge, I produced http://bdp.glia.ca, research where I apply a combination of data visualization, language analytics, classification algorithms, entity recognition and part-of-speech replacement techniques to a corpus of 10,557 poems from the Poetry Foundation, 57,000+ hip-hop rap songs from Ohhla.com, and over 7,000 pop lyrics. Currently the poems generated lack thematic structure.

   Hannah Ackermans - 30.11.2015 - 08:02

2. The Not Yet Named Jig

   The lexias for The Not Yet Named Jig appear at the will of the computer, one at a time, or, most effectively, in pages of five, where their meaning is magically changed by the lexias that randomly frame them. Thus, in the generating of many small scenes, a mise-en-scène for a larger narrative emerges. The time is the morning of April 24, 1660. The place is “Mystick Side” in the Massachusetts Bay Colony. The question was: How could I create a world model of a time and place when many details were simply not available? The answer was to write all known details into lexias, fictionalize only when necessary, and allow the computer to bring up the lexias at will. Building on the authoring system developed for file three of Uncle Roger in 1987–1988, generative hyperfiction was used in Its name was Penelope to create a whole picture of a photographer’s life by accumulating details as seen through her own eyes. In The Not Yet Named Jig, it is used to create a world model of a certain place at a certain time by accumulating historic details of the people and the environment in which they lived.

   Hannah Ackermans - 30.11.2015 - 08:41

3. Kjell Theøry

   Kjell Theøry will be a site-specific mobile Augmented Reality poem mapped visually to geo-spatial coordinates in a public outdoor space in Bergen. The work responds to historical and fictive narratives of Norway as a landscape for exile and escape in conjunction with writings and memories from my residency as a Fulbright Scholar in Bergen last year. It will be accessible for viewing with internet-enabled smart phones and tablets throughout ELO 2015 and will be activated by a brief live event in which I manipulate and read from the virtual space and generate additional material by scanning augmented tattoos on the body of a local male performer. This work evolves out of my AR installation in June 2014 at the Bergen Bibliotek, The Empty House, but will be a substantially new iteration. (Source: ELO 2015 Catalog)

   Hannah Ackermans - 30.11.2015 - 10:29

4. Madame B

   With the classic text of Gustave Flaubert as its starting point, this multi-channel installation is scheduled for exhibition internationally from early 2014. A work about the link between capitalism and romance, Mieke Bal and Michelle Williams Gamaker’s revisionist take on the 19th century novel was filmed in Åland, Finland in summer 2012 and Paris, France in winter 2013. The installations bring together the brilliant talents of actors Marja Skaffari, Thomas Germaine and Mathieu Montanier and many others. By creating deliberate anachronism and intertextuality, the work attempts to show how Flaubert was in many ways a post-modernist and feminist. It explores the way dominant ideologies – specifically capitalism and its association with emotions, and romantic love with its commercial aspects – are still dominant after 150 years. The Madame B. installation offers a radically new interpretation of the text, replete with powerful symbolism that evokes this reimagining. In this way, it questions visually the role of women in a society driven by masculine impulses.

   Hannah Ackermans - 08.02.2016 - 10:18

5. Eight Short Talks About Islands ...and by islands I mean paragraphs

   Flocks of books open and close, winging their way web-ward. A reader is cast adrift in a sea of white space veined blue by lines of longitude, of latitude, of graph, of paper. The horizon extends far beyond the bounds of the browser window, to the north, south, east and west. Navigating this space (with track pad, touch screen, mouse or arrow keys) reveals that this sea is dotted with islands… and by islands I mean paragraphs. These fluid texts are continuously recomposed by JavaScript files calling upon variable strings containing words and phrases collected from a vast literary corpus – Deleuze’s Desert Islands (2004), Shakespeare’s The Tempest (1610–11), Defoe’s Robinson Crusoe (1719), Bishop’s Crusoe in England (1971), Coetzee’s Foe (1966), Ballard’s Concrete Island (1973), Hakluyt’s Voyages and Discoveries (1598–1600), Darwin’s Voyages of the Beagle (1838), and many other lesser-known sources including an out-of-date guidebook to the Scottish Isles, and an amalgam of accounts of the classical and quite possibly fictional island of Thule. Individually, each of these textual islands represents a topic – from the Greek topos, meaning place.

   J. R. Carpenter - 10.03.2016 - 09:42

6. Time Jitters

   Time Jitters, 2014 begins with images collected in Without A Trace and uses them as the foundation for a series of animations. It has been presented as single channel projection, as part of an installation and is also an iOS app.

   Hannah Ackermans - 26.06.2016 - 16:58

7. Once Human: Stories

   "A stunning new collection of stories by a master fictionist, Once Human shows the ways to go beyond standard maps of simple understanding. A manga artist who is afraid that she herself is slipping into a cartoon version of life, a lab technician who makes art with the cloning technology she uses at work, a sociologist hunting for the gene that makes some people want to take risks--these are some of the characters that populate the stories in Once Human. Exploring the spaces where life is shaped by science and the technologies we bring into being, Steve Tomasula's characters often find that the harder they look at the world, the less they can say. The map that emerges from these stories charts the territory of human longing and the failure of poetry, science, and technology to explain the "why" of the world, if not its "how."

   Steve Tomasula - 16.07.2016 - 17:05

8. Quing's Quest VII

   Dietrich Squinkifer’s (aka Squinky) Quing’s Quest VII: The Death of Videogames was created for Ruin Jam 2014, a game jam inspired by tensions over the identity of games and gamers and particularly responding to accusations that feminists and advocates for diversity in games had set out to “ruin” the games industry. Quing’s Quest is built in Twine and takes inspiration from old-school adventure games, including Sierra’s King’s Quest series. The game takes place on a craft called the “Social Justice Warrior” (after a commonly-used pejorative term for those who point out misogyny, racism, transphobia and many other forms of discrimination and hatred online and in gaming culture), and features a character exiled from Videogames after the invasion of the “misogynerds.” This work captures the tension of a historical moment in which only some voices, games and critiques are heard and others are silenced and dismissed. (Source: ELC 3's Editorial Statement)

   Erik Aasen - 30.08.2016 - 16:02

9. The Brain Drawing the Bullet

   The Brain Drawing the Bullet takes as its point of departure William S. Burroughs’ infamous murder of his wife Joan Vollner as a means to explore the multi-voicedness of editorial intervention. Recalling works like Mark Z. Danielewski's House of Leaves which depict a series of editors whose insertions trace their psychological deterioration over time as they fall victim to the hermeneutic black hole of their subject matter, The Brain Drawing the Bullet tells the story of an ersatz editor who invests so deeply in his research that he is led down the same violent path. The body of the text and the text as body chiasmatically intersect to produce an uneasy alignment between author, editor, and reader. Not only is Burroughs’ cut up method a textual ancestor to the aleatory and hypertextual processes of electronic literature, but the footnote and editor’s annotations are also a print precursor to the hypertext node. Trotter’s piece is elegantly simple, yet takes advantage of the medium-specific affordances of working with the digital screen rather than printed page.

   Sondre Skollevoll - 01.09.2016 - 15:38

10. Everyone at this Party is Dead

    Everyone at this party is Dead/Cardamom of the Dead is one of the first lyric literary works for Oculus Rift. It is a complete but expanding work (Cardamom of the Dead is the larger suite of stories) containing about 30 small narrative worlds, explored in a sandbox. You enter the piece standing at the edge of a island and in the middle of a soundscape of a party taking place, with guests being named: these were the guests of my 21st birthday and they are now all dead. What follows is a fictionalized narrative, at times semi-autobiographical, at other times entirely made-up. You are urged to explore houses and stones and artefacts spread across the terrain of the island at skewed scales - like a dreamscape.

    Aspasia Manara - 06.09.2016 - 13:28

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