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Juliet Ann Martin
Juliet Ann Martin has a BA in Visual Arts from Brown University and an MFA in Computer Art at the School of Visual Arts. She is a painter, performer, writer, digital artist, and programmer. She has received recognition for the computer work she has done from the Cooper Hewitt, the DNP Achievement Awards, the European Media Arts Festival, the Year Zero One Gallery, Rhizome Contentbase, Macxibition, David Siegels High Five, Paper Magazine, and Wired Magazine. Her short stories have been published in CUPS Magazine and Black Ice Literary Journal. (Source: http://www.studioxx.org/en/juliet-ann-martin)
Jill Walker Rettberg - 02.02.2011 - 22:43
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Cycle of interlinked poems, combining ascii art layout with concrete, hypertextual poetry.
Jill Walker Rettberg - 02.02.2011 - 22:46
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Uncle Buddy's Phantom Funhouse
Art "Buddy" Newkirk has disappeared and left you his literary estate. By the looks of it, he and his friends were a very odd bunch.
You might have enjoyed knowing them. But you don't: why does "Uncle" Buddy think you do? Where is he, anyway? And what does this have to do with Meister Eckhart and the New York City subway?
To find out, you'll have to pop the floppies into your Mac, drop the tapes into your boombox, and get ready to meet Buddy's friends, read his email, listen to his band, and sort out his (very strange) Tarot deck.
(Source: Eastgate catalog description)
Hypercard on computer discs with two casettes, a letter, and photocopied article.
Eric Dean Rasmussen - 07.02.2011 - 12:42
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John McDaid
John McDaid, author of Uncle Buddy's Phantom Funhouse, is an award-winning science fiction writer, folk/filk singer-songwriter, freelance journalist, and media ecologist from Brooklyn, NY.
He attended the Clarion Science Fiction Workshop in 1993, and sold his first short story, the Sturgeon Award-winning "Jigoku no mokushiroku"to Asimov's in 1995. His 1993 digital novel, Uncle Buddy’s Phantom Funhouse, included two audio tapes, which Robert Coover's New York Times review called the work of “A mischievous guitarist and vocalist with a gift for the inimitable phrase."
With Michael Joyce, Nancy Kaplan, and Stuart Moulthrop, he is a co-founder of the TINAC collective, a group of writers and theorists of hypertext. He helped create one of the first hypertext writing programs (within Expository Writing) at New York University in 1988 where he served as Coordinator of Computer Composition.
Eric Dean Rasmussen - 07.02.2011 - 12:46
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Ben Rubin
Media artist and designer based in New York known for his work on data-driven art and media. He has been director of the Center for Data Arts at The New School since 2015.
Eric Dean Rasmussen - 07.02.2011 - 15:44
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Listening Post
Listening Post is an art installation by Mark Hansen and Ben Rubin that culls text fragments in real time from thousands of unrestricted Internet chat rooms, bulletin boards and other public forums. The texts are read (or sung) by a voice synthesizer, and simultaneously displayed across a suspended grid of more than two hundred small electronic screens.
Listening Post cycles through a series of six movements, each a different arrangement of visual, aural, and musical elements, each with it’s own data processing logic.
Dissociating the communication from its conventional on-screen presence, Listening Post is a visual and sonic response to the content, magnitude, and immediacy of virtual communication.
(Source: Post by Ben Rubin on EAR Studio website, no longer available.)
Listening Post was displayed internationally between 2002-2006 and is now part of the collections of The London Science Museum, London, UK and The San Jose Museum of Art, San Jose, California, USA.
Eric Dean Rasmussen - 07.02.2011 - 15:52
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Translation
Author description: Translation (version 5) investigates iterative procedural "movement" from one language to another. Translation developed from an earlier work, Overboard. Both pieces are examples of literal art in digital media that demonstrate an "ambient" time-based poetics. As it runs the same algorithms as Overboard, passages within translation may be in one of three states — surfacing, floating, or sinking. But they may also be in one of three language states, German, French, or English. If a passage drowns in one language it may surface in another. The main source text for translation is extracted from Walter Benjamin's early essay, "On Language as Such and on the Language of Man." (Trans. Edmund Jephcott and Kingsley Shorter. One-Way Street and Other Writings. 1979. London: Verso, 1997. 107-23.) Other texts from Proust may also, less frequently, surface in the original French, and one or other of the standard German and English translations of In Search of Lost Time. The generative music for translation was developed in collaboration with Giles Perring who did the composition, sound design, performance, and recording of the sung alphabets.
Eric Dean Rasmussen - 08.02.2011 - 17:12
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First Screening: Computer Poems
A suite of a dozen kinetic poems programmed in Apple BASIC. Later, as the first versions became inaccessible, the works were recreated in HyperCard in the early 1990s (after bpNichol's death), and then in 2007 recreated in javascript for the web, and simultaneously the original BASIC and Hypercard files were republished for download.
Jill Walker Rettberg - 08.02.2011 - 21:04
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Luc Dall Armellina
Luc Dall'Armellina is a writer, designer of digital devices and lecturer in arts & information and communication sciences, member of EMA Laboratory [Cergy-Pontoise University], associated member of Paragraphe Laboratory [ Paris 8 University ].
Eric Dean Rasmussen - 09.02.2011 - 12:20
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e-cris
e-cris est un dispositif textuel et graphique de lecture-écriture "dans le même mouvement". Le principe du lien hypertextuel est ici détourné de ses fonctions habituelles de navigation au profit d'une activité d'écriture à partir de vingt et un textes personnels qui disent - un peu - de l'activité d'écrire. e-cris devait à l'origine s'hybrider avec le dispositif de saturation graphique saturactions selon certaines règles de conditions. On peut voir ce système embryonnaire dans la version 1.7 de e-cris, mais je ne l'ai pas poussé plus loin, préférant conduire les deux essais séparément. Cliquer sur un mot revient à l'écrire dans un autre texte - le texte-à-écrire - placé sous le texte-à-lire. Le texte écrit l'est donc seulement à partir d'un autre et selon le procédé littéraire du centon (ici à l'échelle du mot et non de la phrase). Que pourrez-vous écrire de personnel avec mes mots ? Luc Dall'Armellina - 2001
Eric Dean Rasmussen - 09.02.2011 - 12:22
