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1. The Hater’s History of Polish Literature

   During our presentation, we will take on the role of the literary adept and talk with a chatbot, who we will treat as our master. We’ll ask him questions about how to write, present our works for his evaluation, and try to receive feedback. The Master will use phrases, sentences and paragraphs of texts, which until now have been used in literary discussions. The chatbot that we propose is based on texts from the history of Polish literature, foremost taking into account the exchange of views between literary critics and historians. It is said that one of the peculiarities of Polish mentality is strife, which especially in the digital age takes on monstrous proportions in the form of an uncontrolled wave of hate on the internet and verbal abuse that falls below the belt.

   Filip Falk - 07.09.2017 - 22:10

2. Turn on Literature

   3 Libraries in Romania, Norway and Denmark have joined forces to “turn on literature” by creating 3 generative literature machines (poetry machines) and 3 authors have written texts for the machines. The poetry machine is designed to involve users in the creation of e-lit in the library space. Through a game-like interface the user combines the author’s sentences into a poem, which will then be printed onto a library receipt creating an intermedial translation. At the same time, the poem will be projected onto projection surfaces in the other participating libraries making the installation transnational. The poetry machine translates the concept of e-literature into a tangible object (a printed poem) and transforms the solitary activities of writing and reading into a social undertaking since three simultaneous users can interact with the machine creating a poem together. Our installation is located within the “Translations” strand of the festival. The festival in Porto will be the very first showing of the installation, which is an up-scaled re-design and re-writing of the Ink installation presented at the ELO conference in Milwaukee in 2014.

   Filip Falk - 07.09.2017 - 22:36

3. Salt Immortal Sea

   Opening in the center of the international refugee crisis, this playable story places the interactor in the position of the refugee. As the tale opens, an explosion sends the interactor from the comfort of a ship into the salt immortal sea. Rescued by a mysterious boat the player encounters eight other passengers, drawn from the present and the ancient past. However, one of these passengers has angered the gods, and unless the player can discover which, all will face their wrath. However, finding that secret is no easy task. Each passenger harbors secrets that pit them against each other in an allegory of contemporary global crisis. Choosing from one of nine iconic positions in the refugee crisis, the interactor can explore tales of misfortune while trying to keep the shipmates in balance by collecting and circulating secrets. In this tale, we recast figures in the contemporary refugee crisis against the mythos of the quintessential traveler, Odysseus, for the refugee likewise travels cursed, unable to return home. It is a tale of the eternal return to proxy wars and the challenge of achieving some semblance of world peace.

   Filip Falk - 08.09.2017 - 15:51

4. Ouroboros and Jabberwock

   This diptych or bi-fold work presents readers with two re-workings of Lewis Carroll’s “Jabberwocky:” on one hand, a fixed, cyclical hypertext in seven parts (Ouroboros), and on the other, an endless generative deformation that refigures the mock-epic as tennis game in Hell (Jabberwock). Both options are available at the start, but only in faint, translucent lettering. Letting the cursor dwell on one side or the other activates a sound track -- on the O side, a poetic voice whispering words of wisdom; on the J side, various monstrous re-mixes of Thursday, July 2017.This diptych or bi-fold work presents readers with two re-workings of Lewis Carroll’s “Jabberwocky:” on one hand, a fixed, cyclical hypertext in seven parts (Ouroboros), and on the other, an endless generative deformation that refigures the mock-epic as tennis game in Hell (Jabberwock). Both options are available at the start, but only in faint, translucent lettering. Letting the cursor dwell on one side or the other activates a sound track -- on the O side, a poetic voice whispering words of wisdom; on the J side, various monstrous re-mixes of those words.

   Raoul Karimow - 11.09.2017 - 12:49

5. LAMENT (The Mine Has Been Opened Up Well)

   LAMENT is a mixed reality performance that excavates sites, histories, and languages of mining in a poetics of generative telegraphy, geophysical extraction, and the multilingual hauntings of forgotten laborers. Immersed in a lush 3d point-cloud derived from Lidar scans of a defunct copper mine, two performers, I (input) and O (output), operate a custom augmented reality system to extract, hoist, encrypt and decrypt language from original and archival sources while composing through a database of 30,000 telegraph codes used for electrical communications of the mining industry in the 19th and early 20th century. LAMENT is a sited compression of the work, SMOKEPENNY LYRICHORD HEAVENBRED, adapted for the Translations festival and the Mosteiro de São Bento da Vitória. Translation manifests in the work through the reanimation of a mine captured by remote sensing, the use of AR to scan and transform its surroundings, and the multivalent SHUDDERING of telegraphic codes that radiate towards their linguistic surface connotations and their arbitrary meanings in codebooks and encryption techniques.

   Lisa Berwanger - 11.09.2017 - 13:10

6. Translating the Untranslatable

   A comparative presentation of a digital poem and a video poem, both composed as complementary translations and interpretations of Rilke’s 8th Duino elegy. The digital poem moves across English, French, Italian and German, while the video poem moves between live action and the paintings of Kate Walters. If anyone would like to volunteer to translate these lines into Portuguese, and to correspond with me about their translation, I’d be truly delighted. The exploration of plagiotropy is partly to be found in the movement across languages, and partly in tracking tropes across natural languages, programmed language movements and the paintings. I have only recently returned to video poetry, but you will be able to see Doaryte Pentreath from the 1980s on my website by late January. I will send the link. This work develops out of my ongoing collaboration with John Cayley. The element of direct translation will be of the following fiveand-a-half opening lines: Mit allen Augen sieht die Kreatur das Offene. Nur unsre Augen sind wie umgekehrt und ganz um sie gestellt als Fallen, rings um ihren freien Ausgang.

   Filip Falk - 11.09.2017 - 13:18

7. Throwing Exceptional Messages

   ‘Throwing Exceptional Messages’ is a performative work that frames theoretical critique as practice in a gallery setting. The work uses a deconstructive methodology derived from Jacque Derrida’s practice of ‘sous rature’ to perform critique upon a particular moment in the historical formation of the field of ‘codework.’ The term codework was established in 2001 and attempted to describe literary works that were developed from or included elements of computer code. The taxonomy of this field, formalised by Alan Sondheim, was contested by John Cayley on the basis that ‘non-executable’ work should not be included into the field as ‘code’ referred to as ‘executable’ text. By bringing the thesis of this research into the gallery space the performer uses the theoretical methodology as a practical methodology to produce critical artefacts. The thesis is placed under erasure within a system that produces computational ‘exceptions’ or ‘non-executables’ as work.

   Filip Falk - 11.09.2017 - 13:36

8. Throwing Exceptional Messages

   ‘Throwing Exceptional Messages’ is a performative work that frames theoretical critique as practice in a gallery setting. The work uses a deconstructive methodology derived from Jacque Derrida’s practice of ‘sous rature’ to perform critique upon a particular moment in the historical formation of the field of ‘codework.’ The term codework was established in 2001 and attempted to describe literary works that were developed from or included elements of computer code. The taxonomy of this field, formalised by Alan Sondheim, was contested by John Cayley on the basis that ‘non-executable’ work should not be included into the field as ‘code’ referred to as ‘executable’ text. By bringing the thesis of this research into the gallery space the performer uses the theoretical methodology as a practical methodology to produce critical artefacts. The thesis is placed under erasure within a system that produces computational ‘exceptions’ or ‘non-executables’ as work.

   Eirik Tveit - 11.09.2017 - 13:51

9. Vociferar contra

   Vociferar contra

   Pål Alvsaker - 11.09.2017 - 15:49

10. Nightmares for Children

    "Nightmares for Children" is a found-footage virtual reality installation with a fractional backbone and original soundscape created for Oculus Rift with touch. The viewer will be inmersed in 360 video with VR assets and 2D video overlays and will navigate through a series of dreamy horrors in different emotional registers using the intuitive Oculus touch interface. The piece allows for a very small child's voice and infant storytelling to sound fully, but at the same time is crafted as a mediattion on the imagery in children's dreams and what it might trigger in the adult imagination. 

    Juan Manuel Altadill Casas - 14.09.2017 - 18:42

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