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Machine Libertine
Machine Libertine is media poetry group. The method of our work is the exploration of the role of media in the development of literary art practices including video poetry, text generators and performance art. The main principles of the group are formulated in our Machine Poetry Manifesto pointing out the idea of liberation of the machines from the routine tasks and increasing the intensity of their use for creative and educational practices. Machine Libertine had been founded in December 2010 starting with a video poetry called Snow Queen, a piece for British Council and presented recently at Purple Blurb series at MIT and Harvard. It is a combination of masculine poetry «Poison Tree» by William Blake contrasted to mechanic female MacOS voice and cubistic video imagery of Souzfilm animation «Snow Queen» (1957). We are exploring how the text can be transformed by mechanized reading and visualizing it and what are the possible limits of this transmedia play of interpretation.
Natalia Fedorova - 18.01.2013 - 11:47
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The Use
Mann provides access to both written and audio texts in a minimalist interface that takes a little getting used to— both online and in the iOS app. It invites clicking around, which results in fascinatingly incomprehensible speech, as the audio files become layered and words jumble together. The great thing about this layering is that, while we lose individual words and their meanings, we gain a heightened sense of the rhythms and musicality of Mann’s speech. (Source: Leonardo Flores, I ♥ E-Poetry)
Scott Rettberg - 26.01.2013 - 13:15
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In Your Voice
These two video poems integrate four elements: Natalia Fedorova’s voice reading silky lines of her sonorous poetry in Russian, a Mac Os text to speech voice reading a translation in English, Taras Mashatalir’s haunting musical soundscapes, and Stan Mashov’s conceptual videos. The contrast between Fedorova’s voice, even though it’s been transformed through sound engineering, and the mechanical reading provided by the software emphasizes how much meaning inheres in breath, tone, and intimacy when performed “in your voice.” The video is composed of fragmented flowing surfaces which contain images that enhance the experience of the poem, while the music helps shape the tone and pulls the work together by situating the voices within the space evoked by the visuals. (Source: Leonardo Flores, I ♥ E-Poetry)
Natalia Fedorova - 26.01.2013 - 15:17
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Still Life
This ironically titled poem is inspired by Eadweard J. Muybridge’s studies in motion photography of living creatures. Muybridge experimented with different ways of capturing the motion of living beings using a variety of photographic technologies and joining individual photographs to create animated sequences. With the image rotation interface he creates for this poem, juxtaposed with the rhyming lines of verse that are displayed on a loop (a rotation in time), LeMay poem leads us to reflect on the stillness and motion, time and space, the body and its representation. The looping sounds of a heartbeat and the ticking of a clock triggered by mousing over images are a reminder that there is no such thing as stillness in life. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 08.02.2013 - 14:50
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Maud
This unique performance of Tennyson’s dramatic poem “Maud” uses programming with OpenGL and other “abandonware” to produce an audiovisual reading. Part of what this work underscores is the nature of digital data, such as the words of Tennyson’s poem. Each letter, space, and line break is represented by the computer as a sequence of 1s and 0s, the on/off signals of binary code. The thing about computers is that it can then use that code to reproduce the same sequence of characters visually, or can use that code to produce different kinds of output. Sally Rodgers and Steve Jones have created a program to read “Maud” performing the poem as an audio-visual conceptual art video. But this is not simply a machine reading what it can’t comprehend, it is also a visualization tool that allows Rodgers, Jones, and us to see and hear things in the poem that we wouldn’t notice in a vocal performance or text-to-speech rendition. And it is also an instrument they have shaped and customized to produce the documented performances through videos. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 08.02.2013 - 17:56
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The Aleph
The Aleph is his initial project attempting to observe and understand the world through photographs on the Web. The Aleph system collects photographs tagged with certain words or phrases, extracts a given number of faces from them, and composes a collective face in realtime. "10000 Faces at Funeral, The Aleph" and "10000 Faces at Birthday Party, The Aleph" are companion pieces created by the system using 10,000 faces extracted from photos tagged 'funeral' and 'birthday party,' respectively.
Jill Walker Rettberg - 29.06.2013 - 23:05
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Subway
Subway was shot in New York during the fall of 2010. The footage was then color graded, converted to single frames, and reassembled dynamically by a computer. After a series of experiments with computational text, there seemed to be some similarities between the deep grammar of language and the somewhat intuitive decisions involved in sequencing montage. For instance, while watching a heavily edited film sequence, or some kinds of experimental video, one might feel a kind of linguistic architecture guiding certain motifs, one that seems similar to certain kinds of computationally-generated text. The idea behind Subway was to take a long sequence of still frames and arrange these according to a linguistic architecture. The movie has relations to traditional film grammar, but it's also related to language itself, so that in some ways it feels new, but in its deep logic there is also something familiar.
(Source: Catalogue Entry)
Ole Samdal - 25.11.2019 - 00:34
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Gridworks
A. Bill Miller's 'Gridworks' is an ongoing body of work that includes drawings, collage, video and transmedia compositions of text-based characters.
"We exist within a built environment that is constantly mediated by the grid. Grids organize space through coordinate mapping and patterns of development. Grids compress, redisplay, and reorder information. Grids are an enforcement system imposed upon both nature and culture.
Grids can also be populated with marks that are fundamentally human — the characters of our shared alphabets. These marks — once scratched by hand, now recorded by a keypress — are not simply carriers of meaning but iconic forms in their own right. The codes of information interchange can potentially become an artist’s palette, a medium for drawing. The coldness and rationality of the grid confronts the warmth and playfulness of the human touch."
(Source: Gallery Catalogue Description)
Ole Samdal - 25.11.2019 - 00:55
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Cicatrix
“Cicatrix” is collected video from recent performances and experimentation, in Second Life, at Eyebeam, and at various other venues.
“Cicatrix” refers to scar tissue, and for his installation Eyebeam Resident Alan Sondheim juxtaposes early radio equipment with contemporary models of virtual avatars to meditate on virtuality as it relates to distortion, pain, and death. In a reflection on the Four Noble Truths of Buddhism, Alan comments how in Second Life pain physically cannot occur, but therefore it also cannot be stopped. The avatars he creates, both through digital texture mapping and 3D printing, capture distorted bodies in moments of unnatural pain.
(Source: Project description on Gallery Site)
Ole Samdal - 25.11.2019 - 01:33
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Oblique or /
Oblique (/) est une oeuvre de Grégory Fabre exploitant une esthétique du flux pour évoquer une rencontre entre deux individus et la relation qui s'en suit. À l'écran, des phrases partielles apparaissent en noir alors que s'insèrent, lettre par lettre, les mots manquants. Chaque nouvelle lettre ne se fixe toutefois qu'au terme d'un étrange processus de défilement: les lettres de l'alphabet s'enchaînent une à une, dans l'ordre, jusqu'à ce que la lettre juste prenne enfin place. En arrière-plan, l'internaute peut voir une silhouette humaine accomplir divers mouvements. Cette silhouette est visible tantôt dans son entièreté, tantôt en partie seulement, ne donnant par exemple à voir qu'une main ou un profil. La silhouette est composée de traits obliques: en plaçant le curseur de sa souris sur ces traits, l'internaute interrompt le mouvement de la silhouette. Un clic sur ces mêmes traits entraîne quant à lui un changement aléatoire de la phrase affichée et de la couleur des mots manquants.
Ole Samdal - 25.11.2019 - 01:47
