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The Secret Life of Numbers
This is a collaborative work commissoned by the New Radio and Performing Arts, Inc., for its Turbulence web site. The authors conducted an exhaustive empirical study, with the aid of custom software, public search engines and powerful statistical techniques, in order to determine the relative popularity of every integer between 0 and one million. The resulting information exhibits an extraordinary variety of patterns which reflect and refract our culture, our minds, and our bodies.
For example, certain numbers, such as 212, 486, 911, 1040, 1492, 1776, 68040, or 90210, occur more frequently than their neighbors because they are used to denominate the phone numbers, tax forms, computer chips, famous dates, or television programs that figure prominently in our culture. Regular periodicities in the data, located at multiples and powers of ten, mirror our cognitive preference for round numbers in our biologically-driven base-10 numbering system. Certain numbers, such as 12345 or 8888, appear to be more popular simply because they are easier to remember.
Patricia Tomaszek - 11.10.2012 - 12:38
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Memoirs from Hijiyama
This exquisitely designed site contains poetry in several modes: in lines of verse, as visual poetry, and as an e-poem that responds to the reader’s symbolic presence in the text: the pointer. The site is conceptualized “as a grave” made of [web] pages, words “flung to the far corners / of the earth” (quoted from the site manifesto). Each page consists of images and words arranged and offer the reader two ways of viewing the composition: discover (which keeps links hidden for reader to explore the surface of the image for them) and unearth (which provides a sepia tone for the background and reveals the links in the text, along with useful labels for them). Verbally it is also a collage of voices: from the victims to the pilot of the Enola Gay, who delivered the bomb in Hiroshima. This work is a powerful memorial to those lost in Hiroshima (and by extension Nagasaki). Simultaneously fascinating and horrifying, factual and ironic, the work reminds us of the very human side to the event and its aftermath.
(Source: Leonardo Flores)
Helene Helgeland - 25.10.2012 - 12:41
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Breathing/Secret of Roe
This two-part poem examines two sides of an emotional event in the speaker’s life. The first part, “Breathing” shows sadness, even depression, perhaps over the presence and absence of a woman, shown partly in the image standing by the door on the right side of the image. A mouseover triggers a whispery spoken soundtrack, stabilizes the softly vibrating lines so they become readable, and switches from one part of the poem to the other.
If you raise the volume on your speakers to make out the whispering voice in “Breathing,” then “Secret of Roe” is going to come as a shock with its loud music and voice. This is an angry side to the poem, as the image of two men fighting on the ground in front of the same woman in “Breathing” comes to the foreground. (Note that the images are both edited from the same photograph.) Each stanza in the poem is presented as a line scheduled to display in a rapid sequence, paused by a mouseover. The voice delivers the lines in about 1 1/2 minutes, and its pauses breathe meaning into the lines even as the sequenced text reminds us that “I am not really breathing.”
Helene Helgeland - 25.10.2012 - 12:56
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Free Haiku!
This “reactive” (a.k.a. responsive or interactive) poem does an admirable job of representing the haiku in digital media, much like “Basho’s Frogger” by Neil Hennessy. Built upon a looping image of a drawing of a tree changing through the seasons, while a stick figure walks across the screen representing its shifting mood through body language. As the reader moves the pointer on the screen, different words emerge, allowing for the discovery of different phrases, depending upon one’s mouse movements. Juxtaposition of images and a connection to nature along with the speaker’s “posture” towards the material are all represented in this brief poem. The question of the title remains: is this a “free haiku” because it is offered gratis or because it has somehow been liberated from convention? Both readings are plausible, given the politics and poetics of Dada.
(Source: Leonardo Flores)
Helene Helgeland - 25.10.2012 - 13:12
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Plural maps: lost in São Paulo
Plural maps: lost in São Paulo é um projeto de net arte colaborativa que incorpora labirintos construídos em VRML e links que levam a pontos específicos da cidade. O objetivo deste projeto é se apropriar da WWW para a construção de uma cartografia da cidade de São Paulo. Essa cartografia será criada a partir de pontos previamente locados pela artista e por escolhas enviadas pelos participantes da WWW. Participação no Projeto Plural maps: lost in São Paulo. O projeto Plural maps: lost in São Paulo é uma estrutura aberta à participação de internautas e será constantemente alterada durante a Bienal. Qualquer pessoa poderá participar do projeto enviando seu mapa ou retrato da cidade (imagens, sons, textos, vídeos, webcams, etc). Cada imagem enviada é um novo olhar sobre a cidade e será incorporada na estrutura do sistema, constituindo um novo link do labirinto em VRML. (Fonte: Descrição da artista)
Luciana Gattass - 28.11.2012 - 15:04
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Lace (Dentelle)
An animated translation of a concrete poem in French. The French poem Dentelle by Pierre Albert-Birot appears at the left side of the window; the English translation is on the right.
(Source: 2002 ELO State of the Arts gallery)
Scott Rettberg - 13.01.2013 - 20:57
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Nostalgia
Created specifically for the ELO Symposium, this piece is a textual response to net art and electronic literature, in the form of an essay/poem/opinion as animated gif. Words replace each other over time. The user is not allowed to interact in any way other than opening or closing the page. The piece exposes a personal nostalgia for linear things, exact categorization, and known objects as well as a simultaneous excitement and apprehension regarding the future or net art, virtual worlds, and abstract literature.
(Source: 2002 State of the Arts gallery)
Scott Rettberg - 13.01.2013 - 22:12
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Bare Bones
Fairy tales have been hijacked throughout history for various uses. Emigrating from one distribution method to another, they have been duplicated, mistranslated, and subverted. It could be that Cinderella is the world's most-told tale. There are thousands of versions, each one colored by the details of local culture, the needs of its audience and the desires of its teller. Buried among the world's heap of Cinder tales, is the Russian version, in its multiple incarnations. Bare Bones is a retelling of this story about a girl and her encounter with the fearsome hag, Baba Yaga.
We identify with this tale through our own experiences of loss, humiliation and enslavement. By reshaping its text, imagery and format, I try to build a bridge for the fairy tale audience between traditional media and digital media. Bare Bones is just one piece of The Vas(i)lisa Project which is more visually and texually complex.
(Source: 2002 State of the Arts gallery)
Scott Rettberg - 14.01.2013 - 00:24
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Beautopia
"In this hypertext, I interrogate the language, imagery, and ideologies of cosmetics advertisements and related texts. Hypertext as a form lends itself to unorthodox juxtapositions, particularly through linkages based on associative logic (e.g., metaphors, puns). I invoke the feminist understanding that "The Personal Is Political," combining autobiographical reflections with an analysis of the discourse and industry of cosmetics. The personal dimension includes elements from my unconscious (following in the Surrealist tradition of automatic writing).
Scott Rettberg - 14.01.2013 - 00:48
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COG (I)
COG is a user-interactive experiment in the visual possibilities of a poem. Accordingly, COG contains textual and visual material that determines its field of expression. However, as a user is wont to bring their baggage to any reading of a poem, why not give in and leave certain dynamics of the composition in the reader's hands? The idea is that, as visual and lexical materials are never fixed -- most certainly not in the mind of a user -- hot spots here allow programmed aesthetic modulations of the composition. These provide slight alterations of the composition, offering alternative vantage points in the visual field that are subtle, not chaotic but cotangential. This is not an exercise about impenetrability; rather, COG offers a Zen garden of visual verbal shades that awaits the subtle strokes of the viewer's rake-cum-Rodentia.
(Source: 2002 State of the Arts gallery)
Scott Rettberg - 15.01.2013 - 19:19
