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1. Imposition

   imposition was presented in an installation version at e-poetry 2007 in Paris. imposition was set up in amphiX of Université Paris VIII during the lunch-time intermission of the e-poetry symposium on 22 May from about 11.30 am until 2.00 pm.

   Those visiting the installation were invited to take along a QuickTime and wireless-enabled laptop. They downloaded a 'listening' movie of their choice - one of the 'demons of imposition' - that was networked with the main installation. The main installation ran continuously at the venue and the viewer-participants played their downloaded movies and so, together, constituted a distributed, extensible, networked installation, manifested in literal and sound art, with some correlative imagery.

   Simon Biggs, who participated in e-poetry 2007, wrote the following notice of the imposition installation:

   Scott Rettberg - 03.02.2012 - 13:44

2. Takei, George

   "Takei, George" is a remix of Nick Montfort's "Taroko Gorge," transforming Montfort's original meditative generative poem into a comment on pop culture, fandom, and contemporary politics.

   (Source: The ELO 2012 Media Art Show)

   Meri Alexandra Raita - 19.02.2012 - 18:14

3. Fred & George

   Fred and George Weasley are the redheaded twins from the Harry Potter series and this poem poses them as lovers, endlessly stroking (etc.) fingers, wands, mouths, etc. and generally engaging in acts considered taboo for siblings in most cultures. This “Taroko Gorge” remix has the distinction of having the shortest data set among the remixes to date, proving that when one wishes to produce an endless poem, size doesn’t matter. More importantly, it concentrates the number of permutations of its elements so while it becomes repetitive sooner, it also takes less time to reach its conceptual climax. (Source: Leonardo Flores, I ♥ E-Poetry)

   Meri Alexandra Raita - 19.02.2012 - 18:19

4. Who Grabbed My Gorge

   Who Grabbed My Gorge

   Meri Alexandra Raita - 19.02.2012 - 19:52

5. Toy Garbage

   This generative poem re-purposes the code in “Tokyo Garage” and produces a remix of “Taroko Gorge” that is also an inversion of the natural world. As the poem unfolds like an endless stream of Toy Story outtakes (in which toys gain a life of their own when away from the children that own them), but with other older toys, many of which are no longer in circulation. Words like “toxic” remind us of some of the reasons these toys were recalled or discontinued. (Source: Leonardo Flores, I ♥ E-Poetry)

   Meri Alexandra Raita - 23.02.2012 - 14:31

6. Yoko Engorged

   This erotically charged generative poem imagines John Lennon and Yoko Ono engaging in endless sexual exploration. This famous couple was controversially open about sexuality, nudity, and used their celebrity to cut through bourgeois prudishness. After Lennon’s death, Yoko Ono continued with her artistic and musical career, with creative practices associated with the Fluxus movement. For example, this poem uses the “audience volunteer(s)” to reference her famous performance piece titled “Cut Piece” in which audience members cut her clothing with scissors until she was naked on stage. This poem is a bold remix of Nick Montfort’s “Taroko Gorge” code, which started as “began with the rather awful titular play on words and just evolved/devolved from there.” (Source: Leonardo Flores, I ♥ E-Poetry)

   Meri Alexandra Raita - 23.02.2012 - 14:40

7. Blue Hyacinth

   Blue Hyacinth is a stir fry text by Jim Andrews and Pauline Masurel. Masurel wrote the texts. Andrews did the programming and invented the stir fry form. The stir fry form consists of n texts. In Blue Hyacinth, there are four texts (n=4), each of which is a different shade of blue. You can view the text of a given color by clicking the square of that color. Each of the four texts somehow involve the blue hyacinth. Each of the four texts is partitioned into 30 parts. When the reader mouses over (or touches, if on a mobile device) part x of text y, that part is replaced with part x of text y+1. So the four texts begin to form a new text. There are several more stir fry texts and essays about them at vispo.com/StirFryTexts.

   Patricia Tomaszek - 04.05.2012 - 13:49

8. There he was, gone.

   How do we piece together a story like this one? A mystery. The title offers more questions than answers. There he was, gone. Where is there? Who is he? Where has he gone? How is this sentence even possible? There he was, not there. As if "he" is in two places and in no place, both at once. The once of "once upon a time." This story has to do with time. This story has to do with place. That much is clear. We take time to look around the story space. What do we see? A corner of a map. An abstraction of a place too detailed to place, unless the places it names are already familiar. Is this a local story then? For locals, between locals… if we do not know the answer to this question, then we are not local. We seem to have stumbled upon an ongoing conversation. Listen. A dialogue of sorts. It's too late. An argument, even. One interlocutor instigates. Can't you feel anything? The other obfuscates. It's only the spring squalls over the bay. All that's not said between these two hangs in a heavy mist, a sea fret low over a small fishing boat turned broadside to a pack of hump-backed slick black rocks. This story is fishing inshore.

   Scott Rettberg - 01.06.2012 - 17:29

9. The Broadside of a Yarn

   The Broadside of a Yarn is a multi-modal performative pervasive networked narrative attempt to chart fictional fragments of new and long-ago stories of near and far-away seas with naught but a QR reader and a hand-made map of dubious accuracy. This project may perhaps be best understood as an assemblage of interrelated narrative elements mediated across a continuum forms - a collection of stories, a folio of broadsides, or an unbound atlas of impossible maps composed of a combination of historical sources, interspersed with "found" images, quotations from well known sailors’ yarns, and my own drawings and photographs, and fiction. These printed maps are embedded with QR codes link mobile devices to computer-generated narrative dialogues which may then serve as scripts for poli-vocal performances, and/or suggest a series of imprecise pervasive performative walks. This project is, in a Situationist sense, a wilfully absurd endeavour. How can I, a displaced native of rural Nova Scotia (New Scotland), perform the navigation of a narrative route through urban Edinburgh (Old Scotland)?

   Elisabeth Nesheim - 24.08.2012 - 12:09

10. No Time Machine

    Quiet time, dead time, free time—call it what you will, there seems to be less and less of it. What do people give up in the race to maximize every second of their waking life? What kinds of activities are replaced by the panicked drive for efficiency? No Time Machine explores these questions by mining the Internet for mentions of the phrase “I don’t have time for” and variations such as “You can’t find the time for” and “We don’t make time for.” Based on a set of procedures we’ve set up, a program analyzes the search results and reconstructs them into a poetic conversation. Interwoven with this “found poetry” generated by the program are sentences that we re-contextualized ourselves; a human-computer collaboration that expands the field of creative writing to include networked and programmable media.

    (Source: authors abstract from Turbulence)

    Patricia Tomaszek - 24.08.2012 - 16:08

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