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1. Désir Insuffisant

   Désir Insuffisant est une œuvre inédite et non consultable. Créée à une date indéterminée, elle possède néanmoins un auteur en la personne de Philippe Bootz. Il s’agit même de sa première œuvre Web. Bien que non consultable, l’œuvre est d’un accès facile. Je me propose ici de vous donner les quelques réflexions qu’elle m’a suscitées.

   Davin Heckman - 03.02.2012 - 14:03

2. Битница: A Translation

   A homolexic translation of Evgeny Evtushenko's "Bohemian Girl."

   Joe Milutis - 12.02.2012 - 18:58

3. Pentameters Toward the Dissolution of Certain Vectorialist Relations

   John Cayley reads John Cayley reads and discusses his poem PENTAMETERS TOWARD THE DISSOLUTION OF CERTAIN VECTORALIST RELATIONS (which examines the effect of Google on language and poetics) with discursive and conversational interrupts from Jhave.

   Recorded on John's Providence, Rhode Island home as part of i2.literalart.net/ on 12 Feb 2012.

   (Source: David (Jhave) Johnston's vimeo account.)

   Eric Dean Rasmussen - 12.03.2012 - 16:39

4. Canticle

   "Canticle" was written for Brown University's CAVE immersive virtual reality environment. Like a concerto, it was composed in three movements and arranged for collaborative performance between a solo user and programmed VR environment. In "Canticle", The CAVE system and its user operate in concert: rendering the world through cooperation and opposition. The tone of "Canticle" plays upon the spectacle of VR by inducing an aesthetic environment that is overly saturated despite its basic composition of greyscale letterforms. Evocative text and audio were used to assist this effect: "The Song of Solomon" and Nico Muhly's MotherTongue. A study of "The Song" resonated with the project's themes: the seduction of spectacle and awareness of a physical body within immersive spaces of illusion. Movements were written in response to spectacles that are native to the CAVE. Description of each movement refers to the specific quality of spectacle it explores: periphery, reactivity, stereoscopy, interface, depth or immersion.

   Stig Andreassen - 20.03.2012 - 15:12

5. Completely Automated

   I have formally performed “Completely Automated” on stage at a few conferences/venues and I think it could be a good fit for HASTAC’s themes. I would be very excited to perform it as part of an evening of performances. Total run-time is a duration of 15 minutes and it occurs in three parts. In the first part, I do a performative reading of a “historical” document that I have forged. To create the language of the forgery, I programmed a computer program to run a text analysis on a group of historical law tracts. I then skimmed the results and authored my own version of an early law tract. Calling on theater training, I perform this poetic text. In the second stage, the live performance overlaps and blends in with a short video that tells the story of how this forged document is digitally archived on google books as an “authentic” text. This video is blended with voice over of poetic text taken from the document. In the last stage I give a final performative reading of the changes that were made to the document when a group of users prepared it for upload in the digital archives.

   Stig Andreassen - 20.03.2012 - 15:14

6. TRANS.MISSION [A.DIALOGUE]

   TRANS.MISSION [A.DIALOGUE] is a computer-generated dialogue, a literary narrative of generations of transatlantic migration, a performance in the form of a conversation, an encoded discourse propagating across, beyond, and through long-distance communications networks. One JavaScript file sits in one directory on one server attached to a vast network of hubs, routers, switches, and submarine cables through which this one file may be accessed many times from many places by many devices. The mission of this JavaScript is to generate another sort of script. The call “function produce_stories()” produces a response in the browser, a dialogue to be read aloud in three voices: Call, Response, and Interference; or: Strophe, Antistrophe, and Chorus; or Here, There, and Somewhere in Between.

   J. R. Carpenter - 27.03.2012 - 10:43

7. RC_AI

   It was only after I began working with Robert Coover in the Brown Literary Arts program in 1998 that I remembered my father commenting years earlier on Coover's book Pinocchio in Venice. As a foremost Scholar of the Pinocchio story and its appearances throughout history in literature and media, he was impressed with Coover's handling of the archive. My father went on to write about Coover's treatment in a co-authored book, Pinocchio Goes Postmodern: Perils of a Puppet in the United States. 

   RC_AI consists of texts composed by myself and Dr. Thomas J. Morrissey, my father, along with several generative algorithms and loose grammars in collaboration with a substantial portion of Robert Coover's Pinocchio in Venice. The panoramic text is a printed array (approximately 380,000 pixels long - or 422 feet) of variable content generated by parsing through approximately 1/2 of Coover's novel using the author's name as a search string. 

   Scott Rettberg - 18.04.2012 - 00:14

8. Performance and the Digital Text

   Introductory remarks to the ELMCIP Seminar on Digital Text with/in Performance, hosted by University College Falmouth at the Arnolfini, Bristol.

   Eric Dean Rasmussen - 30.04.2012 - 11:12

9. Machinic Performance

   Machinic Performance

   Eric Dean Rasmussen - 30.04.2012 - 11:18

10. Reading (De)coherent Hypertexts: a Creative Performance Based on a Close Reading of the German Hyperfiction Zeit für die Bombe

    Reading (De)coherent Hypertexts: a Creative Performance Based on a Close Reading of the German Hyperfiction Zeit für die Bombe

    Eric Dean Rasmussen - 02.05.2012 - 12:04

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