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Heim@tmuseum
Das Museum hat keinen festen Ort mehr, jeder Ort kann Heimatmuseum sein, wenn man ihn dazu erklärt. Ein Cafe, eine Straße, ein U-Bahn Wagon, ein leerer Kinosaal. Die Exponate dieses Heimatmuseums sind die Dinge unseres Alltags. Es geht darum, Wahrnehmungen zu schärfen, Übersehenes ins Bewußtsein zu rücken, den Dingen einen Stempel aufzudrücken. Es geht um die Suche nach Heimat, um Fragen wie: Was kann heute Heimat sein? Welche Umstände, Situationen, Sinneseindrücke vermitteln uns Heimatgefühle? Wie lässt sich in dieser globalisierten Welt Heimat lokalisieren? Die Besucher und Besucherinnen des HEIM@MUSEUMs jedoch sind die eigentlichen Ausstellungsmacher. An verschiedenen Orten in München und im Internet lagen Fragebögen zum Ausfüllen bereit. Mit dem ausgefüllten Fragebogen wurde ein Exponat zur Verfügung gestellt: ein öffentlicher Ort in der Stadt. Dieser Ort wurde anschließend aufgesucht, abgelichtet und beschrieben und so als Exponat ins Internet gestellt. Fragen 1. Nehmen Sie sich Zeit? 2. Führen Sie Gespräche mit Unbekannten? 3. Fühlen Sie sich in diesem Land zu Hause? 4. Fühlen Sie sich in dieser Stadt zu Hause? 5.
Jörgen Schäfer - 07.11.2012 - 16:30
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Broken
This poem is constructed around an erotic scenario between two recurring characters in Sondheim’s writing: Nikuko “a Russian ballet dancer” and Dr. Leopold Konninger. From the loading frame in this Flash piece, we are provided a point of view as if we’re the computer and are about to enter Sondheim’s imagination, and the audio doesn’t set this up as a comforting prospect. The poem seems to be designed to disturb as images of fragmented, objectified human beings gaze at one from positions of powerlessness and empowerment. Nikuko herself is portrayed as a kind of geisha dominatrix, particularly when juxtaposed with Dr. Konninger’s post-coital supine body. Subsequent images of a pile of heads and body parts and phrases like “carnage and extasy” create an unsettling mix of death and “la petit mort.”
(Source: Leonardo Flores)
Helene Helgeland - 12.11.2012 - 14:39
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Today is Lemonade
This video poem is a celebration of Summer lived well as a child who spent most of her time outdoors, sampling and savoring what nature had to offer. The poem has a headlong energy that comes from short lines full of imagery, occasional enjambment, and a of stream-of-consciousness catalog of summer activities. The animated images reinforce the verbal imagery, creating graphical associations and occasional morphs to reinforce the sense that activities are blending seamlessly from one to the next. In the still image above, for example, we are transitioning from an image of a pencil (used to write novels up on a tree) to “chewing wheat straws” in a field— and you can see the wheat fading in while the pencil morphs/fades out. The visual and narrative parallel from beginning to end create a sense of circularity for the experiences described. And why not? Days like that are worth reliving.
(Source: Leonardo Flores)
Helene Helgeland - 12.11.2012 - 14:53
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Nomad Lingo
From April 1, 2000 to April 1 2001, David Jhave Johnston launched his career as a digital poet with a year of poetry experiments using Flash. Titled “Nomad Lingo,” he published several e-poems every month— producing a treasure trove of works that attest to his raw talent, whimsical style, and the ability to create a lyrical voice through lines that are both sensuous and theoretically engaging.
Some aspects he experiments with is how kinetic language and pacing can evoke different meanings and shape tone. For example, the flame-like words in “Watching Fire” is so much more relaxing than the frantic “Me Critters.” Similarly, the lines in “Ceaseless,” while fast-paced, are readable and put reader’s at ease, while “Flood” overwhelms the reader with its accelerating pace and movement. He also works with minimalist interactivity in “Irreconciliable” and “Tsunami” by making the letters and lines respond to mouseovers to reveal other texts.
(Source: Leonardo Flores)
Helene Helgeland - 12.11.2012 - 15:01
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For the Moon
This ode to the moon is written and visually designed to underscore the cyclical nature of the moon’s stages. Using Quicktime VR on a 245 pixel wide circular strip, the view of this work is like being inside a ring and you rotate (or does it rotate?) to see its entire surface. The lines and stanzas in this poem have been arranged on this surface, spaced and indented in relation to one another to create a primarily horizontal visual progression. On the top and bottom of the strip are the stages of the moon, the way you’d find them on a calendar, signaling the passage of time as one reads this poem. The words also signal the passage of time as the speaker discusses her relation to the moon as an oracular companion in the skies, whose stages of dress and undress, bloatedness and thinness, continue to frustrate “lifetimes” of expectation.
(Source: Leonardo Flores)
Helene Helgeland - 13.11.2012 - 18:05
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Dois Pontos
video-poem
Luciana Gattass - 22.11.2012 - 15:01
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Ghost Moons
A kanji-ku based on the character for ‘moon.’
Scott Rettberg - 07.01.2013 - 15:48
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The Rainbow Factory
The Rainbow Factory is a interactive black comedy poem by Peter Howard made in flash. It's about how rainbows are made in a factory and that it is "Dirty business".
When you start it up you will be met with a indroduction scene with the title and then the gates opening to the factory. Then you are introduced to the factory and you are able to click on it's windows to reveal how rainbows are made.Scott Rettberg - 07.01.2013 - 15:53
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Composition
The Composition installation turns live video of participants in an installation space into imagery completely composed of text. Participants in the installation interact with a live projected version of themselves where a real-time video image of themselves is literally ‘composed’ out of text characters. Composition examines how areas of an image can carry multiple weights—their symbolic value as text characters, and their light or dark value as part of the overall composition.
(Artist's description at project site)
Scott Rettberg - 12.01.2013 - 12:12
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Imaginary Year
Imaginary Year is a serialized work of electronic fiction, updated twice a week. As it grows, it follows the extended interconnected narratives of a group of fictional characters. By documenting their experiences in present-day Chicago, Imaginary Year examines the complex network of relationships between human experience and mediated urban space.
(Source: 2002 ELO State of the Arts gallery)
Note: serialized web fiction that was published from 2000-2005.
Scott Rettberg - 13.01.2013 - 22:04
