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1. We Drank

   We Drank

   Scott Rettberg - 19.10.2012 - 14:36

2. Soul

   Miles away from your average Valentine’s Day e-card, this poem superposes pithy language about sex and love on a video of a large black fish breathing through its gills as the words float before it. The sounds and image are not in the least romantic, yet reinforce the idea of embodiment, put forth in such beneficial terms.

   (Source: Leonardo Flores)

   Helene Helgeland - 29.10.2012 - 14:48

3. Codeworks: Netart on the border of Language and Codes

   Since the founding manifesto of the French Oulipo Group in 1962, in which it proposed writing poetry in computer programming language, there have been forms of electronic literature that not only employ computers primarily as text generators or audiovisual media, but also use programming, command, markup, and protocol codes as their medium. Departing from popular forms of this literature in the computer hacker culture, network artists like jodi, antiorp, and mez have been developing new poetic and artistic languages since the mid-nineties, for which the artist and theorist Alan Sondheim has coined the name “Codework.” Codeworks are technically simple e-mails whose text, however, calls to mind associations of computer crashes and interferences, viruses and spam. Initially, they were sent via network art mailing lists as interferences; later entire forums dedicated to the genre, individual styles, and private languages by individual and often pseudonymous code artists began developing. This program attempts for the first time to transpose codeworks from the written source text to radiophony.

   Johannes Auer - 06.11.2012 - 10:55

4. Collage / Montage: Idensen live!

   eft channel: hyper reader and writer hei+co@hyperdis.de (aka heiko idensen) says "live" what comes to his head ... (= SPEAK) right channel: cut-ups and collages of historical/hysterical hyper texts (= LISTEN) the mix is the bottom line: who's sitting at the mixing desk? when is something faded in resp. out? which parameters and effects are used? a hyper-text audio-book should definitely have a record button! whilst hyper-text theorists and prophets predicted an exponential, uncontrollable increase of the electronic text rotation, publishing houses respond to the growing breakdown of the book market with audio books as a remedy. as a consequence, in dealing with literature a revolution comparable to that in the music industry of the 1980s triggered off with the introduction of the walkman is finally happening: a mobilization of the listening situation taking the urban environment into account; the possibility to mix the internal listening space with any desirable external sound environment or everyday sound-scape.

   Johannes Auer - 06.11.2012 - 11:01

5. Free Lutz!

   50 years ago a calculator generated a literary text for the first time ever. And this was in Stuttgart my hometown.
   Theo Lutz wrote 1959 a program for Zuse Z22 to create stochastic texts. On the advice of the Stuttgardian philosopher Max Bense, he took sixteen nouns and adjectives out of Kafka’s “Schloss,” which the calculator then formed into sentences, following certain patterns. Thus every sentence began with “ein” or “jeder” (“one” or “each”) or the corresponding negative form “kein” or “nicht jeder” (“no” or “not every”). Then the noun, selected arbitrarily from the pool of sixteen, was linked through the verb “ist” (“is”) with the likewise arbitrarily chosen adjective. Then the whole assembly was linked up through “und,” “oder,” “so gilt” (“and,” “either,” “thus”) or given a full stop. Following these calculation instructions, by means of this algorithm, the machine was able to construct such sentences as:

   EIN TAG IST TIEF UND JEDES HAUS IST FERN
   (A day is deep and every house is distant)
   JEDES DORF IST DUNKEL; SO GILT KEIN GAST IST GROSS
   (Every village is dark, thus no guest is large)

   Johannes Auer - 06.11.2012 - 13:51

6. pleintekst.nl / plaintext.cc

   "pleintekst.nl" is an intelligently designed, highly conceptual text generator. "Pleintekst" works on text material with a set of algorithms for text transformation and typography. It mixes fragments of real time data from the operating computer system with passages from George Battaille’s "History of the Eye" (mind words like "pussy" and "milk") and with an email dialogue between Cramer and Mary Anne Breeze. The machine is continuously started by interpassively clicking in any active field. Beyond, you may read, observe, associate and speculate over the profound reasoning behind the project, get frustrated or simply leave things to fend for themselves.

   (Source: Friedrich W. Block: Paper given at the "Archive&Innovate" conference
   of the Electronic Literature Organization at Brown University, Providence, June 3-6, 2010)

   Johannes Auer - 09.11.2012 - 16:43

7. Nobody knows but you

   nobody knows but you was written for Double-Cute Battle Mode, an application prototype for a VJ (video jockey) remix battle. DCBM allows two players to combine visuals and special effects in a playful competition for screen space. Using joysticks, players plug their imagination into their computer and share a creative space in an intuitive video-game style interaction. The piece was conceived as a way to ease text back into an image-dominated culture by treating it simultaneously as a visual special effect and as a poem. The twenty-three verses appear on a plane in three-dimensional space. A cube shape displays additional visuals. Both the cube and the plane may be scaled and rotated, and the reader has control over which verse or image is displayed. You may notice in the image at top left, or while watching the installation video, a twelve-year-old girl plopped down in front of the installation. She played with the piece on and off for three hours. She began singing the words, making up melodies and turning certain verses into refrains. There is a clear lack of literature that responds to the intellectual and creative needs of young people today.

   Luciana Gattass - 14.11.2012 - 17:08

8. Macelib

   Macelib

   Johannes Auer - 21.11.2012 - 19:53

9. Hermenetka

   Hermenetka (acrônimo formado pela associação de Hermes, deus grego das comunicações e das trocas, Net, de Internet e Ka, figura mítica do antigo Egito, polimórfico, que presidia a passagem para o mundo invisível, o reino dos mortos) é um projeto de Net Arte que gera cartografias randômicas a partir de buscas em bancos de dados. O ponto de partida do projeto Hermenetka é o Mediterrâneo compreendido como cenário espiritual de pensamentos, como método e busca de conhecimento. Na era contemporânea, a metáfora do “mar entre territórios” se corporifica nos fluxos e nas trocas do ciberespaço. A proposta do Hermenetka é criar cartografias plurais dos mares de dados que povoam o cotidiano da cibercultura. O projeto é constituído por dois tipos de mapeamentos. No primeiro, é possível gerar um mapa em tempo real a partir de tópicos que orbitam em torno do conceito de Mediterrâneo. A segunda possibilidade consiste em responder à pergunta “O que é o Mediterrâneo para você?”. Nesse caso, a resposta irá buscar no ciberespaço imagens e textos que comporão seu mapa.

   Luciana Gattass - 26.11.2012 - 20:55

10. When you reach Kyoto

    This collaborative work is built using Geniwate’s (Australian writer Jenny Weight’s nom d’ordinateur) “concatenation engine” and Stephans’ images and text. This “page space” is a computational upgrade to the cut-up, because in addition to randomly joining lines of verse, it cuts them further and places them in different positions of the page, creating multiple lines and readings of the same text. The gorgeous oversaturated images of urban and natural landscapes serve as a backdrop for an explosion of letters in different font sizes and lines of free verse, all of which serve as links to the next piece of the concatenation. The sound clips are nowhere nearly as pleasant as Brian Eno’s “Burning Airlines Give You So Much More,” which has a line that inspired the title of this poem, and perhaps some of its postcard-like visual design and conceptual language choices, such as the frequent use of “you,” “she,” and references to writing. (Source: Leonardo Flores, I ♥ E-Poetry)

    Jeneen Naji - 08.01.2013 - 16:20

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