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1. ROM_TXT

   This bot explores a corpus of textual data from videogame ROM (Read Only Memory), selecting a random snippet, adding a hashtag for the source, mentioning the platform in parenthesis, and publishing the results every three hours. This textual data isn’t just text displayed by the games when they’re running, but also their programming code, which means that its text is sometimes gibberish (perhaps from obfuscated code), formatted using coding conventions, and strange enough to be poetic. This is a rewarding bot to follow from a Critical Code Studies perspective because it invites reflection on the choices made by programmers for variables, data, and language.

   (Source: ELC Volume 3 Editorial Statement)

   Magnus Knustad - 08.11.2016 - 17:57

2. Objects

   poema digital que cria combinações aleatórias com os 27 nomes das mulheres assassinadas em Portugal em contexto de violência doméstica, durante 2015.

   feito em Processing a partir do código Silly Poet de Abe Prazos.

   (Source: http://cargocollective.com/lilianavasques/e-poetry)

   Alvaro Seica - 04.05.2017 - 11:56

3. Poetry is Just Words in the Wrong Order

   Poetry is Just Words in the Wrong Order (2015) proposes an unconventional way of creating and presenting poetry based on improvisation, language/sound experimentation, fragmentation and randomness. Poetry as a social practice is here developed in an anti-narrative manner. Built with custom code, a computer chooses random phrases from a predetermined Twitter hashtag (e.g. #Syria) and a database of verses which are selected by the two artists (e.g. verses from poems by Arab women writing in English). The phrases and the verses from the two sources are combined partly randomly and partly following a given pattern. At the same time, sound events are being produced by estimating the number of the letters of every incoming word as well as the total volume of the incoming data. When the project is presented live, the three artists build and improvise on the poem that is created by the computer. (Source: Adapted from authors’ text)

   Alvaro Seica - 07.05.2017 - 11:47

4. The Bible Went Down With The Birdie Jean: an elegy

   This is a serial project in which Potts's own reporting, photography, and memory cast a parting look at his past life, growing up as the gay grandson of televangelist Oral Roberts: between September & January 2016, every other Sunday in 33-post "books," Potts posted a 300-post Instagram account of this story — 9 books of 33 Instagrams each . 

   In Potts's words, his own originary story is tied to the rise of his grandfather Oral Roberts as the famed televangelist and charismatic Christian preacher: "At twelve, my grandfather climbed into his Prayer Tower and said he’d die if he didn’t get $8 million; I was a gay kid living on a Pentecostal compound with an autographed photo of Ronald Reagan on my desk. At eighteen I left most of that behind, rarely looking back."

   Potts's story is a compelling, wonderful, and moving mix of comedy and tragedy, documenting the fragile beginnings of a life marked by abuse that nonetheless reveals hope and beauty as Potts moves on from the past.

   Andrew Klein - 07.06.2017 - 19:50

5. The Dice Player

   'The Dice Player' is an Animated Poetry film that visualizes a poem written by the Palestinian poet Mahmoud Darwish. It was recited in the live event 'In the Shade of Words' 2008, along with harmonies by the band Le Trio Joubran. (English subtitles are available)

   This is a Bachelor project made in the faculty of Applied Sciences and Arts in the GUC

   Seamus Riordan-Short - 07.06.2017 - 20:43

6. Snapchat elit

   Can a snapchat story also be electronic literature? I’m fourteen years old and I think so. Micro-video sharing apps constitute new ways to share our lives and new ways to circulate fiction, documentary works and poetry. The storytelling itself may be linear, but these are born-digital, aphoristic, networked and experimental. A snapchat story can selectively document a day, but it can also force a fictional piece into a highly constrained form. Finally, Snapchat is built on the idea of ephemerality—a Snapchat story is designed to vanish in 24 hours. For the Festival I propose one of two things—either a snapchat story captured on video that can be shared via computer or phone or, a true Snapchat story, available only for a 24 hour period during the Festival.

   (Source: Description from ELO 2017: Book of Abstracts and Catalogs)

   Pål Alvsaker - 28.08.2017 - 20:50

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