This interactive video was shot on the 101st anniversary of Bloomsday, the fictional day documented in James Joyce’s Ulysses. The piece is a tryptich of randomly combined clips of Mary Beth Canty, a musician who was living in Quebec City around the corner from where I was doing a residency at La Chambre Blanche that summer as well as excepts from page 101 of Ulysses.
(Source: Author's website)
Comme son titre l'indique, Ulysses 101 est une adaptation transmédiatique du roman de James Joyce publié en 1922, et dont les événements relatés se déroulent le 16 juin 1904, soit 101 ans avant la mise en ligne de l'oeuvre hypermédiatique. Sur un fond blanc, trois fenêtres carrées sont juxtaposées horizontalement afin de constituer un bandeau. Un nombre est attribué à chacune des fenêtres, la première est identifiée par « one », la seconde par « zero » et la dernière à nouveau par « one », transformant ainsi l’écart initialement noté (101) en nombre binaire (101, c’est-à-dire 5). Ces fenêtres renferment deux types de contenu, soit de courtes séquences filmées et des extraits de texte disposés adroitement. Le triptyque qu’elles constituent est aléatoire. Les séquences filmées offrent tour à tour des images d’une femme interviewée dans un café, d’une chaise berçante juchée sur un meuble en bois, d’un homme attablé dans un café et dessinant sur les pages d’un cahier, d’une porte couverte de graffitis qui s’ouvre en grinçant, de gens marchant la nuit dans les rues de Québec, d’une femme jouant de l’accordéon dans un local, etc. Les segments de texte affichés pourraient provenir de n’importe lequel des 18 épisodes du roman; ce sont des citations sans véritable signification sauf celle, première et essentielle, d’indiquer explicitement la présence du roman de Joyce. Ce sont ses mots, ses phrases qui sont ici agencées pour créer un matériau visuel complémentaire des séquences filmées, dans un système de permutations qui fait se côtoyer des textes séparés par plus d’un siècle.
(Source: NT2)
Author note: Ulysses 101 was created as part of a residency at La Chambre Blanche in Quebec City in 2005. Filming with Mary-Beth Carty and Jennifer Banks took place on June 16, 2005. Programming: Chris Mendis
You and We allowed web visitors to upload texts and images, which were then randomly juxtaposed by the web-based application in time with music. As of July 2013, the piece no longer functioned in the browser.
The influential book that introduced the terms cybertext and ergodic literature was first written as a PhD dissertation. See the entry for the book for details and references.
Combinatory poem.
The date (2006) is estimated. Archive.org first crawled this website in 2007, but Giovanna di Rosario writes in her dissertation that she accessed the wrok in 2006 (p 123).
The piece is the short story of a digital chess game, a constellation which may be read conventionally from left to right, top to bottom - or in any other combination. Each of the 16 squares encodes an eight letter (byte) word, originally a file name from a computer chess game.
The early “Tape Mark” poems by Nanni Balestrini (1961) appropriate texts by Lao Tzu (Tao Te Ching), Paul Goldwin (The Mystery of the Elevator), and Michihito Hachiya (Hiroshima Diary). (Source: C.T. Funkhouser 2007: 12) The Cybernetic Serendipity catalog reports that the operations involved withbthe successful production of Balestrini’s “Tape Mark” poems required the author to create 322 punched cards and 1,200 instructions into the computer (Balestrini, “Tape Mark I” 55). (Source: C.T. Funkhouser 2007: 278)
COG is a user-interactive experiment in the visual possibilities of a poem. Accordingly, COG contains textual and visual material that determines its field of expression. However, as a user is wont to bring their baggage to any reading of a poem, why not give in and leave certain dynamics of the composition in the reader's hands? The idea is that, as visual and lexical materials are never fixed -- most certainly not in the mind of a user -- hot spots here allow programmed aesthetic modulations of the composition. These provide slight alterations of the composition, offering alternative vantage points in the visual field that are subtle, not chaotic but cotangential. This is not an exercise about impenetrability; rather, COG offers a Zen garden of visual verbal shades that awaits the subtle strokes of the viewer's rake-cum-Rodentia.
(Source: 2002 State of the Arts gallery)
Arrested" is a play on preconceptions regarding social, ethnic, religious, and political affiliations.
Artist StatementAlthough created ten years ago "Arrested" continues to comment meaningfully on the phenomena of social classification and judgment (seemingly) inherent in human society. What makes the project particularly interesting and poignant is that it encourages reflection on the systems of labeling and judgment that are both internal and external (to the self), and invites readers to observe their own biases (with a possible chuckle).
"Arrested" employs a flipbook format in which offenders and offenses are randomly culled from database repositories. The flipbook's random display of elements offers up individualized texts to each audience. These in turn provide the opportunity for individual interpretation (internal visualization) and subsequent contemplation.
"Arrested" is both serious and silly. It is the intermingling of these that potentially provides the impetus for change in regards to awareness of/attitudes towards difference, and fears associated therewith.
"Arrested" is a play on preconceptions regarding social, ethnic, religious, and political affiliations. For me personally, it acts as a bridge between my unconscious attitudes and my conscious self-awareness. When any pairing of offenders and offenses is displayed on the monitor and my inner voice responds either in agreement or disagreement that such a pairing could indeed take place, I know, that is, I am made consciously aware that I have preconceptions, i.e. prejudices regarding that particular group/scenario. For example, if the pairing of "Some Republicans were arrested for burning their bras" were to be displayed, a visual develops in my mind. I become aware that I have certain notions regarding both Republican activities and the "type" of individual who would burn their bra. I become aware. I become aware. I become aware.
(Source: 2008 ELO Media Arts show)
As a poetic mediation on place and experience, Window encourages you to explore the things at the edges. The ordinary moments—sounds, sights, memories, thoughts—that make an environment familiar, that make it ‘home’. My inspiration came, and continues to come so often, from John Cage—and I made this work in 2012, the centenary of his birth. His music, writing, and thinking—the way he lived his life—are a wondrous integration of art and ordinary experience. Interwoven with fragmentary texts, themselves hidden at the edges, and only available through exploration, are a separate series of short essays. Some are about John Cage and some are personal reflections as I looked, listened and collected the sounds and images that provide the material for this piece. I did this over a period of a year—listening, looking, snapping photos and recording sounds. Arranged in ‘months’, there are various ways to interact with Window. The choice is yours—listening, reading, looking, and travelling from one time of year to another. For each month the images and sounds were actually recorded in the month concerned. So by moving the sounds around, louder or softer or from left to right, you may come to notice how subtly sound changes as time, and life, goes on. More information on Katharine Norman's work at www.novamara.com
As of Nov 2012: works on most Browsers on Mac/PC, preferably Chrome or updated Firefox. Works on laptop/desktop but not on iOS yet due to audio limitations (html5). Alternative version coming soon.
In our contribution we will discuss some projects in the field of digital poetics which transform or recreate poetic pre-texts that were not conceived for the electronic space. Our interest is to focus on the question of the site of digital poetics, i.e., on its discursive or systemic affiliation. These projects of transformation imply a justification: We derive digital poetics not primarily from theories or discourses of information and communication technology or the digital media culture, but from theories and histories of poetry and “language art” itself. While doing so, we do not ignore that electronic or computer poetry is turning problems of the actual media and technological culture, as well as its theoretical description, into poetological and artistic categories and categorization. The perspective on art itself means, quoting from Loss Glazier (2004), “Siting the ‘poetry’ in e-poetry, which means to read digital poetics against its poetological and historical background.” The examples that will be discussed refer to the tradition and evolution of language art by means of intertextuality. We will be looking at an art which puts on stage, above all, language itself, in a self-referential way. Ever since, poetry has been art with language in all its dimensions. The conceptual concentration on special linguistic aspects has lead to specific forms of language art throughout the history of poetics: the poetization of the graphemic aspect in visual poetry, the phonetic aspect in sound poetry, or the poetization of the grammatical aspect in combinatory and algorithmic poetry.
(Source: Authors' abstract)