recreation

"Berlin: Symphony of a Great City" by Walter Ruttman (1927) is the central work in the genre of "City Films" which thrived internationally in the 1920s and 1930s. "Berlin Remix" is a generative video installation based on this seminal work. The original film has been deconstructed into its individual shots, which are placed in a shots database. "Berlin Remix" investigates cinematic style and technique through the creation and presentation of an ongoing series of short films drawn from this database. Each of these short films reflects a different facet of the original work, and each film is unique - differing from the others in cinematic style, thematic content or both. The artist has defined a number of style templates through analysis of various documentary films, particularly those in the City Film genre. The templates incorporate different content themes (such as work, recreation, culture, class) and a variety of cinematic manipulations (such as sequencing pattern, editing pace, transition choice, and visual treatment). The templates will use real-time algorithmic operations to call up shots and apply the cinematic treatment. The viewer is presented with an ongoing and constantly changing series of short films. Each film may be viewed on its own and assessed for its impact. However, comparison of the short films as they emerge will provide insights into the original "Berlin" and support a deeper analysis of both style and content in the context of cinematic art.

This is a reading performance of the book named Articulations. The poems in Articulations are the output of a computer program that extracts linguistic features from over two million lines of public domain poetry, then traces fluid paths between the lines based on their similarities. By turns propulsive and meditative, the poems demonstrate an intuitive coherence found outside the bounds of intentional semantic constraints.

"J.R. Carpenter draws language through the icy passage of code's style" Nick Montfort

An Ocean of Static transforms the dense, fragmented archive of the North Atlantic into an astonishing sea of fresh new text. From the late 15th century onwards, a flurry of voyages were made into the North Atlantic in search of fish, the fabled Northwest Passage, and beyond into the territories purely imaginary. Today, this vast expanse is crisscrossed with ocean and wind currents, submarine cables and wireless signals, seabirds and passengers, static and cargo ships.

In this long-awaited poetry debut by award-winning digital writer and artist J.R. Carpenter, cartographic and maritime vernaculars inflected with the syntax and grammar of ships logs and code languages splinter and pulse across the page. Haunting, politically charged and formally innovative, An Ocean of Static presents an ever-shifting array of variables. Amid global currents of melting sea ice and changing ocean currents Carpenter charts the elusive passages of women and of animals, of indigenous people and of migrants, of strange noises and of phantom islands.

This book is made of other books. The texts in this book are composed of facts, fictions, fragments, and codes collected from accounts of voyages undertaken over the past 2,340 years or so, into the North Atlantic, in search of the Northwest Passage, and beyond, into territories purely imaginary. The texts in this book are intended to be read on the page and to serve as scripts for the live performance of a body of web-based works. These texts retain traces of the syntax and grammar of code languages.

The Deletionist is a concise system for automatically producing an erasure poem from any Web page. It systematically removes text to uncover poems, discovering a network of poems called “the Worl” within the World Wide Web.

In the “Working Note” for Nets, Jen Bervin explains her impulse to play with Shakespeare’s sonnets “to make the space of the poems open, porous, possible.” Her 2004 collection presents bolded words from sixty sonnets, creating a new “net” of meaning, a visually and lyrically emergent poetic constellation. The technique of erasure, in which words are removed from a source text to reveal poems latent within it, came to prominence with the work of Ronald Johnson and Tom Phillips in the 1960s. It has come back into fashion in recent book-length poems, including Srikanth Reddy's Voyager, Janet Holmes's The MS of My Kin, Jonathan Safran Foer's Tree of Codes, Mary Ruefle's A Little White Shadow, and (just released as this project is being completed) Sonne from Ort by Christian Hawkey and Uljana Wolf. The Deletionist asks what will happen if the text being erased is itself already a Net.

The Deletionist takes the form of a JavaScript bookmarklet that automatically creates erasures from any Web pages the reader visits. A similar method has been used in Ji Lee's Wordless Web, which removes all text from Web pages, as well as applets that turn webpages into Katamari Damacy environments or Space Invaders levels to make a game of destroying language. Between such extremes and the everyday Web, The Deletionist finds a space of texts that amplify, subvert, and uncover new sounds and meanings in their sources. Neither an artificial intelligence nor a poetry generating system, The Deletionist has a repertoire for uncovering patterns and revealing the poetics at play within the cloud: from Project Gutenberg ebooks, to Facebook, to Bomb Magazine and Arts and Letters Daily, The Deletionist will willingly apply itself to any text set before it.

Source: authors work description