rewriting

This multimedia work is a remake of the 1960s collection "El hacedor" by Jorge Luis Borges. Agustín Fernández Mallo maintains the structure and chapter titles, but changes the content to demonstrate how the material gains symbolic significance over time. One paradigmatic example includes the remake of Borges's story "Mutations". Agustín Fernández Mallo's take on it presents a narrator who recreates Robert Smithson's 1967 famous journey through the use of google maps as well as images that compare the journeys. In this regard, the text conveys a comparison between the in-person and the virtual journeys, thereby exploring the temporal difference and the impacts of technology and societal context. 

Machines of Disquiet are a series of experimental web applications that aim to provide various aesthetic and reading experiences based on Book of Disquiet by Fernando Pessoa. Each of the applications is an attempt to find a new setting for experiencing the Book of Disquiet as a sensitive matter. The title refers to the condition of machinic mediation that defines digital objects, but these experimental applications are also understood as “feeling machines,” “machines for making sense,” and “imagination machines.” The Machines of Disquiet have been developed as a first iteration of author-function of the LdoD Archive: Collaborative Digital Archive of the Book of Disquiet.

Artists and collaborators: LuísÍ / Author and programmer: Lucas Pereira / Texts: FernandoPessoa (1888-1935) / Translator: Manuel Portela

Source: https://sites.grenadine.uqam.ca/sites/nt2/en/elo2018/schedule/1618/M%C3…

Human + A.I. poetry.Generated by a computer. Edited by a human.05.2017 - 05.2018. One book a month.A limited edition boxset of 12 poetry books written in one year by digital poet David Jhave Johnston with neural net augmentation. ReRites is accompanied by a book of 8 essays written about the project. Published by Anteism Books, Montreal (2019).ReRites exhibit format also includes over 120 hours of neural-net text-generation videos, 15 hours of editing videos, and often includes a participatory performance component called ReadingRites.Installation views.

(Source: http://glia.ca/rerites/) 

„Street Flower” is application designed by Jan K. Argasiński and Piotr Marecki. The technical side of the project is based on the creation of a mobile application that runs in conjunction with iBeacon devices (Estimote Beacons). This technology includes a text generator in a spatial context and action based on the position relative to specified, "electronically tagged" objects. With this combination, dynamically created texts will operate in the context of a specially prepared micro version of the Internet of Things. In our project, we focus on the work of the Polish poet Tadeusz Peiper (1881–1969), sometimes referred to as the Pope of the Avant-garde, an artist and theoretician of the socalled Kraków Avant-garde. His greatest achievement was a poetic form he called a “blossoming arrangement”, in which the constraint stems from the fact that the poem gradually unfolds from smaller units of the poem. We adapt Peiper’s classic „Kwiat ulicy” („Street Flower”), a blossoming poem from 1924, for Estimote Beacons. Thanks to the spatial possibilities of the iBeacon device, Peiper's work gains the spatial shape of a blossom, which was limited by the page. The reader navigates the space with his mobile device in hand and by using the specially designed app, he/she discovers the 4 layers of the work. Operation of the proposed mobile application is based on three contextual aspects: the action of the paired smartphone and beacon working in tandem, the tracking capability of the beacon’s distance from the smartphone and recording the current direction of smartphone’s movement in relation to the beacon. The actors in the created application include: users (operator with respect to whom and in response to whose actions that text will be generated), application (as the recipient of user actions; works in real time and reacts to those actions), smartphone (on which the application is running; the operating system [Android in this case] allows for use of built-in device sensors and transmitters/receivers that enable proper operation of an application and communication with the beacon), and the beacon (passive sender of the radio signal; its task is to broadcast continuous information about itself; in the project we assume that the beacons are fixed in one position). The system consists of three main components and communication between them. The first component are passive signal senders, the Estimote Beacons. They broadcast information about themselves via Bluetooth Low Energy. Another component is the user application installed on the mobile device, smartphone. The application begins to listen for beacon signals in the vicinity. The last component is the Internet with freely realized connection between it and the application.  

It is an electronic literature work, an example of digital storytelling and digital poetry.

Basis for this digital work is story "Sentaniz" from Maurice Sixto, a famous Haitian storyteller.

The Poetry Machine was developed in 2012 as a way for libraries to exhibit electronic literature.52 The installation consists of three sensor-equipped books through which (up to) three simultaneous users can compose poems on a screen, and then get them printed on small receipts and stored on a website. When seizing a book, the user is assigned a sentence from this book out of approximately a hundred different sentences. Each sentence exists in three variations, which the user can choose to drag into the writing space. After a limit (e.g., 350 characters) is reached, by combining the books and sentences, the poem is finished, printed, and stored online.

The Poetry Machine was designed as a collaborative project between librarians, authors, and researchers, and the design has focused on critically addressing the digiti- zation of literary culture—that is, on the tendency of the literary apparatus. The Poetry Machine allows users to experience digitization through the composition of poems and interaction with the installation. In this way the installation seeks to make the apparatus of digitization sensible. Apart from making a usable and meaningful literary installation, it proposes that digitization does not just make the book disappear into virtual libraries but instead on a more fundamental level changes writing itself. Furthermore, it suggests a tactic to comprehend and act against the disappearance (“burning”) of the book that has happened at many libraries. As not-just-art, it explores how tactics from electronic literature challenge traditional literary understanding through three interconnected levels.

(Source: The Metainterface by Christian Ulrik Andersen and Søren Bro Pold)

This diptych or bi-fold work presents readers with two re-workings of Lewis Carroll’s “Jabberwocky:” on one hand, a fixed, cyclical hypertext in seven parts (Ouroboros), and on the other, an endless generative deformation that refigures the mock-epic as tennis game in Hell (Jabberwock). Both options are available at the start, but only in faint, translucent lettering. Letting the cursor dwell on one side or the other activates a sound track -- on the O side, a poetic voice whispering words of wisdom; on the J side, various monstrous re-mixes of Thursday, July 2017.This diptych or bi-fold work presents readers with two re-workings of Lewis Carroll’s “Jabberwocky:” on one hand, a fixed, cyclical hypertext in seven parts (Ouroboros), and on the other, an endless generative deformation that refigures the mock-epic as tennis game in Hell (Jabberwock). Both options are available at the start, but only in faint, translucent lettering. Letting the cursor dwell on one side or the other activates a sound track -- on the O side, a poetic voice whispering words of wisdom; on the J side, various monstrous re-mixes of those words. Dwelling on one side or the other will also cause the favored side to become more fully apparent while its opposite fades toward blankness. If the reader pursues this process to the end, which takes only a few minutes, she is invited to complete her Observation by filling out a brief survey asking reasons for the choice of monsters. Dwelling on one side or the other will also cause the favored side to become more fully apparent while its opposite fades toward blankness. If the reader pursues this process to the end, which takes only a few minutes, she is invited to complete her Observation by filling out a brief survey asking reasons for the choice of monsters.

(Source: ELO 2017 Book of Abstracts).

During our presentation, we will take on the role of the literary adept and talk with a chatbot, who we will treat as our master. We’ll ask him questions about how to write, present our works for his evaluation, and try to receive feedback. The Master will use phrases, sentences and paragraphs of texts, which until now have been used in literary discussions. The chatbot that we propose is based on texts from the history of Polish literature, foremost taking into account the exchange of views between literary critics and historians. It is said that one of the peculiarities of Polish mentality is strife, which especially in the digital age takes on monstrous proportions in the form of an uncontrolled wave of hate on the internet and verbal abuse that falls below the belt.

The starting point for our project is to recognize that the majority of existing chatbots are very nice. The available chatbots try to help, give advice and have an answer ready on how to proceed. They look good and behave impeccably. Our idea is radically different: we want to create a bot that is programmed to be unpleasant, to be a troll and hater. The first step will be to research this behavior in Polish literature and based on the literary haters and their hate, we will create a database of possible answers. We are going to use both classical texts, literary quarrels between the romantics and representatives of the Enlightenment, and the avant-gardists attacking tradition, and we will mix these with discussions on literary web portals, social media, statuses and comments. The chatbot will adjust its answer to the user’s questions by employing a simple word order analyzer and keywords. An archive of literary texts will be processed using a sampling method and Markov chains.

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

Intimate Fields is a compact installation work that can be placed on a small table for display. The installation consists of a wooden laser cut box with multiple compartments. The box is embedded with an NFC (Near Field Communication) chip reader connected to a Raspberry Pi and miniature thermal printer. Items in the box include printed scrolls and notes containing NFC stickers, textile items containing knotted codes, and a series of five ceramic/steel rings with embedded NFC chips. On touching the scrolls, notes and rings to the NFC reader, scripts are triggered to generate love poetry remixed from a range of historical and contemporary texts. The poetry snippets are simultaneously printed locally and posted automatically to twitter. The individual printed messages can be taken away by the viewer as a keepsake. The box plays upon the concept of the “poesy”or “posy ring”, a jewelry item customarily used in the early modern period to convey messages of love, fidelity and faith. Examples of these rings are held in archives such as the Ashmolean. The embedded chips in the modern rings enable a new type of “secret message” to be performed as a work of networked electronic literature, while calling back to the physically intimate nature of the original wearable item. Materials: Wood, paper, textiles, NFC-embedded components, electronic components, thermal printer. Technical requirements: Internet access, electrical outlet. Accompanying computer and screen (or laptop) to display live twitter feed (optional).

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

inflorescence.city is an exploration of a shifting virtual city from multiple vantage points. The publication is generated live using a variety of different approaches. Each time you refresh your browser, the publication rewrites itself.
The different sections of the work each offer a unique window into the city. These sections take the form of paper ephemera, census documents, a virtual graveyard with generated tombstones, visits to city landmarks, and various other artifacts. It was important to us that we give each of these separate perspectives a unique sensibility and a voice of its own.
To that end, each of these sections is written by a different set of algorithms. When writing this piece, we treated these software processes as honored collaborators rather than as tools. Each has its own texture and tendencies. Getting to know each of these algorithms is an intricate back and forth process of listening and refining. The bodies of text they use as source material are carefully picked and hand-refined to match the tone of the algorithm.
As the document is written, sections of the document are passed to a program that is responsible for the illustrations. Here the words are translated into sets of drawing instructions. The illustrations are visual mirrors of the text.
inflorescence.city is created by Katie Rose Pipkin and Loren Schmidt in collaboration with various algorithms and code snippets. Special thanks to @thricedotted and @zonodonoceros
The work is viewable online at inflorescence.city

(source: ELO 2015 catalog)