This is the complete genome of the Covid-19-virus as a soundpoem, using the source: https://www.ncbi.nlm.nih.gov/nuccore?term=MN9089%E2%80%A63
Camtasia Fantasy is a study on institutionalized tools for presenting information, featuring numerous forms of misreading and corruption native to those systems—including automated captioning and stabilization, noise removal, layers of lossy compression, and the broader assumption that a PowerPoint slide show can communicate any knowledge worth knowing—as well as the unintended poetics that emerge from such misreadings.
(Source: http://thenewriver.us/camtasia-fantasy/)
Mosteiro de São Bento da Vitória
Porto
Portugal
This exhibit acknowledges the wide range of community practices converging and sharing reflections, tools and processes with electronic literature, as they challenge its ontological status. Implying an existing set of relationships, communities, such as those represented in this exhibit - the Artists’ Books, ASCII Art, net Art, Hacktivism/Activism, Performance Art, Copy Art, Experimental Poetry, Electronic Music, Sound Art, Gaming, and Visual Arts communities - share a common aesthetic standpoint and methods; but they are also part of the extremely multiple and large community of electronic literature. Our aim is to figure out the nature and purposes of this dialogue, apprehending, at the same time, their fundamental contributions to electronic literature itself.
Communities: Signs, Actions, Codes is articulated in three nuclei: Visual and Graphic Communities; Performing Communities; and Coding Communities. Each nucleus is porous, given that some works could be featured in several nuclei. Because it is necessary to negotiate the time-frame, locations, situations and genealogies of electronic literature, this collection of works expands the field’s approaches by proposing a critical use of language and code — either understood as computational codes, bibliographical signs, or performative actions. Therefore, the exhibit adopts both diachronic and synchronic perspectives, presenting works from the 1980s onwards, and showing the diversity of art communities working in nearby fields which, at close-range, enrich the community/ies of electronic(s) literature(s), either in predictable or unexpected ways. Distributed authorship and co-participant audience are key in this exhibit.
(Source: Book of Abstracts and Catalogs)
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)
Picking up the thread from last year’s conference, The End(s) of Electronic Literature, we chose the theme “New Horizons,”—that is, looking past current practices and ahead to future ones, with emphases on literary games, preservation, and new digital technologies.
The festival involves 27 works in the Exhibit, 13 Readings & Performances, four works in the Screenings, and five Sound Installations — for a total of 49 works. Caitlin Fisher, ELO 2016 Artistic Director, and her team of curators — Brenda Grell (Exhibit), Jim Andrews (Readings & Performances, Jim & Justine Bizzocchi (Screenings) and John Barber (Sound Installations and radioELO) have selected some excellent works involving mobile apps, AR/VR, robotics, video, net art, sound art, and other forms that reflect our theme.
The Artistic Director of the Festival is international artist, and Canada Research Chair at York University, Caitlin Fisher, whose research investigates the future of narrative through explorations of interactive storytelling and interactive cinema in Augmented Reality environments. She is co-founder of the University of York’s Future Cinema Lab. Working Fisher, are four curators:
All events take place at the University of Victoria. The Exhibit is located in the Atrium of the MacLaurin Building; Readings & Performances, at Felicita’s; Screenings, at Cinecenta; and radioELO will provide live broadcast during the conference and festival from a station located in the MacLaurin Atrium.
(Source: http://elo2016.com/festival/)
Live performance, with recorded elements, of an audio work that explores neutral voice, artificial voice, acousmatic voice, voice and its relationship to the reader. This performance will also incorporate quasi-algorithmic, appropriative microcollage (with results from network services) particularly in the recorded passages. The performance requires that the artist is able to connect his computer's audio interface(s) to a relatively high-quality stereo PA system. A number of sample development pieces and proofs of concept are available at: http://programmatology.shadoof.net?p=contents/auralityrecordings.html.
(Source: ELO 2015 Catalog)
The question of electronic literature – its definition, existence, significance, relationship with literature (plain and simple) – has always been bound up with questions of media and medium. New media. Electronic media. Media qualified by digital, computational, networked, programmable and so on. And all of these terms hypostasize practices while encapsulating and concealing an even more fundamental problem concerning their medium in the sense of artistic medium. Historically, as of this present, an electronic literature exists. It exists significantly, as corpus and practice, and as an institutionally supported cultural formation. It has established a relationship to literature as such, and this is also, to an extent, institutionally recognized. However, questions and confusions concerning media – signaled understandably but inappropriately by the absurd, skewmorphic misdirection of “electronic” – remain encapsulated in “literature” itself. The medium of literature is not letters or even writing. The medium of literature is language. And this latter statement is a contradiction, arguably an assault, by literature, on language itself, as if the art of language could be entirely encompassed by an art of letters. The future historical role of “electronic,” digital, computational and programmatological affordances will be that of enabling artists and scholars to overcome our long-standing confusions concerning literature and writing, but not by replacing literacy with digital literacy. It has become a commonplace of the discourse surrounding electronic literature to say that the predominant practices of aesthetic language-making are currently produced in the world of (print) literacy and that this has been problem since the advent of “electronic” literacy. It has been a problem for far longer than that. Our predominant art practices – of visual or fine art – are currently produced, chiefly, in the world of visuality. Qualifying (visual) art with “digital” or “electronic” is less and less necessary because “digital media” simply allow visual artists to explore visuality in new ways, continuous with those of previous practices and institutions. For art, media may have changed but the artists’ medium is consistent. By contrast, digital media will enable us to discover that aesthetic, artifactual language-making may also take place in the world of aurality, in the world of what we can hear and, in particular, of what we can hear as language, and faithful to language as artistic medium, as aurature. (source: ELO 2015 Conference Catalog)
11 Ways to escape the Symbolic Field is a hybrid work consisting of various Internet accessible pieces in which texts found on the Internet are combined with original digital art works. The texts are presented on the screen in different, mostly hermetic ways, to emphasize the eroding effects the internet has on the literacy of the ‘general audience’. The author intends to question the ‘authority’ of the found texts by deforming them and to render them illegible. Together with each – projected–piece is a sound track with recordings of spoken poetry in English and Dutch from the artist. The poems juxtapose each piece with political driven subjectivities. This series of work is building upon previously created works such as Semantic Disturbances (2005) and La Resocialista Internacional (2011) by the same author. (Source: GalleryDDDL description)
As a seemingly limitless and comprehensive resource, UbuWeb (http://www.ubu.com) has put together a map of the past hundred or so years of ‘experimental’ writing, film, video, and sound art. It resembles the archive in its breadth and depth, in its relentless collecting, in its inherent totalizing tendencies. My argument is that UbuWeb, while not an ‘archive’ per se, does have a cataloging logic, though it is not apparent, and that its specific logic is based on the commodification of the artwork and the effects of that commodification on its exhibition. To understand that logic, I want to situate UbuWeb at the latest point in a series of discontinuous institutions and discourses that have all taken the ‘artwork’ as their object. By understanding the how artwork’s relationship to power is mediated by a historically developing series of institutions (royal art collection, national patrimony, public museum, commodified gallery), we can understand how these institutions function based on a legitimating logic that is shifting from sovereign power to disciplinary power to securitizing power and how each institution deploys a certain concept of the artwork specific to each regime of power. By contextualizing UbuWeb in the genealogy of the exhibition of artworks, it will be possible to reconceptualize the ‘experimental’ and ‘avant-garde’ works of the last century (those represented by UbuWeb) beyond the inside/outside binary that justifies the current discourse surrounding them. The archive, while undergoing many crises not unrelated to the conceptualist crises of the postmodern gallery, can provide an interesting alternative to the aesthetic-driven, galley-like organization principle that keeps UbuWeb from making good on its promise to be a space for utopian politics free from market constraints.
Multithreaded multisited multiversion project that played on Third Man by Orson Welles, dealing with themes of bioterrorism. A film was central to all iterations of the project, which involved installations, mobile phone videos, performance, fashion, and site-specific variations.
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