Ted van Lieshout developed the "Poetry Compressor," which is an app that analyses text and systematically rearranges letters and text structures. It was their answer to the question whether the internet can contribute to pen, paper, and word processors.
Ted van Lieshout ontwikkelde de ‘Poetry Compressor’, een applicatie “om stukken tekst te analyseren en letters en tekstelementen systematisch te herordenen” (Schrader, De Man & Van Lieshout, 2006, z.p.). Het was hun antwoord op de vraag of internet iets kan toevoegen aan pen, papier en tekstverwerker
"Sentenced to Covid: Voices of the Pandemic" displays our single-sentence responses to the pandemic. You can read the responses in either manual or auto mode (the latter which provides an endless looping display of the responses). If you want, you can write your own response for others to see.
Source: exhibition documentation
Voidopolis is a digital performance about loss and memory that is currently unfolding over 40-ish posts on my Instagram feed (@kmustatea). It is a loose retelling of Dante’s Inferno, informed by the grim experience of wandering through NYC during a pandemic. Instead of the poet Virgil, my guide is a caustic hobo named Nikita. Voidopolis makes use of synthetic language, generated in this instance without the letter ‘e’ and the images are created by “wiping” humans from stock photography. The piece is meant to culminate in loss, so will eventually be deleted from my feed once the narrative is completed. By ultimately disappearing, this work makes a case for a collective amnesia that follows cataclysm.
Explained very simply, this piece is a story about a man being presented with a mysterious object that is either 1) directions upon which he must act or 2) documentation of his own origins. If they are the former, then the events that proceed in the story are the events that proceed. If they are the latter, the events that proceed are his re-encounter with how he came into being not as an organism (what is that even?), necessarily, but as a someone who believes in space, physicality, reason, etc.The piece alternates between two locations: "in here," which is where the narrator builds a space in order to orient himself in relation to the question the mysterious object presents, and "that sort of place," which is where the narrator is presented with new information that both helps and antagonizes him. The juxtaposition of the closed, structured space of "that sort of place" with the open sprawl of "in here" invokes the question that the narrator circles around - whether he can recreate or reconstruct his own beginnings or origins to the point of creating the closed, structured space in which he exists now.
Source: https://wiki.brown.edu/confluence/display/wdm/Cave+Writing+Presentation…
[meme.garden] is an Internet service that blends software art and search tool to visualize participants' interests in prevalent streams of information, encouraging browsing and interaction between users in real time, through time. Utilizing the WordNet lexical reference system from Princeton University, [meme.garden] introduces concepts of temporality, space, and empathy into a network-oriented search tool. Participants search for words which expand contextually through the use of a lexical database. English nouns, verbs, adjectives and adverbs are organized into floating synonym "seeds," each representing one underlying lexical concept. When participants "plant" their interests, each becomes a tree that "grows" over time. Each organism's leaves are linked to related streaming RSS feeds, and by interacting with their own and other participants' trees, participants create a contextual timescape in which interests can be seen growing and changing within an environment that endures.
Text in its nature and very architecture is anxious, it is neurotic. It is only held in a seemingly apparent stasis. A work with text is never truly finished but ceased. The paragraph is a shivering mass of bent lines as is a single sentence. The systematic function of text is to infer a voice in a code of bent lines and spaces between. The sculptural nature of the lines of letters is akin to an exhibition of forms encoded with implied speech and thought. It also is like the ground awaiting crack and quake, like the sky waiting to break open in rain, like the nervous shudder of breeze from calm.
Read more: http://www.neme.org/texts/text-is-not-static
This research shows a diagnosis of teaching methods of poetry writing used by teachers at some high schools in Mexico City. At the initial stage of this research, teachers of three different types of high schools were given a questionnaire using Google Forms. This included general questions regarding the teachers´ working conditions, their literary preferences, the sections in their Study Programs containing the subject matter of study, and the activities and methods used for the writing of poetry. The results were analyzed with the Statistical Package for Social Sciences (SPSS). It was found that within the Study Programs of three different types of high schools, poetry is approached studying its essential characteristics: the fundamental interaction of form and content, its rhetorical figures, its contrast with others genres, appreciation, analysis and criticism of texts, but a specific systematic method for the teaching of writing of this genre is missing. Only two study programs included a small section for poetic writing but was not systematic and it did not had specific activities. Therefore, didactic sequences of poetic writing are proposed progressively so that students develop the ability to write poems practically and consecutively. Teachers can create variations of them either in terms of structure or in the use of Information and Communication Technologies (ICT). Each one of the sequences is based on a poetic resource such as alliteration, epithet, metaphor, comparison, among others with the purpose that students can create their own texts and at the same time consciously be aware of some of the resources that are used when writing poetry . It is proposed that the writing exercises be done first and later on the teacher explain the concept of the poetic resource that were used to compare it with the finished product. What is intended is that the student does not learn the concept of the resources used in isolation and without meaning, but with the modeling in practice they can better understand and assimilate each concept. The sequences are based on the use of videos, audios, programs or specific applications that young people use in their daily lives.
Mary Rose is a digital ghost story. Nunn gave context to her work on University of Alberta's blog:
Mary Rose is about my children’s great-grandmother and I’ve been writing the story for about six months. I actually have a lot more written and was originally intending it to be a novel. I decided to use some of the writing for the final project of my Digital Fictions class and I was really happy with how the story worked in a digital format. I was actually surprised how easily the Mary Rose story fit into the interactive format.
(Source: University of Albarta)
A short multimedia-enhanced hypertext game about perpetual cycles of displacement and violence, as seen through the lens of a child. Takes about 15 minutes to read/play, and no gaming skills are required.
Ishmael debuted at the 2017 Spring Thing interactive fiction festival, was selected to be showcased at the PixelPop Festival in St. Louis, was nominated for the "Best Social Impact Game" award at BIG: Brazil’s Independent Games Festival, was an IndieCade Finalist, and was shortlisted for the 2017 New Media Writing Prize.
Stories about Lithuanian Paralympians. Each story encompasses each individuals experience, struggles, and passion.
Available in English and Lithuanian language.
This work was awarded the Gorkana Award for Journalism in 2016.
