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Wht? Playing around with the medium size 345M model of GPT-2Training it on the custom corpus developed for ReRitesthen output at diverse temperatures for long periods of time.
In short, balanced and benign, this tidy set convinces without comprisingits confirmation that machines in the next few years will emulate modulationsin idioms, inflections, cadences and symbolic reservoirs.The art and nature of writing will shift as its conceptionget recast in a delirious outpouring of empowered augmentation.Enter the mall of pre-made style morphs.
‘In a strict sense, I don't believe there's any definition of poetry that applies to all poets. Different poets have different goals. Different poets have different things in their hearts that they’re trying to express in different ways that they want to express them. Are my videos where I'm running around in the woods talking about YOLO and dogs and dads – are these really poetry? Why call them poetry?’
These are the words of Steve Roggenbuck (https://www.youtube.com/user/steveroggenbuck), a twenty-something self-proclaimed video artist and poet who released YouTube videos from 2010 to 2017. Roggenbuck’s video poems comprised clips of his stream of consciousness, often filmed while he rolled in the grass or ran through natural scenes, screaming. Amongst random - and, frankly, weird - comments, Roggenbuck inserted motivational moments urging viewers to appreciate nature and follow their dreams. Many videos have been edited to include musical accompaniment, green screen-facilitated backgrounds, and/or additional graphics.
Over seven years, Roggenbuck’s fanbase grew larger and more devoted, with Roggenbuck being established as one of the alt-lit (alternative literature) movement’s most renowned contributors. In October 2018, though, Roggenbuck’s fans turned their backs to him as he confirmed allegations of sexual misconduct: allegations that followed numerous others made against alt-lit contributors.
There are, to be sure, many Internet and alt-lit poets. Roggenbuck makes for a particularly interesting case study because he embodies various facets of Internet culture: visual and aural disjointedness, conscious contempt for grammatical correctness (a poetic license, so to speak), premeditated performance of personality, and – as he has confirmed – sexual harassment brought to light in the #MeToo moment. His online persona embodies the complexities of human connection in an increasingly digital context. Rather ironically, though, most of his videos aim to ignite viewers’ passion for the natural world. ‘Worms! Worms! Worms!’ he excitedly screams as he runs through a desert in one video. ‘Fucking llamas! Llamas! Whales are so big!’
This paper introduces readers to Roggenbuck’s poetry, and explores its place within poetic traditions by highlighting the distinctive stylistic features of his work. It considers how Roggenbuck’s video poetry represents a kind of electronic literature that both reflects and parodies meme culture for young adult viewers less inclined to engage with poetry in printed form. This paper also considers how the allegations against Roggenbuck impact interpretations of his work. It aims to start a conversation about negotiating literary value and socially unacceptable authorial behavior on digital platforms with new expectations and potential issues. To use Roggenbuck’s own words: ‘I am the bard. I am the poet. And to be a poet while the Internet exists. Man, we got an opportunity.’ The ‘opportunity’ offered by the Internet allowed Roggenbuck to rise to fame. It was also his demise.
In an empty landscape a storm is announced by uprising sand, moving objects, silent people and a traffic jam on a narrow road.
In een leeg landschap wordt een storm aangekondigd door het oprispende zand, bewegende dingen, stille mensen en een file op een smalle weg.
During the winter of 2017, a tree died in my front yard. Afterwards, a gale uprooted it and smashed it into lumber. But before the fire, new trees emerged. Árboles de mi Desierto: Wind Songs is a recombinatory video poem shaped by my dead tree as it was documented misusing a panoramic camera in order to generate impossible landscapes of bark, wood, assorted detritus and desert sand. The words, sometimes fleeting and otherwise stark, work together with the images to create something akin to a palimpsest of reflections on the human penchant for unnatural progress, growth, vertical lifestyles and upward mobility. It uses espanglish as the lingua franca of the MX-US border where I reside in San Agustin, a small, very much under developed rural town outside of Ciudad Juárez.
Around Osprey is a two-screen projection based on our artist residency with the Conservation Foundation of the Gulf Coast in Osprey, FL, 2018. We created the two video programs: Element A and Element B.For this virtual exhibition, the two video programs have the same duration of 29 min 38 sec, simulating the interactive element of the original design. The suggested viewing setup is: two laptops placed side-by-side; Element A on the left, Element B on the right. The two programs should be started simultaneously.Element A is a series of 12 poetic videos and relates to explorations. The moving pictures and sound treatments for these were gathered from our notes, poetry and stories, research outings, and meetings with local residents. The overall flow of the work relates to encounters with the natural world, environmental concerns over development and human encroachment into natural settings, and what derives from those human interventions.Element B - Our explorations of coastal areas were overshadowed by the omnipresence and effects of the Red Tide, aka K. brevis. As it altered the environment, it also shaped our perceptions. As the cell count of these organisms grew, fish and other oxygen-starved sea animals washed up on beaches. We humans also choked for air. To bring forward observations about the far-reaching effects of the Red Tide, we created Element B (no sound), a real-time reading of a data sets for K. brevis weekly cell counts. (For this virtual exhibition the real-time has been replaced with a video capture.) Element B can be seen as a disrupted state of the environment. The data was entered by day and location on 16 South Florida beaches over a twelve-month timespan. When the counts are low, there is little-to-no change in the moving pictures. When the counts are higher, the images take on corresponding degrees of red tint and temporal shifts that show up as blurriness. The cell count data and location are not directly related to the images they are placed upon, instead, the flow of effects on images relates to how nature works, in cycles, always little by little, and sometimes, surprisingly fast, with overwhelming effects. The text information, on the bottom left of Element B is as follows: K. brevis cell count | Date | Location.To aid the visualization of the K. brevis data, we are including the information below:Possible effect of K. brevisNot present - Levels of 1 cell or less: No effects anticipatedVery Low - Levels > 1 – 10 cells/ml: Possible respiratory irritation; shellfish harvesting closuresLow - Levels > 10 – 100 cells/ml: Respiratory irritation; shellfish harvesting closures; possible fish killsMedium - Levels > 100 - 1,000 cells/ml: Respiratory irritation; shellfish harvesting closures; possible fish kills; detection of chlorophyll by satellites at upper range of cell abundanceHigh - Levels > 1,000 cells/ml: As above plus water discoloration
(Source: Exhibition website)
This project used QR codes as a medium for sharing video poetry. Counter to the popular function of QR codes, this work did not aim to promote or sell any products or to gather or share information. In fact, several of the videos intentionally chose organic materials and/or analog technology to specifically counter the ‘hands off’ quality of electronic media and the intended functionality of the codes.
This project included stickers with QR codes. The stickers were posted in public places.
Each sticker had the same phrase: “I [QR code] U”
Though they looked almost identical, the stickers revealed different symbols when scanned. Each sticker connected with a video, and the video design was inspired by QR code technology.
The first ever conference focusing on Arab electronic literature was held last February in Dubai, United Arab Emirates. Until this conference, little was know of efforts in the Arab world to create and share electronic literature. This presentation introduces one author, Mohamed Habibi, and some of his works of video poetry, that, as argued here, are grounded more in sound than vision.
The first ever conference focusing on Arab electronic literature was held last February in Dubai, United Arab Emirates. Until this conference, little was know of efforts in the Arab world to create and share electronic literature. This presentation introduces one author, Mohamed Habibi, and some of his works of video poetry, that, as argued here, are grounded more in sound than vision.
(Source: Author's abstract from ELO 2018 conference site)
# text/sound-movies text/sound-movies are works of abstract poetry created with the means of digital video and audio. the image is extreme typography. the sound is digital sound poetry. each video is centered around a single topic or source material. please read below for a description of the 6 videos. ## vorsprung is a clip taken from the the video-performance spambot that dealt with propaganda and advertisment. ## sig all source material in this video originates from radio jingles of various broadcasting companies. ## broe sell a typographic video about stock markets. ## mmmatn a video about money and currency. ## ff oitl text and sound are taken from a sneakers commercial ## rr ii rr ii is visualized sound poetry or a sonified visual poem. the material of the acoustic and visual part consists only of electronically modified representations of the sound R. (Source: ELO 2015 Catalog)
Projected on a grid of particles that at times seem ordered, while sometimes chaotic and always in flux, Ormstad's constructed language poetry is exposed and read by the author while performing to Mashtalir's pulsating music and Vojjov's atmospheric scapes in the first two works LONG RONG SONG and NAVN NOME NAME. The first is based on Ormstad's language research project from his second book of concrete poetry from 2004. Here he creates words that may exist or not in any language, and this is related to Vojjov's creation of numbers, geometric forms and abstract shapes. The second work is made from Ormstad's collection of poetic family names used in Oslo, Norway, also here accompanied by Vojjov's world of cosmic shapes. The last track, kakaoase, is based on a printed picture by Ormstad, made of sound poetry where he's playing with the Norwegian language. Most of the words have no – or almost no – meaning, and here Mashtalir's music makes this an exceptional possibility for participating and dancing to concrete poetry! 3 CONCRETE are the first works of a collection created by the Norwegian–Russian duo OTTARAS (Ottar Ormstad and Taras Mashtalir). Alexander Vojjov has created the two first videos. The tracks exists in different versions made for screening and live performance. Raising awareness of electronic poetry and sonic ecology, attracting new audiences to a potent yet to come genre is the inspiration for this collaboration. (Source: ELO 2015 Catalog)