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Me, Myself and I in Dystopia is part of the large project called, “Humanity: From Dystopia to Survival” which is an interactive survival game and audio-visual music performance. Although the original concept of this project was to involve audience members to play the real-time interactive survival game, this version explores how the pandemic has shifted the sense of collectivity to individuality and depicts what it means to remain in a dystopian society alone by re-creating my own versions of self. In this video, I take multiple shots of my own photos (represented as an outline of faces) and speak to the microphone to interact with the video in real-time. The voices and air that I blow to the microphone affect my own photographic representations in the video by blurring the image. I will be saying random words to the microphone and also exhale air as a gesture of meditation during the crisis. The interactive video will demonstrate how an individual yearns to survive dystopia as he/she struggles to fight the solitude, controls, and chaos of society. As each photo of myself is taken, it will also trigger a new sound file as a way to intensify the mood of being alone. This work was created by an interactive design prototype for Max-MSP software (programmer: Martin Ritter), whereby I design how people can talk to the microphone and affect the visuals to symbolize saving one another and humanity as a whole. While demonstrated this work alone, it also powerfully suggests what it means to adapt in the constantly evolving covid era.

Source: exhibition documentation 

Big Data is a term used to describe, in general, the gathering of vast amounts of digital information and its subsequent processing, through sophisticated computational techniques, with the purpose of obtaining knowledge. In the case of Big Data, the poem, the term refers to the massive collection of personal information communicated online and its processing for commercial purposes, especially for-profit endeavors related to a persuasion achieved through the detailed knowledge of individuals, a persuasion aimed to be invisible. The poem is not situated in the present but in the near future, when the collection of personal information will be achieved by individual activities online, by the contributions carried out by other people and by sensors that are part of the Internet of things. The personal data, aggregated, will be processed at very high speeds with the assistance of artificial intelligence. The combination between the massive collection of personal data and its subsequent statistical processing, with that emphasis on inferential statistics to achieve persuasive objectives, will lead to a terrible reality. In general, the logic of statistics will be used to define human existence individually and socially in a deterministic way. Big Data's resulting knowledge, the poem suggests, is equivalent to the omniscience generally attributed to deities.

While the advertising industry heralds the use of digital communication technologies as a form of individual empowerment and self-efficacy, people’s interactions with their devices are proving to also have significant negative effects on society. The poem is situated in the near future, when the collection of personal information will be achieved by individual activities online, by the contributions carried out by other people, and through sensors that are part of the Internet of Things. The personal data, aggregated, will be processed at very high speeds with the assistance of artificial intelligence. As it happens in this generative video poem, unique pieces of audiovisual media will be created on-the-fly to achieve persuasive objectives based on individual profiles. The combination between the massive collection of personal data and its subsequent statistical processing, aimed at achieving persuasive objectives, will push us towards a terrible reality. Ultimately, the logic of statistics will be used to define human existence individually and socially in a deterministic way and, unfortunately, it will be guided mostly by commercial interests.

We propose to host a Live Stream Traversal on YouTube of Michael J. Maguire’s work Digital Vitalism for a live audience at ELO 2019 as well as the online audience beyond. The event aims to 1) preserve Maguire’s seminal work, Digital Vitalism, the most important work of electronic literature in Ireland, 2) engage audiences at the conference and beyond in a reading experience, 3) grow electronic literature in Ireland, and 4) promote Irish electronic literature in a global context. As with both the "Pathfinders" and "Rebooting Electronic Literature," the Traversal video and social media interactions of this Traversal will be collected and edited for publication along with photos of the work, bio of the author, critical commentary, and other information as an open-source, multimedia book on the Scalar platform that features the author and this work.

Thank you for your interest in this app. Ironically, this page gets more interest now that Hilda Bewildered is unavailable!

Hilda Bewildered was released 30 January 2015. Apple removes from sale apps which have not been regularly updated, regardless of whether they continue to work or not. In order to update Hilda we need the latest XCode, which requires a newer Mac. When we buy a new Mac, we’ll update XCode and resubmit Hilda Bewildered to the App Store. But we recently updated our PCs, so… we don’t actually need new Macs right now, apart from this one annoying thing.

See the Hilda Bewildered Book Trailer on YouTube.

Author notes are available from within the app. Various extra notes can be found published on this blog — click on a Hilda Bewildered tag or do a search for “Hilda Bewildered” to see them all in one place.

Hilda Bewildered is a shortlisted work for the 2015 Cybils Book App Awards.

Children’s Technology Review awarded Hilda Bewildered an Editor’s Choice Award

Shortlisted for the New Media Writing Prize 2017

"The Hilda bewildered app requires iOS 5.1.1 or later, is compatible with iPad and utilises multiple functions such as intuitive navigation, hand-coded interactivity, painterly style artwork, an original soundtrack and hyperlinks. This can be classified as an interactive storybook due to the audio, visual and touch features, used to enhance the reader's experience (Lamb, 2011, p.14). Hilda bewildered is a complex narrative that requires the reader to interpret events, characters and themes through written text, images and the exploration of digital features." https://www.goodreads.com/book/show/25067103-hilda-bewildered Goodreads review 03.09.2019.

What does it mean to be thrown into a body of water when your own body is constantly “dehydrated”? What is a disembodied black hand doing reaching toward the storefront of a Chinatown optician? And what of our own bodies, living in an artfully fabricated world of fireworks juxtaposed with shootings, elephants walking among scuba divers, and poems taking place, then driving by, in a white BMW? The experience begins and ends in a mouth, which is "Speech," or so Robert Creeley reminds us at the end of his poem "The Language:" "I / love you / again, // then what / is emptiness / for. To // fill, fill. / I heard words / and words full // of holes / aching." Johnson writes, “Sway with the tree until you feel better.” 

Kindred is a project which combines text, video and interactive elements to tell a story inspired by the music of the band.

“Buscando Al Sr. Goodbar” is a journey through Murcia, Spain that involves a search for the locations and authors of various YouTube videos produced in the city.

If the longitude and latitude coordinates are included with a video when publishing it on YouTube, then this video automatically appears on a GoogleEarth map and connects it to a physical location. A link is therefore made between the YouTube video and where it was produced in the city.

A bus tour was organized by Michelle Teran, who visited Murcia repeatedly via GoogleEarth and started to get to know intimately some of the people living there through the YouTube videos they produced. As the bus moved through the city, its movements along the streets were mirrored on a GoogleEarth map. YouTube videos were played corresponding to where they appeared on the map and could be viewed on a large flat screen.

In this way the audience on the bus witnessed short glimpses of what the city had to offer and started to meet some of the people living there. Somebody solved a Rubik’s cube in under 2 minutes, a young man played the piano, a group of friends drunkenly sung together, a 14 year old boy showed off his headbanging skills, somebody choked his friend and caused him to pass out, somebody played a video game,  a man taught himself Arabic, two people fell in love, a festival happened on the street.

At certain points during the performance  – led by Irene Verdú, an actress from Murcia –  the bus stopped and the public met some of the YouTube authors who presented them with a reenactment of some of their performances.

Through this intervention an intimate encounter was created between video producer and public by entering into people’s homes and the various sites where these videos were made.

(Source: Website)

The initial idea of The Cosmonaut came from a suggestion that we work on the story of Ed Aldrin, bringing it to the digital environment. Of course, the philosophical or anthropological record did not seduce us in any way, but the possibility of fictionalizing a history of religious conversion (or reconversion). On the surface, what is known of this episode is that Aldrin, having remained alone in the Lunar Module while Neil Armstrong made his historic walk ( a small step for a man, a great leap for mankind ...), had a kind of religious epiphany. From there, he became (or came to be) a convicted Christian. On top of that, we proposed to change the location of the epiphany, which became a spacecraft in outer space, orbiting the Moon. The astronaut, on the other hand, would be a cosmonaut because of the etymological implications of this term

source:https://periodicos.ufsc.br/index.php/textodigital/article/view/1807-928…

In collaboration, two become one, but the process isn’t always easy—it requires constant negotiation. Who speaks and who is silenced?In “June 17th” two figures attempt to tell one story, in the process raising questions about how we narrate and construct our lives, who we are, and what we know. Based on Borsuk and Andy Fitch’s As We Know (Subito, 2014), an erased and redacted diary that presents the most unmediated-seeming idiom—the diurnal, journalistic record—as itself the consequence of methodical and whimsical extraction, this project foregrounds the tensions of authorship that arise within the text.