French

Description (in English)

“Blind Side of a Secret” consists of three audiovisual variations, created individually by Mühlenbruch, Sodeoka, and Nakamura, on words written by Thom Swiss. The work could be considered remix culture in action, overlaying and cutting up an underlying tale—which is never given entirely as a whole, though many sections are held in common—about the unspoken parts of relationships, of coming and going. In all three pieces, alternating third-person voice-over narration by a man and a woman forms the bulk of the audio portion, and it includes parts in English, French, and Dutch. The three collaborators approach the material in sharply contrasting ways: the horizontally scrolling, black-and-red fluidity of Nakamura's animation tells the tale in the most linear fashion, with no interruptions or breaks in the audio and no interaction; Sodeoka takes a DJ's approach, carving up the audio into rhythmic segments and pulsating images that recall song more than narrative; and Mühlenbruch turns it into an interactive flash animation, where an image based on the narrative forms a template that a user can click on to follow the individual narrative threads of the voice-over or run them over each other concurrently. Taken together, and given the absence of the source text in the final presentation, the work suggests that the plethora of angles from which to approach the idea of remix in digital art need not conflict, while at the same time suggesting that nostalgia for an “original work” is perhaps secondary in some respects to the artistic potential of collaboration and redistribution.

(Source: Electronic Literature Directory entry by Rob Schoenbeck)

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Description (in English)

A book of sonnets were the pages are cut into strips so that you can combine the first line of one sonnet with the second line of any other sonnet and so on, thus generating, possibly, "a hundred thousand billion poems". An antecedent of computationally generated poetry.

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A page from Cent mille milliards de poèmes
Description (in English)

A conversational labyrinth where the walls are lined with phrases composed, in real time with sound and words, in a virtual environment.

Labylogue, a tribute to Jorge Luis Borges' The Library of Babel, was a simulated three-dimensional large-scale visual poetry performance. Created from different French language speaking Internet nodes, it incorporated software-generated text, triggered by algorithmic recognition of words spoken by participants meeting virtually in the labyrinth. Maurice Benayoun explains that in art spaces and museums in three different French speaking cities -- Brussels, Lyon, and Dakar -- Labylogue developed eight main themes that invited visitors to meet in the labyrinth and as they conversed, immerse themselves in the accompanying text on the walls.Source: Narrabase

Description (in original language)

Labylogue est un espace de conversation.

Dans trois lieux différents reliés par Internet, Bruxelles, Lyon , Dakar , les visiteurs déambulent dans un labyrinthe virtuel en quête de l’autre.

Deux à deux ils dialoguent en français.

A mi-chemin entre le livre et la Bibliothèque de Babel de Borgès, les murs se tapissent de phrases générées en temps réel, qui sont autant d’interprétations du dialogue en cours. A son tour le texte fait l’objet d’une interprétation orale qui anime l’espace du labyrinthe tel un choeur de synthèse qui vagabonde sur les rives de la langue en action.

La médiation numérique introduit dans la communication des couches d’interprétation qui échappent à l’intention brouillant parfois le sens. La parole reprend alors ses droits. Elle glisse sur l’interprétation de la machine en privilégiant le contact là où la trace écrite dérive.rive.

Description in original language
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Contributors note

Installation de Maurice Benayoun

Composition sonore : Jean-Baptiste Barrière

Génération de texte : Jean-Pierre Balpe

Réalisation : Z-A Production (www.Z-A.net)

Direction technique : David Nahon

Programmation : David Nahon, Michael Bry

Logiciel de reconnaissance vocale : France Telecom R&D

Production Z-A : Stéphane Singier, Karen Benarouche, Corinne Lambert

Description (in English)

In the film ”when” Ottar Ormstad is transferring his practice as concrete poet to the realm of a programmable networked space, blending his poetry with specially composed modern music with electronic elements. His b/w photographs developed in the darkroom are presented in combination with words in different languages, some of them exceeded into ”letter-carpets”. Some sentences are from well known songs or films, other letter-combinations are invented by the author.

The film is telling a story about life and death, basically from the standpoint of cars, rotten in a field in Sweden. The narrative is very open, and each viewer may experience the film very differently. This is also dependent upon the language background, any translation is – intentionally – not given.

when has been screened at festivals for experimental short film, so far in France, Romania, Russia and Norway.

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Technical notes

Produced in HD 16:9 (FinalCutPro), 07:00 min.

B/w photographs shot on Kodak Tri-X with two Minolta SRT 101 cameras with original Rokkor lenses.

Contributors note

Animation (Ina Pillat) and music (Jens Petter Nilsen and Hallvard W. Hagen from Xploding Plastix) in close collaboration with the artist.

Description (in English)

Opacity is a 4-part short interactive story.We live in an age of obsession with transparency especially in politics and business.But in our personal relationships, what is the point of being transparent to oneself and to others ? The following interactive narrative commends a kind of opacity which is meant as an in-between. It is the story of a journey from a dream of transparency to a desire for opacity.

Source: Author's description on work's website

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Technical notes

The work is produced in HTML5. A version of the work for smartphones and tablets is in development

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Description (in English)

Simultan is a collaborative hypertexte/project, iniciated and directed by Urs Richle. It was realised with students at the Swiss Literature Institute between 2007 and 2012.

Description (in original language)

Simultan ist ein kollaboratives Hypertext-Projekt, das am Schweizerischen Literaturinstitut (SLI) der Hochschule der Künste Bern (HKB) mit Studierenden zwischen Herbst 2007 und Frühjahr 2012 durchgeführt wurde. Konzipiert und geleitet wurde das Projekt von Urs Richle.

Die vier Hauptprojekte : "Bielarium", "Alliance Abstract", "Le Carnet de rendez-vous" und "Ich bin ein ehrbarer Bürger/D'honnêtes citoyens" sind zum Teil untereinander durch Ereignisse und Figuren verbunden, bilden aber für sich je einen eigenen Erzählraum.

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Description (in English)

"pianographique" is a "multimedia instrument" created in 1993 on CD-ROM and made available on the Web in 1996 by a French webarts collective. "pianographique" is a work of "programmatical literal art," a term coined by John Cayley. Letters are "literal" here: they tumble and morph automatically, and they can also be manipulated on occasion by the reader-interactor and/or generated by the program. The user of this work is presented with a keyboard on the screen that corresponds to the keyboard beneath her fingertips. Each letter of the user's keyboard, when pressed, produces a distinct sound score and an animation that can be displaced by the hand of the user working a mouse. Playing the "piano" of graphics and sound bites, the user can create an infinite number of verbal visual-aural collages, while hitting the space bar effaces all that has come before. The user can choose from a set of three sections to „write“ a story: "Sound System," Continuum," and "Pianoparole." Lamarque has programmed "pianographique" in such a way that the same constricted motions required to form a letter (curves and lines) are responsible, when digitally processed, for the letter's disfigurations. The swirling motions of the user's hand are mirrored on the screen only. These gestures render the letter illegible; its constituent marks are returned to protowriting, to the status of meaningless shapes and lines. Visually, "pianographique" becomes a work of post-concrete poetry accompanied by music. While the work is dadaistic and surrealistic, it also recalls dance and gestural movements or paintings by Cy Twombly and Robert Morris.

 (Source: "Digital Gestures" by Carrie Noland published in New Media Poetics.)

Technical notes

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