'Toilets' was meant to be read as a bathroom-book. Two young people move into the same apartment, while they have only just met each other. The odd thing about the apartment is that it has two toilets. A great luxury, but after a while the two toilets become a fort.
't Hooft uses focus blocks. If you tap on the screen a new focus block appears.
Toiletten (84 bladzijdes, knalroze kaft) was ooit bedoeld als een goed wc-boek. Een verademing na alle wijzespreuken- en moppenboeken, maar nog steeds één hoofdstuk per boodschap.
Mijn debuutroman, over een jong stel dat gaat samenwonen in een klein appartement waar vreemd genoeg twee wc’s zijn.Tien jaar later is er de jubileum-app, waarin je Toiletten op een nieuwe manier leest: met focusblokken. Tik je onder in beeld, dan komt het volgende blok uitvergroot naar boven. Luister je liever? Met de afspeelknop zet je stemacteur Sjors Houkes aan het werk.
The Bug is a browser demo presented as a single page of HTML, with CSS, JavaScript, and a Base64 encoded image all part of that one page. It is a trilingual digital poem, with sound, that computationally glitches itself in different ways, transforming the background image, the text, and the music.
Code snippets from several programming languages, appropriated and adapted for the inclusion of poetry.
A programmed – but inoperable – poetry sleeps in the public space of a city: printed on cushions placed on the benches of a gallery, it awaits for the uneasy discovery of the visitor. A poetic operation, programmed to be seen only, inscribes, in a digital technology of inverted materiality (a code stuck on the wrong medium, i.e., a fakescript), the progressive erasure of love. A code thus falsified, integrating programming languages with syntactic coherence, semantic ambiguity, but pragmatic inefficiency, aims at inscribing poetry – or love, the experience of poetry --, in the liquid (open, watery, unstable) space of a city. Against (defamiliarizing) our digital condition: a poetic programming extracted from the mediaphere, printed in the ecosphere. In search of what is vague, a poetry-space-public signaling the dazzling digitality, our networked condition. A poetry programmed for a space (a gallery): a gesture in search of impossible recognition, the recognition of a certain human reality. Lost? p0es1s as esthesia restoring information as exchange, dialogue, touch, presence. A digital poetry in space - reconditioning the machine, transforming transparent appliances into illegible devices.
Digitale Poesie beschäftigt sich künstlerisch mit Sprachgebrauch unter den Bedingungen und Möglichkeiten von Computertechnologie. Ein Rückblick auf diese Sprachkunst zwischen den Künsten bedeutet zweierlei: Zum einen wird davon ausgegangen, dass sie als künstlerisches Programm wenn nicht abgeschlossen, so jedenfalls zu einem guten Teil historisch geworden ist. Zum anderen versammelt dieses Buch Texte, die der Verfasser seit 1997 als teilnehmender Beobachter zum forschenden und poetologischen Diskurs digitaler Poesie beigetragen hat, vermittelt also auch verschiedene Interessen und Argumentationsweisen aus diesem Zeitraum. Dabei geht es um Themen wie die soziale Konstruktion der Gattung digitale Poesie, ihren Bezug zu poetischen Vorläufern, ihren gelegentlichen Hang zum Komischen oder auch die Entwicklung eines einzelnen Künstlers.[Verlagsbeschreibung]
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Not everything that becomes the past is destined to be lost. There are methods of sanctification and tabooing that create a culture of sharp boundaries, solid contours, and lasting resistance to creeping change. Such procedures, which put an end to the flow of tradition, include canonization that determines what needs to be remembered and censorship that excludes what needs to be forgotten. The volume tries to fathom in individual case studies, which historical challenges are there, which put life - to speak with Nietzsche - under the contrast of burning and smoking. The cover picture represents an allegory of the Jurisprudentia. The ceiling painting by Rudolf Gleichauf in the Alte Aula of the University of Heidelberg (1886) symbolizes the connection between canon and censorship, in the sense of that Jewish tradition, according to which God knows book and sword, sefär we-sayif, from the sky.