Russian

Kuryokhin: Second Life is a (meta)simulator of Sergey Kuryokhin’s afterlife, an IF loosely based on the bio of the avantgarde composer and the legendary leader of Leningrad’s cultural life in the 1980s and early 1990s. (Meta)simulator allows you to earn scores in health, knowledge and madness, while giving you opportunities to rethink the paths of the post-Soviet culture and politics. At a certain point one discovers that the unfolding story is just an attempt of media-archaeologists from the far future to reconstruct the lost simulator of Kuryokhin (therefrom the concept of metasimulation). (source: ELO 2015 catalog)

This kinetic poetry generator is based on the texts by two polar authors, husband and wife, Anna Akhmatova and Nikolay Gumilev. Letters from their decomposed texts are moving according to the magnetic field principle like positively and negatively charged particles. The work is produced by two authors, a computer programmer and an artist, who are also husband and wife.

(Source: ELO 2015 catalog)

We know that angels start to fall from the heavens once they realize it is not heaven any more. The first person poetry shooter by the active participant of the pioneering cyberature community alludes to many resentments of the 90s and are also fun to shoot. (ELO 2015 catalog)

Pedro Barbosa (1996: 135) refers to a collection monograph where Lyubich published an article where he includes some of his literary computer plays. Lyubich's idea of "mechanical literature" includes a word mixer and an automatic creator, and divides the produced sentences into three categories: standard with trivial interpretation, non-standard with some interpretation and absurd without interpretation.

text captured from Python program running halfway_loop.py, code modified to fit on page # Halfway Through by Natalia Fedorova code is a remix of Through the park by Nick Montfort

Led, plastic, custom electronics Economics and life, physicists and lyricists: these idiomatic phrases evoke a stream of associations from early childhood, sunlit and full of endless happiness. As any artist, Aristarkh Chernyshev gets out these memories and uses them to create art, with his at once recognizable expressive means, using method of documenting the information stream (installations «Final Customization», «Chewing Mud», «Thirst», the object «TVblaster»), though applied to text. The dispute between physicists and lyricists was won by managers, as both physicists and lyricists turned out to be different subspecies of naive romanticists. In modern rationalized, globalized world, there is no space left for lyricism. The poetry of today is stock exchange rates, oil and gold prices, celebrity news and ad slogans. «Lyric Economy» brilliantly embodies this idea, at the same time leaving a hope that there is still a place for art in this world, if nothing else as shimmering lights of advertisement boards. The installation visually deconstructs a traditional poetic text (Goethe, Shakespeare, Pushkin, you to decide) and replaces it with a news feed coming in real time through RSS channels.

(Source: exhibition catalogue)

Right media archeological installation built of modified fax machines performing the same print job in a loop for days. These self –printing machines change their job over time from printing the monostych to drawing a pattern.Two loops of fax paper (5 and 12 metres approximately) are used. One has the text of a poem, while the second one has it printed on itself (repeated many times in loop – fax technology allows copying). On one hand it represents mechanic circling forming of a machine given a task it cannot stop performing, on the other hand the text repeated acquires the aspect of graphicality, linguistic signs trasformed to graphic image, a pattern of graphic symbols. The thermal printing technology used in faxes (instead of ink) allowed for installation to go on during a month without a break. The rustling sound fax produced was collected and enchanced as an important compositional feature.

I have an old theory that all the actual things (structures, ideas and so on…) are already in the air. Every poet is like a radio. He has to have an antenna (spiritual self) for getting the things (waves, ideas…) from the air. But he has to have tuning knob for getting signal clear – and that is his professional skills. And also he needs loudspeakers for making the sound powerful and recognizable – that’s his talent. Sometimes people have an antenna but their tuning knob is not precise enough. Sometimes their loudspeakers are too quiet… Actually I wrote one poem about a person – a young girl – who is at the same time a radio wave and in 2001 we, with the animator Diana Palijchuk, made a poetry video based on this poem. (interview with Sergej Timofeev)