Piwkowski's work is an algorithm that generates (and prints) pages of an infinite book. The inexhaustible book is a collection of all possible combinations of 26 letters of Latin alphabet. User can only see the on-demand page that is a result of his own word query. [Taken from Electronic Literature Publishing and Distribution in Europe, 2012]
“Bluzgator Bis by Paweł Kozioł, a text generator based on the web distributed Bluzgator application, popular among teenagers, which functions as a generator of random swear words. Kozioł uses the mechanism of the prototype but changes its content. The database of words, phrases and sentences in Bis version comes from Textylia bis – an anthology of young literature, from the Polish weekly “Polityka” and from the “Ha!art” magazine. Users of Bluzgator Bis can choose the recipient of the text (woman, man or group of people), its style (proper, full sentences or internet slang), the size of the output (from one to 200 sentences) and its visual appearance.
(Source: ELMCIP Electronic Literature Publishing and Distribution in Europe, 2012)
With fluid navigation, interactive 3D and dynamic music, Upgrade Soul tells the story of Hank and Molly Nonnar, wealthy science buffs who decide to fund a risky, experimental therapy to rejuvenate the human body, with only one condition: that they be first in line to receive it. When dangerous complications develop... the battle for psychological dominance begins.
• Uniquely immersive
• Smooth, seamless navigation
• Native multi-panel experience without awkward panning and zooming
• Glasses-free interactive 3D on select panels
• Rich, dynamic score that you perform as you read
• Great experience when mirrored to Apple TV
• Behind the scenes extras and unlockable content
This application includes hundreds of pages and animated scenes, based on the classical story of "Alice in Wonderland". Full screen physics modeling brings illustrations to life.
Originally produced as an installation piece for large touchscreen monitors in 2007, this poem is now available as a free iOS App. The Speak app turns all the letters of the poems into a kind of letter cloud or constellation but with the letters hovering over their relative position. When you touch the screen and drag your fingertip across it, the poetic line is reconstituted from that point onwards, following the trail left by your finger’s movement, and fading back into the cloud when you lift your finger. This allows for readers to experience incomplete lines and incomplete words, depending on where you’ve touched in the sentence. Lewis engages this computational structure in his poem thematically, because it is about miscommunication across language, culture, and identity. The snippets of comprehension one gets when hearing speech in different languages are echoed in the poem’s structure.
(Source: Leonardo Flores, I ♥ E-Poetry)
This poem evokes the attempt to make sense out of a conversation with a rambling street person in San Francisco, and its design and interface both contribute to that effect. Lewis breaks up the line into words clustered together in a large font size to form a word cloud. The superposition of the gently rotating words create a dense, white, unreadable mass, which only makes sense around the edges as words are able to briefly break free into a space with better contrast. But just because you can’t read a word doesn’t mean it isn’t there: touching a word on the screen makes it appear along with the rest of the words in the line, by changing the font color to purple. One word in each line is a softer shade of purple and will follow your fingertip on the surface of the touchscreen. (Source: Leonardo Flores, I ♥ E-Poetry)
Robert Smithson realized one of his first works of Land Art at Kent, Ohio in January 1970. Partially Buried Woodshed was an example of the process he called entropy made visible. At the time, Smithson said he had always wanted to bury a building. For my part, I have always wanted to unearth a Smithson. Smithson never had the time to bury other buildings. He died in a plane crash in 1973. Or did he? What if a 70 year-old man going by the name of Robert Smithson were to show up here in Europe? Is he an impostor? Amnesiac? Suppose that Nancy Holt recognizes him as her husband and the James Cohan Gallery organizes an exhibition of his new work and the Art School at the University of Paris 1 invites him to realize an earthwork on its campus... The centre Saint Charles (University of Paris 1) has a problem with rain water collecting on the roof and infiltrating the lecture hall just below. Inspired by two of Smithson's projects, Partially Buried University involves creating a garden on the roof terrace to absorb the residual water, reduce our carbon footprint and contribute to sustainable development. Since the roof was never intended to support the weight of growing trees and shrubs, it is likely to collapse. The garden can then develop on its own, with weeds springing up throughout the bulding. A 3-D model of the roof was built, simulating weather conditions and plant growth. The visitor stands inside a 3-D VR projection of the building, on the second floor overlooking the roof which has been made into a garden. Using a flystick, she can choose seeds and move through the garden to plant them. After a number of people have sown poplars, cypresses, pines, maples and chestnut trees, the garden grows quickly, the roof just may give way and visitors suddenly find themselves climbing over rubble in the lecture hall below. A prototype was shown at the exhibition La ville, son modéle et les artistes at the Bellevilloise in January 2010 on a computer screen, using a mouse and keyboard.
“Partially Buried Unversity” was produced by the Citu (Universités Paris 1 - Paris 8) as part of the TerraNumerica Program. Software development by Jordan Prot. The plant growth models courtesy of ECP-INRIA. The project would not have been possible without the energy and talent of the entire Citu team.
A poem where each line is superimposed on a video of a man putting an oddly shaped box on a table and slowly unpacking it. The poem describes the box as containing chaos, bought at a shop and well packaged. The work is entirely linear, but after a few lines of poem and 10-15 seconds of video the image pauses and darkens until the reader touches the screen and thus makes the poem continue. A certain momentum is achieved simply because the reader does not know what is in the box until the end of the poem.
Images: Anders Bojen & Kristoffer Ørum
A short story told from the perspective of a young girl named Stella, who is lying in the grass in the summer sunshine when she realises that she cannot move. She finds that in order to escape from this immobility she can change herself into a series of other things and creatures: a stone, a fish, a house - and she finally finds that she in fact wants to be herself again. This is a lyrical story raising questions of identity and the transition from child to adult.
The story is displayed as a series of pages with a paragraph on each page and graphical elements beneath. It is entirely linear, but designed to be read on an iPad.
