Other venue

A project by Johannes Auer for the ORF Kunstradio, Vienna. With: Reinhard Doehl, Sylvia Egger, Oliver Gassner, Martina Kieninger, Beat Suter und René Bauer Performer: Christiane Maschajechi, Stuttgart Peter Gorges, Stuttgart6 net authors generate a text on the others' web projects. 2 narrators/announcers perform the texts in form of a collage, remix, dialogue and (white) noise. 6 net authors form a new netart projects using the texts of the others. The radio version of this net project consists of four parts which add up to a radio play that represents different grades of (human) control: Part 1 is a kind of hand-made collage of the complete written material and, thus, is controlled "by human". For Part 2, the text modules of this collage were re-assembled by the computer (randomly "generated") - human control was abandoned. In Part 3, the announcers comment on this computer-generated collage - bringing human control back in (but at the same time infiltrating the meaning of authorship). In Part 4, finally, the announcers themselves lose control due to t heir being under the influence of alcohol ...

Hapax Phaenomena is a collection of historically unique images discovered by Google image search from collaborators Clement Valla and John Cayley. The fragile and tenuous Phaenomena are organized into subcategories within the five folders; 1_discordant_wonderfulness; 2_nondurable_megabyte; 3_inventive_monetarism; 4_patriotic_leaseback; and 5_diatomic_roach. Each Phaenomena is accompanied by a certificate of authenticity, a screenshot of its moment of global and historical singularity taken by one of the artists.

(Source: Rhizome project description at The Download)

cave.cubes, originally developed for the Brown CAVE environment, employs virtual physics and three-dimensional geometries to define writerly constraints in embodied virtual space. Like the grammars employed in natural language, 3-D geometries support specific types of recombination. By leveraging this (virtual) physical grammar within a dynamic physics simulation, a set of organic constraints emerge to challenge the writer in embodied literary space.

The Brown CAVE is an 8x8x8ft room in which high-resolution stereo images are projected onto the walls & the floor & are synchronized with shutter glasses to provide the illusion of a fully three-dimensional physical space. A magnetic tracking system monitors user movements, allowing natural interactions with the virtual environment.

Source: author's description

Perl poetry generator that can produce a hundred thousand billion sestinas. Readers can purchase a collection of sestinas, from one to the maximum, online.

With the exception of this introduction, the writing in this book was all done by a computer. The book has been proofread for spelling but otherwise is completely unedited. The fact that a computer must somehow communicate its activities to us, and that frequently it does so by means of programmed directives in English, does suggest the possibility that we might be able to compose programming that would enable the computer to find its way around a common language "on its own" as it were. The specifics of the communication in this instance would prove of less importance than the fact that the computer was in fact communicating something. In other words, what the computer says would be secondary to the fact that it says it correctly.

(Source: from Bill Chamberlain's introduction at Ubuweb)

A Google maps-based narrative, set in London.

I have formally performed “Completely Automated” on stage at a few conferences/venues and I think it could be a good fit for HASTAC’s themes. I would be very excited to perform it as part of an evening of performances. Total run-time is a duration of 15 minutes and it occurs in three parts. In the first part, I do a performative reading of a “historical” document that I have forged. To create the language of the forgery, I programmed a computer program to run a text analysis on a group of historical law tracts. I then skimmed the results and authored my own version of an early law tract. Calling on theater training, I perform this poetic text. In the second stage, the live performance overlaps and blends in with a short video that tells the story of how this forged document is digitally archived on google books as an “authentic” text. This video is blended with voice over of poetic text taken from the document. In the last stage I give a final performative reading of the changes that were made to the document when a group of users prepared it for upload in the digital archives. I think this project is an ideal fit for a performance at HASTAC because it deals with issues central to the digital humanities: archiving, preservation, digital conversion, authenticity, etc. What is at stake when our cultural documents undergo digital conversion? What artifacts or changes might be introduced? Where is the line of document authenticity drawn, in print or digital format?

(Source: Author's abstract for HASTAC 2013)

Requiem is an augmented reality poem in which digital imagery and sound is superimposed on a physical object -- in this case the card with the black and white marker. Simply hold the marker up to the webcam to begin experiencing the piece. Click the 'next scene' button to move through the poem.

The architecture for Requiem was created by Andrew Roth, under the direction of Caitlin Fisher, as part of the ongoing work of the Augmented Reality Lab at York University. This work is based on the LGPL license of FLARManager and FLARtoolkit and the source is therefore made available to you under the GPLv3 license. Requiem is part of a larger, much more fragmented work by Caitlin Fisher, "Cardamom of the Dead", a novel in fragments built using a tabletop augmented reality storytelling machine (custom software created in the lab called SnapDragon). Cardamom is a wide-ranging spatial piece about collections, hoarding and the things we save when people die, including this poem written by my father.

(Source: Author's description)