Presented at conference or festival

Description (in English)

"...and by islands I mean paragraphs" casts a reader adrift on a sea of white space extending far beyond the horizon of the browser window, to the north, south, east and west. Navigating (with mouse, track pad, or arrow keys) reveals that this sea is dotted with islands... and by islands I mean paragraphs. These paragraphs are computer-generated. Their fluid compositions draw upon variable strings containing fragments of text harvested from a larger literary corpus - Deluze's Desert Islands, Shakespeare’s The Tempest, Defoe’s Robinson Crusoe, Bishop's Crusoe in England, Coetzee's Foe, Ballard's Concrete Island, Hakluyt's Voyages and Discoveries, and lesser-known sources, including an out-of-date guidebook to the Scottish Isles and an amalgam of accounts of the classical and possibly fictional island of Thule. "Individually, each of these textual islands is a topic – from the Greek topos, meaning place. Collectively they constitute a topographical map of a sustained practice of reading and re-reading and writing and re-writing islands. In this constantly shifting sea of variable texts one never finds the same islands twice... and by islands, I do mean paragraphs."

I ♥ E-Poetry entry
Pull Quotes

Islands are a perfect topic. Topical islands come forward only under the condition that one is thoroughly lost. They are paragraphs. They show that insularity is a formal determination. Isolated writing is always without grammar or dictionary. The castaway constantly invokes the reader.

The island upon which I was cast away was a great rocky hill with a flat top. I thought I was to spend the rest of my days there. I might just as easily have been cast away on an island home of some foreign adventurer gone mad with solitude. An island without seed. I was carried by waves. I pursue with my own dull story. They say Britain is an island too, a great island. In every story there is a silence. Was it effrontery to say that? Questions echo in my head without answer. The world is full of islands. I am saved.

The island pointed towards the west and the decling sun. The forgotten traffic forced on relentlessly. Plunging through the grass. For the first time since the crash, clear of mind. Ten thousand pounds. You'll be able to buy the island. The grass festered over the ground.

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...and by islands I mean paragraphs || J. R. Carpenter
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...and by islands I mean paragraphs || J. R. Carpenter
Description (in English)

Nothing You Have Done Deserves Such Praise is an art/ poetry/ adventuring game, a playland for exploring our ever-present desire for constant and over-blown rewards. Our worlds (digital and breathing) are filled with needless and unearned praise, we are built to love exploding trophies for fifth place. This art/poetry game satisfies your compliment addiction by celebrating your walking/ jumping/ falling through strange and wondrous anatomical lands.Nothing You Have Done Deserves Such Praise is a 2013 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was funded by the National Endowment for the Arts.

(Source: Turbulence)

Pull Quotes

our worlds (digital and breathing) are filled with needless and unearned praise. this art/poetry game satisfies your compliment addiction.

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Description (in English)

Evolution is a online artwork that emulates the writing and compositions of poet and artist Johannes Heldén. The application analyzes a set of all published text- and sound-work by the artist and generates a continuously evolving poem that simulates Heldéns style : in vocabulary, the spacing in-between words, syntax. In this performance, the digital version of artist meets the original. The aim is to raise questions about authenticity, about the future, about physics and science fiction.

(Source: http://chercherletexte.org/en/performance/evo-lution/)

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Description (in English)

Huckleberry Finnegans Wake is a combinatoric performance work bringing together Mark Twain’s Adventures of Huckleberry Finn and James Joyce’s Finnegans Wake. With both texts based around river culture, contextual imbrications can be formed by folding one text into the other and through this combinatorial engines can be developed for the texts as well as implied visual and auditory material. Though both source texts are replete with exclusive language (regional dialects, neologisms, etc.) when brought together what emerges is a fantastical environment lacking specificity, but for the rivers (the Liffey and the Mississippi) that run through both. Imagine steamboats on River Liffey, the Pike County dialect being spoken in County Dublin, or Shem and Huck on the banks of the Mississippi.

The development method for Huckleberry Finnegans Wake rests somewhere between the creative and the critical. In one regard, by combining the two source texts a sort of comparative and deconstructive textual analysis can be performed on either text, or both texts in combination. On another level, the work is creative; in that it is generative, performative, and relies on combinatoric principles that lend themselves to emergence.

The performance utilizes a number of applications to generate a multi-modal interpretation of the combined text that includes visual material, audio, and live readings from various combinatorial engines. 

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Description (in English)

Within an enclosed darkened room, the image of Beyond Manzanar's 3-dimensional space is projected onto a large, wall-sized screen. The life-sized image fills your field of view and gives you a feeling of immersion within the virtual space. A joystick mounted on a pedestal in the middle of the room allows you to move your viewpoint at will through the virtual space. Speakers mounted on either side of the screen provide stereo sound. Although only one person at a time can control movement in the space, others can watch and share the experience. We have combined techniques of computer games and theater design to create a highly symbolic, often surreal environment with a poetic reality stronger than photorealism. The mountain panorama that defines the Manzanar site forms a constant backdrop for shifting layers of superimposed context. Open doors lead viewers through spaces that react to their presence, shifting between home and prison, between paradise and wasteland, to investigate Manzanar as a layering of contradictory and complementary images and emotions for two groups of immigrants. Archival photographs of Manzanar Internment Camp alternate with paradise gardens constructed from ancient Japanese scrolls and Persian miniature paintings; images of the immigrant American Dream alternate with media images of betrayal and hatred. Sound is also an important mechanism to set the emotional and cultural context: The constant moan of the desert wind or the cool burbling of water from a fountain; the scream of war jets or a woman singing a love song. The virtual space is sensitive to your presence, shifting context around you to change your emotional relationship to the space. If you follow an open road, barbed wire appears to block your path. If you enter a dark barrack you may find yourself in a pavilion overlooking a paradise garden - that disappears when you try to enter it, as if you suddenly awake from a dream.

Description (in English)

In the framework of "Unternehmen Capricorn" project we developed a virtual knowledge space ["Virtueller Wissensraum"] in collaboration with 10 Austrian museums. The programme, built with EPIC Megagames' UNREAL Game Engine enables 3 users to enter a cross-disciplinary environment based upon objects from the Technical Museum, Jewish Museum, Museum of Natural History, Museum of Modern Art amongst others. The content provided by these museums had to be made accessible and comprehensible to users of different age, educational background and computer literacy. fuchs-eckermann developed a system of connotations amongst the objects, which then was translated into a spatial structure of rooms, corridors and places of different size, shape, remoteness or proximity. The viewer/ listener explores a semantic structure by navigating virtual spaces with the topics being contained in these rooms. The connecting architecture between these rooms resembles staircases, passages, elevators, hidden doors or portals according to the nature of the connotation. Quite contrary to web-based databases and hypertext structures, the links therefore possess a quality of their own, carrying much more information than just "is connected with".

Description (in original language)

Irgendwo im Saal der Ichtyologischen Sammlung des Naturhistorischen Museums liegt eine versteckte und geheime Tür, die zu einem weitverzweigten unterirdischen Wegesystem führt. Dieses Wegesystem, das kein Mensch je betreten hat, besteht aus subterrestrischen Passagen, aus frei schwebenden Stiegenhäusern, aus Treppen, die aus plutonischem Gebirgsgestein gehauen sind und verbindet als intramuseales Myzel 10 Museen. Das Wegesystem leitet weiter zu den großen Museen in anderen Städten, zu einem intergalaktischen Datenraum und zu etlichen Wunderkammern des 16. Und 17. Jahrhunderts. Im virtuellen Wissensraum von fuchs-eckermann wird ein kosmo-elektrischer Wissensraum vorgestellt, der als Computerspiel eine Schnittstelle zwischen Wissensreservoirs, Sammlungen, Konzepten und Vermutungen implementiert. Themenketten, die der klevere Museumsgänger denken, aber nicht betrachten kann, werden im vituellen Wissensraum sichtbar und hörbar gemacht: Technologie > Prothesen > Prothesengott > Zyklamentraum > Pflanzensymbolik > Blumenornamente > Lastwagenbemalung > Pakistan > Orient > Orientalismus. Wie im Traum reiht sich im virtuellen Wissens[t]raum ein Motiv an das andere und beschreibt damit inhaltlich, logische Ketten, die traditionelle Sachbereichsgrenzen durchschneiden: Von der Technik und dem Technischen Museum gelangt man zur Psychoanalyse und dem Sigmund Freud Museum, weiter zur Volkskunst, dem Volkskundemuseum, dem Völkerkundemuseum, der Malereigeschichte,... Der virtuelle Wissensraum stellt also ein immaterielles "Département diagonal" dar, das Wissensgebiete verknüpft, das raumlos und zeitreisend rekonstruiert und dekonstruiert, und das ohne Museumspaläste bauen zu müssen, Wissenskathedralen, Flohmärkte der Erfahrung und Fundgruben der Erinnerung errichtet. Der Gang durch diese Märkte, Hallen und Gruben wird ein Erkundungsverhalten erfordern, das dem bedächtigen Schritt des Museumstouristen entgegensteht: Man wird springen müssen wie Super Mario, laufen wie Lara Croft und stets beweglich bleiben wie Pacman.

Description in original language
Technical notes

Made with the Unreal game engine

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Record Status
Description (in English)

The performance of Flog (a combination of flux and blog), by Luc Dall’Armellina, emphasizes our alienation due to the speed of televisual or RSS news flux.

(Source: Serge Bouchardon, "Digital Literature in France")

Description (in original language)

[ flux + blog = flog = lecture performative musicale emballée ] Ce dispositif est dédié au lecteur abandonné tout cru au pouvoir décérébrant des news rss ou télévisées défilant sur fond de boucles musicales hypnotiques world. Combattre l'aliénation du lecteur hypermoderne soumis à la vitesse des flux, la rendre visible, la mettre en scène, la rejouer, la déjouer... Voici comment voudrait résister ce "flog", terme qui m'a semblé le mieux à même de dire cet entre deux, ce mi-chemin entre flux et blog, entre vitesse et subjectivité, libération et contrôle, pour ce texte écrit sur une année, la plupart du temps à bord des trains à grande vitesse, dans le bercement de leur rythmique suspendue. Luc Dall'Armellina - 2008

Description in original language
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Description (in original language)

Recits voisins est le premier module mis en ligne sur oVosite. C'est aussi le plus complexe. Cet espace de lectures relie huit nouvelles autonomes en même temps qu'elles sont reliées entre elles par les destins croisés de personnages, associations poétiques ou élements naturels communs.

Cet espace a été écrit et conçu à douze mains, six corps et têtes, et repose sur près de quatre cent cinquante liens répartis dans mille deux cent fichiers. Plus simplement, il s'agit d'un hypertexte qui ne renie pas la linéarité narrative mais tisse des passages latéraux…

Luc Dall'Armellina - 1997

Description in original language
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Contributors note

Le collectif oVosite est composé de Chantal Beaslay - Laure Carlon - Luc Dall'Armellina - Philippe Meuriot - Anika Mignotte - Claude Rouah