John Cayley reads John Cayley reads and discusses his poem PENTAMETERS TOWARD THE DISSOLUTION OF CERTAIN VECTORALIST RELATIONS (which examines the effect of Google on language and poetics) with discursive and conversational interrupts from Jhave.
Recorded on John's Providence, Rhode Island home as part of i2.literalart.net/ on 12 Feb 2012.
(Source: David (Jhave) Johnston's vimeo account.)
David (Jhave) Johnston: discursive and conversational interrupts.
The project ‘Folgen’ looks at the publication of personal archives and the tension between the public and private experience. This is explored by the personal experience of what it is like to follow somebody, first by monitoring the videos people put online, then following this information to actual physical addresses within the city where these videos were produced. Staged as a performance and installation, Folgen draws on the existing narratives of amateur video makers found on YouTube to build a multi-layered media landscape of Berlin. A subjective approach combines fragments of images and sound from the videos with the artist’s own narration, using the traces video makers have left in the public sphere of the internet to follow people throughout the city. The videos are self-representative acts, performances and depictions of the everyday, which together form a relation with the city spaces where they transpire. The geographic locations encoded in the videos become waypoints for traversing an unofficial, unintentional map of Berlin. Through this process, the city becomes a place to be inhabited and experienced through an other’s narrative — stepping into somebody else’s shoes.
"Takei, George" is a remix of Nick Montfort's "Taroko Gorge," transforming Montfort's original meditative generative poem into a comment on pop culture, fandom, and contemporary politics.
(Source: The ELO 2012 Media Art Show)
This work has not been published. It was presented at a reading at Richard Hugo House, January 6th 2012.
The Nowhere Dance is a performance that to place in Alan Sondheim's Second Life exhibition The Accidental Artist (http://elmcip.net/node/3375). It was performed by Alan Sondheim and Sandy Baldwin February 11th 2009.
When I began writing Mythologies in 1995 I was thinking about gender in language and, informed by a poststructuralist feminist critique of the representation of the female body as landscape, I set out to explode these stereotypes by using over-the-top geological metaphors. I wanted to convey a moment of realization, when a number of ideas come together at once. It mattered little to me what order the ideas came in, only that they came together in the end. The narrative structure of this non-linear HTML version was influenced by the Choose Your Own Adventure books. The interface was based on the placemats you get at many restaurants in Nova Scotia, which depict a map of Nova Scotia surrounded by icons of purported interest to tourists: lobsters, whales, lighthouses, beaches and the Bluenose. The found images and texts came from a geology course I took in university, a civil engineering manual from the 1920s and a random assortment of textbooks found in used bookstores. The deadpan technical descriptions of dikes, groins and mattress work add perverse sexual overtones to the otherwise quite chaste first-person narrative. Between the diagrammatic images and the enigmatic texts, a meta-narrative emerges - an entre space - where the absurd and the inarticulate, desire and loss may finally co-exist.
In some other millennia the southern shores of Nova Scotia likely kissed the lip of Morocco or nuzzled beneath the chin of Spain. The force of their embrace was evidenced by the great mountain range that slid down the long fault of their tectonic bodies.
At the height of their union these mountains were greater than the Rockies, a range just now rising to take a better view of her lover the Ocean.
These are strange times indeed, when mountains love oceans...
_:terror(aw)ed patches:_ is a “collaborative fiction that utilizes through live concurrent editing in Google Wave that results in expressive output[s]”
(Source: SpringGun Press, v. 2)
In _:terror(aw)ed patches:_(2009), Shane + Mez create a new method of collaborative “fiction” through _live concurrent editing_ in Google Wave.
This process results in expressive output[s] termed _Transformations_: “Google Wave uses an algorithmic variation of “operational transformations” [live concurrent editing] which occur through a process called transformation:· The server transforms the client’s request, resulting in the client manifesting the same transformed output.· The notion of concurrency is invariably important as it mimics geophysical conversational states.· Utilizing the server as a point of relay [when more than one client's output is involved] assists in providing scalability and reliability.· The playback feature allows the server to present the document as a stream of operations that have occurred thus far in a particular wave/state.Transformation relies on continual modification…This accent on process acts to rewire the notion of documents as statically defined “objects” and [by proxy] any information contained within..."
(Source: Artists' description for ELO_AI)
