This work was created as an advertisement for the Korea Web Art Festival in 2001.
In our world of perpetual connectivity, touching interfaces that keep us out of reach, we form attachments whilst remaining detached, by turns kindling and dampening emotions. Conceived as the first in a series of musings on the paradoxical and sometimes poignant nature of human relationships amid networked life, Out of Touch was created in Flash and incorporates text sequences, randomness, intensively filtered video, sound and cut-up voices.
This Out of Touch episode was commissioned by the San Francisco Museum of Modern Art for the Third Hand Plays series curated by Brian Stefans, who wrote:
Her use of video, particularly the manipulations that reduce reality to iconic or cartoon-like (which I read as linguistic) simplicity, accentuates some of the horror at the base of this piece, which has a quasi-Expressionist element — I can’t help but see echoes of “The Scream” in here, or perhaps, with a very different valence in relation to time and experience (it doesn’t happen in Wilks’s piece), the blurred faces in the work of Christian Boltanski.
After creating the original Out of Touch piece for SFMOMA, Christine began to develop the ideas further as an ongoing project of playable and performing media. The focus of the extended project has been for live digital performance. Version 1.0 of her OOT performance interface includes two additional interactive pieces, Out of Hand and Out of Sight, which she performs live as playable media.
Requires a browser with the Flash Player plug-in installed.
AndOrDada is a road poem. The reader strolls through town and her immediate area generates a poem. She walks further through town or rides a bus and the poem changes according to her location in town. AndOrDada is an endless poem; AndOrDada is adaptive locative Dada. It reads, writes out and interprets the subconscious social structure of a town.The AndOrDada software works as an adaptive poetry-tool with locative levels. It generates new scenes and environments in the tradition of the situationists. It captures wlan waves in the immediate area of the reader and converts the wlan-waves into poetic objects. The software not only manages to generate subjects and objects, as a crucial addition for the poetic value of the project it manages to create verbs from the captured hotspots. AndOrDada features three distinct modes: The first mode manages to create a story; the second mode generates a narrative with your friends which are being retrieved from the address book; and the third mode shows a lyric approach and creates a dadaistique poem.
iPhone iOs 2 version rejected by Apple. Android version in work.
Locative Poetry for mobile devices
Searchsonata 181 is part of the SEARCH TRILOGY (search lutz!, 2006 - searchSongs, 2008 - searchSonata 181, 2011) that performes algorithmically generated texts. The consistency of this trilogy is the usage of words that are typed in real time into searchengines like Google & Co. These search terms are processed by algorithm for further use. In SearchSonata 181 search terms are processed into phonetics as an acoustic bridge between text and sound. The web interface is a means to an end. The essence emerges with a live performance of the algorithmically generated texts by a speaker. The texts are played back into real space: the message has to pass through the algorithm without getting caught there.
Die SearchSonata 181 ist der letzte Teil der SEARCH TRILOGIE (search lutz!, 2006 - searchSongs, 2008 - searchSonata 181, 2011), die algorithmisch generierte Texte aufführt. Konstante dieser Trilogie ist die Verwendung von Worten, die gerade in Suchmaschinen wie Google & Co. eingegeben werden. Diese Suchworte werden algorithmisch verarbeitet. Im ersten Teil, bei searchLutz!, zu Texten, im zweiten, bei searchSongs, zu Tönen und im letzten, der searchSonata 181, zu Lauten, die ja die akustische Brücke bilden zwischen Text und Ton. Das Webinterface der searchSonata 181 ist nur Mittel zum Zweck. Das Eigentliche entsteht, wenn die algorithmisch generierten Texte live durch eine Sprecherin performt werden. Die Botschaft muss durch den Algorithmus hindurch, ohne dort hängen zu bleiben.
Rememori is a degenerative memory game created in Flash. It’s poetics play out some of the affects and effects of dementia on an intimate circle of characters. Juggling with point-of-view and the process of identification, the Rememori player becomes entangled in a struggle for accurate recall, orientation, attention and the search for meaning. In such situations, where does empathy lie and how does the player cope? Inevitably, it’s a contrary game - there can be no winners.
According to the Alzheimer’s Research Trust, 42% of the UK population (25 million people) know a family member or close friend with dementia, and worldwide, there is a new case of dementia every seven seconds.* In the light of these facts Rememori is a challenging game in more ways than one.
*Alzheimer's Disease International (2009), World Alzheimer's Report
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This narrative poem is a fascinating type of hypertext because instead of having five primary nodes from which to follow linear threads it uses a layering interface for navigation. The reader, instead of clicking on links, scrapes away at images to reveal an image beneath, and can continue to scrape away until she reaches the end of that narrative thread. This allows readers to reveal more than one layer at a time, as pictured above in a screenshot of three layers in the introduction. (Source: Leonardo Flores, I ♥ E-Poetry)
Jerome Fletcher instigated the digital project starting from a series of digitised slide images produced by artist, Geoffrey Olsen. These images were derived from four murals which Olsen created at the University of Miami. Toby Holland wrote the java program which drives the project. The text was written by Jerome Fletcher.
'Sintext,' an "automatic text synthesizer," or text generator, was first developed in DOS by Pedro Barbosa in collaboration with Abílio Cavalheiro, who wrote the program in C++. For the later version for the Web, developed in Java with the collaboration by José Manuel Torres, see the ELMCIP record for 'Sintext-W:' http://elmcip.net/node/8009
Calisi studies the ability of text to mutate its form: as far as visibility, position, dimension and colour go. The ability of it to change its meaning: a word united to another word in a bond of transformation, mutation, permutation, anagram.
The Good Captain is an adaptation of Herman Melville’s novella “Benito Cereno.” Melville’s original story relies upon the main character’s first-person perceptions of the events that unfold in front of him. This reliance on P.O.V. is why I chose to distribute the story using the web service Twitter. Twitter limits updates to 140 characters of text, and so this story is broken up into small, 2-3 line paragraphs. The temporal nature of this storytelling method required that the story include frequent reminders of previous events, to help keep readers aware of the context of the events. This was especially important given that the time span of the bulk of the events is about twelve hours, and the length of time that the story ran for was four months.
The Good Captain began broadcasting over Twitter on November 3, 2007. It concluded on February 29, 2008.
The original page can be viewed at: http://www.twitter.com/goodcaptain It is also available in multiple formats: as a paperback and ebook-edition, as well as in PDF-format: http://www.loose-fish.com/waifpole/wp-content/uploads/2008/02/thegoodca…
(Source: Project website)
Underbelly is a playable media fiction about a woman sculptor, carving on the site of a former colliery in the north of England, now landscaped into a country park. As she carves, she is disturbed by a medley of voices and the player/reader is plunged into an underworld of repressed fears and desires about the artist’s sexuality, potential maternity and worldly ambitions, mashed up with the disregarded histories of the 19th Century women who once worked underground mining coal.
Created in Flash for the web, Underbelly incorporates a rich and often grotesque mix of imagery, spoken word, video, animation, text, interactivity and random programming within a traversable map-like narrative terrain. Its design is based on the remarkable uterine qualities of the Hereford Mappa Mundi combined with diagrams of female reproductive organs and 19th Century illustrations of mines and pit workers. Video, shot in point-of-view close-ups, represents the woman’s above-ground activity and conscious concerns, but it’s persistently undermined by visual, vocal and kinetic elements generated by the ‘subconscious realm’.
Winner of the New Media Writing Prize 2010
Winner of the MaMSIE Digital Media Competiton 2010/11
Requires a browser with Flash Player and a computer with sound. Use your mouse to explore. Look out for the crawling woman; she will take you to the next region.