Presented at conference or festival

aimisola.net/hymiwo.po: a poemtrack for a yet-to-be-written dance piece departs from material produced by AIMISOLA, in respect to the project “voices of immigrant women,” and further research developed by Álvaro Seiça & Sindre Sørensen on immigration, Spanish immigration policies, cultural, social and political issues in Spain. The first-person poem addresses immigrant women in long-term unemployment living in Spain, and the social, professional, linguistic, and educational obstacles that they face. The poem intends to be a possible account and denouncement of immigration, migration, and dislocation aspects, in a broader global scope, though more specifically, in the European context: rootlessness, social and personal hopes, women’s rights, social, gender and sexual inequality and aggression.The poem starts with an onscreen display of keywords used to write the poem, some of which are hash-tagged. As the poem unfolds onscreen, displaying a fixed line at a set temporal interval, these recurrent keywords scrape real-time tweets. The resulting display is a poetic mash-up of collective text, composed of background and foreground. The combined text can act as textual and visual texture, or active multimodal reading. However, it functions as a timely snapshot of a certain collective consciousness or, perhaps better, it provides an update debate on topics related to the poem that are happening as collective discourse in social media.The coding mechanics create tensions by juxtaposing a fixed (non-)poetic text with an ever-changing social(-poetic) text, which might be further complicated by the way certain tweets contradict or amplify the lines, or even when the audience participates by inputting tweets as the poem is live performed. Furthermore, interactivity is keyboard-driven. Arrow keys control line display and the avatar (“silence”) progression, as well as a visual representation of duration. The reading progression through the language game questions modes and functions of reading, and roles and boundaries between viewer, reader, user, and player. The “intermezzo” game acts as a scene, or “poemscreen,” using the BSoD as glitch source. An error display screen, the side-scroll game thus critically dialogues with game mechanics, OS errors and factual ocean traversals in the Mediterranean Sea. The very act of reading/living continues only if the reader/player traverses the poemscreen.aimisola.net/hymiwo.po was originally written in Portuguese and translated into Spanish and English. The soundtrack is “Lighthouse” (2011), by the Swedish jazz band Tonbruket.Start work at http://aimisola.net/hymiwo.po 

(Source: Author's Website)

"Voices of Immigrant Women" is a digital project in which AIMISOLA project's members have developed digital poems written for the Web, based on the experiences of immigrant women in long-­term unemployment living in Spain. Their testimonies have been recorded as sound files, images, and videos. The work has been done in Portuguese, Spanish and English language.

This work was shortlisted for the New Media Writing Prize in 2016: http://newmediawritingprize.co.uk/past-winners/2016-shortlist/

(Source: Nina Kovolic)

Style Guide for Erasing Human Dignity responds to the current political climate in America through a facetious writing guide mixed with poetry. The images within it trigger more text when viewed through an augmented reality app.This “style guide” was inspired by a recent news article about the suggestion to modify language when applying for White House funding. This prospect is incredibly dangerous; what protections disappear when language is changed or erased? Spanish-language and LGBT resources were removed from WhiteHouse.gov, for example. Style Guide for Erasing Human Dignity comments on contemporary political issues (the current attack on immigration, environmental protections and journalism) with the proposal of new linguistic strategies. The guide suggests conflating words (Could ‘weather’ be the same as ‘climate’? Could ‘credible’ be replaced with ‘retweeted’?) and provides alternative definitions (Accountability: An account, and the ability to run it effectively. Also see: Social media).This satirical writing guide is mixed with poetry and images of burning books.This project was created for the ELO night of readings and performances at the Modern Language Association Conference in New York City in January, 2018. I propose creating a physical book for the gallery exhibition at ELO2018: Mind the Gap! Attention á la marche! Instructions will be included in the book so that readers can access the augmented reality content with their own smartphones/tablets.

(Source: ELO2018 description)

First the Audiographe computes the poet’s voice waveform in order to let the voice draw itself a geolocalized itinerary in Montreal. Once anchored in a geolocalized soundscape, the text comes to life according to the intensity and the rhythm of the voice. Realtime video exhibited here in a video capture form. Length : 21 minutes divided in 7 chapters.

Through a mystical tarot card, Future Visions presents a multitude of possiblefutures. Angela Gabereau and Coral Short, the “mothers” of the project, sent outan open and uncensored call for submissions and were able to assemble morethan eighty predictions in a collection of "queer futures". The contributions reflect — by means of filmed performances, tutorials, music, video mixing, etc. — on afuture free from hate, prejudice and the yoke of heteronormativity. While thiscollection is forward-looking, its visions reflect the present-day concerns of thequeer community that too often go unnoticed.

The language becomes a graphic space of exploration starting from the poetic expression of the man.

In dialogue with Jacques Donguy, Philippe Boisnard has conceived the exhibition “Poetry of the Post Humanity” from documents and artistic proposals (Thierry Fournier, Beb-deum and 3 holopoems of Augusto de Campos, Eduardo Kac and Richard Kostelanetz), in order to show that avant-garde poetry does not only propose aesthetic forms linked to technique but another apprehension of man, of his becoming imbued with his technical inventiveness.

Source: http://www.cda95.fr/fr/bains-numeriques-10e-edition/poesie-de-la-post-h…

Synthetic Empathic Intelligent Companion Artefacts (SEICA) Human Interaction Labs' (seicalabs.org) is a speculative transmedia narrative and a 12 personae multimedia performance art project. The work attempts to thematically bridge concepts and creative processes employed within the fields of art, science and technology through hypertext fiction and on/offline storytelling. Positioned as a faux virtual organization, SEICA Human Interaction Labs is manifested through its online activities. Operated by a team of personae, the organization produces multimedia research works that reflect on how overhyped media portrayals and oversimplification of information package the modern perception towards scientific discovery and technological innovation. Blending and bending technocultural themes through tropes found in popular culture and internet vernacular, the fictive organization’s cybernetic researchers strive to orchestrate chaos and generate questions that critically engage with near-real-time discourses on human interaction in the age of companion robots. Recent multimedia research works include a study on (non)living things, hardware and intermediary interfaces, commercial user experience design and dopamine level manipulation, objects from the Institutional Cabinet of Curiosities (ICC), and a collaborative essay on re-imagining humanity inspired by Donna Haraway's "A Cyborg Manifesto" (1984). Disseminated through various platforms including social media, the project’s satirical nonlinear narrative unfolds through inquiry-based performances documented in the new media works, digital artefacts, speculative lab equipment, lab notes, and chat logs that further develop the ongoing dynamics between the interacting personae.

"Berlin: Symphony of a Great City" by Walter Ruttman (1927) is the central work in the genre of "City Films" which thrived internationally in the 1920s and 1930s. "Berlin Remix" is a generative video installation based on this seminal work. The original film has been deconstructed into its individual shots, which are placed in a shots database. "Berlin Remix" investigates cinematic style and technique through the creation and presentation of an ongoing series of short films drawn from this database. Each of these short films reflects a different facet of the original work, and each film is unique - differing from the others in cinematic style, thematic content or both. The artist has defined a number of style templates through analysis of various documentary films, particularly those in the City Film genre. The templates incorporate different content themes (such as work, recreation, culture, class) and a variety of cinematic manipulations (such as sequencing pattern, editing pace, transition choice, and visual treatment). The templates will use real-time algorithmic operations to call up shots and apply the cinematic treatment. The viewer is presented with an ongoing and constantly changing series of short films. Each film may be viewed on its own and assessed for its impact. However, comparison of the short films as they emerge will provide insights into the original "Berlin" and support a deeper analysis of both style and content in the context of cinematic art.

In the autumn 2014 I was reading in the TARP festival in Vilnius and in the ZEBRA film poetry festival in Berlin. This was motivating for extending my project in the direction of sound poetry. Meeting the Russian composer Taras Mashtalir in e-Poetry2013 in London and later in Bergen, has resulted in a great collaboration. Together we are OTTARAS, and so far we have produced six sound poetry tracks based on my earlier works and with videos made by Alexander Vojjov and Yan Kalnberzin.

Source: http://yellowpoetry.com/sound-poetry-news/