Editor's note: unfortunately, this piece has not been found anywhere online, making it impossible to complete this record.
In the age of the so-called Big Data, a hype term these days, our daily lives are characterized by the lack of privacy and the rise of surveillance and control managed by certain hegemonic models of new media. In view of the fact that my strings of personal data are so valuable to Google and all third-party corporations tracking me, I decided to print out my web search history and call it literature. Collected Works is a hardcover book for a hardcore world.
Source: https://projectocandonga.wordpress.com/trabalhos/collected-works/
‘Zonder Handen’ (No Hands) is an immersive 360° installation in which you can experience the philosophical poem ‘Zonder Handen’ written by Micha Hamel for and about the experience of virtual reality. Studio APVIS director Demian Albers visualized this poem in an Oculus Rift environment.
‘Zonder Handen’ is part of Literature on Screen. This is a program in which digital designers and writers jointly develop narrative productions for the tablet or smartphone and centers on the creative interaction between the author and the designer.
(Source: http://apvis.nl/zonder-handen/)
Het is niet ingewikkeldals we in woorden voelennoemen we het gedachten
En als we zonder woorden voelenheet het een gevoel
‘Zonder Handen’ – Micha Hamel
‘Lure’ is a poem composed in 360 degrees for and about the virtual reality of the Oculus Rift. In ‘Lure’ the problem concerning the phenomenon seduction is expressed. The immersive experience is shaped into a journey, which has a forceful character. A lovable female voice subjects the attention of the spectator to its own regime and drags it into a sensual experience until it slowly turns into something more sinister. In the end there is one escape left: true reality.
(Source: lure-vr.nl)
Lokroep is een multimediaal 360 graden virtual reality gedicht speciaal gemaakt voor de Oculus Rift. In nauwe samenwerking met dichter Micha Hamel ontwierp visueel kunstenaar Demian Albers een driedimensionale omgeving die een poëtische uitweiding is van de op de hoofdtelefoon klinkende tekst. In deze vijf minuten durende ‘onderdompeling’, worden taal en beeld op een speelse manier onder elkaars invloedssferen gebracht, met elkaar gefronteerd dan wel met elkaar uitgewisseld. Met deze theatraliserende operaties in het digitale domein willen de makers de toeschouwer een intensieve en betekenisvolle ervaring bieden die het pure lezen of het pure kijken niet vervangt, maar die een eigen, interdisciplinaire ervaring oplevert waarin de mogelijkheden van dit nieuwe medium geëxploreerd alsook ten volle gehonoreerd worden.
(Source: Apvis.nl)
A Brief History of Loss is a heavily mediated performative lecture that is not only an extension of deep repetition and radical sameness, but a form of (non)reading put at odds with itself. How might these differences of reading information and meaning not be reduced, but contradicted? How might a text engage the form of the page and document as a space that provides platforms for close readings as well as keeping those readings at a distance, not something to read insofar as something to be looked at and thought about. Best situated within the “Translation” strand, ABHoL aims to expose and conflate mediatic and literary reading/writing practices with an unstoppable real time. The performance itself is a translation and shifting between codes, both textual and computational. Framed as an investigation into personal mediatic histories, ABHoL aims to conflate and contradict photographic images, as objects framed to be narrated, with corresponding narration that calls on the document as a performative object and artifact. How might the agent and agency of time, assumed in the aesthetic expressions and conceptual underpinnings of a document, lend itself to a cinematic or mediatic time? A deep and unstoppable real time? What new dialogues/forms Thursday, July 20 • 549 might this tension produce/generate/negate? Loss, like all affects, is held in the face, and a face, like all surfaces, may often be read like a book. As someone else once said, the matter of reading disrupts the continuity between the theoretical and phenomenal and thus forces a certain recognition of incompatibility.
This diptych or bi-fold work presents readers with two re-workings of Lewis Carroll’s “Jabberwocky:” on one hand, a fixed, cyclical hypertext in seven parts (Ouroboros), and on the other, an endless generative deformation that refigures the mock-epic as tennis game in Hell (Jabberwock). Both options are available at the start, but only in faint, translucent lettering. Letting the cursor dwell on one side or the other activates a sound track -- on the O side, a poetic voice whispering words of wisdom; on the J side, various monstrous re-mixes of Thursday, July 2017.This diptych or bi-fold work presents readers with two re-workings of Lewis Carroll’s “Jabberwocky:” on one hand, a fixed, cyclical hypertext in seven parts (Ouroboros), and on the other, an endless generative deformation that refigures the mock-epic as tennis game in Hell (Jabberwock). Both options are available at the start, but only in faint, translucent lettering. Letting the cursor dwell on one side or the other activates a sound track -- on the O side, a poetic voice whispering words of wisdom; on the J side, various monstrous re-mixes of those words. Dwelling on one side or the other will also cause the favored side to become more fully apparent while its opposite fades toward blankness. If the reader pursues this process to the end, which takes only a few minutes, she is invited to complete her Observation by filling out a brief survey asking reasons for the choice of monsters. Dwelling on one side or the other will also cause the favored side to become more fully apparent while its opposite fades toward blankness. If the reader pursues this process to the end, which takes only a few minutes, she is invited to complete her Observation by filling out a brief survey asking reasons for the choice of monsters.
(Source: ELO 2017 Book of Abstracts).
Uses HTML5 and Java, recommended to use a browser updated not earlier than in 2017.