Indra's Net III
Collocational procedures applied to three related texts, generating a new work which explores strictures and constraints associated with both sex and language.
(Source: Author's description)
In "The IBM Poem" (1966) twenty-six words are randomly chosen from a dictionary and each is associated in a list with a letter of the alphabet to form lines; the letters of words in one line are then permuted to make subsequent lines.
(Source: Chris Funkhouser, "Le(s) Mange Texte(s): Creative Cannibalism and Digital Poetry")
Diagrams Series 3 is the first published work in a life-long series of diagram poems, originally published ©1979 by Jim Rosenberg as an ad-hoc circulation in which each diagram was printed on two consecutive sheets of standard blank 14 7/8 x 11 computer paper. Some of these poems appeared inInterstate 14.
Byt yo moyo
Быть ё моё
Стихотворение впервые напечатано в журнале Лабиринт/Эксцентр в 1991 г.
Сонорная аранжировка сделана автором в 1998 г.
A collaboratively written wiki-novel with edits by 1500 individuals, coordinated by the Department of Creative Writing and New Media de Montfort and Penguin. No longer online.
How does a town just disappear?
What does it feel like to be cut off from your roots in a digital age where people have so many tools for recording and documenting their lives?
How do those of us who grew up in a pre-digital age recover and maintain a sense of belonging that is becoming increasingly so hard to hold on to?
'In Search of Oldton' is an attempt to use other people's digital documentary in order to recapture and re-invent my own personal history.
Tim Wright will be touring the UK during 2004 in search of Oldton his lost place of birth - and uncovering along the way the possible causes of its demise and the subsequent loss of his past.
Working with groups and individuals Wright wants to build up a substantial online archive showing people taking their leave of a place or a person - a range of personal stories about saying goodbye and moving on.
Through texts, pictures, videos and oral testimony, he will build up a digital archive of fictional remembrances, tributes to numerous places and situations left behind.
And ultimately (he hopes!) his own digital story of memory and loss will emerge.
(Source: Project description, Incubation3 site, trAce Archive)
This one-line poem code poem for the Commodore 64 produces the output you see in the screen capture above, though this short video documentation will show it in action. When executed, it randomly generates one of two characters, / or \ , repeating the operation forever, unless interrupted. This poem will be the subject of an MIT Press book which will feature 10 academics writing about this code work from different perspectives.
The emergent complexity from this deceptively simple work is part of its interest. The results you see in the image and video are from emulated version, which seek to replicate the computational conditions in which this version of BASIC ran, the Commodore 64. This popular computer system from the 1980s had a video output of it of 40 columns of text, using the PETSCII character set, which meant that the code poem would produce 40 / or \ before needing to go to the next line. The monospaced font meant that the characters would line up perfectly to produce the results you see.
But what do you see when you look at this output? I see a labyrinth, which I try to navigate with my gaze. I see letters, such as the E, F, P, a square-top A, O (or is it 0?). I see great complexity emerge from such a simple line of code, the kind that is incomplete without a human being to read into it. We can look at this maze as a visual art object, but let’s not forget we’re also reading characters: unvoiced parts of our alphabet, this building block of written language.
I see a poem.
(Source: Leonardo Flores)
Google reads our emails, garners information from our personal messages and uses that profiling strategy to select “relevant” ads. It then displays those ads on the screen next to the very emails from which the information was initially taken.American Psycho was created by sending the entirety of Bret Easton Ellis’ violent, masochistic and gratuitous novel American Psycho through GMail, one page at a time. We collected the ads that appeared next to each email and used them to annotate the original text, page by page. In printing it as a perfect bound book, we erased the body of Ellis’ text and left only chapter titles and constellations of our added footnotes. What remains is American Psycho, told through its chapter titles and annotated relational Google ads.We were most curious how Google would handle the violence, racism and graphic language in American Psycho. In some instances the ads related to the content of the email, in others they were completely irrelevant, either out of time or out of place. In one scene, where first a dog and then a man are brutally murdered with a knife, Google supplied ample ads regarding knives and knife sharpeners. In another scene the ads disappeared altogether when the narrator makes a racial slur. Google's choice and use of standard ads unrelated to the content next to which they appeared offered an alternate window into how Google ads function — the ad for Crest Whitestrips Coupons appeared the highest number of times, next to both the most graphic and the most mundane sections of the book, leaving no clear logic as to how it was selected to appear. This "misreading" ultimately echoes the hollowness at the center of advertising and consumer culture, a theme explored in excess in American Psycho.
(Source: Mimi Cabell's project page for American Psycho)
A 70-page paperback book, printing successive screen shots of 'The Image' portion of How It Is, as searched by expressive process on Google Images, excluding records tagged with [Samuel] 'Beckett'.
