Published on the Web (online gallery)

A. is video reader grafted over a text generator : videos run depends on reading time of the text.

A. is proposed as an exchange for Les Objets d'Hélène by Gwenola Wagon, who wants to transform an heritage full wtih objects into a collection of stories over each object. I exchange this text generator with an Hélène's book, La douane de mer by Jean d'Ormesson.

A. is the last word of the fragment of the book readed by this generator. "La" is allways the begining and "A." is allways the end of the text.
(Source: project website)

Wordtoys proposes a reading exercise as a task in deciphering that doubles as a narrative toy. It gathers together a series of works on hypertext, e-poetry, and audiovisuals made from 1996 to the present. Framed within the context of net poetry, with roots at the historical forefronts that emphasized the materiality of signs, these works are constructed using randomness, permutability, process, games and re-writes. This sort of digital analogy of a book, a toy book, allows us to access pieces like Procesador de textos Rimbaudeano (Rimbaudean Text Processor) and Escribe tu propio Quijote (Write your own Quijote). In the latter Gache reminds us that in her Quijote, Cervantes the narrator tells us that he is not the author of the book, but that he found it in a manuscript written in Arabic, and she tells us that in 1944, Jorge Luis Borges wrote Pierre Menard, autor del Quijote (Pierre Menard, Author of Quijote), in which the French symbolist attempts to re-write the original text. Gache proposes that we write our own Quijote through a word processor console in which no matter how hard we try to resort to our imagination, we can only write Cervantes’s original text. In the case of El idioma de los pájaros (The Language of Birds), she presents a series of bird automatons who, with synthetic voices, recite poems on birds from famous authors. These birds turned machine-poets have been programmed to recite words. Gache reminds us: “Aren’t words always someone else’s?”( Source: Netescopio http://netescopio.meiac.es/en/obra.php?id=80)

Heartbeat (1999) is a reflection on young people who suffers an alterated perception state and listen exclusively to the sound of their hearts, they panic at silence and feel comforted while taking shelter at dark discos in which they enter into a trance state. Heartbeaters always wear headphones, a common tendency of schizophrenics in order to not to hear their inner voices. This hypermedia includes images of a skinny adolescent's breast wearing a bra and listening to her heartbeats by using a stethoscope. The author, Dora García uses the stethoscope as a symbol of the headphones due to its aesthetical similarity, to analyze how young people use music to find their own identity and make sure that just like their heart beats because the music they listen to confirms they are alive.

(Source: Maya Zalbidea Paniagua)

Hard Data is a data-mining, sonification, and visualization project by R. Luke DuBois that uses statistics from the American military actions in Iraq as source material for a series of audiovisual compositions. Using Xenakis' understanding of formalized music as a starting point, the composer uses a variety of statistical data ranging from the visceral (civilian deaths, geospatial renderings of military actions) to the mundane (fiscal year budgets for the war) to generate a series of abstract audiovisual compositions with short accompanying texts citing and explaining the information sources. The intention of the series is twofold: one, to recontextualize the formal stochastic music in the context of real-world statistics, and two, to provide a compositional and metaphoric framework for creating an electroacoustic music relevant and significant to our time. Presented as an online, open-source work, viewers are invited to download the data set and source material for the piece and create their own interpretations.

Hard Data is a project that began as an interactive website and grew into a string quartet in six movements, commissioned by New American Radio and Performing Arts through their turbulence.org website. The online work and the subsequent string quartet performances and recording were funded with support from the New York City Department of Cultural Affairs and produced by the ISSUE Project Room and the PACE Digital Gallery.

The idea behind the work was to create an open-source “information score” of the U.S.- led war in Iraq, taking economic, social (including casualty), political, and cultural statistics from both Iraq and the United States over the course of the war and placing them on a timeline. This timeline would then be published in a format that artists and composers could use to make new works. Along the way, I agreed to make my own sample “mapping” of the data, which became the website. By the time the website premiered in early 2009, I was asked to create another realization, this time for the MIVOS string quartet as part of the Darmstadt music festival at the ISSUE Project Room.

The string quartet version focuses on the casualty statistics of Americans and Iraqis involved or caught up in the conflict, and “sonifies” the data stream in six movements, compressing the six years of war into twenty-five minutes of musical time.

As the essay I wrote for program outlines, the Iraq war is a conflict in which most Americans have more data than knowledge. The piece uses this data to create a musical meditation on loss, drawing musical influences both from Western composers who have written in times of war and from the current Iraqi national anthem.

(Source: Author's Website)

Blimnaya - is a creative environment for collective composition of limericks, winner of Teneta 1996, nomination "Creative Environment"

Memoires of Akademik-Deputy (Воспоминания Академика-Депутата) is a collective hypertext, nominated for Teneta 1996 in "Litarary Hypertexts"

A hypermedia work, or ficto-critcal art history, LUX deconstructs, contextualizes and manipulates the Bronzino painting, "The Exposure of Luxury".

Source: trAce archive

Penetration focuses on two individuals, a father and daughter. The natural world around them takes on the role of a third character called the Mothering Earth. Whenever you move the mouse pointer over a link, the status bar at the bottom of the window indicates which character the link leads to.

Links leading to unvisited nodes (that is, sections of text not yet read) are white, while dark green links indicate nodes that you have already visited. A shade of light green (lying between the other two link colors) signifies that you have visited the node but it has not been fully revealed to you. If you click on a light green link to return to one of these partially revealed nodes, you will find the node's contents altered to reflect the new context in which you are reading it. This is accomplished by means of variable text elements created with the Connection System.