Published on the Web (online gallery)

News Reader is software for reading and playing the network news environment. News Reader initially offers the current "top stories" from Yahoo! News — which are always drawn from mainstream sources. Playing these stories brings forth texts generated from alternative press stories, portions of which are (through interaction) introduced into the starting texts, gradually altering them. News Reader is an artwork designed for daily use, providing an at times humorous, at times disturbing experience of our news and the chains of language that run through it.

Source: Turbulence

C()n Du It is a volume of poetic audio-videoclips, presenting the most important phenomena of visual culture and asking questions about a man’s place in the online sphere and about identity in the era of avatars. Intense, expressive and ironic pictures, show in an epigrammatic form our daily internet ‘rituals’, like clicking, posting, chatting. References to animation, film, advertisement or video games create dynamic, expansive clips. No ‘dry bones’, using a metaphor from ‘logical poem’, but a truly ‘fleshy’ poetry, precise and firm. The style of the whole volume may be described as a ‘post-Atari’, with green color reminding of system commands and simple font expressing nostalgia for the uncomplicated, 8-bit world. The spectator is forced to simultaneously cope with the picture and sound and experiences a true stereophonic reality. In so uncertain 20th century a man is a constantly reborn avatar, a pixel or just a printed circuit on the motherboard of society.

Notes on the Voyage of Owl and Girl is a work of digital fiction. Any resemblance to actual events, persons, places or texts is entirely intentional. Details from many a high sea story have been netted by this net-worked work. The combinatorial powers of computer-generated narrative conflate and confabulate characters, facts, and forms of narrative accounts of sea voyages into the unknown North undertaken over the past 2340 years. At the furthest edge of this assemblage floats the fantastical classical island of Ultima Thule and the strange phenomenon known to the Romans as sea lung. Sprung from Edward Leer’s Victorian nonsense poem, a lazy and somewhat laconic owl and a girl most serious, most adventurous, most determined, have set sail toward this strange sea in a boat of pea-, bottle-, lima-bean- or similar shade of green. The cartographic collage they voyage through collects the particularities of a number of fluid floating places - as described or imagined in sources as diverse as Hakluyt’s Voyages and Discoveries and the children’s poem Wynken, Blynken and Nod - and reacontextualizes them in an obviously awkward assemblage of discontinuous surfaces pitted with points of departure, escape routes, lines of flight.

The net exhibition SONNE ORDKLIP [Sonne Wordclip(s)] is divided up ito 14 series', where some are thematic according to the usual rigid encyclopedia principles, while others are more directly related via a single common word-clip. The following, for example: DK [abreviation for Denmark]-CULTURE-SOC, EGO-PSYCH, GO, "LITT", ZOO, WORD, BOO, CHIDREN, CORPSE, OUT, LANGUAGE, ART, FOOD, LYRICAL NATUR. They are texts - or whatever one wants to call them - which, in their insistent overexcited play with the meaning and visuality of language, have no equal in contemporary Danish poetry. We have to go back to the good old dadaists' collages and montages - Kurt Schwitters' for example - to find competitive parallels.

Author's description:

TYPEOMS are generated from code tht conjoins fragments and spam.

Every TYPEOM includes one typo I made in the last 6 months.Each typo is provided with a plausible definition.

(Source: Typeom project page)

Quiet time, dead time, free time—call it what you will, there seems to be less and less of it. What do people give up in the race to maximize every second of their waking life? What kinds of activities are replaced by the panicked drive for efficiency? No Time Machine explores these questions by mining the Internet for mentions of the phrase “I don’t have time for” and variations such as “You can’t find the time for” and “We don’t make time for.” Based on a set of procedures we’ve set up, a program analyzes the search results and reconstructs them into a poetic conversation. Interwoven with this “found poetry” generated by the program are sentences that we re-contextualized ourselves; a human-computer collaboration that expands the field of creative writing to include networked and programmable media.

(Source: authors abstract from Turbulence)

Explore a dark, mountainous landscape dominated by a gigantic tower. 

Set in a dark and abstract dream world that revolves around a crashed bus, the atmospheric literary game environment The Dead Tower can be freely explored at full-screen with the mouse and keyboard. Leonardo Flores says about the project: “This narrative poem is arranged on a darkly atmospheric virtual world designed to both creep you out and pull you in…“. Like the proverbial moth, the reader’s attention is drawn towards the brightest things around: white words float in the air, static or rotating. And the lines of mezangelle verse both heighten the dread by telling fragments of a ghostly narrative prefigured by the bus crash site the reader finds herself in and soften the tone with hints about the interface that nudge the fourth wall. (Source: GalleryDDDL description)

In this work, Bigelow takes everyday objects (stapler, chair, spoon) and elevates them to archetypal status through several strategies:

* short, looping background videos (with audio) of natural scenes, usually focused on animals or plants, intercut with brief images of the object being discussed.

* A poetic description of the object, using metaphor, personification, and other figurative language to highlight their function or role.

* A scheduled set of fake historical events involving the object, often absurd and hilarious, including the location and the date in which they happened.

This level of attention to everyday objects is parallel to Gertrude Stein’s Tender Buttons, but with a different approach to its language choices. While Stein chooses language that belongs to the same semantic frame of the objects she describes, Bigelow breaks (or blends) the frames to take a twist towards the absurd. These objects become archetypal because they are presented as tools that shape their creators as much as the world around them, connecting them to nature and humanity at a global level.

The final choice given to the reader is a surprisingly effective Turing Test.

(Source: Leonardo Flores, I ♥ E-Poetry)