Published on the Web (online journal)

Description (in English)

Wish4[0] takes as its inspiration the perpetual tugging at a user’s consciousness by the digital. Each work takes as its immediate inspiration a headline (or item) drawn from the electronic news cycle of that specific day. The resulting block of poetic works: 1) Act as a digital and creative “literary snapshot” of a specific period. 2) Highlight the accelerated nature of an electronic/networked-based news cycle. 3) Illustrate the discrepancies – and perhaps similarities - between how a digital audience responds to items deemed newsworthy and creative responses to such items. 4) Echo (and partially emulate) elements of digital culture that have become seamlessly integrated into our everyday lives (including programs such as Twitter, Facebook, Pinterest, Vine, Snapchat and Instagram). This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Pull Quotes

"Mez Breeze’s WISH4[0] is something like a forty-day odyssey through contemporary consciousness. Billed as creative interpretations of news items, the work addresses such issues as fake Facebook likes, online surveillance, climate change, and NASA’s 3d pizza printer (to name a few) through video poems, infographics, and classic mezangelled texts that respond to and resonate with cultural obsessions of immediate access to information. As such, the work produces a compelling and resonant reading of our times; a puzzling yet familiar zeitgeist that haunts rather than convinces." - Talan Memmott

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Technical notes

"Wish4[0]" is set of 40 code poems based on a poetic interpretation of the maxim “Be Careful What You Wish For”. The title of the work, “Wish4[0]” is a truncation - and linguistic reworking – of the idea of wish fulfilment in the digital age. The project examines how willing users and audience members are subjected to an “always-on” news cycle, where social media and content streaming are now a primary method of information sourcing, and privacy is an elastic concept. As extensive use of mobile devices such as smart phones, wearable tech and tablets is now the norm, it’s apparent that the Internet has become a crucial component of our everyday news and entertainment cycle, as well as an omnipresent social tool. From a cultural standpoint, we seem to be reaching a critical point in our consumption and production of digital media, with privacy concerns starting to push back against constant oversharing and the incessant rush of accelerating digital news cycles. And yet, deliberate poetic responses to such critical social issues seem underutilised: Wish4[0] readdresses this imbalance.

Description (in English)

Kenny Drama is a story written in JavaScript that unfolds over a series of pages through user interaction. The story is told from the perspectives of various characters who are all named Kenny. The Kennies are extremely preoccupied with the state of cultural production today. They struggle to communicate within the rhetorical restraints of their personal/professional roles.

Description (in English)

You're a teenage girl, connected, clued-in, but what lurks in the deepest, darkest regions beyond the screen? A first-person coming-of-age story-game. ( Source: Andy Campbell ) A first-person playable coming-of-age story, in 2D and 3D, that centres on a teenage girl, immersed in contemporary digital culture. With creeping awareness, she / the player struggles with the insidious gender stereotyping, where womanhood is rendered as malleable and polymorphic as a digital doll, that literally threatens to drain her of life. ( Source: Patricia Tomaszek ) Inkubus is a first-person playable coming-of-age story, in media-rich 3D, about a contemporary teenage girl, who’s connected and clued in. But what lurks in the deepest darkest regions beyond the screen? The story-game progresses via skewed and leading questions, designed to distort the girl's behaviour, before being drawn into a visceral labyrinth where a malevolent force peddles a destructive artificial feminine ideal. With creeping awareness, the girl/the player struggles with the insidious gender stereotyping, where womanhood is rendered as malleable and polymorphic as a digital doll, that threatens to drain her of life. ( Source: ELO 2014 conference )

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Technical notes

Download for Mac/PC. Browser based version requires Unity Web Player.

Description (in English)

"How I Loved the Broken Things of Rome" pieces together fragments of history, poetry, video, photography and cartography collected during an extended stay in Rome. This work reflects upon certain gaps - between the fragment and the whole, between the local and the tourist, between what is known of history and what is speculative. Rome is among the largest and oldest continuously occupied archaeological sites in the world. Daily life is complicated, even for the locals. Everything is running late, circuitous, or quasi-rotto. Romanticism and pragmatism must coexist. My struggles with slang, schedules, and social vagaries reminded me acutely of when I first moved to Montréal. Understanding what's going on around me now seems to be less a question of the acquisition of language than one of overcoming the dislocation of being a stranger. In her poem The Fall of Rome: A Traveller's Guide Montréal poet Anne Carson writes: "A stranger is someone desperate for conversation." I certainly found that to be the case. There were days in Rome that I did not, could not, speak to anyone. Oxford Archaeological Guide and cameras in tow, I tried to capture something of the impossibly elusive and fragmentary nature of language amid Rome's broken columns, headless statues and other, often unidentifiable, ruins.

How I Loved the Broken Things of Rome was produced in residency at OBORO’s New Media Lab with the financial support of the Conseil des arts et des lettres du Québec.

Pull Quotes

When I could not speak
because I knew no Roman tongues
and all day long I was
overwhelmed by fragments -
headless statues littering the gardens
and the museums, full
of shelves of heads of stone -
for days on end I roamed
alone in beauty.

When I could not think
because I was hungry
or tired or lost
in a crowd of conversation,
when even if I wanted to
I could not seek
answers to ineffectual questions -

"How long will it take?"
"It is impossible to know this…"
What I wanted I could not say.

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How I Loved the Broken Things of Rome || J. R. Carpenter
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How I Loved the Broken Things of Rome || J. R. Carpenter
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How I Loved the Broken Things of Rome || J. R. Carpenter
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How I Loved the Broken Things of Rome || J. R. Carpenter
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How I Loved the Broken Things of Rome || J. R. Carpenter
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How I Loved the Broken Things of Rome || J. R. Carpenter || Museum of Contemporary Canadian Art
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How I Loved the Broken Things of Rome || J. R. Carpenter || Museum of Contemporary Canadian Art
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How I Loved the Broken Things of Rome || J. R. Carpenter || Museum of Contemporary Canadian Art
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How I Loved the Broken Things of Rome || J. R. Carpenter || Museum of Contemporary Canadian Art
Technical notes

uses popup windows, requires quicktime plugin

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All Rights reserved
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Description (in English)

Chapbook of concrete poetry in digital format. Source: journal introduction

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All Rights reserved
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Description (in English)

Ottar Ormstad's printed book "het still" animated. A work that allows readers to combine words thereby choosing ones own direction of reading.

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