“Welcome to Air-B-N-Me.” In this exchange economy, we share our cars, our homes, and all our stuff. What if we could share our lives? If you ache to be anywhere but here, welcome to Air-B-N-Me, a new experience in lifeswapping. When you feel like checking out of your own life, check into somebody else’s. Why not turn your downtime into a timeshare?
Can a snapchat story also be electronic literature? I’m fourteen years old and I think so. Micro-video sharing apps constitute new ways to share our lives and new ways to circulate fiction, documentary works and poetry. The storytelling itself may be linear, but these are born-digital, aphoristic, networked and experimental. A snapchat story can selectively document a day, but it can also force a fictional piece into a highly constrained form. Finally, Snapchat is built on the idea of ephemerality—a Snapchat story is designed to vanish in 24 hours. For the Festival I propose one of two things—either a snapchat story captured on video that can be shared via computer or phone or, a true Snapchat story, available only for a 24 hour period during the Festival.
(Source: Description from ELO 2017: Book of Abstracts and Catalogs)
"Na Europa, para não falarmos de épocas mais remotas, são célebres os papiros mágicos do século V a. C. e o «Ovo» de Símias de Rodes, que data do ano 300 a. C. e cuja técnica de leitura se conhece. Trata-se dum poema bucólico composto graficamente em forma de ovo, sendo essa forma usada como metáfora do processo poético." (Ana Hatherly, in A Reinvenção da Leitura, 1975).
"O ovo, aliás, mais do que morfema, aparece como ideia incisiva da obra de Silvestre Pestana no núcleo da problemática da potência aristotélica: a fecundação do ser múltiplo é condicionada pelo dispositivo, que permite ou não a sobrevivência. Por isso a associação do ovo ao «povo novo», quer aquele que depois do 25 de Abril, quer aquele que hoje imerso num mundo cada vez mais high tech." (Manaíra Athayde, “PO.EX em EXPO”, 2013).
Sinopse > "(N)(P)OVO" e "META(N)(P)OVO" tem por base a adaptação de um dilema ancestral: o que vem antes, a face ou a interface? Numa tentativa deliberada de proVocação, esta dupla obra de videoarte pode ser lida com casca ou sem casca, dependendo do grau de mediação que se pretenda. Convidando a um processo de descascamento das múltiplas camadas ancestrais que significam o palíndromo, esta obra é também uma (tardia) homenagem a todos os oVos chocados, estrelados, cozidos, mexidos e escalfados desde Símias de Rodes até Silvestre Pestana.
This is a serial project in which Potts's own reporting, photography, and memory cast a parting look at his past life, growing up as the gay grandson of televangelist Oral Roberts: between September & January 2016, every other Sunday in 33-post "books," Potts posted a 300-post Instagram account of this story — 9 books of 33 Instagrams each .
In Potts's words, his own originary story is tied to the rise of his grandfather Oral Roberts as the famed televangelist and charismatic Christian preacher: "At twelve, my grandfather climbed into his Prayer Tower and said he’d die if he didn’t get $8 million; I was a gay kid living on a Pentecostal compound with an autographed photo of Ronald Reagan on my desk. At eighteen I left most of that behind, rarely looking back."
Potts's story is a compelling, wonderful, and moving mix of comedy and tragedy, documenting the fragile beginnings of a life marked by abuse that nonetheless reveals hope and beauty as Potts moves on from the past.
Objects is a digital poem. It creates random combinations with the 27 seven names of the portuguese women killed by their spouses in 2015. The code is based on Silly Poet by Abe Prazos.
poema digital que cria combinações aleatórias com os 27 nomes das mulheres assassinadas em Portugal em contexto de violência doméstica, durante 2015.feito em Processing a partir do código Silly Poet de Abe Prazos.
(Source: http://cargocollective.com/lilianavasques/e-poetry)
"Sam was brushing her hair when the girl in the mirror put down the hairbrush, smiled, and said, "We don't love you anymore." So began the Twitter Audio project, with a dazzling first line penned by New York Times best-selling author Neil Gaiman. What followed was an epic tale of imaginary lands, magical objects, haunting melodies, plucky sidekicks, menacing villains, and much more. From mystical blue roses to enchanted mirrors to pesky puppets, this classic fable was born from the collective creativity of more than one hundred contributors via the social network Twitter.com in a groundbreaking literary experiment. Together, virtual strangers crafted a rollicking story of a young girl's journey with love, forgiveness, and acceptance. (Source: Goodreads)
This bot explores a corpus of textual data from videogame ROM (Read Only Memory), selecting a random snippet, adding a hashtag for the source, mentioning the platform in parenthesis, and publishing the results every three hours. This textual data isn’t just text displayed by the games when they’re running, but also their programming code, which means that its text is sometimes gibberish (perhaps from obfuscated code), formatted using coding conventions, and strange enough to be poetic. This is a rewarding bot to follow from a Critical Code Studies perspective because it invites reflection on the choices made by programmers for variables, data, and language.
The initial idea of The Cosmonaut came from a suggestion that we work on the story of Ed Aldrin, bringing it to the digital environment. Of course, the philosophical or anthropological record did not seduce us in any way, but the possibility of fictionalizing a history of religious conversion (or reconversion). On the surface, what is known of this episode is that Aldrin, having remained alone in the Lunar Module while Neil Armstrong made his historic walk ( a small step for a man, a great leap for mankind ...), had a kind of religious epiphany. From there, he became (or came to be) a convicted Christian. On top of that, we proposed to change the location of the epiphany, which became a spacecraft in outer space, orbiting the Moon. The astronaut, on the other hand, would be a cosmonaut because of the etymological implications of this term
source:https://periodicos.ufsc.br/index.php/textodigital/article/view/1807-928…
Every hour, this bot draws language from wikiHow, repackages and recontextualizes it as a sexting message, and tweets it. Part of its process is to add pronouns “I,” “you,” or both to the instructions and actions described, in addition to prefacing each tweet with “sext.” Its output invites readers to interpret bland, utilitarian language metaphorically because it’s conceptually framed as sexting. The scenario of people sending sexually explicit messages back and forth, describing things they are doing to their bodies, contrasts sharply with the step-by-step instructions common to wikiHow, resulting in surprising and humorous results. Follow this bot on Twitter to learn many new euphemisms for sexual acts and the expressive potential of conceptual reframing. (Source: Editorial Statement from the works collection site)
Every three hours, this bot tweets a generated text field composed of blank spaces and unicode characters that can be interpreted as stars or other celestial bodies, particularly when conceptually framed by the account’s title. Its artistic output has become very popular, rapidly attracting over 70,000 followers and with each tweet being favorited and shared over 300 times. While this project would seem to be more of a visual art than literary bot, consider that it is not generating images, but sequences of characters, spaces, and carriage returns. It is using the materials of writing in the tradition of ascii art and its results are so evocative that it has even inspired a spinoff bot @tiny_astro_naut. Follow this bot to become to explore its tiny endless expanses. (Source: Editorial Statement from the works collection site)
witter bot, sample output available