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‘Throwing Exceptional Messages’ is a performative work that frames theoretical critique as practice in a gallery setting. The work uses a deconstructive methodology derived from Jacque Derrida’s practice of ‘sous rature’ to perform critique upon a particular moment in the historical formation of the field of ‘codework.’ The term codework was established in 2001 and attempted to describe literary works that were developed from or included elements of computer code. The taxonomy of this field, formalised by Alan Sondheim, was contested by John Cayley on the basis that ‘non-executable’ work should not be included into the field as ‘code’ referred to as ‘executable’ text. By bringing the thesis of this research into the gallery space the performer uses the theoretical methodology as a practical methodology to produce critical artefacts. The thesis is placed under erasure within a system that produces computational ‘exceptions’ or ‘non-executables’ as work. These exceptional texts are ‘caught’ and ‘handled’ within the performance as a mode of production and are transformed into physical ‘objects’to be ‘thrown’ into the space. The resulting exceptional texts are developed from this codework divide yet they can no longer be read along these terms.

3 Libraries in Romania, Norway and Denmark have joined forces to “turn on literature” by creating 3 generative literature machines (poetry machines) and 3 authors have written texts for the machines. The poetry machine is designed to involve users in the creation of e-lit in the library space. Through a game-like interface the user combines the author’s sentences into a poem, which will then be printed onto a library receipt creating an intermedial translation. At the same time, the poem will be projected onto projection surfaces in the other participating libraries making the installation transnational. The poetry machine translates the concept of e-literature into a tangible object (a printed poem) and transforms the solitary activities of writing and reading into a social undertaking since three simultaneous users can interact with the machine creating a poem together. Our installation is located within the “Translations” strand of the festival. The festival in Porto will be the very first showing of the installation, which is an up-scaled re-design and re-writing of the Ink installation presented at the ELO conference in Milwaukee in 2014. For the festival, we will exhibit one poetry machine. The works are in 3 different languages, but will be translated into English for the festival. Through live projections, poems created in the participating libraries will cross borders as they are shown at the festival in Porto as well. The project is co-funded by the Creative Europe Programme of the European Union. The installation consists of: text from Danish poet Ursula Andkjaer Olsen, Norwegian poet Morten Langeland, and Romanian poet Radu Vancu; a piece of furniture (1,60 x 1,20 meters) with a large flatscreen + 3 podiums with interaction controllers in the form of books. Required space for the installation: Preferably 3 x 4 meters (if possible) Technical needs: internet connection (preferably wireless) projector + projection surface. 

(Source: ELO 2017: Book of Abstracts and Catalogs)

WALLPAPER is an interactive and immersive piece of digital fiction that has been exhibited in the UK at Bank Street Arts Gallery in Sheffield as a largescale projection and as part of the Being Human Festival of the Humanities 2016 in Virtual Reality. Funded by Arts Council England and the Arts and Humanities Research Council, it forms part of the Reading Digital Fiction research project led by Dr Alice Bell at Sheffield Hallam University. Reading Digital Fiction aims to raise public awareness of and engagement with digital fiction by analysing the way that readers respond, applying empirical methods and cognitive theory. Through its accessible storyline, strong visuals and immersive atmosphere, WALLPAPER has engaged non-academic audiences online, through live events and within gallery settings.

A work of short fiction, it follows the story of PJ Sanders, a USA-based computer engineer and innovator who returns to his remote family home in the UK following the death of his elderly mother. His agenda is to close the house down and sell it. First though, he wants to trial an experimental device he’s been working on to help him uncover the history behind one particular room in the house – a room that has remained locked since his childhood. WALLPAPER can be shown on a modern gaming PC, through large-scale digital projection and in Virtual Reality on the Oculus Rift.

To see a short film of its reception in the UK at the Being Human Festival of the Humanities, please visit http://wallpaper.dreaming-methods.com/being-human/ For more information about the work, the storyline, its development, screenshots, in-project footage and downloads, please visit: http://www.dreamingmethods.com/wallpaper http://wallpaper.dreamingmethods.com http://www.readingdigitalfiction.com

(Source: ELO 2017: Book of Abstracts and Catalogs)

Whom the Telling Changed is a short accessible piece of interactive fiction that incorporates several remarkable innovations. The reader can direct a character to do certain things, as is typical in interactive fiction, but is also able to influence the outcome of an important storytelling session, one which shapes a Sumerian people's course of action. Whom the Telling Changed adds hypertextual aspects to the conventional interactive fiction interface and shapes the story-world in unusual ways based on the reader's input.