animated

Description (in English)

Play the Chinese lottery and see what life was like as a Chinese immigrant to British Columbia.

High Muck a Muck: Playing Chinese is an interactive poem, created through an interdisciplinary collaboration of 11 Canadian artists, programmers and community members. The project consists of an interactive website, 8 videos and an interactive gallery installation. 

High Muck a Muck: Playing Chinese explores the theme of Chinese immigration to the west coast of Canada – both historical and contemporary – the tensions that exist in and between these narratives.

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Description (in original language)

Poemas combinatórios e generativos, programados de modo a permitir ao leitor alterar dinamicamente, em tempo de execução, os paradigmas que alimentam a sintaxe original; Som gerado aleatoriamente a partir de bases de dados previamente gravadas, com vozes e texturas sonoras; Além de alterar o poema, o leitor pode guardar as suas versões/leituras num weblog disponível na Internet. Duas versões disponíveis (versão horizontal e versão vertical) dão aos leitores a possibilidade de navegar entre distintas tipologias de página: em modo de panorama ou em modo de página html: A versão horizontal (panorama) inclui video, permite ao leitor alterar as palavras e enviar para weblog; A versão vertical (html) permite ao leitor alterar as palavras, alterar as listas e enviar para weblog.

(Source: http://edicoes.ufp.pt/product/humanidades/poemas-no-meio-do-caminho-poe…)

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Poemas no Meio do Caminho: Poesia Combinatória Animada por Computador
Contributors note

Ana Carvalho: video
Luís Aly: sound
Luís Carlos Petry: images
Nuno F. Ferreira: programmer
Nuno M. Cardoso: voice
Manuel Portela: critical writing
José Augusto Mourão: critical writing
Laura Borràs Castanyer: critical writing
Luís Cláudio Fajardo: critical writing

Description (in English)

From Marie-Laure Ryan's article "Cyberspace, Cybertexts, Cybermaps":

The map created by this project, which operates on the word level rather than on the level of lexia, is not only dynamic, but animated and interactive as well. Literalizing the idea of textual architecture, the system asks the user to input words or sentences, and it creates the floor plan of an apartment to accommodate this verbal furniture. Words are assigned to rooms on the basis of semantic content. Twelve types of rooms are paired with twelve semantic categories: living room is themed around the idea of group, dining room needs glamour, kitchen holds food, closet is a place of secrecy, hall suggests motion, foyer stands for change, bedroom means intimacy, bathroom caters to the needs of the body, library is associated with truth, office is where one works, and windows afford vision. (Dillon, Writing with Pictures, ch. 6, p. 9). The various rooms are created as they are needed, and their size and the thickness of their walls increases with every new piece of furniture that needs to be brought in. Different inputs will consequently generate different floor plans. The system ignores the words that it cannot categorize (mostly articles and prepositions), and it tries to pair new words with old ones into meaningful phrases. When the components of the resulting expression come from different rooms, these rooms are made adjacent to each other, the wall between them is taken down, and the group of words floats in the area where the two rooms meet each other. The same rearrangement and tearing down of walls occurs when a word hovers between two categories. Matching the fluidity of the architecture of the floor plan, an architecture undergoing constant transformations, the fluttering of the words and phrases around the rooms suggests the polysemy of language and the impossibility to immobilize its words into rigid semantic categories. We can read the result as a kind of aleatory poetry, or as a story of daily life, with different episodes taking place in different symbolic locations.

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