Chantalla Pleiter, together with Jean-Pierre Rawie, created a virtual reality experience of the poem 'Aa-Kwartier' by the poet Jean-Pierre Rawie. The poem can be found on the colourful city letter card 'Leesbaar Groningen.'
Voor Het Grote Gebeuren maakt Chantalla Pleiter, met medewerking van de dichter zelf, een virtual reality bewerking van het gedicht ‘Aa-Kwartier’ van Jean-Pierre Rawie. Het gedicht heeft een plekje gekregen op de kleurrijke letterenkaart Leesbaar Groningen. In de vr-versie kunt u gedicht in woord en beeld aan den lijve ondervinden.
Het gedicht is een van de vele honderden citaten die een plek kregen op Leesbaar Groningen, de nieuwe letterenkaart van de provincie en stad Groningen die tijdens Het Grote Gebeuren wordt gepresenteerd.
When Los Angeles shut down in March 2020 due to the pandemic, and most cities became ghost towns, I returned to making art for the screen, developing what has become a dynamic and multi- layered artwork that is readily disseminated. One of the things that thrilled me about making art for the internet (net art) was that it could exist beyond the traditional gallery space. I saw it as a new form of public art, easily accessible to all and a viable platform where unconventional narratives could be created by combining photographic images, drawings, short poetic texts, and animations through a succession of linked pages. The viewer actively “clicked” on images and words to engage with the work and move through the site.
Since the beginning of the Pandemic, (March 2020) I have been creating a net art project that in many ways is a pandemic journal with reflections about what I see around me as I walk in my neighborhood (Santa Monica, CA) as well as react to events world-wide. I have created images, roll-overs, texts and animations. The site has about 200 pages (or more). It lives within an earlier net art project called Ghost City (www.ghostcity.com) and because it stems from the "S" square on the Ghost City website, I have called it Avenue S (www.ghostcity.com/avenue-s). To navigate one clicks on the red squares at the bottom of each page ( … ). Avenue S is a visual record of these disconcerting times as it includes imagery related to the pandemic and interpretations of this fraught national and global political moment. The project has become a document of this extraordinary moment in time that unveils regularly like a serialized novel.
Returning to net art recently has been both a challenging and rewarding experience: challenging as I have had to relearn a lot of the HTML code used to create interactive webpages and rewarding because I love using this medium to create work. It is a pleasure every day to be inspired by what I see and to imagine an interactive scenario while I walk and then come home and create it. This immediacy engenders a feeling of freedom and is why I gravitated to net art originally. It is a dynamic and interactive form of art that can be experienced by anyone, anywhere, anytime.
(Source: Author's description)
This paper explores the concept of narrativity in the city by analyzing the project Queering the City of Literature (#QtCoL), a distributed narrative inspired by Implementation (Rettberg and Montfort). Distributed narratives are literary texts that are distributed across different spaces and times to create divergence rather than unity (Walker 1). Implementation and #QtCoL build on several modern-day practices: both of the works consist of text fragments that participants were invited to put up in places of their choice on public surfaces. The texts were photographed and posted online.
This paper analyses the work by means of a "diffractive reading" (Barad and Haraway) between the narrative and its urban context. Central to my analysis is my observation during the of #QtCoL event, which I co-organized, to understand the choices and experiences of people while choosing locations for text fragments. The practice of putting up the texts highly influences the way in which the actor views the city, looking for an appropriate place for the narrative. The actor is invited to connect elements in the text fragment to elements in their surroundings. The actor who places the text might not have noticed certain elements if it hadn't been for the text fragment. Once the text fragment is placed in its context, the opposite occurs: the context influences how the narrative is read. Once the text fragment is placed, the surroundings influences the reading of the narrative.
This diffraction between narrative and context is highlighted by the act of photography, which shows the immediate context of the text but makes the city as a whole invisible. For the 'analog' reader, however, the context of the whole city is highly visible as the text has to be found inside the city. The combination of analog and digital practices thus highlights the representation of the city as a visual practice. In addition, the invitation to post images of the project on social media furthers the experience of ‘taking up space’ and having a presence, not only in the city but online as well.
(source: ELO 2018 website)
Urbanscrawl is an abstraction of everyday city life. Whilst we may be aware of some conversations that are happening around us, urbanscrawl seeks to trace the residue of digital conversations that pass by undetected.
SMS messaging enables people to participate regardless of location by texting a dedicated number. The visualisation picks these messages from the ether and uses them to construct a navigable 3D space surrounding the voyeur within a context which is simultaneously familiar but also completely alien...
(source: Vimeo)
Where in the World is Loira do Banheiro é um mapa interativo dos lugares mal-assombrados da cidade de São Paulo. Para adicionar sua própria história, clique duas vezes onde gostaria de fazer a marcação (há um campo de busca de endereço no canto baixo-esquerdo do mapa, para ajudar a encontrar o lugar), e aparecerá um marcador vermelho; então preencha o formulário abaixo do mapa.
(source: http://bogotissimo.com/mapas/clarahm.htm)
Written for the opening of the Stavanger Concert hall and its custom built organ, the poetry film The Pipes is an ode to the industrial history and former backbone of the city. Published as part 9 of the electronic poetry film series Gasspedal Animert, intended for electronic distribution through the internet, the film combines text, sound and digital animation. This particular film is a collaboration between the small press Gasspedal and the publishing house Gyldendal. (Source: ELO 2015 Conference Catalog)
The participants of the workshop, experts from the field of IT and computer technologies, are acquainted with the concept and history of sound sculptures, learn about the technologies used in this field, and participate in a poetic media performance by Machine Libertine.
Art in public space shapes the character of the city, more traditional statues and public monuments in the city usually don’t have sound incorporated into them. Nevertheless, they are surrounded by a variety of sounds: noise from construction, talking, the hum of machinery, etc. – a steady stream of such sounds we call “sound pollution”. One of the ways to improve the climate of public spaces and to eliminate sound pollution is via sound design. Sounds of the city are included into the composition of the works, transforming them into a harmonious piece of music. A therapeutic oasis is formed around a sound sculpture, a special space for respite from the busy rhythm of the city. Interactivity is a central element of a sound sculpture: the sound parameters are determined by the audience, the data on the time of day, time of year, weather conditions, etc. Such multi-channel sound composition is designed to breathe life into static sculptural artifacts, as well as to create harmonious sound aesthetics for the urban environment.
(source: ELO 2015 catalog)
in absentia, a web-based art project presented by Dare-Dare, reads as a cross between a map and a novel. When you have lived in a place for long enough, every street corner is inhabited with memories and meaning, and a tour through in absentia feels like exploring a much-loved place with a long-time local.
You Are Not Here (.org) is a platform for urban tourism mash-ups. It invites participants to become meta-tourists on simultaneous excursions through multiple cities. Passers-by stumble across the curious You Are Not Here signs in the street. The YANH street-signs provide the telephone number for the Tourist Hotline, a portal for audio-guided tours of one place on the streets of another. Through investigation of these points and with or without the aid of a downloadable map, local pedestrians are transformed into tourists of foreign places. Current walking tours include Baghdad through the streets of New York City and Gaza City through the streets of Tel-Aviv.
DESCRIPTION FROM CRITICAL COMMONS: The materialization of text in an urban landscape is nowhere more in evidence than in French designer Antoine Bardou-Jacquet's video for Alex Gopher's The Child. Bardou-Jacquet's all-textual rendering of New York city borrows its basic concept from Jeffrey Shaw's Legible City project from the late 1980s, while stripping narrative volition away from the viewer. Whereas Shaw's project allows reader-users to simulate moving through geographically and architecturally correct streets of Amsterdam, Manhattan, or Karlsruhe on a stationary bicycle while reading the text of a story mapped onto buildings in the city, The Child delivers a high-speed chase through the streets of New York City with both landmarks and people rendered as all text. The tension that exists in these works hinges on the conflict between real and constructed environments, as well as the insistent interplay of surface and depth.
Alex Gopher: music. Antoine Bardou-Jacquet: design and vision.