“All Hands Meeting” is a live performance that uses aestheticized speech to engage conceptually with human/ machine entanglement. The piece consists of a monologue delivered by a semi-synthetic boss to an audience of interns. Three new strategic initiatives are presented: an app, a poem, and a political movement. This version of “All Hands Meeting” is site-specific to ELO 2017.
(Source: ELO 2017 Book of Abtracts and Catalogs)
Please Change Beliefs is Holzer’s first project on the World Wide Web, and is developed in the same spirit as her previous experiments in the public sphere. Addressing the web as a site, Jenny Holzer presents five series of works (truisms, living, survival, inflammatory essays, laments).
(Source: http://www.walkerart.org/collections/artworks/please-change-beliefs)
Video games have been a central feature of the cultural landscape for over twenty years and now rival older media like movies, television, and music in popularity and cultural influence. Yet there have been relatively few attempts to understand the video game as an independent medium. Most such efforts focus on the earliest generation of text-based adventures (Zork, for example) and have little to say about such visually and conceptually sophisticated games as Final Fantasy X, Shenmue, Grand Theft Auto, Halo, and The Sims, in which players inhabit elaborately detailed worlds and manipulate digital avatars with a vast—and in some cases, almost unlimited—array of actions and choices. In Gaming, Alexander Galloway instead considers the video game as a distinct cultural form that demands a new and unique interpretive framework. Drawing on a wide range of disciplines, particularly critical theory and media studies, he analyzes video games as something to be played rather than as texts to be read, and traces in five concise chapters how the “algorithmic culture” created by video games intersects with theories of visuality, realism, allegory, and the avant-garde. If photographs are images and films are moving images, then, Galloway asserts, video games are best defined as actions. Using examples from more than fifty video games, Galloway constructs a classification system of action in video games, incorporating standard elements of gameplay as well as software crashes, network lags, and the use of cheats and game hacks. In subsequent chapters, he explores the overlap between the conventions of film and video games, the political and cultural implications of gaming practices, the visual environment of video games, and the status of games as an emerging cultural form. Together, these essays offer a new conception of gaming and, more broadly, of electronic culture as a whole, one that celebrates and does not lament the qualities of the digital age. (Source: https://www.upress.umn.edu/book-division/books/gaming)
a poem written in a country distant from permanent residence, distance is obvious
Interactive poem 4079 is programmed in Processing using JavaScript. Both text and graphic user interface bring the theme of distance, moving between conditions, it questions connectedness and separation, physical and psychical proximity, remoteness and attachment. Poetics of the piece lies in the perception of individual lines of the poem as well as in interacting
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with the dynamics of the dots and their layers. There is no set sequence of reading, so the beginning and the end may be any of the eleven
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lines. User’s manual: Text is revealed by mouse-over one of the dots, clicking
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on it, its pulling and release. Some dots are hidden under the other dots. Read the poem 4079
(Source: http://delezu.net/blog/2014/04/23/4079/)
Soliloquy is an unedited document of every word I spoke during the week of April 15-21, 1996, from the moment I woke up Monday morning to the moment I went to sleep on Sunday night. To accomplish this, I wore a hidden voice-activated tape recorder. I transcribed Soliloquy during the summer of 1996 at the Chateau Bionnay in Lacenas, France, during a residency there. It took 8 weeks, working 8 hours a day. Soliloquy was first realized as a gallery exhibition at Bravin Post Lee in Soho during April of 1997. Subsequently, the gallery published the text in a limited edition of 50. In the fall of 2001, Granary Books published a trade edition of the text. The web version of Soliloquy contains the exact text from the 281-page original book version, but due to the architecture of the web, each chapter is sub-divided into 10 parts. And, of course, the textual treatment of the web version is indeed web-specific and perhaps more truly references the ephemerality of language as reflected by the book's epigraph: "If every word spoken in New York City daily / were somehow to materialize as a snowflake, / each day there would be a blizzard." In order to achieve this effect, the web version is available only to users of Microsoft Internet Explorer and Netscape 6+. Unfortunately, none of the prior versions of Netscape support the CSS tag used here: "a { text-decoration: none }" ; to view the piece in web form without this function enabled would be to ruin the intended experience of this work.
(Source: Author description, ELC vol. 1)
What the fuck do I want that book for?
Well, we cant' do that until we straighten out your memory problem.
My mother has Band Aids, they're not a rare commodity.
If every word spoken in New York City daily / were somehow to materialize as a snowflake, / each day there would be a blizzard.
Look at all this is non digital technology. Pretty amazing, isn't it? Everybody's just tossing it.
Here's a woman who's really on the cutting edge of literature but she's not up on contemporary art criticism.
She was like well it's got new technology.
Instructions: Select a day by clicking on it. Move the mouse to reveal one sentence of the text at a time. Click on the links at the top to choose a different one of the ten sections for a day, or to choose a different day, or to search the text. Those reading this piece from CD will need an Internet connection to use "Search." Note that if you use the search function, the results will direct you off the Electronic Literature Collection site to the version of Soliloquy hosted at the Electronic Poetry Center.
Reinforcing changing attitudes and roles toward art, religion and technology. Experimental research using Google search results. Textual fragments found on the Web are programmatically rearranged, deformed or crushed, deconstructing and re-contextualizing the actual text. By applying this strategic process new, dismantling and reorienting contexts arise, not directly conforming to the mundanity of the original result listings. (Source: author's description.)
Requires Firefox browser. Best viewed Full Screen (F11) Presentation formats: - Single Channel Video Installation - Web Based Projection, preferred projection size 4m x 3m
UbuWeb is a vast online archive documenting experimental writing practices from the 20th Century through the present. "Concrete poetry's utopian pan-internationalist bent was clearly articulated by Max Bense in 1965 when he stated, "…concrete poetry does not separate languages; it unites them; it combines them. It is this part of its linguistic intention that makes concrete poetry the first international poetical movement." Its ideogrammatic self-contained, exportable, universally accessible content mirrors the utopian pan-linguistic dreams of cross-platform efforts on today's Internet; Adobe's PDF (portable document format) and Sun System's Java programming language each strive for similarly universal comprehension. The pioneers of concrete poetry could only dream of the now-standard tools used to make language move and morph, stream and scream, distributed worldwide instantaneously at little cost. Essentially a gift economy, poetry is the perfect space to practice utopian politics. Freed from profit-making constraints or cumbersome fabrication considerations, information can literally "be free": on UbuWeb, we give it away and have been doing so since 1996. We publish in full color for pennies. We receive submissions Monday morning and publish them Monday afternoon. UbuWeb's work never goes "out of print." UbuWeb is a never-ending work in progress: many hands are continually building it on many platforms." (Source: UbuWeb)
These soundpoems are interactive phonetic poems. Minimal abstract poetry. Games for sampled voice.
(Source: Author's description from Electronic Literature Collection, Volume Two)
A retelling of the classic story one letter at a time.
If fans can't get into the mind of Star Wars creator George Lucas, why not get into his typewriter? Taking us back before the days of the 300 baud modem, Stefans's piece brings each character in the Star Wars cast steadily before the eyes of the viewer and asks that we read — or at least try to read — in a new, unusual way. The sound effect at the end of every line adds a touch of "bell" lettrism.
(Source: Electronic Literature Collection, Vol. 1)
Author description: The Last Performance [dot org] is a constraint-based collaborative writing, archiving and text-visualization project responding to the theme of lastness in relation to architectural forms, acts of building, a final performance, and the interruption (that becomes the promise) of community. The visual architecture of The Last Performance [dot org] is based on research into "double buildings," a phrase used here to describe spaces that have housed multiple historical identities, with a specific concern for the Hagia Sophia and its varied functions of church, mosque, and museum. The project uses architectural forms as a contextual framework for collaborative authorship. Source texts submitted to the project become raw material for a constantly evolving textual landscape.
For Windows users, Firefox is recommended. Internet Explorer versions 6 and below are not supported.