"Sentenced to Covid: Voices of the Pandemic" displays our single-sentence responses to the pandemic. You can read the responses in either manual or auto mode (the latter which provides an endless looping display of the responses). If you want, you can write your own response for others to see.
Source: exhibition documentation
The appearance of new technologies and their exponential growth for several decades has changed our way of understanding knowledge. Although it is already a topic that is part of the contemporary background, it is worth remembering that digital culture and the possibilities of the internet have meant a radical change, only comparable, according to Alejandro Baricco, to the printing revolution.
The incorporation of the network and transmedia resources into the literary environment is fostering new poetics; new forms of textuality that, according to Joan-Elies Adell, go beyond the book and turn the computer or any mobile device into the natural space of the work. Hypertext, interaction, video game ... The very essence of literature is changing. Writers who think of the word in conjunction with HTML code, geolocation, processing or other programming tools. With their creations they come to expel us from our areas of literary comfort.
We are talking about jobs designed for the network, that new agora. We are talking about hypermedia works that, in contrast to orality or printed tradition, investigate within what Ernesto Zapata defines as electronality. We are talking simply about literature in the post-Gutenberg era.
Vocable Code is both a work of “software art” (software as artwork, not software to make an artwork) and a “codework” (where the source code and critical writing operate together) produced to embody “queer code”, examining the notion of queerness in computer coding through the interplay of different human and nonhuman voices. Collective statements and voices complete the phrase “Queer is…” and together make a computational and poetic composition. Through running Vocable Code on a browser, the texts and voices are repeated and disrupted by mathematical chaos, creating a dynamic audio-visual literature and exploring the performativity of code, subjectivity and language. Behind but next to the executed web interface of Vocable Code (13082018), the code itself is deliberately written as a codework, a mix of a computer programming language and human language, exploring the material and linguistic tensions of writing and reading within the context of (non)binary poetry and computer programming.
Vocable Code was first released in Nov, 2017 as part of the Feminist Coding Workshop organised by !=null. Conceptually, the artwork was, in part, inspired by Geoff Cox’s book titled Speaking Code: Coding as Aesthetic and Political Expression. In the early 2018, Winnie Soon has collaborated with Geoff Cox to produce a lecture-performance on Vocable Code as part of the International Conference on Artistic Research: Artistic Research Will Eat Itself, where both the source code and concepts were read aloud to exemplify the speech-like qualities of a computer program. Vocable Code (13082018) expands with the web version and the book in collaboration with Anders Visti from ‡ DobbeltDagger.
:: Voices’ contributor ::
Polly Poon, Søren Pold, Magda Tyzlik Carver, Sarah Schorr, Elyzabeth Holford, Gabriel Pereira, Annette Markham, Anna Brynskov, Geoff Cox, Lone Koefoed Hansen, Sabrina Recoules, Tobias Stenberg Christensen, Sall Lam Toro, Anders Visti, Google Algorithm, AhTong, Melissa Palermo, Joana Chicau, Erin Gee, Vasudevan Roopa, Winnie Soon
I am continuously looking for contributors, please see the instruction for voice donation and get in touch if you would like your voice to be part of this work.
The gladiator Spiculus enters the arena one last time in this text-based simulator. Armed with a sword and shield, he fights gladiator after gladiator until he is killed. The character Spiculus is inspired by one of the most famous gladiators of the 1st century AD Rome. Spiculus won many great battles and was well-known by audiences. He was particularly admired by the emperor Nero who rewarded him with palaces and riches for his heroics.(Source: Author's description)
The simulator is a remix and based on the code from the Boromir Death Simulator. It uses Dungeons & Dragons 3rd Edition rules.
"Future Lore" is a poetry generator that remixes Nick Montfort's poetry generator "Taroko Gorge". It presents a futuristic free-for-all world where chaos rules.
The human breaks the machine.
The posthumans win.
Exiles delete the observers.
eliminate the artificial digital mysterious unforgiving —
The leader destroys the cyborgs.
Machines conspire.
Drones kill.
The exile corrupts the program.
infect the surrounding —
ZeroDeath is a digital poetry created by Yohanna Joseph Waliya, He uses HTML as his platform to potrai his poetry. Floating animations of binary code and colours are to be seen in the background.
White-Faced Bromeliads on 20 Hectares is a digital poem, which includes a mixture of primarily the English language with some instances of Spanish. In this work Glazier explores alternatives to our customary experiences, through the use of a generator which changes the text of the poems every 10 seconds, turning it from it’s traditional static state to one with movement and change. Furthermore, the evocation of traveling through the images and anecdotes, provides an exploration of a multilingual and multicultural experience. Additionally, the presences of the HTML code leads to a work with multiple possibilities, primarily on how the reader perceives and experiences the work due to the possible technical reading of the code and the multiple possible poetic readings.
Author description: White-Faced Bromeliads on 20 Hectares is a JavaScript investigation of literary variants with a new text generated every ten seconds. Its goals are as follows. (1) To present a poetic evocation of the images, vocabulary, and sights of Costa Rica's language and natural ecosystems though poetic text and visuals. (2) To investigate the potential of literary variants. Thinking of poems where authors have vacillated between variant lines, Bromeliads offers two alternatives for each line of text thus, for an 8 line poem, offering 512 possible variants, exploring the multi-textual possibilities of literary variants. (3) It explores the richness of multiple languages. (4) It mines the possibilities of translation, code, and shifting digital textuality. Having variants regenerate every ten seconds provides poems that are not static, but dynamic; indeed one never finishes reading the same poem one began reading. This re-defines the concept of the literary object and offers a more challenging reading, both for the reader and for the writer in performance, than a static poem. The idea is to be able to read as if surfing across multiple textual possibilities. Such regeneration allows traces of different languages to overwrite each other, providing a linguistic and cultural richness.
Blending Spanish and English and offering a sort of postcard prelude to each of its constantly changing stanzas, White-Faced Bromeliads on 20 Hectares is a poem that explores alternatives and crossings. From line to line the reader can enjoy the turns of phrase but then must figure out how to deal with their constantly turning nature. Options include waiting for the line that was being read to re-appear, re-starting from the beginning of the line that just appeared, or continuing from the middle of the word or phrase.
White-Faced Bromeliads on 20 Hectares es un poema digital, originalmente escrito en inglés y español. Después la obra fue traducida completamente al español. La obra de Glazier explora los varios alternativos a nuestras experiencias habituales, a través el uso de un generador que muta el texto del poema cada 10 segundos, resultando en un poema dinámico y cambiante, en contraste a su forma tradicional, estático. Además, las imágenes y anécdotas dentro del poema evocan una esencia de viaje, proporcionando una experiencia de la multilingüe y multicultural. Por último, el uso del código HTML convierte la obra en una de múltiple posibilidades, no solo por su generador, pero por su capacidad de ser experimentada y percibida por el lector en distintas formas, como una lectura técnica (de código HTML) o poética.
Author Reading notes: Allow [title] page to cycle for a while, so you can take in some of the images and variant titles. When you are ready, press begin. Once there, read each page slowly, watching as each line periodically re-constitutes itself re-generating randomly selected lines with that line's variant. Eight-line poems have 256 possible versions; nine-line poems have 512 possible versions.
CODE STORY is a visual and literary arts project, which includes nine digital code portraits. Which includes nine static, physical photographs, and nine dynamic, virtual Web pages.
The Digital code are compromised of standard codes with values ranging from 0 to 255. It is the value, sequence, and most importantly the interpretation of these codes that determine what information is represented. The Codestory project investigates possibilities for a creative interpretation of digital code.
If you think of digital code as digital DNA, and datasets as genetic maps, then you are understanding the creative thrust of this project.
The Codestory project uses digital code to create new visual and literary portraits, which portraits are rendered both as physical photographs and as virtual Web pages. Each photograph and corresponding Web page is created using digital code from a unique dataset. A dataset is constructed of digital code from an original portrait photograph; processed digital code that can be dynamically combined and recombined with virtually endless variation.
Also; the Screenshots provided only illustrates one (of each of the nine generative artworks) of many possible outcomes, following the inherent generative features of the artworks.
Christine Wilks is an awarded digital writer, artist and developer of playable stories who participated in different projects in the field of electronic literature. In this interview, she talks about her interest in electronic literature, her activism in the different projects as well as the use of different media tools and of ludic elements in her works.
Re-published interview with Mark Bernstein, founder and Chief Scientist of Eastgate Systems.
