interacitve

Imagine your body literally immersed in a book. The letters of the alphabet, the punctuation marks have escaped the limits of the page. They seem to have an autonomous life, forming clouds all around you. Reacting to your amazed gaze, the letters find their order to form a sentence. You turn around, abstract shapes float: we don't know if they are images or objects. An omniscient voice is speaking to you. Everything gravitates with joy. Above, lines of code scroll like rain curtains: you are immersed in LIVING PAGES. LIVING PAGES is an original poem that is expressed at the same time as it is contemplated. It is a work of virtual reality based on unconscious interactivity. It is a new form that materializes, in real time, the mental images generated by the user and conveyed by words.

[Performance] The idea of this “reading” (traversals) is to present the aesthetic experience of the digital work Memorias y caminos, developed in a collaborative way by Jaime Alejandro Rodríguez (writer) Cecilia Traslaviña (animator), Alejandro Forero (programmer) and Carolina Lucio (sound designer). The work, written in Spanish, offers an expanded autobiographical space that substitutes and intensifies some perceptive experiences for its virtual equivalent, and that have as reference the corporal experience in the dramatic work El hilo de Ariadna (of the Colombian artist Enrique Vargas, 1992): 1) to the opacity of the scenarios in that, follows the opacity of the interfaces here; 2) to the use of other senses to locate and cross the labyrinth in that, follows the requirement of hearing to enter into the interactive objects here (virtual galleries); and 3) the touch was also included in this strategy, because the user, having to use the mouse device to activate some functions of the interface, activates some tactile sensations. On the other hand, user participation is designed so that user interactivity is essential for its updating. Interactivity is present in the work in two ways: the first form is selective interactivity, when the user decides to enter the galleries each time he detects a sound that takes him to that entrance. The second form is the participatory interactivity, when the user decides to write a post based on their experience in a gallery.

Source: ELO Conference 2017

The poem tells about a person who wants to leave someone and because of that spews a tirade of made-up curse words. I have translated this by making the words surround the text "I accuse you": when you read the poem you feel as if too many things are thrown at you resulting in an unclear situation.

The game has 2 ends:
The last line of the poem by Ad Poppelaars
A poem written by Vera in which all bad words are taken back and you are praised instead.

(translation description Literatuur Op Het Scherm)