pioneering

This game is not in slovenian but actually in serbian.

Extending the investigation of the form, the work explores the act of writing, literally. The frame, as in Sympathies of War, is frozen, "mummyfied": it is the close-up the VTR, the lens focused on the moving needle of the audio level meter, as the video of Sympathies of War is playing. The sound is the sound from the video. A 3"x5" tear-off writing pad is underneath the meter. Lines are written on the pad, torn off, new lines are written; it is a performance in real time. Words are written, parts crossed out to form new words, new contexts.

The poetry here is the revelation of the live writing juxtaposed with the "mummyfied" version of the original poem, a video playing on a machine.

[Taken from http://www.amproductions.com/videos/artsandsci/videopoetry/videopoetry… ]

My first videopoem, Sympathies Of War, was essentially a poetry performance recorded by a video camera by Richard Elson at the Galerie Vehicule Art in Montreal. One objective was to prevent the performance from being identified as a “poetry reading” (as organizer of the Vehicule Art Gallery’s 1978 poetry reading series, I had been videotaping a great many readings) – I would avoid facing the camera, sitting behind a rear-projection screen, onto which was projected a series of slides I had made of the interior of a STOP sign.

[Words by author, from http://www.poetry-quebec.com/pq/history/article_100.shtml ]

Quote from author Andreas Okopenko: An incredibly beautiful April day I took the train to a radio drama conclusion to Saarbrücken. Symptoms of early spring, moved me (work and play and boredom and desire and relationship ly) house in the countryside, the opportunities here and there and everywhere. look around to participate, mitzuleben, but also the impossibility of all this really possible, or even to do the same so dissolved as excited as sentimental mood this morning, I decided my first novel writing: a strange novel as possible .. orgy experienced journey route I selected, but (due to the slower pre-drawing of the objects, due to the greater potential for development of the bias) is part of the Danube as a vehicle, a ship One of the main ideas was almost obsessive: the reader will be able to play the options structure in the world: in this or get out of the city from here or there weiterzuverzweigen or it remains the Danube on the main line of action may as a form presented itself immediately the alphabetic series of small portions of the inner and outer life. Add a folder indicating arrows from one article to many others, but they can be considered as a real encyclopedia optional or ignored.

In the spring of 1986, Judy Malloy was invited by video and performance art curator Carl Loeffler to go online and write on the seminal Art Com Electronic Network (ACEN) on The WELL where ACEN Datanet, an early online publication, would soon feature actual works of art, including works by John Cage, Jim Rosenberg, and Malloy's Uncle Roger. In August 1986, Malloy began writing and designing the interface for the hyperfictional narrative database, Uncle Roger. Originally this work was published as a series of three files on the Well. It has been described as a "database narrative", though it could equally be described as a hypertext fiction. Each node consists of a paragraph or two of text. Below the text is a list of links, each leading to a new node. Malloy describes the story thus: "Uncle Roger is a work of narrative poetry written in the tradition of Greek and Shakespearean comedy. The work is mainly set at a series of parties that are observed by a narrator, who in telling the story intertwines elements of magic realism with Silicon Valley culture and semiconductor industry lore." The author adapted the text and interface  for the web in 1995, and again in 2003 and 2011. The 2011 version is the only version that is still accessible. The writing of the three files that comprise Uncle Roger was influenced by Malloy's experimental artists books, by her experience with database programming, by the slide-based narratives she performed at alternative art spaces in the early 80's, and by scene-based early comedy.  Uncle Roger was released on ACEN in 1986 as a narrative intervention and published online as an interactive hypertext on ACEN Datanet in 1987. (programmed with UNIX shell scripts,  partially funded by the California Arts Council and Art Matters) In 1987, Malloy created an Apple II disk version. (using BASIC)  which was distributed by Art Com and traveled internationally in a series of exhibitions that included Ultimatum II, Images du Futur '87; (Montreal) Art Com Software: Tisch School of the Arts, New York University, San Jose State University, the University of Colorado, Ars Electronica, Carnegie Melon University; and A Space in Toronto. In 1989, Uncle Roger was included in the Centennial issue of The Wall Street Journal.  To experience the work, the reader follows link-based searches through a database of several hundreds of lexias, and like a guest at a real party, hears parts of conversations, observes strangers, and meets old friends. 

Arguably the first work of electronic literature, this 1952 program used Alan Turing's random number generator to create combinatory love letters on the Manchester Mark I computer. While the output may not be of high literary quality, Strachey discovered and implemented the basic the basic structures of combinatory literature, at a very early point in history.