Processing

How do we perform ourselves in digital space? In Not Not 0.1, Catherine Siller uses her own custom software and a motion capture camera to generate projected text and images of herself. She immerses herself in these projections and dances between the virtual and the real in a duet with her digital double. The piece destabilizes language and gesture as it repeatedly redraws the boundary between the physical and the digital self.

(Source: ELO Conference 2014)

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(Source: Punkto 0)

The poem tantascoisasparadizer [somanythingstosay] is an electronic recoding of the visual poem with the same title, whereas in this version it has removed spaces that previously separated the words that hold its name. (Source: Author. Trans.: Seiça)

RiTa is an easy-to-use toolkit designed to facilitate experiments in natural language and generative literature. It is currently available in two 'flavors': Javascript (with rendering via the HTML5 Canvas or ProcessingJS) and Java (with rendering via Processing). Some of the optional packages available include RiTaWordNet (integrating with the WordNet ontological database) and RiTaBox (integrating with the Box2D Physics library). All RiTa tools are free and open-source.

"The Executor" was written in an unusual way. Each author took turns writing sentences, beginning with the final sentence of the story and working backwards.

In a release from Spineless Books, Montfort and Gillespie state that "without planning the content of the story, [they] alternated writing sentences" (Montfort). Each author contributed sentences without knowing the direction that the narrative would take.

The plot follows Jeremy Salader, who returns to a past he has left behind. At some point in his life he made the decision to escape from his life and move towards a new future. A phone call forces Salader to return to his home. By simply looking through the phonebook, Jeremy realizes that his sister, Selma, is still living in the family home caring for their dying mother. When Jeremy meets with Selma, Jeremy's attachment to his estranged mother becomes clear. Selma feels that Jeremy and his mother need to reconcile because she can no longer deal with a dying parent alone. No decision is made and both siblings are left contemplating the future.

"The Executor," built on both processing, an open source programming language and environment for the creation of images, animation and interactions, as well as Java. The story is presented as a scrolling text with the speed of the scrolling gradually increasing as the story progresses. The screen gradually darkens, from white to black, and the text pulses as the story unfolds. The pulsing, and breathing of the text describes the collaborative nature of the work. It mirrors the back and forth process of writing the authors used to write the story. The visual elements also convey Jeremy's growing anxiety about seeing his mother and the mother's progression towards death. The reversible chronology of "The Executor" formally suggests that the past is not distinct from the future: the two intertwine and act upon each other in social, psychological, and narrative systems alike.

(Source: Electronic Literature Directory entry by Jonathan Jarvie)

This poem, together with 'Square 01', is part of an ongoing series of interactive, experimental and generative poetic texts to generate visual compositions, which fill the viewable space in time, with a growing pattern triggered by sound and silence. If the sound is loud the letters become thicker and bigger. As in many of my pieces, the poems don’t exist until the viewer interacts with them. String_code is the visual representation of the code in Square 01, this is why I am presenting both as a pair. In all poems, the three communication systems converge: image, writing and code. Square 01 is formed by the western alphabet. All the letters appear lineally, in rows, superimposed over each other, until they eventually become an indistinguishable blob. It was my intention to explore the tradition of concrete poetry, its formal representations and production processes using the programming language of Processing. Taking model in Hansjorg Mayer’s alphabetenquadratbuch poem, its minimalist visual form of multiple layers, the desire to escape from the linguistic through the obliteration of the letters and the encapsulation in it by the square. Quality which is even more emphatic in the generative poems, due to the added quality of time engendered in their generative form. This kind of textuality has the impact of a visual artwork, provoking other senses and emotional states as well as open meanings. The shifting from the visual to the linguistic and viceversa to create that in-between state of verbal-visual energy is itself the poem.