sharingplatform

Material Studies is a series of videos that engage the viewer in a synesthetic experience. The work is a poignant act of resistance against the meat industry. It proposes vegan and feminist perspectives of our embodiment of reality. Witty poetry meets “networked vegan edible language sculptures,” says Claire Donato. The studies are based on a work-in-progress titled “Gravity and Grace, The Chicken and the Egg, or: How to Cook Everything Vegetarian.”

(source: https://conference.eliterature.org/sites/default/files/ebook_elo17_fina…)

Dada was a mental system cracker. Think about the poem-algorithm. dadaoverload adapts the mechanics and adds the destruction mode. Tweets are fighting for dominance in this society of the spectacle. enough dada! “zersetze dada!” The world is filled with a dada overload. Today’s source material for Dada are tweets and spam messages, ads and any kind of short messages. Dada (Tzara) used newspaper clippings, cut them down to words and randomly reassembled them. Dada was a creative process in 1916. Today, 100 years later, Dada is everywhere and nowhere. It is massive disintegration of language and communication. It is a process of decomposition as tweets retweet themselves to stay alive. Our Dada destroys tweets. It subverts, undermines, disintegrates and decomposes tweeted messages. You have a stream of live tweets from different sources. You choose a tweet and shoot individual letters out into the tweet universe. Each letter bullet hits a tweet and disintegrates all equivalent letters in this tweet. The tweet now reads different. This happens fast and to all tweets on screen. One of Saturday, July 22 • 579 the tweets becomes the main tweet in the center and shows the process in oversize. Once in a while, you get a full word as bullet. This starts a creative process. The full word shows up in orange and recompose the incomplete gappy tweets: Reality. Truth, Naivity. You also get the choice of intervening with your own inputs and see how you feel when your annotations get destroyed by the Dada Overload bullets. [There are some enhancements. Try them out. You can click together a longer text. You can pause the stream and read the output easier. You can put in your own text spam. You can take an instant picture. You can send a dadaoverload tweet and get an answer from the dadaoverload bot.]

(Source: ELO 2017: Book of Abstracts and Catalogs)

Ten is an electronic literature piece emerges organically from my very digital life as a ten-year-old. Every day I make a lot digital art and interventions - from simple selfies to more complicated stories and most are about presenting myself as a girl who is ten or imagining who I want to be. some are about conforming to how others think i should be... or how I hope they see me. My friends and I exchange and circulate our representations every day... like a networked memoir. For the ELO, Ten will be a carefully curated collection 365 small digital moments from among thousands, set up on a computer using a simple calendar interface. You can select a date and you’ll see a photo or short video, a musical.ly, snapchat photo, an Instagram picture or a storify. To me it’s like a time capsule digital memoir and on my 11th birthday I will do a one minute video about all the things I learned being ten and making these things and sharing them and about this being my world. And advice I would give a ten year old.

Presented on a Desktop PC.

(Source: Description from ELO 2017: Book of Abstracts and Catalogs)

Can a snapchat story also be electronic literature? I’m fourteen years old and I think so. Micro-video sharing apps constitute new ways to share our lives and new ways to circulate fiction, documentary works and poetry. The storytelling itself may be linear, but these are born-digital, aphoristic, networked and experimental. A snapchat story can selectively document a day, but it can also force a fictional piece into a highly constrained form. Finally, Snapchat is built on the idea of ephemerality—a Snapchat story is designed to vanish in 24 hours. For the Festival I propose one of two things—either a snapchat story captured on video that can be shared via computer or phone or, a true Snapchat story, available only for a 24 hour period during the Festival.

(Source: Description from ELO 2017: Book of Abstracts and Catalogs)

'The Dice Player' is an Animated Poetry film that visualizes a poem written by the Palestinian poet Mahmoud Darwish. It was recited in the live event 'In the Shade of Words' 2008, along with harmonies by the band Le Trio Joubran. (English subtitles are available)

This is a Bachelor project made in the faculty of Applied Sciences and Arts in the GUC

This is a serial project in which Potts's own reporting, photography, and memory cast a parting look at his past life, growing up as the gay grandson of televangelist Oral Roberts: between September & January 2016, every other Sunday in 33-post "books," Potts posted a 300-post Instagram account of this story — 9 books of 33 Instagrams each . 

In Potts's words, his own originary story is tied to the rise of his grandfather Oral Roberts as the famed televangelist and charismatic Christian preacher: "At twelve, my grandfather climbed into his Prayer Tower and said he’d die if he didn’t get $8 million; I was a gay kid living on a Pentecostal compound with an autographed photo of Ronald Reagan on my desk. At eighteen I left most of that behind, rarely looking back."

Potts's story is a compelling, wonderful, and moving mix of comedy and tragedy, documenting the fragile beginnings of a life marked by abuse that nonetheless reveals hope and beauty as Potts moves on from the past.

Poetry is Just Words in the Wrong Order (2015) proposes an unconventional way of creating and presenting poetry based on improvisation, language/sound experimentation, fragmentation and randomness. Poetry as a social practice is here developed in an anti-narrative manner. Built with custom code, a computer chooses random phrases from a predetermined Twitter hashtag (e.g. #Syria) and a database of verses which are selected by the two artists (e.g. verses from poems by Arab women writing in English). The phrases and the verses from the two sources are combined partly randomly and partly following a given pattern. At the same time, sound events are being produced by estimating the number of the letters of every incoming word as well as the total volume of the incoming data. When the project is presented live, the three artists build and improvise on the poem that is created by the computer. (Source: Adapted from authors’ text)

Objects is a digital poem. It creates random combinations with the 27 seven names of the portuguese women killed by their spouses in 2015. The code is based on Silly Poet by Abe Prazos. 

(Source: https://www.openprocessing.org/sketch/244543)

"Sam was brushing her hair when the girl in the mirror put down the hairbrush, smiled, and said, "We don't love you anymore." So began the Twitter Audio project, with a dazzling first line penned by New York Times best-selling author Neil Gaiman. What followed was an epic tale of imaginary lands, magical objects, haunting melodies, plucky sidekicks, menacing villains, and much more. From mystical blue roses to enchanted mirrors to pesky puppets, this classic fable was born from the collective creativity of more than one hundred contributors via the social network Twitter.com in a groundbreaking literary experiment. Together, virtual strangers crafted a rollicking story of a young girl's journey with love, forgiveness, and acceptance. (Source: Goodreads)