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[JJ.BS]GENERATIVE RE:EDIT/ATOR is a generator that deconstructs and reconstructs Samuel Beckett's Not I and James Joyce's Araby. The program also allows both texts to be compiled together.
what are we reading now? the subjects of Beckett and Joyce lose their subjectivity -- the original authors are introduced into a computational process of becoming something other -- Ciao, James -- the procedural replaces the authorial -- the machine recollates Joyce as Beckett -- Araby into Not I -- Beckett meets Joyce in Paris -- this text generator executes a hodgepodge synthesis -- Dublin becomes Mouth -- Not I into Araby -- editorial is authorial -- the machine has the authority -- Joyce has left the building -- the original text is introduced into a computational process of becoming something other than itself -- the subjects of Beckett and Joyce lose their subjectivity -- what are we reading now?
who wrote this? Beckett's subjects become the subjects of Joyce -- the original authors are introduced into a computational process of becoming something other -- Ciao, James -- the procedural replaces the authorial -- the machine recollates Joyce as Beckett -- Not I into Araby -- Mouth becomes Dublin -- this text generator amalgamates -- Joyce is collated by Beckett -- Araby into Not I -- the Author is merely source -- the machine has the authority -- So long, Samuel -- the original text is introduced into a computational process of becoming something other than itself -- Beckett and Joyce beget Joyce Beckett -- what are we reading now?
Available Online here
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TOY GARBAGE
A Variation on Nick Montfort's Taroko Gorge.
Available Online here
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INTERMISSION (Collaboration with Eric Snodgrass)
Intermission is a performative redadaction of the poetics of cinema. The performance and media platform utilizes René Clair's Entr'acte (a collaboration with Picabia and Satie) as a starting point, reimagining cinema as if the Dadaist vision for the medium had become the prevalent form. In fact, we call this sort of performative cinema entr'activism – a form of participatory filmic event in which cinema is mobilized as the physical borders of frames leak back into a precarious hyper-reality that emphasizes the metanoic qualities of being in-between acts of viewing.
We live amidst an ecology of screens. What does this progression and diffusion of screens in all resolutions mean for film? Cinema remains an emphatically passive medium. Perhaps the digital age is now, at least in part, driving the filmic medium from its own monolithic domestication of the spectator.
Entr'activism, in its role as intermissionary, resists the passive and the active, remaining in flux. It does not shy away from the presence of ancestors or from contemporary celebrity; rather, entr'activism readily tips its hat to(ward) various “turns” it sees in play at any given time. The entr'active “turn”, however, can never be a turn in its own right as it is only ever the act of turning itself. Turning away, turning towards, turning off, turning on, turning around, and turning over.
This is the abattoir of cinema. The carcass of cinema will now be subjected to its own intermission to mitigate its taphonomy. Through the intervention of entr'activism the cinematic carcass may be transformed to avulse any residual traces of mea[t|ning].
Debut performance at ePoetry 2011 (Buffalo), Cabaret Voltage // ELMCIP Workshop 2011 (Karlskrona)
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(S)PACING is a poetic performance piece that reflects upon the nervous habit of pacing and ideas of internal dialogue while walking as a source of poetic inspiration and contemplation, if not procrastination.
The application for performance can either be played on the keyboard, or use live video motion tracking to access and combine screen-based still image, video, text, and audio content.
The title of the piece refers not only to the act of pacing but also to pacing as a measure of time. The addition of the (s) at the beginning of the title, rendering the title spacing, could be
said to refer not only to the locative and defamiliarizing spatial variations in the piece but also to formal aspects of poetry such as meter, feet, line breaks and stanzas. Though the performance, the actions of the performer may be fundamentally pedestrian they are put in contrast with mental and poetic machination in terms of the poetic output generated by the movement. In effect, the performer develops a system of, and has live action control over the scansion of the generated poem while handing over control of the vocalizations, imagery, and textual display to the application.
The work made its debut at ePoetry 2009 (Barcelona), and was presented in installation form at ePoetry 2011 (Buffalo)
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MY MOLLY (DEPARTED), formerly titled Twittering, is a textual instrument designed as a performance application. The pieces remixes text, image, audio, and video triggered through keyboard interaction. The piece is loosely based on an (as yet unpublished) of the same title. Where the novel plays on aspects of time, and draws from sources such as Joyce, Strindberg, Beckett, Dante, and others the hypermedia textual instrument combines these in a more immediate, collapsed manner.
The work has been performed at the OpenPort Performance Festival (Chicago), ePoetry 2007 (Paris), The Codework Workshop (West Virginia University), The Electronic Literature in Europe Conference (Bergen Norway), and the Interrupt Festival (Brown University).
a quicktime trailer for the piece...
Video Documentation
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INDETERMINATE ANTI-POP is a recombinant autoplay anti-music generator. The piece is built in flash and tests the limits of Flash's ability to call in multiple external files on the fly and demonstrates how its timeline management does not necessarily make for a successful music sequencer. Indeterminate Anti-Pop deconstructs the structure of the pop song (AABA) to create a noisy, somewhat unpredictable (anti)pop song of indeterminate length. All lyrics in the piece are based upon anagrams of the following phrases: low culture high art; love song sad song; with a steady backbeat; synchopated techno pulse; readymade pop song; just a patterned ditty; verse, chorus, and bridge. The generated 'song' is combined with supporting imagery that comes from the anagrams.
The work has been shown at ePoetry 2009 (Barcelona), The Codework Workshop (West Virginia University), The Electronic Literature in Europe Conference (Bergen Norway), the Interrupt Festival (Brown University), and The Electronic Literature Organization Visionary Landscapes Conference.
You can hear one potential audio output of the piece here.
Video Documentation
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THE HUGO BALL, subtitled Algorithmic Improvisations on the 74 unique words of Gadji Beri Bimba is exactly that. Using Hugo Ball’s Dadaist poem as a source this piece remixes the 74 unique words of the poem to generate – on the fly – countless variations.
Drunken Boat
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QWERTY OCTET is an experiment in spontaneous filmic incidental music generation. The piece is remixes 80 different musical phrases combined with images, figures and text to create a psuedo-cinematic event.
Download Shockwave [35 MB]
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SELF PORTRAIT(S) [AS OTHER(S)] is a combinatoric work addressing identity, and the suspect historic and cultural projection of the position of the artist as authority. Using self-portaits from tweleve artists working in the 19th Century, the work recombines elements from the self-portraits to create an image of the artists as Artist. The recombine portraits are coupled with biographic information that is also a recombination of information from the twelve artists included in the work. From the twelve artists, the piece allows for 120,000,00 possible recombinations as Artist.
Iowa Review Web
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TRANSLUCIDITY is essentially an appendix to Lexia to Perplexia. Though both pieces deal with network phenomenology, where Lexia to Perplexia primarily deals with network attachment, Translucidity deals with issues of faciality.
frame 6 / trAce
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LEXIA TO PERPLEXIA is a deconstructive/grammatological examination of the "delivery machine." The text of the work falls into the gaps between theory and fiction. The work makes wide use of DHTML and JavaScript. At times its interactive features override the source text, leading to a fragmentary reading experience. In essence, the text does what it says: in that, certain theoretical attributes are not displayed as text but are incorporated into the functionality of the work. Additionally, Lexia to Perplexia explores new terms for the processes and phenomena of attachment. Terms such as "metastrophe" and "intertimacy" work as sparks within the piece and are meant to inspire further thought and exploration. There is also a play between the rigorous and the frivolous in this "exe.termination of terms." The Lexia to Perplexia interface is designed as a diagrammatic metaphor, emphasizing the local (user) and remote (server) poles of network attachment while exploring the "intertimate" hidden spaces of the process.
Electronic Literature Collection Volume 1
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