Description from The Centre for Contemporary Canadian Art's website (CCCA)]]> Artist Statement
Millions of people are sharing their intimate secrets on social media. Every day, over 300 people across the globe will tweet 'don't leave me' to their significant others or try to reassure anxious loved ones by tweeting the words 'everything is going to be OK . Part of the 'Underbelly Arts Festival' on Sydney's Cockatoo Island in August 2013, Everything Is Going To Be OK addresses this unprecedented intrusion of private thoughts into the public sphere, and how the smallest details of our emotional lives are being appropriated and aggregated by remorseless, corporate-controlled data streams that come to mirror our hopes, fears and personalities. The work features projections of short form monologues and dialogues, constructed in real-time out of data from Twitter.
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Evidence of Everything Exploding is a game driven digital poem exploring various historical and contemporary texts. Each level's poetic content is built from the document's sub-sub texts and curious consequences. With Bill Gates' letter to the Computer Brew Club about monetizing hobby computing, we find the seeds of an empire, James Joyce is caught in an infinite loop of changing texts, Fidel Castro's boyhood letter to the US president praising America and asking for money signals an opportunistic future.
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Algorithmic driven mascots. Hypnotizing stuffed and evil creatures. Both humorous threat, and creepy absurdity.
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Exchange Fields (2000), commissioned by the Vision Ruhr Exhibition in Dortmund Germany, incorporates the recorded dance and choreography of Regina van Berkel. The programmer Gideon May also became involved in this project. The central question dealt with the generation of a new kind of interface - how might an embodied experience of interface be layered into the content of an interactive media/dance comprised of video, text, a sculptural installation and music? Exchange Fields sought to develop a novel interface strategy by eliciting culturally determined environmental 'behaviour in relation to objects' as a grammar of gesture that could be used as input to the reacting system. The work sought to tap into pre-linguistic environmental knowledge related to the use of particular varieties of objects. A series of furniture/sculptures were developed. Each furniture/sculpture was designed with a unique implied "suggestion" of how the body might be positioned in relation to that object. This suggestion was non-logo-centric. It was embodied in the form of the physical interface itself and reinforced through linguistic captioning affixed near the work.
Source of Artist Statement]]> ELMCIP: Electronic Literature as a Model of Creativity and Innovation in Practice]]> ]]> Artist Statement
Feral "C" is a socumentary which is textually driven by the interactions of five Twitter chars [primary characters or entities] and their Pupa Mistress (PM). The PM initially functions as a Twitter based information hub for the tweet interactions between the chars and other contributing entities (such as yourself).
Source of Artist Statement]]> Excerpt from artists' description]]> Artist Statement
Film of Sound is a semiotic surface, a skin of image and text on the body of sound. Constructed out of collaborative, indeterminate and remix processes, layers and juxtapositions of disparate media hint at a narrative trajectory — a sleeping man, an evening in a hotel room, and a journey across vast and challenging spaces. But the incipient narrative constantly breaks down into disordered memories of violence and repression, undefined threats, splintered subjectivities, analog and digital glitches.
Source of Artist Statement]]> ]]> Excerpt of Leonardo Flores' description, I love E-Poetry]]> Artist Statement
Floating territories uses a series of screen based games to explore issues of migration, border protection and asylum. The project was designed to take place on the ferry that crossed the Baltic Sea between Helsinki and Tallin at the 2004 ISEA event. A swipe card, issued to ISEA participants with the boat boarding passes arbitrarily assigns a tribal allegiance. Each tribe is represented by it's own distinctive iconography and has it's own role and goals: escape, defend, petition, colonise, wander, converge. When the player swipes their card at the computer, a game is activated that is moderated by the card's particular code.
Source of Artist Statement]]> Extract from essay "Ghost Words" by Nikos Papasteriguadis & Victoria Lynn]]> Artist Statement
Foul Whisperings, Strange Matters brings Shakespeare's world renowned and extraordinarily influential play Macbeth into a virtual worlds environment. This is an appropriate, timely use of pop culture as an adaptive bridge between classic texts and new media technology. The poetic use of metaphor, image and symbol that permeate Shakespeare's language can be brought to 3D life using the online world as a discursive design space where visitors experience the motivations and emotional journey of character, and explore and make personal sense of the universal themes of Shakespeare.
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In the Fuzzy Love Dating Database people voluntarily photograph themselves and answer a series of questions as a kind of entry fee allowing access to the database of previous respondents, however access is limited to searching through responses to more obscure questions like 'what is your favourite bodily fluid?', the database can't be searched by image or sexual preference.
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GGGAG is a digital poem, game, and anti-design statement. The western world's surroundings, belief systems, designed culture-games, create the built illusion of clean lines and definitive choice, cold narrow pathways of five colours, three body sizes and capsule philosophy. Within new media art the techno-filter extends these straight lines into exacting geometries and smooth bit rates. This game attempts to re-introduce the hand-drawn, the messy and illogical into the digital, via a retro-game. Hovering above and attached to the poorly drawn aesthetic is a personal examination of how we/I continually switch and un-switch our dominate belief systems. Moving from faith to real estate, from chemistry to capitalism, triggering corrected poetry, jittering creatures and death and deathless noises.
Source of Artist Statement]]> Excerpt from The Mag.net reader]]> Excerpt of Leonardo Flores' description, I love E-Poetry]]> Abstract of artists' interview by Sean O'Brien in Art Talk's podcast]]> Artist Statement
An anthology of interactive poems. Originally was three different works. Fitted together in "selected works" mode.
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I Am A Singer is an experiment in multimedia writing, a search into approaches towards style and form, narrative structure, and notions of engagement within a multimedia context. Concerned with memory and identity, it tells the fictional story of an amnesiac who happens to be famous. Structurally, I Am A Singer is a narrative built of fragments, of small, discrete but intersecting sequences, mirroring the fragmented consciousness of the singer. It operates on a number of levels - as a pure tale about an amnesiac singer trying to regain her memory, and as a broader exploration of identity and remembrance.
Description from Contact Zone: The Art of the CD ROM website]]> Artist Statement
On a coding craft level "I am googable therefore I am" is coded to be a live aggregated feed, made with Beautiful Soup - a coding language mix of Python HTML/XML. This is programmed to hit the artists name each day to give a read out of amount of the google hits the name brings, in order to tell her she exists. Although available as live data feed - http://moddr.net/~sister0/cast/ The 'actual' artwork is not complete until fully installed.
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i made this. you play this. we are enemies. "is an art game, interactive digital poem which uses game levels built on screen shots from influential community based websites/portals. And using messy hand drawn elements, strange texts, sounds and multimedia layering, the artwork lets users play in the worlds hovering over and beneath what we browse, to exist outside/over their controlling constraints. Your arrow keys and space bar will guide you, with the occasional mouse click begging for attention.
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