]]> Excerpt of Leonardo Flores' description, I love E-Poetry]]> Artist Statement
_cross.ova.ing ][4rm.blog.2.log][_ is a "netwurk repository" that's been in operation since 2003. these "wurks" r inscribed using the infamous polysemic language system termed _mezangelle_. this language evolved/s from multifarious computer code>social_networked>imageboard>gamer>augmented reality flavoured language/x/changes. 2 _mezangelle_ means 2 take words>wordstrings>sentences + alter them in such a way as 2 /x/tend + /n/hance meaning beyond the predicted +/or /x/pected. _mezangelling_ @tempts 2 /x/pand traditional text parameters thru layered/alternative/code based meanings /m/bedded in2 meta-phonetic renderings of language. _cross.ova.ing ][4rm.blog.2.log][ /m/ploys a base standard of code>txt in order 2 evoke imaginative renderings rather than motion-based>flashy graphics.
Author's description from The Electronic Literature Organization website]]> Excerpt from ANAT: Australian Network for Art and Technology]]>
]]> Artist Statement
Exhibited via a Live Trans-Reality Performance Event held simultaneously via Twitter streams, The Web, and geophysically at the Inspace Gallery as part of Inspace's 'No One Can Hear You Scream'/The Third International Conference on Interactive Digital Storytelling: '...the knitting 2gether of the #OutsideUrDoor synthetic/real-time action created through the @MrShamble, @Nozfera2 and @vvolfmaan characters via multiple projections/soundtrack/linked cues with geophysical audience participation [and those exclusively in the twittersphere] was marvellous. the [micro in more than 1 sense] narrative gradually unfolding in front of a live audience based in Scotland just mixed reality ftw:) this type of net-native work[ing] really extends + [weirdly] collapses so many conventions/distinctions.
Author's description from the website I [Love]_ E-Poetry]]> Artist Statement
On the Internet, a heart breaks every 4 seconds.1000 Broken Hearts was an installation presented at Oxford Act Factory in October 2013 as part of the City of Sydney's Art and About. It reconfigures the last thousand heartbreaks from the Internet hive-mind as spectral projections that dance and flicker at random intervals in three-dimensional space. It asks us to consider the nature and meaning of emotion in the digital age, when the line between suicidal angst and quotidian frustrations is increasingly blurred. Projected into a smoke filled glass cube the words of a 1000 individuals crying out to their networks can be seen to float momentarily in space then disappear in a fleeting moment of connection. 1000 Broken Hearts builds on a series of data artworks that enquire into the emotional valence of text in networked spaces.
Source of Artist Statement]]> Artist Statement
In her durational performance, 1001 nights cast, Barbara Campbell cast a story into the ether every night for 1001 nights from 21 June 2005 to 17 March 2008. Each story had been written for her during the day by a pool of (by the end) 243 writers scattered across the globe. With only a few hours to write and a limit of 1001 words, each writer was responding to a writing prompt Campbell had extracted from one of that day's newspaper stories about events in the Middle East. At sunset (according to Campbell's location), she opened the live webstream on the 1001 nights cast website and told the new story to unseen audiences in unknown locations. The stories, as spoken, could only be witnessed in real time, but in text form, they remain on the website as ghosts of their one-time voicing.
Source of Artist Statement]]> Artist Statement
The work featured here belongs to a bigger project called A Drop In The Ocean, Slowly. This is a slow process of making visible texts and images which have been written and gathered over many years and are continuing to be written/gathered. Sometimes these texts have appeared in artworks, sometimes in academic journals, sometimes in essays for artists, and occasionally in literary journals.
Source of Artist Statement]]> Source of Description]]> Artist Statement
Multi-level menus as poetry generator, for when lines branch and branch. When writing a poem, often any line could generate out new directions, intersecting poems, branching possibilities. Using the modified code of a menu-sub-menu, I am experimenting with a poem within a poem within a poem. Enjambment as menu as poetic turn. A few factors I'm playing with: 1. the menu fade away timing (more or less?) 2. the mixing of various level depths 3. only one first entry, that extends to dozens of depths? 4. how else might this be used? 5. Rollover or On Press to trigger?
Source of Artist Statement]]> Description from Artist's notes]]> Artist Statement
A.Land is a journey thru fragments of memory - internal and external landscapes that are common to us all. Inspired by ferry trips on the Baltic Sea, it is a glimpse of life from our cabin aboard a cruise ship on the seas of the www.
A.Land offers gentle views through differing portholes of perception on love, longing, space, and time. aland's cyclic, poetic and immersive narrative maps both our internal and external environments via fragments of literature, 19th century paintings and partially recalled events. the purpose of a.land is to identify and reflect upon the physcological, geographical and virtual stratas which both visibly and invisibly connect us - where ever we happen to be physically located.]]> Artist Statement
Top-down zombie shooter where the artwork is generated by playing. [W]inning and losing has video rewards.
Source of Artist Statement]]> Artist Statement
In this installation at the International Art & Science Exhibition a large, back projected high-resolution monitor was mounted on a motorised turntable. An infra-red joystick controlled the 360-degree rotation of this screen and the synchronous rotation of the viewer's point of view in the computer-generated scene. This joystick also allowed the viewer to move his point of view forwards and backwards in the scene. The computer-generated imagery showed a room that reproduced the appearance and proportions of the real room accommodating the installation. The virtual space (the image on the the screen) and the real space (the room) were optically aligned so that the viewer facing a door or a window in the real room would also be facing the same features in the simulated room.
In this way Alice's Room set up a conjunction of virtual and actual spaces enabling reality and fiction be physically interpolated. Four computer-generated objects were added in this simulated environment - red, green, yellow and blue rectangular boxes in the corners of the room. When entered, each box became a room interior which looked exactly like the outer room while at the same time possessing unique characteristics.
The first room showed the four coloured boxes in a continuous circulating process of splitting into thirty-two smaller boxes and then reassembling themselves. The second room showed two rows of large moving Japanese characters - a haiku written specially by Shuntaro Tanikawa. The third room contained a slowly rotating wire-frame hypercube. At the centre of the fourth room was a continuously turning replica of the actual video monitor. While this simulated monitor had a blank white screen, moving coloured reflections on the walls of the room conveyed the impression that it was being illuminated by images on this empty screen.
Source of Artist Statement]]> Description from Media Art Net]]> Description from Boonscafe, an Art review blog based in Singapore]]> Artist Statement
For the exhibition Kunst Over de Vloer artists were invited to create works in the rooms of a private apartment building. Anamorphoses of Memory was located in a sparse and untidy student's bedroom. A monitor was placed on a mattress on the floor with its screen facing upwards. On the monitor screen moving rows of text were anamorphically reflected onto a mirrored cylinder standing upright in the centre of the screen. These texts moved outwards from the centre of the screen in concentric circles. Reflected on the cylinder, they became vertically scrolling sentences which could be read by the viewers. The texts were written specially by Dirk Groeneveld and evoked certain erotic contingencies performed in this bedroom.
Source of Artist Statement]]> Source of Description]]>