http://aphasic-letters.com/noise/

Noise! 2010 is a one-day, marathon event, featuring a staggering array of artists and works including performance, sound, moving image, language, and culinary craft.

This year, curators Caspar Stracke, Danny Snelson, and Tianna Kennedy contribute an exciting and expansive approach to the event’s theme—mapping signal innovation, distortion, and destruction from the historical avant-garde to contemporary media art practitioners.

Noise! 2010 will mark the conclusion of free103point9′s organizational residence at the Ontological; join us on Saturday, June 26 to celebrate what has been an extraordinary partnership since 2006. Noise! 2010 is presented in association with the Ontological-Hysteric Incubator.

It was only after I began working with Robert Coover in the Brown Literary Arts program in 1998 that I remembered my father commenting years earlier on Coover’s book Pinocchio in Venice; as a foremost Scholar of the Pinocchio story and its appearances throughout history in literature and media, he was impressed with Coover’s handling of the archive.  My father went on to write about Coover’s treatment in a co-authored book, Pinocchio Goes Postmodern: Perils of a Puppet in the United States.

RC_AI consists of texts composed by myself and Dr. Thomas J. Morrissey, my father, along with several generative algorithms and loose grammars in collaboration with a substantial portion of Robert Coover’s Pinocchio in Venice. The panoramic text is a printed array (approximately 380,000 pixels long – or 422 feet) of variable content generated by parsing through approximately 1/2 of Coover’s novel using the author’s name as a search string.

RC_AI was created specifically for ELO_AI: Archive and Innovate the Electronic Literature Organization conference and arts program. The overall event was in part a celebration of Robert Coover who will soon retire from teaching. RC_AI was performed in the auditorium of List Art Center at Brown University with my father on June 4, 2010.

The piece was performed in a session with another performance-based piece using generative content by Scott Rettberg & Rob Wittig (see Scott’s recent Robert Coover Infinite Lit Crit) and further Coover-specific responses from Roxanne Carter and Joe Tabbi.

For RC_AI, I utilized tesseract, an open-source tool for optical character recognition, and then created a system for text processing using python’s natural language toolkit. As this is my first experiment with both tools, the implementation is basic: the former accounts for bad spelling, the latter for poor grammar (as though the puppet sold his schoolbooks for a tree of ass ears).

RC_AI is currently an occasional work, perhaps a work-in-progress for a later time.

Tested in firefox 3.5x & 3.6x, Safari 4x & Chrome 5.0x. Once panorama loads, click on spine title to begin & work will run automatically for 7-9 minutes.

Mark Jeffery and Judd Morrissey
wings by Claire Ashley

The Living Newspapers is a live installation consisting of pairs of ‘museum visitors’ seemingly engaged in pedestrian conversation. These conversations are actually comprised of real-time data harvested from the social networking environment, Twitter. The performers in The Living Newspapers act as subtle embodiments of the collective voice of social discourse.

The Living Newspapers takes place each Tuesday-Sunday from 11:00 – 1:30pm and again from 2:30 – 5:00pm with pairs of performers in rotating shifts. The project is revealed as a performance twice daily, in the middle of each shift, when the performers transform into two winged figures. The image constructed is based on The Winged Figures of the Republic, a New Deal era sculpture permanently installed at the Hoover Dam.

The Living Newspaper was a genre of socially engaged theater funded by the federal government in the 1930′s. The plays were constructed from factual information on culturally pertinent topics (such as the syphilis epidemic or the economic plight of farmers) and were were often designed to educate or mobilize their audiences. This contemporary re-imagining of the form is driven by a computer program that constructs dynamic dialogue from cultural chatter. The texts, gleaned by thematic searches or geographical proximity, are received by the performers through discretely worn earphones connected to a networked mobile device.

The piece is performed by: Holly Abney, David Alcalde, Sarah Archer, Joseph Belknap, Sarah Belknap, Doro Boehme, Maggie Cappelletti, Chris Cuellar, Chelsea Culp, Carla Duarte, Karen Faith, Elizabeth Furani, Alexine Haynes, Joshua Kent, David Kodeski, Tet Keong Lee, André Carlos Lenox, Evan Lenox, Gwenn-Aël Lynn, Abina Manning, Lauren McCarthy, Remington Messinger, Jennifer Mills, Jenna Rieker, L. Ruby Sage, Edmund Sandoval, Ali Scott, Colin Self, Molly Shea, James Smith, Edward Thomas-Herrera, Carolina Wheat

Hide and Seek is curated by Tricia Van Eck.

Mark Jeffery and Judd Morrissey will discuss this work as part of Art as Event, a panel talk at the MCA Theater on March 13, 2010.

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Timestamp
24 hours of networked writing

an online exhibition and live writing event launching Saturday, Dec. 5, 2009 @ subitopress.org

http://streamflowconditions.subitopress.org

~Beacons~
John Cayley (CA)
Roderick Coover (US)
Ian Hatcher (US)
Mez Breeze (AU)
Jose Carlos Silvestre (BR)
Stephanie Strickland & Cynthia Lawson Jaramillo (US)
Rui Torres (PT)

code poetry ~~ code proper ~~ ghosts in the network ~~ river expeditions ~~ edges of chaos ~~ immersive horizons ~~ eco-poetics

TIMESTAMP: ONLINE LAUNCH EVENT DECEMBER 5th @ 4:35pm UTC-7 [MST*]

Beginning at 4:35pm MST (sunset in Colorado, physical location of Subito Press) on December 5, 2009, the artists of the online exhibition, Streamflow Conditions, will perform online for 24 hours through networked writing, live coding, streaming video, or other means.

[ *use this to translate into your timezone:
http://www.timeanddate.com/worldclock/converter.html ]

curated by Judd Morrissey

The Dance

For my first netpoetic project, I will address certain aspects of data-driven poetic work. Rather than attempt an exhaustive approach that considers the different ways in which electronic writers inhabit networks cannibalizing, channelling, and remixing data sources, I will take a localized approach, writing largely from my creative practice over the last few years and through some recent/current projects. I do this, on the one hand, because it is simply what I know at the moment and perhaps may stimulate ideas or conversation (for others and myself as I catalog and move forward). I also attempt this out of the feeling that practice-based dialogue is an under-engaged element in the discourse of e-lit (but one beginning to unfold here at netpoetic).

The main works I will discuss are The Last Performance [dot org], which began in 2007, and The Precession, an early work-in-progress. These are collaborative and interdisciplinary works that exist on-screen as well as in performance and installation contexts. They borrow aesthetics and techniques from varied histories including constraint-based literature, process-driven performance, and database art. Thinking through them, I will consider topics such as constraint, collaboration, structure, location, and scale. In a later section, I plan to cite some pieces created by students with whom I have worked at the School of the Art Institute of Chicago.

This netpoetic contribution will unfold over the course of several entries with the first one coming soon and others coming as they come. A potential 6-fold outline looks like this:

Part I: Constraint, Structure, and Scale

Part II: Location and Interruption

Part III: Performance and Other Front-ends

Part IV: Works by Younger Colleagues

Part V: Hacking the Night Sky

Part VI: Exercises for Cadets

Links:

The Last Performance [dot org]

The Precession (early w-i-p)

“Electronic Literature (in Performance)” by Scott Rettberg

Review of The Last Performance* by David Grubbs

*access, unfortunately, restricted