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 of Leonardo Flores' description, I love E-Poetry]]>
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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]]> ]]> .02 Spring and Asura is an interactive artwork that explores the interconnectivity of the animate and the inanimate. This work explores the relationship between video images of the natural world and the poem Spring and Asura written by Kenji Miyazawa translated into English by Hiroaki Sato. [ ]Using a combination of image and motion capture technology, the artwork explores the movement of light and shade in the video recordings and responds to the visitor in the space. This self generating interconnected system creates an ordering and reordering of the poetry text resulting in shifts in time movement and abstraction through the viewing of the work.
Source of Artist Statement]]> Artist Statement
Get lost in the hidden places of Brisbane's Fortitude Valley. Discover secret doorways and forgotten phone boxes, dance with ghosts of the streets' past and future. In The City We Build, create your own pathways. Weaving words into the physical spaces that we walk around daily, three Brisbane poets take you on an experimental journey of poetic storytelling through the rich hunting grounds of Fortitude Valley, unearthing its abundance of night spots, unusual characters, river posts, and alleyways. Beginning at the iconic Judith Wright Centre of Contemporary Arts, these poetic trails combine language and landmarks to showcase 'the Valley' in a whole new light. And you lead the way Traverse the Brisbane River and discover the fluidity of choice with Julie Beveridge. Delve into the rock 'n' roll underbelly of the Valley with Carmen Leigh Keates. And travel through time and space, into Brisbane's past and through its future, with Chris Lynch.
Authors' description from iTunes]]> Artist Statement
Long Time, No See? is a collaborative, online artwork that focuses Australian and global audiences upon our long-term futures. The project seeks to link the local and the everyday with the global and the distant future, generatively mapping the ever-changing relationships between each project participants' ideas and visions. The raw content for the artwork is created by members of the general public undertaking walks in their local communities, assisted by a custom Smartphone App that choreographs and records their creative processes and physical journeys. The online artwork then presents this content relationally along with other generative media and sound. In all of these ways the project engages new audiences and participants to collaboratively 'design' pathways towards feasible and 'sustain-able' long term futures. Participants in locations across Australia and the world will each get the chance to share their visions of long futures and be enabled to collaborate, imagine, reflect, learn and act for change through optional local workshop processes.
Source of Artist Statement]]> Excerpt from RealTime
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Tree of Fortune was a major public artwork comprising of 130 LED scrolling text boxes distributed throughout a large tree. Each module displayed an individual scrolling message presented in red LED text, created in collaboration with Brisbane writer Linda Carolli. The work was commissioned for and presented in a prominent riverbank location at Christchurch's 2004 Biennial. It was accompanied by a high quality catalogue publication. The project sought to foster private reflection amongst its viewers around the context of contemporary ecological crises, whilst also calling upon the power of their imagining as a method for retaining positive and critical mindsets in the face of adversity.
This was achieved through ostensibly presenting texts in the form of 'fortune cookie' style statements, but then configuring them to require a personal response. This sense of unravelling questions and answers was further cemented through the qualities of each scrolling text, which only revealed a small part of each phrase at any one time.
Source of Artist Statement]]> On 11 June 2012, if:book Australia challenged a team of writers and editors to collaborate, write, and publish a book in a single 24-hour period. At midday, the writers gathered at the State Library of Queensland and began working furiously. Their stories were written live on the day, with work in progress posted online to allow readers to watch the story unfold and to submit ideas, suggestions and contributions across media. As the stories were completed, a team of bleary-eyed editors took the text from manuscript to a book.
Simon Groth, if:book Australia]]>