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?
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Digital poetry should surround the reader, to encompass them in the experience, to entice their hands and eyes to move with the language and explore the interface. It's critical for digital writers to see the interface, visuals, sounds, and movements as poetic/fiction elements. Multimedia and interface components are not just navigational holiday lights to pretty up the place, they add/change/expand the artwork. Within this work, I designed a responsive creatures as both fun to play and allow the reader to jump between texts, to read in their own ordering, to non-linearly explore the inherently non-linear nature of poetry. Layering is also of prime importance, as creating a sense of thematic and visual depth, embeds the poetry in a larger world, a more complex poetic.
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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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A strange hybrid work where writing is built directly from the videos and statistical graphs. These are imaginary worlds/possibilities, with the background pop culture videos evidence and inspiration. After mousing over the data points/dots the statistics and lines pop-up. Perhaps the most difficult aspect of creation was determining the percentages and numbers which drive the stories/poetry, and how do those statistics coax the narrative/poetry along into semi-coherent streams. And being a child of the late 70s and 80s I am fascinated by the glory days of absurd pop culture, the notion that a near storyless video game pixeled mouth can eventually have its own branded can of pasta. And then there is the Frankenstein clip. Just damn beautiful, even more so that its now a hundred years old.
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A interactive logoed world populated with 45 strange and fantastical stories of the societal/cultural failure of influential net portals, fast food giants, newspapers, airlines, manufacturers and other oddities.
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Sydney's Siberia recreates how networks build exploratory story-scapes through an interactive zooming/clicking interface. Using 121 poetic/story image tiles, the artwork dynamically generates mosaics, infinitely recombining to build new connections/collections based on the users movements. The images/texts come from exploring Newcastle, Australia as a patchwork, a complex mix of architectural tendrils, whose stories extend to and are strained by the overshadowing behemoth of Sydney to the West. And as each new grid is formed, the reader must search for what they haven't seen, mining in a digital Siberia.
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Activated by the voices of visitors in the real-world gallery and chat messaging from virtual visitors in Second Life, a swarm of letter cubes - programmed to seek out their original word position - slowly builds a morphing, virtual Tower of Babel. This tower is constructed from the utterances of visitors to it, constantly reconfiguring itself according to the artificial stupidity of the individual letter forms. What sorts of conceptual figures are available to think such a thing? The very old: the Tower of Babel from the Book of Genesis, which melds the frightening possibilities of technology, language, and power in a single startling image. And the very new: swarm intelligence as an ideal that expresses how innumerable different individuals can nonetheless come to produce radical innovations in excess of the powers of any one of them and in the midst of apparent disorder.
Babelswarm is a project that draws on the most traditional elements of religion, art, and literature, as it engages with the challenges of a scientific and technological age.
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This is a simple work. It is a cycle of poems, randomly interlinked. It is not radical in its use of technology - the randomising perl script is the most natural way to navigate the cycle of poems because, while all the poems were written in the year 2003 during a period of intense personal circumstances as well as intense public international upheavals, the poems bear no linear relationship to each other and therefore can be read in any order. The technology is used in the service of artistic expression, which is a sensible role for technology. In this case, the artistic expression is simply a cycle of poems, so there is little to recommend it.
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ACT - assemblage for collective thought - is an ongoing conceptual and aesthetic collaboration, an assemblage of technologies and techniques for collaboration. It enables participants to think collectively. By 'think' here we do include thinking conceptually. However, following a century that has had to come to terms with thinking through aesthetic processes, we also mean thinking affectively, via images, texts and sounds. More than this, ACT asks what kind of thought is produced in the mix in the middle of the very act of collaboration, when DJing, VJing, dancing in front of a camera perhaps, are all opened up to the mix. Is there a different quality of thought? A different experience of thinking? An especially collaborative thought?
Excerpt from the article: Assembling Collective Thought]]> Excerpt from The Mag.net reader]]> Artist Statement
This is the video that was used in the vogma manifesto post. This was the manifesto I wrote outlining what I thought videoblogging should be. I still subscribe to these ideas. The video was shoot on the bus from Oslo airport into the city, I played with the sound by taking a shorter duration of sound from the QuickTime clip and then stretching it in QuickTime Pro to match the image track. The film uses a QuickTime text track but it now renders the text very oddly so I have embedded this at twice its size, which actually looks better.
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This videoblog has existed in various locations since 2000 and is being consolidated here. The work is made by Adrian Miles and is experimental, which means it might not work for you. I have written extensively about video blogging and what I have called 'softvideo' and this site is a blog come portfolio of my softvideo practice. I have used several CMS's, including Movable Type and WordPress, and after experimenting with a new template (style) in WordPress decided it was just making everything too complicated. So I've returned to storing all the content in Tinderbox with good old fashioned export of static html and then just synchronising it via FTP to my host. Is this still a blog? I'm not sure. I am not offering comments, but I think comments get in the way of blogging. However, via this method I can't support trackback but if I pay attention to referrer information via something like Google Analytics then you can usually see who links here. However, this is only going to be video and I have an active blog (vlog 4.0) where I do my writing and more usual blogging.
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Pirating sensor data from the Roller Derby players to use as framework to trigger text feeds - past, present & realtime from skaters, audience and artists. Expanding the action on the track, the screen displays a data-mash: live tweets & text feeds, mapped with the cyclic rolling energy of the skaters, building vibrancy. A montage of conversation, description, conjecture & moments pirated from history and literature.
Description from Bump Projects, an initiative for collaborative art projects]]> Artist Statement
A live video feed from the room where I often sleep captures the canal outside the window, a well-traversed trade route into Amsterdam. A live web cam sequences at 6 sec time intervals and transmits this via the Internet, which opens up as a portal, a projection site in Hobart. A counter at the right bottom marks the date and time. On the left, each morning at dawn GMT+1. I add a personal aphorism. I ask the viewer to consider the detail in a scene that might otherwise be consumed in a momentary glance the light, the mood of the water, the position of the birds, the trash. The 6 sec. incremental changes are perceptible, revealed through changes of the reloading frame. Somewhere in between the image peel a cargo boat on the canal vanishes. The next frame we may only see its wake.
At times, the canal is completely still. A dark body of water. Or hours there is nothing happening and suddenly two birds are caught in mid flight. Because the work is Live it calls into question where the 'object' actually is - is it located at the server, on site in Hobart? Or in-between, the interstices of the world? In a sense, the work is un-locatable its point of origin is continually shifting. If you can tell me where it is, I would say it is dead.
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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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Transcending the realm of the anecdotal, in the dark magic space of the shell, the artist divines classic texts, reconfigures it into lists, a literary pirate she reveals its treasure. Using command tools (cat, sed, grep, regex) from GNU/Linux community, in this particular work the artist parses through the essay 'A Room of One's Own' by Virginia Woolf, the semiotic analysis transfigures the work into its essence. Woolf's essay, a cogent masterpiece, sharply references the writer's experience and the place of women characters in the University, in fiction and in society per se.
Source of Artist Statement]]> Extract from the article Mind, play, empathy & machines, Real-time magazine
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_Error_in_Time_ give us a compelling insight into geek space from the perspective of a female hacker. [It] uses sound, literature, performance and live code manipulations to explore the intimate workings of computer/human interfaces, surveillance and social media. _ Error_in_Time_ is a performance in which the character enters into her daily computer routine. The coded content of her screen is projected upstage. Networked presences, dancing, file searching and parsing are the main scenes of action. She weaves her story via performative algorithms and types in a surreal first person narrative touching on subjects from dark matter to rogue bots.
Source of Artist Statement]]> Oscar Schwartz from the blog Melbourne Poetics Research]]> Excerpt from Leonardo Flores' description in I love E-Poetry]]>