Embedded Files
With the support of the RISD Liberal Arts (Research Collaboration and Event Grant) + RISD CTC (Computation Technology and Culture Concentration), RISD Digital Poetics (Spring 2018) is delighted to present two events by David Jhave Johnston, author of Aesthetic Animism: Digital Poetry's Ontological Implications (The MIT Press 2016):
Wednesday 4/18, Old RISD Library CB 521, 7pm Writing with A.I. and Machine Learning
Wednesday 4/18, Old RISD Library CB 521, 7pm Writing with A.I. and Machine Learning
A 30 minute multimedia talk outlining potential impacts of deep learning on authors followed by open discussion and a rapid writing workshop where participants will be invited to carve their own poems/writings from computer-generated spew.
Thursday 4/19, Old RISD Library CB 521, 1:10-4:10pm . Aesthetic Animism: Digital Poetry's Ontological Implications
Thursday 4/19, Old RISD Library CB 521, 1:10-4:10pm . Aesthetic Animism: Digital Poetry's Ontological Implications
Presentation + Critiques
David Jhave Johnston will also be participating in International Fiction Now, celebrating Robert Coover and the International Writers Project, Brown University (4/17-19) in the following event:
Wednesday 4/18, McCormack Family Theater, 70 Brown Street, 2pm From Electronic Writing to Digital Language Art
Wednesday 4/18, McCormack Family Theater, 70 Brown Street, 2pm From Electronic Writing to Digital Language Art
Presentations by Robert Arellano, John Cayley, Samantha Gorman, David Jhave Johnston, Ian Hatcher and Benjamin Moreno Ortiz.
All welcome!
All welcome!
WORD/IMAGE RELATIONSHIPS
WORD/IMAGE RELATIONSHIPS
Inna Komarovsky, RISD Contemporary Poetry 2011
Inna Komarovsky, RISD Contemporary Poetry 2011
Fundamental considerations for poetry when the stable "I" is displaced by AI.
2018
2018
bpNichol's First Screening (1984)
bpNichol's First Screening (1984)
Editorial Note (Anya Parakh): Universal Everything was commissioned to develop Polyfauna as a free, exploratory audiovisual app, born out of Radiohead’s The King of Limbs sessions and the sketchbooks of Stanley Donwood. The mysterious, immersive app is brought to life through touch and offers a unique and different set of experiences and encounters each time it’s used. The collaboration sees the creation of abstracted, expanded and exploded versions of audio and visual work by the band. It is inspired by everything from the atmospheric landscape paintings of JW Turner and Peter Doig, to the computational life forms of Karl Sims.
David Bowie's Verbasizer
Author's Note: "It'll take the sentence, and divide it up between the columns, and then when I've got say, three or four or five—sometimes I'll go as much as 20, 25 different sentences going across here, and then I'll set it to randomize. And it'll take those 20 sentences and cut in between them all the time, picking out, choosing different words from different columns, and from different rows of sentences."
Will explains computation 5/9/18
Thanks to Anya for the two videos below.
Thanks to Anya for the two videos below.
Raymond Queneau, One Hundred Million Billion Poems
Raymond Queneau, One Hundred Million Billion Poems
David Hanson (FAV '96) RISD Commencement Speaker 2018
David Hanson (FAV '96) RISD Commencement Speaker 2018
The Presence of Touch.pdf
Art by Kellan Jett (IL '13)
TAVITS
TAVITS
TAVIT.mp4Brian Oakes, Unconvinced (2018)
Localized server poem, using an esp8266 board and oled display screen along with custom designed, drawn and etched circuit board. The board connects to wifi networks in order to send a webpage to a client within range.
Breath Vibrance.mp4Breath Vibrance
Breath Vibrance
Lisha Nie
Lisha Nie
April 11 2018
microphone, speaker, voice sensor, projector
Duration: 02:15
Breath Vibrance a device setting which is composed by a microphone, speaker, voice sensor, and Arduino. It requires audience to interact with it in person. Through microphone and speaker, the breath, which is the most fundamental and the most ignorable element of life, be amplified and fills with the whole room. The sound of the breath will be sensed by the voice sensor. With the changing of the breathing, the code in the Arduino which is the original program of the voice sensor is keeping changing.
Charade
Charade
Sylvie Mayer
Sylvie Mayer
2018
2018
Project: https://www.youtube.com/watch?v=ty2s3yZvqhQ
LANGUAGE: English
KEYWORDS: Poetry, video, YouTube
Author’s Note:
Author’s Note:
Charade is in 4 interlinked parts. End-screen annotations to create an interactive element, where the viewer is given a choice about which path they want to venture on. Each clip makes a different space - as if the viewer were walking in and out of rooms in a house, all converging in a central location. The first part has audio and is meant to be read in one’s head. The 3 secondary paths are silent. They are intended to be read aloud by the viewer, making the piece a collaboration between the video and their voice. Inspired by song-lyrics videos on youtube, I was asking: what do these animated words become when they are muted?
Editorial Note:
Editorial Note:
Charade is a digital poem that utilizes the platform interactions of youtube. The multi-part poem are linked by the end-video on-screen links that gives the viewer a choice of which poem to enter next. This interactive poem, introduces the idea of space into a digital medium. As a result, ’navigating’ through a poem becomes more literal as the poem’s form is able to re-evaulate the viewer’s experience and degree of control over a piece of work. Charade, and de-familiarizes the senses of a viewer, through the appropriation of a contemporary phenomena, the youtube lyrics video, by muting the videos and having the reader read aloud the poem.
to hold one feeling
to hold one feeling
Travis Morehead
Travis Morehead
2018
Language: English
Keywords: Poetry, Interaction, Live Feed, Face Recognition
Tech Details: Created in Processing 3.3, using OpenCV face tracking functions. Both of which would need to be installed on a desktop or laptop (with a webcam) to be read/performed.
to hold one feeling.mp4Author's Note
Author's Note
to hold one feeling is a poem born out of the form that contains it, resulting in a contemplative, temporal experience shaped between viewer and program. Utilizing open source facial recognition software, text is continually projected at 30 frames per second onto, and in response to, any face recognized by the program for the duration that the program is left running. No previous frames are erased from the screen, leaving text increasingly obscured over time. Because of the camera's sensitivity to any/all movement, the physicality of interaction elicits an immediate sense of self in relation to text; creating a paradoxical space of influence and futility. While the words connote an emotional landscape in the mind, the awareness of self is tied to the body.
This poem was also created in response to one of Maggie Nelson's propositions in her book, Bluets: "79. For just because one loves blue does not mean that one wants to spend one's life in a world made of it. 'Life is a train of moods like a string of beads, and as we pass through them they prove to be many-colored lenses which paint the world their own hue, and each shows only what lies in its focus,' wrote Emerson. To find oneself trapped in any one bead, no matter what its hue, can be deadly."
Editorial Statement
Editorial Statement
To Hold One Feeling is an interactive poem that engages the viewer directly through the video camera using Processing. Upon running the program, the viewer is exposed to a black screen with the words, “to hold one feeling.” When the viewer moves, or reacts to the screen with physical motion, the camera begins to trace the movement of the body with the original text. The choice of words, “to hold one feeling” gives rise to the difficulties of sitting with a feeling, specifically one of discomfort in being recorded. This work also personifies the feeling of carrying emotional weight with you for a specific period of time, the feeling literally following the body. When the program starts running and the green light signals the camera begins to engage with the viewer, questions of interactivity arise from both sides of the screen: the digital body behind the camera and the physical body in front of it. To Hold One Feeling gives kinetic skins to the text, literally mirroring the motion of the body, bringing the text to the viewer’s life. This interaction allows for a surface on which to project one’s own feelings, and to hold onto the tracks of their movements as a sort of archive. Upon interacting the green light of the video camera can be seen as something invasive; yet, when the viewer recognizes the camera’s analysis of the viewer’s body, there is a sense of both joy and discomfort associated with the digital mirror To Hold One Feeling creates.
places
places
by Kanya Abe
by Kanya Abe
April 4th 2018
April 4th 2018
Artist Statement:
Artist Statement:
With the provided structures of the text-based-adventure-game-making-platform known as Quest, I have created a simple exploratory poem with embedded videos and images. As someone who is often preoccupied by questions of ‘home’ and belonging, I sought to create a similar, conceptually resonant piece through the construction of abstract, digital space. I found that even the slightest gestures of sensory experience such as sound, video, touch, motion and psychological perspective could be represented in this so very modest medium. That being said, this program put up a good deal of restrictions and constraints that resulted in a muddled gamer/viewer visual experience. Through literal images and visual narrative, neither a two dimensional or three dimensional view could be achieved but rather a hovering in between. places is meant to poke through words and experiential ideas and to jump through portals that reduce time and global geography to a few choice locations. The place that I ‘carry’ is the in between central space within my own memory, linking all of these disparate events and objects as they are filtered first through my own mind, body and senses to then be uniquely encountered by some other participant being.
Editorial statement by Kela Johnson:
Editorial statement by Kela Johnson:
Places (2018) is an interactive webpage that gives directional orientation to a worldview and, through text, video and photographs, describes a limited yet illustrative context for each location. The reader/listener/appreciator has the option to enter their own commands, some of which incite the response “you can’t go there”, while entering certain cardinal directions allows the reader to explore a new stream of content. The places described seem to identify as homes, some of them familiar and others obscured by distance. The objects included, such as a seashell and several books, are made tangible by accompanying description and by the opportunity to choose between ‘look at’ or ‘take’.
* / * / * / * / * / * / * / * / * / * / * / *
Shared via Web Link:
TAVs
TAVs
MACHINE POEMS
MACHINE POEMS
Taylor Heide, 2018
Taylor Heide, 2018
Roy_Xu_machinegunpoem.mp4Roy Xu, 2018
Roy Xu, 2018
Copy of machine poem process 2.mov
Madeleine Billings, 2018
Madeleine Billings, 2018
You Always Win BINGO When You Play By Yourself
You Always Win BINGO When You Play By Yourself
Stella Egelja
Stella Egelja
2018
English
Poetry, Programming, Excel
A poem generated using a BINGO program that selected words in a corresponding Excel document.
Artist Statement:
Artist Statement:
You Always Win BINGO When You Play By Yourself is a poem produced using a BINGO generator which corresponds to an Excel document holding words in the respective B, I, N, G, and O cells. You Always Win BINGO When You Play By Yourself can be played to generate endless poetic compositions: the author having the authority to change the words in the cells to produce different compositions and poetic tones. After translating the generated text into plain text, the author can format the poem according to poetic convention, employing technical skills to shape the work(s). You Always Win BINGO When You Play By Yourself calls into question the nature of games, turning BINGO into something that can be played, and won, alone. Readers are able to project their emotions onto the poems, in turn further shaping the work(s) into a living piece of text.
BINGO generator.pdfCopy of MACHINE POEM (BINGO).pdfDAVID JHAVE JOHNSTON AT RISD APRIL 18-19, 2018
DAVID JHAVE JOHNSTON AT RISD APRIL 18-19, 2018
With the support of the RISD Liberal Arts (Research Collaboration and Event Grant) + RISD CTC (Computation Technology and Culture Concentration), RISD Digital Poetics (Spring 2018) is delighted to present two events by David Jhave Johnston, author of Aesthetic Animism: Digital Poetry's Ontological Implications (The MIT Press 2016):
Wednesday 4/18, Old RISD Library CB 521, 7pm Writing with A.I. and Machine Learning
Wednesday 4/18, Old RISD Library CB 521, 7pm Writing with A.I. and Machine Learning
A 30 minute multimedia talk outlining potential impacts of deep learning on authors followed by open discussion and a rapid writing workshop where participants will be invited to carve their own poems/writings from computer-generated spew.
Thursday 4/19, Old RISD Library CB 521, 1:10-4:10pm . Aesthetic Animism: Digital Poetry's Ontological Implications
Thursday 4/19, Old RISD Library CB 521, 1:10-4:10pm . Aesthetic Animism: Digital Poetry's Ontological Implications
Presentation + Critiques
David Jhave Johnston will also be participating in International Fiction Now, celebrating Robert Coover and the International Writers Project, Brown University (4/17-19) in the following event:
Wednesday 4/18, McCormack Family Theater, 70 Brown Street, 2pm From Electronic Writing to Digital Language Art
Wednesday 4/18, McCormack Family Theater, 70 Brown Street, 2pm From Electronic Writing to Digital Language Art
Presentations by Robert Arellano, John Cayley, Samantha Gorman, David Jhave Johnston, Ian Hatcher and Benjamin Moreno Ortiz.
All welcome!
All welcome!
Software engineer, writer, and generally creative human. Interested in art, feminism, mindfulness, and authenticity. http://sophiaciocca.com
Apr 12, 2018
An inside look at the inner workings of a technology you may take for granted
An inside look at the inner workings of a technology you may take for granted
Illustration by Aaron Krolik/The New York Times
TAVs
TAVs
Leap; Leap.mp4Lisha Nie, Leap; Leap (2018)
TAV_MiaNeumann_4-14-18.mp4Mia Neumann, This Is What Happened (2018)
Krista Young, Lunch (2018)
TAVPoem_SylvieMayer_3.15.mp4Sylvie Mayer, Some Bisection (2018)
Jake_Sillen_TAV.movJake Sillen (2018)
TAV_Daedalus.mp4Daedalus Li (2018)
Monotony_AnushkaBansal.mp4Anushka Bansal, Monotony (2018)
TAV Poem, ArthurKim, 3.14.18.movArthur Kim, Blue Wall (2018)
I see you shiver with anticipation.mp4Will Samosir, I See You Shiver With Anticipation (2018)
bedtime_final.mp4Philip Bayer, Bedtime (2018)
TAV_MyName.mp4Xuefei Yang, "My Name" (2018)
Color TAV Poem.movCaroline Hu, Color TAV Poem (2018)
Verde.mp4Marco Aguirre, Verde (2018)
TAV_Kanya_03:14:2018.mp4Kanya Abe, TAV Poem (2018)
Thanks Meredith + Hammett!
Thanks Meredith + Hammett!
Saul Bass logos
Saul Bass logos
Parker Underkoffler, url (2018)
INVENTED LANGUAGE
INVENTED LANGUAGE
"Valuveula" is an alien hymn, originally written for an episode of Gene Roddenberry's television show Earth: Final Conflict.
https://ubusound.memoryoftheworld.org/bok/Bok-Christian_Valuveula.mp3
Christian Bök
Christian Bök
Writing is fifty years behind painting. I propose to apply the painters’ techniques to writing; things as simple and immediate as collage or montage. Cut right through the pages of any book or newsprint… lengthwise, for example, and shuffle the columns of text. Put them together at hazard and read the newly constituted message. Do it for yourself. Use any system which suggests itself to you. Take your own words or the words said to be “the very own words” of anyone else living or dead. You’ll soon see that words don’t belong to anyone. Words have a vitality of their own and you or anybody else can make them gush into action.
Writing is fifty years behind painting. I propose to apply the painters’ techniques to writing; things as simple and immediate as collage or montage. Cut right through the pages of any book or newsprint… lengthwise, for example, and shuffle the columns of text. Put them together at hazard and read the newly constituted message. Do it for yourself. Use any system which suggests itself to you. Take your own words or the words said to be “the very own words” of anyone else living or dead. You’ll soon see that words don’t belong to anyone. Words have a vitality of their own and you or anybody else can make them gush into action.
BRION GYSIN
BRION GYSIN
James Tate
James Tate
Ada Lovelace (1815-1852)
Ada Lovelace (1815-1852)
The first computer programmer
The first computer programmer
Taylor Heide, "Man Is Machine, Hand Stamped on Silver" (2018)
TRAVIS MOREHEAD WINS AMERICAN PRINTING ASSOCIATION BOOK PRIZE
TRAVIS MOREHEAD WINS AMERICAN PRINTING ASSOCIATION BOOK PRIZE
Providence College Professor Emerita Alice Beckwith, president of the New England chapter of the American Printing History Association (APHA) awarded the APHA prize to sophomore Travis Morehead 20 PH for his Sometimes the Thing You Want Bleeds in the Light, which she describes as “a book for the ages.” Featuring walnut boards and cyanotypes bound with hemp twine, the stripped-down piece caught Beckwith’s eye. “Its simplicity,” she notes, “demands our attention.”
http://www.risd.edu/news/stories/students-stretch-the-art-of-books/
Lancaster University, March 8-9, 2018
Lancaster University, March 8-9, 2018
Multilingual Digital Authorship Symposium 8-9 March Programme.pdfReport abuse