remixing at ePoetry Barcelona 2009

ePoetry 09 remix set

Above are thumbnails of the R3/\/\1X\/\/0RX set I presented at ePoetry 2009 in Barcelona. A combination of still images and animations accompanied by a playlist (see below) of music, ambient sound and spoken word pieces from the remix, plus a live reading of two poems from reVamp to end reUser.

I was on a great panel with Brian Kim Stefans, Serge Bouchardon and Jody Zellen, who all gave impressive presentations – very enjoyable too! Chris Funkhouser chaired the session, which was particularly fitting as far as I was concerned because later he presented a stimulating paper about ‘Creative Cannibalism’ – the way many electronic poems, remixes and mash-ups eat other texts and/or digital data. This kind of cultural anthropophagy (cannibalism) was first practiced by Brazilian artists nearly a century ago and for 50 years has been a feature of much computer-generated poetry. Funkhouser maintains that:

in recent years the potential content and media of such cannibalistic approaches to creativity has expanded wildly with the growth and capabilities of the Web.

Since R3/\/\1X\/\/0RX is a particularly cannibalistic beast, I hunted down his paper from the previous ePoetry 2007 symposium, where he first put forward these ideas, Le(s) Mange Texte(s): Creative Cannibalism and Digital Poetry (download). Here’s a brief section from it:

Transformative expression appropriates given data then warps or reconfigures it to new ends. Such a method certainly corresponds, or perhaps responds, to Dadaist techniques of appropriation, and also corresponds to the type of cannibalism seen in examples of digital poetry. An anthropophagic text, in which the author or authors engage with multiple languages or idioms, devours other texts, icons, and is free to remix discrepant methods and philosophical approaches. Discovery and re-discovery of meaning is reached through the cannibalization of texts, which may then establish alternative perspectives on cultural or personal subjects taken up by authors in textual composition, re-composition, and composting. Through anthropophagy, artists are free to reshape external influences. This open acknowledgment of plurality is what makes the concept still relevant today, as an active principle for the creation of “difference.”

That certainly gives me a lot of food for remixing thought! As I said a year ago in my article about the R3/\/\1X\/\/0RX experience:

the remix machine, of which we are all part, devours whatever is given and regurgitates it in wonderfully unexpected ways.

ePoetry remix audio playlist:
verb
codecs mash
screw
GlassOnBotReverb
Falling
Look Inside
outpost msg
binnorie_babel_beetle
IntraMusicPulse
ambientDigestion
dragonbath2
SwirlBotXXclips
dragobaC-1

address unknown

This movie requires Flash Player 8

remixed for R3/\/\1X\/\/0RX from: [e]mailart [ first editions ] + cogignition + comment #11349 + GhouLs

source files: emailartstamps-CS3.fla or emailartstamps-fl8.fla (flash 8 version)

absurd future of the book?

Recently I’ve been working with the if:book team on The Museum of the Future of the History of the Book, an innovative digital literacy project for schools. So what form the book may take in the future has been much on my mind lately.

Here’s an interesting, if somewhat absurd, possibility by artist and book cover designer, Stefanie Posavec. Writing Without Words ‘is a project that explores methods of visually representing text and visualises the differences in writing styles of various authors.’

Literary Organism - the structure of Part One of 'On the Road' by Jack Kerouac

Literary Organism - the structure of Part One of 'On the Road' by Jack Kerouac

It’s absurd – and I don’t use the term pejoratively – because it’s a visualization that obscures meaning, therefore it’s paradoxical printed matter (you can buy prints), a visual oxymoron or an oxymoronic visualization, since the usual aim of information visualization is ‘to help people understand and analyze data.’ According to Wikipedia:

Visual representations and interaction techniques take advantage of the human eye’s broad bandwidth pathway into the mind to allow users to see, explore, and understand large amounts of information at once.

Which is the exact opposite of what a novel is about. Of course,  Writing Without Words is art so it shouldn’t have to make literal sense. But could this be a future way of navigating a digital book? Or, since information visualization is designed to ‘provide some means to see what lies within’, could this be a future way of judging a book, not by its cover, but by its data visualization? Intriguing questions.

Reminds me of a recent discussion stimulated by Kate Pullinger’s article, My Digital Evolution in Fiction for Internet Evolution. Kate said:

But I can imagine a time when books become more like art objects for people who like books, as opposed to people who like to read – the idea of being a big reader might not go hand in hand with being a lover of books, as it still does currently.

I agreed:

I look forward to doing most of my reading in future on a lovely e-reader… I also think the digital reading future may be liberating for the paper fabric book, turning book objects into wonderful works of art – interactive sculptural objects with stories to tell! Most objects will probably be RFID tagged anyway, so everything will be linked up to the web in one or another. All manner of things will be possible. Convergence will go many ways.

Sentence Drawings in the book version explain an approach to analysing 'On the Road'

Sentence Drawings in the book version explain an approach to analysing 'On the Road'

Writing Without Words is a fascinating fetishization of the book as both object and container of information, which speaks to me about the absurdity of venerating the printed book as the only true and worthy carrier of literature and ideas.

rawLorem Ipsum

Get FlashPlayer

remixed for R3/\/\1X\/\/0RX from rawVamp + loremipsum2 + The NPAC/OLDA Visible Human Viewer + (!) + ode to XL5 + section 1.10.32 of “de Finibus Bonorum et Malorum”, written by Cicero in 45 BC, translated by H. Rackham in 1914, from Lorem Ipsum

source: rawLoremIP_CS3.fla (1.3mb)