Enghien
Audiovisual performance, June 2009
Bains Numériques Festival – France


urbanscreen.com


whn the train first came thru the filmscreen
the audience ran

now they stroll glance stroll
as buildings palpitate

habituated nerves
taut over networks

ubiquitous video
may kill ocular wonder

“… a failure of a very small fraction of nodes in one network may lead to the complete fragmentation of a system of several interdependent networks.”

Catastrophic cascade of failures in interdependent networks : Abstract : Nature

t e a c h__p e a c e__ 2 0 0 6

toy gun cast in black crayons
letter puzzle: paper pulp and wood board
variable

knitted by giant grandmothers, this vast rabbit
Hase / Rabbit / Coniglio
Artesina, Piemont, Italy
2005 – 2025

“At this point in the history of electronic literature, the question is not how we can monetize it, in the sense of getting people to pay money for things, but rather how we can communitize it. We don’t need to build a market for electronic literature, but rather a culture that will support and sustain its development.”

Scott Rettberg. Communitizing Electronic Literature. Spring 2009. v3 n2. DHQ: Digital Humanities Quarterly

“If we reduce the interaction between human beings and computers to pointing and grunting then we miss the role of language in the evolution of human mind and human consciousness. “

“A lot of poets are working audiovisually and yet they really get validated only once they start publishing books.”

Caroline Bergvall in conversation with Sophie Robinson – HOW2

http://www.carolinebergvall.com/

“Ryeberg.com invites smart, distinguished people to select and write about YouTube videos (or videos from any other video-sharing site). Each of these individual pieces becomes a “curated video.” “

“Imagine there were input devices which could allow text to know if and how it is being read – how would this change the reading experience?”

“The impact of electronic technology on our lives is now the object of intense study, but what remains obscure is the role, if any, this technology has in shaping the ostensibly private language of poetry.” Marjori Perloff. 1994. p. 2-3