“Take it” by Wilton Azevedo

Still from "Take it" by Wilton Acevedo
Still from “Take it” by Wilton Azevedo

Take it (2013) is a digital videopoem created by the Brazilian digital poet Wilton Azevedo. Conceived originally in English, this videopoem consists of video images that intertwine the verses constantly moving across frame according to the soundtrack frequency through an interface with a Processing script.

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“10 Print ebooks” by Mark Sample

Screen captures from "10 Print ebooks" by Mark Sample. Two small blocks of text in a white background. Text from box number one: "This was not interested in. Could easily be removed from years / afterward, purposeful designer" Text from box number two: "The value of purposeless play on computers. Bounded and the / player's in Asteroids can turn and fire in many first person games".
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This Twitter bot generates tweets using two data sets: the text of the MIT Press book 10 PRINT CHR$(205.5+RND(1)); : GOTO 10 and any tweets with the #10print hashtag. The generator uses a Markov chain process to analyze a text and determine the probability of any word following another to generate a new string of words that resembles the original and publishes it on Twitter. Here are some examples:

Screen capture from "10 Print ebooks" by Mark Sample. Five small blocks of text in a white background. Text from box number one: "The shape of the original. Possible to dictate the twisted line up / in 1999 by the supposed game rationality of the game aesthetics today." Text from Box number two: "Only recently have the meanings of random numbers". Text from box number three: "One Hundred Thousand Billion Poems, Strachey is dismissive of / his writing, lectures,  and classes". Text from Box number four: "Instead, The Maze War is poorly for studying telephone / book". Text from Box number five: "Once The original".

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“Connected Memories” by María Mencía, programmed by José Carlos Silvestre

Screen capture from "Connected Memories" by María Mencía, programmed by José Carlos Silvestre. Snippets of text in faded typewriter print.
Open “Connected Memories” by María Mencía, programmed by José Carlos Silvestre

This narrative hypertext poem creates a web of semantic and spacial associations between short excerpts from interviews of refugees living in London. The ethnographic dimension of this piece lends weight to the work as one realizes that these snippets of text are from people’s life stories. The keywords that float on the screen and pull up narrative fragments can be understood as tags in a database. Some common ones (listed in Mencía’s site) are:

war run away prison money walk university pressure shoot government refugee passport kill papers documents survived help job work understand country afraid scare understand place went back flat successful happy mother father family brother sons daughter fear prison accommodation hotel room scared interpreter husband wife country help english job flee detention asylum life college memories integrated forget pregnant border genocide religion escape agent airport illegal rape hide money belong foreigner services lost after you university shoot militia extremist speak hospital travel frighten live children settle pressure

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“Mémoire Involontaire” by Braxton Soderman

“Cloud #1” by Braxton Soderman

Screen capture from “Cloud #1” by Braxton Soderman. White text on a light blue background. Text: "on this quiet and open morning I sit before the worn window. the sky is  intoxicated but sorrowful. things progress on their eternal way. although it is all changing, it is silent and strange and overcome by monstrous  permanence. I want to see colorful leaves, but the trees are dead and still.  my clothed and guarded thoughts are slowly dismantled. time has become cloudy  and opaque. this jealous and lonely partner, perfect sadness for all that is spiritless, smooth, little, and harsh. my soft ideas are lifted from early  slumbers, at the brief moment when it remains dynamic and flawless, not tinted  by learned old age. dark, ringing, absolutely. my eyes cannot help but be moving, watching what the vague sky lifts above the hard ground, the artless earth. the unfixed clouds harbor what is unthinkable, imaginary islands, clothed in irate and informed dreams, each imperfect shift causes a salvo of short  recognition before it falls oblivious. it is all destroyed. it is all obvious.  for one agonizing moment, I am absent and nothing will make me afraid."
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This mutable poem explores a simple concept, word substitution, using sophisticated tools. The data set is WordNet, which clusters words conceptually so substitutions are governed by synonymy, metonymy, and semantics which should allow the prose poem to retain some coherence. But does it? Here’s the poem after running for minute or so: image

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“Afeeld” by A. J. Patrick Liszkiewicz

Screen capture from "Afeeld" by A. J. Patrick Liszkiewicz. White background with different letters like: "U / Y / V / Z / C / S / F /" The letters combine to form a stick figure."
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“Roulette” by Daniel C. Howe and Bebe Molina

Open “Roulette” by Daniel C. Howe and Bebe Molina

“Letterscapes” by Peter Cho

Screen capture of "Letterscapes" by Peter Cho. The work's title and author displayed as letters fall in the background. Text: "letterscapes by peter cho"
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“[theHouse]” by Mary Flanagan

Open “[theHouse]” by Mary Flanagan

This is a challenging work because its presents a simple, yet imprecise, interface that allows one to explore an ever shifting 3D virtual space. Its boxes change colors and sizes and display texts randomly selected and assembled from four different datasets, triggered by a schedule or by user interaction.

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