e-Poetry 2005 London : Programme e-Poetry home
         
Wednesday, 28 September      
Birkbeck, rm B30 7-8pm Registration    
         
rm B36 8-10pm Literal Art John Cayley _[1] Transl(iter)ation _[2]
    performances by:    
         
      Loss Pequeño Glazier _[3] Baila _[4]
      Talan Memmott _[5] Jack/Nimble, Qwerty Octet [first movement], and The Hugo Ball…_[6]
Thursday, 29 September      
Birkbeck, rm B29 10am Coffee    
rm B30   Admin & Gallery    
         
rm B35 10.15-11.45am Visuality & _ Kirsten Lavers _[7] daily exercises _[8]
    presentations by:    
      Jerome Fletcher _[9] ...Reusement - starting from scratch _[10]
         
rm B35 11.45-12.30am Discussion Brigid McLeer (chair) _[11]  
         
  12.30-2pm Lunch    
         
rm B35 2-3.30pm Reading & _ Soeren Pold _[12] From Page to Interface _[13]
    presentations by: Lutz Hamel, Judd Morrissey, Lori Talley, & Hyejin Yun _[14] A Lecture on 'The Error Engine' _[15]
      Maria Damon _[16] Alan Sondheim's Internet Diaspora _[17]
         
rm B35 3.30-4.15pm Discussion Nicky Marsh (chair)[18]  
         
rm B29 4.15-4.45pm Tea    
         
rm B35 4.45-6.15pm Performance & _ Jim Rosenberg _[19] from 'Diagrams Series 6' _[20]
    presentations by: Sandy Baldwin _[21] Matter and Motion: Digital Poetics
Before Aesthetics _[22]
      Joerg Piringer _[23] Realtime Interactive Poetry Generation _[24]
         
rm B35 8-10pm WhiteCubeTopia Elizabeth Knipe _[25] Selected Short Digital Poems _[26]
    John Sparrow (curator) _[27]    
    performances by: jUStin !katKO _[28] mind the snap: film-texts _[29]
      Joerg Piringer _[30] spambot _[31]
Friday, 30 September      
Birkbeck, rm B29 10am Coffee    
rm B30   Admin & Gallery    
         
rm B35 10.15-11.45am Theory & _ Philippe Bootz _[32] Poetry without Reading _[33]
    presentations by: Talan Memmott _[34] Silent Lecture _[35]
      Gavin Stewart[36] slippage and other works _
         
rm B35 11.45-12.30am Discussion John Cayley (chair) _[37]  
         
  12.30-2pm Lunch    
         
rm B35 2-3.30pm Poetics & _ Loss Pequeño Glazier _[38] Code, Cod, Ode: Poetic Language & Programming[39]
    presentations by: Keston Sutherland _ (was unable to attend due to illness)[40] The Overinteractive Imagination _[41]
      Jean-Pierre Balpe _[42] Generativity, Shows and Urban Installations _[43]
         
rm B35 3.30-4.15pm Discussion Ben Watson (chair, was 'unavoidably called away' Cayley stood in)[44]  
         
rm B29 4.15-4.45pm Tea    
         
rm B35 4.45-6.15pm net.art & _ Maria Mencia _[45] Cityscapes: Social Poetics/Public Textualities _[46]
    presentations by: Patrick Burgaud _[47] Poetics in Shockwave, Flash or Java? Trends and New Rhetorics _[48]
      Tammy McGovern _[49] Pageworks _[50]
         
Royal Academy of Dramatic Arts (RADA) 6.15-7.15pm Conference Reception  
         
rm B35 8-10pm Screens Worth Saving Judd Morrissey & Lori Talley _[51] from 'The Error Engine' _[52]
    performances by: Philippe Bootz _[53] Passage2 (concert version) _[54]
      Joerg Piringer impromtu …
      jUStin !katKO & Lawrence Upton live performances
Pizza Paradiso _[55] 10.30pm- Optional Late Dinner    
Saturday, 1 October      
Birkbeck, rm B29 10am Coffee    
rm B30   Admin & Gallery    
         
rm B35 10.15-11.45am UK & _ Janis Jefferies _[56] Electronic Cloth _[57]
    John Sparrow (curator) Elizabeth-Jane Burnett _[58] For the next 12 days I will be placing a rose somewhere in the city… _[59]
    presentations by: Ceridwen Buckmaster _[60] perPETuAL transACTIONS _[61]
      London Under Construction _[62] writing the performance community _[63]
         
rm B35 11.45-12.30am Discussion Elizabeth James (chair)[64]  
         
rm B35 2-3.30pm britProg John Sparrow _[65] 'Version 1' & 'Docile History' _[66]
    John Sparrow (curator) Albert Pellicer _[67] The Cloud Reader [and other works] _[68]
    performances by: Kate Pullinger _[69] The Breathing Wall _[70]
      John Drever & Lawrence Upton _[71] Close to the Literal _[72]
         
The Monsoon _[73] 10.30pm- Optional Late Dinner    
Sunday, 2 October      
Dragon Inn _[74] 12noon- Optional Dim Sum Brunch  
         
[1]
Cayley is Canadian and a longterm UK- now London-resident. He has produced poetic work in programmable media since before it could be networked. He writes essays in the field, many of which are accessible from http://www.shadoof.net/in. He also works with books, and on writing in the planet's only other culture-sustaining system of inscription.
[2]
Works of transl(iter)ation investigate iterative, procedural 'movement' from one language to another in the context of 'ambient' time-based poetics. I will also show a maquette from work-in-progress investigating textual surfaces in 3D space.
[3]
Loss Pequeño Glazier is a poet, professor of Media Study, a Poetics Program Core Faculty member, organizer of the E-Poetry series of digital poetry festivals, director of the Electronic Poetry Center (http://writing.upenn.edu/epc), Dept. of Media Study, SUNY Buffalo. He is the author of the digitally informed poetry collection _Anatman, Pumpkin Seed, Algorithm_ (Salt Publishing, 2003) and the theoretical text, _Digital Poetics: The Making of E-Poetries_ (Univ. of Alabama Press, 2002). Numerous digital works are available on his EPC author page http://writing.upenn.edu/epc/authors/glazier.
[4]
'Baila' is a JavaScript-based work to present, in varying orders, sequences of three peformance panels (or 'dance cards') and accompanying text. It explores the connections between the digital text, physical movement, and tropical architectures of language (in Spanish and English). Choreography by Sadie Reid, Kellie James, and Carrie Syckelmoore.
[5]
Talan Memmott is an hypermedia artist writer originally from San Francisco. His work appears widely on the Internet. Memmott has taught visual culture, design, electronic writing and digital art courses at The Rhode Island School of Design, The Georgia Institute of Technology and at the University of Colorado at Boulder. He holds an MFA in Literary Art -- Electronic Writing from Brown University.
[6]
Three recent recombinant audio works. The Hugo Ball recombines the 74 unique words of Ball's Gadji Beri Bimba; Jack/Nimble is an algorithmically "improvised" jazz fugue; and, The Qwerty Octet [1st Movement] is a recombinant chamber ensemble.
[7]
Kirsten Lavers is an artist whose work has predominantly realised itself through context specific installation/performance often involving participatory, curatorial and interactive frameworks on the outskirts of conventional art spaces/places. www.kirstenlavers.net & www.taxigallery.org.uk Kirsten is also co-collaborator with cris cheek in the ongoing work of TNWK – www.tnwk.net
[8]
My use of digital media is primarily as a means of documentation and dissemination through websites etc. However, writing as a 'tuning' or studio based activity has been a consistent thread, pre-dating, but also heightened by the collaborative work of TNWK. In response to the invitation to contribute to the e-poetry conference I shall present two such 'daily exercises' : 'I go searching' and 'Is What Story' in which processes of editing, drafting and selecting text have been exposed to the reader- -writer through an investigative use of digital media.
[9]
Jerome Fletcher is a lecturer in Writing at Dartington College of Arts. His practice encompasses novels and poetry for children, artist’s books, sited and installed text, archive and text, video and text, as well as digital text. He is finishing a Book of Decadent Saints, and looking at ways of developing the Java applet on display at E-poetry 2005.
[10]
Presentation of a Java applet devised by writer Jerome Fletcher and programmer Toby Holland. The applet allows layers of text to be stacked in sequence and a digital 'scraper' mimics the effect of removing parts of each layer to reveal the one below. It conflates the roles of writer and reader, and presents writing as both a process of revelation of the always already written, and of concealment by overwriting existing texts.
[11]
Brigid Mc Leer is an Irish artist based in London. Her work moves between the practices of art, architecture, writing and critical theory. Recent digital/online projects include the collaborative work 'In Place of the Page' ongoing since 2000 and currently with architect Katie Lloyd Thomas and the Film & Video Umbrella hosted project 'Tristero', a webproject in which artists were invited to make work from uploaded 'junk' contributed by visitors to the website.
In October 2005 she will be a guest participant on the online discussion list 'empyre', exploring the nature of writing in digital space and culture.
Websites: www.inplaceofthepage.co.uk www.subtle.net/empyre
www.tristero.co.uk
[12]
Søren Pold is Associate Professor of digital aesthetics at Institute of Aesthetic Disciplines/Multimedia, University of Aarhus, Denmark. He has published in Danish and English on digital and media aesthetics ˆ from the 19. c. panorama to the interface. He established the Digital Aesthetics Research Centre at Aarhus University in 2002, in 2004 he co-organized the Read_me festival on software art, and currently he is in charge of the research project, "The Aesthetics of Interface Culture", supported by the Danish Research Agency. His latest book is "Ex Libris - Medierealistisk litteratur - Paris, Los Angeles & cyberspace" (in Danish), which deals with relationships between literature, media, and urbanity.
[13]
The page and the book continues to be strong material metaphors for literature. This presentation will try to glimpse a literature beyond the page, as e.g. Barthesian text, as black holes in the pages, as flowing text, text without intention and meaning, technical instructions or code. I will aim at discussing the networked interface as a new formal category for literature.
[14]
Dr. Lutz Hamel teaches at the University of Rhode Island. His major research interests are computational logic, machine learning, evolutionary computation, datamining, bioinformatics and computational structures in art and literature. More information is available at: http://homepage.cs.uri.edu/faculty/hamel/

Judd Morrissey is a writer and experimental programmer of self-evolving texts. He teaches in the Art and Technology department at the School of the Art Institute of Chicago. More information is available at: http://www.judisdaid.com

Lori Talley is a sound and digital artist. Talley is the Director of Digital Production at Cramer-Krasselt Chicago and an instructor in the Sound Department at The School of the Art Institute of Chicago. More information is available at: http://www.artic.edu/~ctalle

Hye Jin Yun is a software developer specialized in web design and a graduate student at University of Rhode Island. Her major interests are data mining, machine learning, evolutionary computation and digital art.
[15]
(Please see the desciption associated with the Error Engine performance, Friday evening.)
[16]
Maria Damon teaches poetry and poetics at the University of Minnesota, USA.
[17]
Examines the links between diaspora poetics and the medium of the internet, especially through characteristics like excess, fragmentation, randomness, and hoarding/spending information/history.
[18]
Nicky Marsh is Director of the Centre for Cultural Poetics at the University of Southampton. She works on gender, postmodernism and contemporary poetry and has published in journals including New Formations, Postmodern Culture, Wasafari and Feminist Review.
[19]
Jim Rosenberg was born in 1947. His work has included a wide variety of forms including linear work, works for multiple voices both live and on magnetic tape, and word environments constructed in San Francisco and New York. He began a life-long concern with non-linear poetic forms in 1966, with a series of polylinear poems called Word Nets. By 1968 this concern had evolved to an ongoing series of Diagram Poems, which continues to the present.This body of work includes Diagrams Series 3 and Diagrams Series 4. Diagrams Series 4 is available on the World Wide Web at http://www.well.com/user/jer/diags4/diags4.html.

Since 1988 his work has consisted of interactive poems, beginning with Intergrams, published by Eastgate Systems, Cambridge MA. Two newer titles, 'Diffractions through: Thirst weep ransack (frailty) veer tide elegy' and 'The Barrier Frames: Finality crystal shunt curl chant quickening giveaway stare' are also published by Eastgate. http://www.well.com/user/jer/
[20]
_Diagrams Series 6_ is the latest in a life-long series of Diagram Poems, the earliest experimentations for which began in 1968. Although I have been making interactive works since 1988, _Diagrams Series 6_ is actually my first work written in a fully interactive way: from beginning to end in one interactive environment where the word object is playable at every stage of its development, from temporary unassembled scrap all the way to its final location in a finished piece. This environment is part of an ongoing project which I call Hypertext in the Open Air, and is implemented in a programming system called Squeak. It allows the works to be played on all popular computing platforms, including Macintosh, BSD, Linux, and Windows.

_Diagrams Series 6_ strives to return to the intense diagrammicity of some of my earlier non-interactive works, _Diagrams Series 4_ and _Diagrams Series 3_. The diagram notation acts as a kind of external syntax, allowing word objects to carry interactivity deep inside the sentence. Interactivity, in turn, allows for juxtapositions to be opened so that the layers in cluster can occupy the same space and yet be legible. A problem we all have: a multiplicity, we must all occupy the same world space, do no harm, and yet be free. Carrying multiplicity inside the thought, inside the sentence: the thought as world. At a time when our world is in deep painful need of more multiplicity of thought.
[21]
Sandy Baldwin is Director of the Center for Literary Computing at West Virginia University. He holds degrees from Harvard, SUNY-Albany, and New York University. Under his direction, the CLC is increasingly recognized as a center for research and scholarly exchange around topics in digital literature (especially poetry), archiving cyberculture, the aesthetics and culture of code, humanities computing, and the phenomenology of the virtual. Baldwin teaches in the WVU Department of English and previously taught at Georgia Tech and New York University. His research focuses on the culture and history of new media, and on digital literature. He also creates and performs work in print and multimedia, as well as collaborating and performing with experimental media art groups such as Atlanta Poets Group, Purkinge, 9-Way Mind, and VoPo.
[22]
The digital appears before us. The hopes built on this digital aesthetic seem the true end of theoretical expectations. A focus on digital poetics, by contrast, exposes and destroys this mythology in the playing out of its allegory. Poetics does so precisely in the name of rhetoric: poetics and rhetoric as meta-theory of systems. The digital falls apart into the crux of its surplus performance as future-turned event versus a material economy of discourse producing tropes. The analog materiality of the digital is not inscribed perceptually but *theoretically* as the tropological turn enabling digital poetics. This turn is the withdrawal and exclusion of literal materiality -- the digital is poetic because of this non-appearance. Alan Sondheim's "codework" offers writing as plasmic residue of withdrawal. The resulting crux is precisely the fictionality of poetic versus philosophical presuppositions of such a domain of "true" materiality. Digital poetics invents what digital rhetoric then establishes as causality: materiality as theoretical means for poetics as production of appearance. Digital poetics builds on the aporia of troped digital materiality and digital performance to posit a future on the sheer momentum of rhetoric's destruction. Poetics, then, both maintains expectations and destroys any possibility of their fulfillment. John Cayley's "literal art," for example, undercuts its claims to aesthetic outcomes, instead offering the return of the rhetorical framing of knowledge production. The topology of digital poetics, from Sondheim to Cayley, is digital production as the appearance of history.
[23]
jörg piringer. born 1974. currently living in vienna, austria. member of the institute for transacoustic research. member of the vegetable orchestra (das erste wiener gemüseorchester). radio artist. sound and visual poet. musician. master degree in computer science. http://joerg.piringer.net
[24]
i will demonstrate the use and concept of my 'text processing' software. it is intended to work as a word processor's analogy to photoshop: a tool that can alter and generate experimental poetry through the use of 'filters' and algorithms.
my software features combinable string manipulation tools like markov-chains, rhyming, syllable analyzing, diverse randomization methods, genetic algorithms, lower level and letter-manipulation functions, a text to speech system and a tool for the generation of visual poetry.
in my presentation i will perform and create an audiovisual piece of poetry with my software in realtime.
[25]
Elizabeth Knipe writes both traditional and digital poetry, as well as experimenting with video. These practices have recently combined with an emerging interest in physical electronic art to create installations that require physical interaction. Her work often deals with social dynamics and reconstruction of "the real" in the digital realm, exploring the role of interactivity in a user's/viewer's experience of an artwork. She is an MFA candidate in the Department of Media Study at the University at Buffalo.
[26]
These screen-based works mix lyric poetry with visual and auditory imagery. Some play with non-linearity, requiring the reader to make choices, while others are presented according to temporal restrictions.
[27]
John Sparrow is interested in notions of abjection as an innovative branch of modern poetics by rupturing senses of ‘normality’ through its own defamiliarisation, and his PhD studies seek to further this research in terms of performance. Notions of disgust – of turning away from those areas communicable through language exchange and occupying areas of non-expression – thus play a large part in his work. Having looked in particular at concrete and language works, and specifically how they make strange notions of the traditional in order to call these into question, his works draw on notions of the everyday and how fractures within the everyday can be interesting spaces for poetic discourse. Such a desire stems from the recognition that social assimilation of that which is not deemed instructively useful renders the everyday as the basis for that which paradoxically places itself exterior to such normality; the everyday economy becomes the location for its own subversion.
John Sparrow aims to further such ideas of abjection and disgust within his poetic practice, using new media to achieve such effects in ways not previously possible with other media, and in addition extending abjection into the new media-based forms and semantics which are synonymous with modern day social exchange. He is interested in developing dynamic texts which are editable and thus encompass notions of Fluxus poetry within the new exchange systems of rewritable, virtual and network-based media. Furthermore, he is interested in the use of computer algorithms to produce texts, and thus call into question the ethical experience of creating, reading and interpreting a text.
[28]
jUStin!katKO is an American poet exploring mediations & the charged gaps between them, lived gutter of distance, gaps or their absence b/t media & immedia. He is collaborating on films & texts with Keith Tuma & recently interned @ Xexoxial Editions. The 1st issue of Plantarchy, a new poetry journal of which jUStin is the editor, will be released this winter, featuring British & American writers. Visit - http://www.justin-katko.tk
[29]
A showing of four recent film works, both solo-work and collaborations with Keith Tuma, framed within appropriate introductions, live writing, and live visual-to-aural transcription.
[30]
(See above)
[31]
'spambot' is the successor of my piece 'maybe manifesto' and the second of my trilogy to the subject of 'manifesto – propaganda – action'. this second part will deal with the language in propaganda, commercials in tv and radio and internet-spam.
the term 'spambot' can be seen as a synonym for my way of working: i collect information and transform it with digital tools and automatic text manipulators.
'spambot' is a soundpoetry videoperformance. it uses quotes and gestures of political and commercial propaganda which are manipulated through digital sound and video effects. the soundpoetry component is half improvised with a microphone and electronic devices and the video is an experimental typographic video-poem.
'spambot' is the attempt to liberate poetry from the pages of books and perform it live through image and sound.
[32]
Philippe Bootz, born in 1957, poet, publisher of the review alire, researcher at the laboratory Paragraphe, assistant professor at the University of Paris8.
He has written programmed poetry since 1978. Co-founded the french collective L.A.I.R.E. in 1988, the review alire in 1989 and the international collective Transitoire Observable in 2003.
Bootz's works are published on CDROMS in the reviews DOC(K)S and alire and in several international anthologies. Theoretical papers are published in international journals and anthologies in several languages. Most of them are republished on the Web site of Transitoire Observable http://transitoireobs.free.fr
[33]
The development of poetry during the 20th century shows that poetry has progressively distanced itself from 'literature' and transformed itself into the artistic field of general semiotics. Its goal is now concerned with the status of signs in our social and technological environment. Determination of this status requires examination of three aspects of the sign : its semiotic nature, the relationship it has with the produce of its material form, and the relationship it has with who decides to give it meaning. In a programmed medium, the sign becomes performative. It acquires new properties, among others, duality: a programmed sign cannot exist without the visible sign it generates but these signs are different. So, the question of address and reception is radically called into question: for who is it a sign? what is the sign for the reader? In this general problematic, we can conceive of works in which the central semiotic and aesthetic features can not be experienced by the reader, in a classic conception of reading. The paper will discuss these points and outline ways in which poetical features are not interpreted during reading.
[34]
(See above, Wednesday evening)
[35]
This lecture is not a lecture at all but something other ... Performative theory perhaps... Improvised theory-bop... Unspoken word... Diagrammatic poetry...Temporary, live-action hypermedia performed without a net. The "lecture" may include subjects ranging from the poetics of network [id|ad]entity, translocality, dirty code, Marxism, intersemiotics, taxonomadism, and the mediation of desire. But, you never know...
[36]
Gavin Stewart is director of trAce Online Writing Centre, http://trace.ntu.ac.uk
[37]
See above, Wednesday evening. (If anyone else would like to chair this discussion instead, pelase contact me early on during the events.)
[38]
(See above, Wednesday evening)
[39]
Mutation or modulation of words manifest orthographic relations between variants but also sometimes suggest more elusive relations. The word itself is a solid object at the center of such a set of permutations. The meaning of a sum of such variants can be likened to an array in programming. Array poetry suggests geometric structure; this is poetry that creates meaning from empty space as much as from its solid textual areas. The structural strength of empty space can also be seen in a number of postmodern poems, where such space is integral to their "meaning". These poems also use array concepts to inform the poem. It is useful to look at examples of code in my own work, which uses arrays and empty space as solid material in strings. What is of use in such close reading is the concept of precise poetic analysis, of the relevance of position, location, and structure as crucially important in reading code as poetic material.
[40]
Keston Sutherland lectures in English at the University of Sussex. He is the editor of QUID (a journal of poetics, philosophy and criticism) and co-editor of Barque Press (www.barquepress.com). His most recently published books of poetry are Antifreeze, The Rictus Flag and Neutrality; the next will be Neocosis, a triptych and altarpiece for the neocons and their global metabolism. His poems have been translated into, and published in, French, German and Chinese. Keston is currently editing the collected critical prose of J.H. Prynne.
[41]
This paper will ask what is meant by the term 'interactive.' It will attempt to situate the concept of 'interactivity' within a history of variations on the concept of 'activity,' arabesquing back into Kant and forward into post-democratic metavirtualism. It will offer some speculative diagnoses of 'interaction' and the technical interfaces that confine it. The paper will circle around the question: Is interactive art the bathetic consummation of what revolutionary thinking for hundreds of years has meant by active life?
[42]
Jean-Pierre Balpe is head of the Hypermedia Department and of the Paragraphe laboratory at the University Paris 8. A researcher and theorist of the relations between the computer and literature, he has written various scientific and technical books. His last theoretical book is Contextes de l’art numérique, ed. Hermes, 2000. He is also a poet (Bleus, 1984, ed. Action poétique ; Le Silence, 1989, ed. Action poétique ; 101 poèmes du poète aveugle, 2000, ed. Farrago) and a novelist (La Toile, 1999, ed. Cylibris). He has also published numerous short stories in different French journals. Since 1985, he has created or participated in numerous exhibitions of art and new technologies including his interactive scenario "Shangaï-Paris". He has also had various interactive and generative shows including, in 1997, "Trois mythologies et un poète aveugle" with the French musical institute IRCAM. Currently he has various interactive and generative shows in progress. One of his latest generative works is the e-novel Trajectoires, which can be read at www.trajectoires.com. In 2000, he created a mail-novel which was send daily to those recipients agreeing to participate in the project. In February-April 2002, he created "MeTapolis" a multimodal installation-show for the Marco museum in Monterey (Mexico), conceived with the Italian composer Jacopo Baboni-Schilingi and the French artist Miguel Chevalier. His latest works are "…nographies" an electronic oratorio using generated poetry with the composer Jacopo Baboni-Schilingi, produced at the Molière theater in Paris in November 2003, Babel poesie for the P0es1e exhibition in Berlin (January-april 2004) and Fictions d’Issy an urban multimodal novel.

Personal site: http://h2ptm.hymedia.univ-paris8.fr
Generators : http://www.labart.univ-paris8.fr/~gtextes
Presentation of work : www.ciren.org
Articles online: http://hypermedia.univ-paris8.fr
[43]
Two pieces : the first one "Fictions d'Issy" is an urban installation using thecellular phones and the electronic information pannel of a little town nearParis : Issy-les-Moulineaux. The second one is a show "∑nographies". In thesetwo pieces I use generativity, in the first one I also employ interactivity.
[44]
Ben Watson was studying History at Cambridge University in 1975 when he saw a copy of J. H. Prynne's 'Brass', the best thing he'd glimpsed since Kurt Schwitter's 'Workman's Picture' in Transition #3. He immediately changed to English Literature to do battle with emotional nuance and class privilege, graduating with insufficient merit to secure a grant for a PhD. A life of non-institutional intellectual wish-fulfillment (unemployment aka 'Zappology') beckoned ... now lives in Somers Town with Esther and Iris and writes for the www.militantesthetix.co.uk website.
[45]
Maria Mencia is a Digital Artist and Senior Lecturer in Digital Media at Kingston University, UK. She holds a doctorate in Digital Poetics and Digital Art. Research interests: currently exploring public textualities in urban spaces and the use of the web as a creative space to engage the users in public urban displays. On going research on the area in- between the visual, the aural and the textual in the development of New Media Languages through the production of interactive multimedia and e-poetry pieces, interlaced textualities, moving signs and generative writing. In March 2005, she was granted an AHRB Small Grants in the Creative and Performing Arts to develop her project Cityscapes: Social Poetics/ Public Textualities at the RMIT Melbourne, Australia.
At present, she holds the Promising Researcher Fellowship from Kingston University in collaboration with New York University. http://www.m.mencia.freeuk.com
[46]
The multicultural characteristic of Melbourne prompted me to enquire into the calligram of natural language sounds, the visual/textual signs from many different cultures encountered in the city as you walk around, the reasons for these diversity of cultures, why immigrants move to other places, how these cultures evolve and mix. I’ll be discussing how the project will involve the web as a creative space to engage these participants to reconstruct these realities of multiplicity, diversity, difference, constant flux and, with this, re-experience their/these environments. The kinetic, nomadic, ever-changing calligram will be that of broken human voices, fragmented realities and the composition of different languages encountered in these cityscapes in flux.
[47]
Patrick Henri Burgaud was born in 1947. In 1992, he left education to devote all his time to artistic practice -- monumental poetry, land art, visual poetry -- his early work focuses on the visual impact of the alphabet.
In 1996 he discovered the potential of data processing. Computer generated poetry opened up a new dimension in his work. Since then, as technology developed, his his research has turned to programmed art, interactivity and net art.
Sites: http://www.aquoisarime.net
http://www.houseofthesmalllangues.org
[48]
I will present a collection of very small poems written in Java. All of them have the same theme, use the same words “je t’aime”. The only difference is that their title is different as is the java script used to make them. By doing this, I explore role played by the medium.
When I use Director’s Shockwave, I focus above all on interactivity. And Shockwave needs plugins, sometimes heavy and long to download movies. The web wants speed, things have to appear quickly on the screen. Otherwise, the user zapps away.
I can use Flash. The Flash player is included in the latest versions of Microsoft Windows. But, using Flash, at once I’m labeled as a “flash artist”. I don’t mind, but is it what I want? And, using Flash, I neglect artistic practices so important as Code art or Ascii art.
Using Director’s interactivity, Flash or the typical Java scripts create new stylistic devices. The software used is not neutral. It opens and closes possibilities.
[49]
Tammy McGovern is a media artist whose videos and interactive works have been presented internationally. She is currently Assistant Director at Squeaky Wheel/Buffalo Media Resources where she programs media production workshops and screenings of independent films, videos and digital artworks.
[50]
A collection of interactive pages in which image, text and sound are collaged, animated and recombined in reaction to the reader's mouse clicks and keyboard strokes.
[51]
Judd Morrissey is a writer and experimental programmer of self-evolving texts. He teaches in the Art and Technology department at the School of the Art Institute of Chicago. More information is available at: http://www.judisdaid.com

Lori Talley is a sound and digital artist. Talley is the Director of Digital Production at Cramer-Krasselt Chicago and an instructor in the Sound Department at The School of the Art Institute of Chicago. More information is available at: http://www.artic.edu/~ctalle
[52]
The Error Engine is a tool for the development of self-evolving narrative, a system designed to create performances in language that are authored collaboratively by humans and machines. Designed in the context of a creative evolutionary system, the engine was envisioned as a virtual loom, a writing machine given the task of learning to evolve its own prose from the fragments and programmatic instructions of the author(s). The work takes the visual form of a single, fluid digital page that is continuously transforming, weaving and re-weaving itself together in response to the interactions of the reader.
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(See above for Bootz's bio.)
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An edited version of exerpts from the reprogrammed version of 'passage'. These are put together in a configuration for projection, without interactivity. The different levels of programming can not be seen by the reader who can experience only a 'traditional' animated poem. Some parts of these pieces are adaptive generators, a category of aesthetic signs that are not read.
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35 Store Street, London WC1E 7BS. Payment made locally.
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Janis Jefferies is Professor of Visual Arts, Goldsmiths College and Artisitic Director of the Goldsmiths Digital Studios, a multi-disciplinary research and postgraduate teaching centre spanning owrk in Computing, Arts and Cultural Studies. She is an artist, writer and curator and an associate researcher with Hexagran, The Institute for Research in Media Arts and Technologies, Concordia University, Montreal. The project Electronic Cloth is part of a wider one entitled The Narrative Cloth: Textiles, Translations and Transmissions and includes an interdisciplinary team of artists and scientists investigating the production of expressive, intelligent fabrics through the introdcution of electronic devices. The principal investigator is Barabra Layne (Hexagram).
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The project Electronic Cloth refers the ability of fabric to impart meaning through the narrative of as a from of communication. The intergration of animated surface displays provides an opportunity for complex and changing layers of meaning as the audience interacts with the cloth, in this case a woven structure.
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Elizabeth-Jane Burnett is a poet and visual artist specialising in the use of new media in contemporary innovative poetry. Her work is hybrid and shifting. She flirts with performance on and off the page and screen, and questions the role of multimedia in these mongrel, cyborg, lovingly freakish affairs. She is currently researching and furthering her practice on the PhD in Contemporary Poetics at Royal Holloway, University of London.
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From street to page to screen to performance: twelve roses travel across multiple states of liveness.  Their journey charts an interrogation of the performative and of the hybrid materialities currently playing together in poetry.
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Ceri Buckmaster combines strategies of collage, procedure, lyric and visual poetics, experimenting with the organization of the text, in order to challenge the organization of the socio-political environment the text lives in. She works in digital media for its possibilities for layering and collage and ease of dissemination, while also exploring ‘book’ making and performance. Through a consideration of relationships constructed through text-making, her work investigates the political disenfranchisement of the individual and ways of (re)inscribing politicised subjectivities. She has just finished an MA in Poetic Practice at Royal Holloway.
http://personal.rhul.ac.uk/mnle/301/toenterfeelinglostanddisenfranchised.htm
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"It is impossible to cast an objective eye upon oneself, one can only contemplate the result of perpetual transactions with the subjectivity of others." Nicolas Bourriaud 'Relational Aesthetics'
Notions of subjectivity and agency are inextricably caught up with technology. As Deleuze and Guattari noted, the relationship between human and machine is not one way. This relationship is determined by a flow of communication between the two parties, the human being is enmeshed with the computer, TV and other machines to the extent that we depend upon them to make connections with the unknown, partial, multiple or hybrid.
Email is showcased in this project, a form taken from daily life that is both media for and trace of each subjectivity as it weaves itself with the other. In perPETuAL transACTIONS, emails are juxtaposed with other text and this secondary text interferes with the emails in some way. Letters, words and images interact, materialising transactions on the level of language. As Kristeva wrote, texts are read through other texts, never in the closed space of their own world but through the shadows, sounds, ruptures, and links with texts previously read.
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London Under Construction (Martìn Gubbíns, Piers Hugill, Doug Jones, Aodhán McCardle, Enrico, Stephen Mooney, Chris Paul) is a grouping (rather than a distinct group) of young poets who live in London and perform together. We have attempted to make our writing work not only as an expression of our performances, but also as a series of partial negotiations with each other, the city, and with the reception of the work by the audience. The name of the group is meant to indicate this intention in some way: ours would be a poetry of the city, or more particularly a poetry of a distinct place (London) that in itself validates the existence of a performance 'community'. It would be a poetry that seeks to create, both as text and as text-performance, an environment, a habitation, or even an ecology for itself. It would also be an unfinished poetry, incomplete, always under construction, and open to influence, whether it be from other poets, the audience, the layout of the words on the page, or simply the space of the performance itself, as the situation in which the poem unfolds.
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Our presentation will be based on an email correspondence, circulated among all members of London Under Construction, in which a simple piece of writing will be altered, re-arranged, challenged, mutated, versioned, or dubbed by each of the members, thus performing on the page some of the uses to which texts are, or could be, put to by the group. We hope in this way to produce a ‘live’ product, still full of its bacterial origins, a poetry with its own generative afterlife. London Under Construction is deeply involved in the performance of visual and sound elements, and this aesthetic approach will be made manifest through our email 'correspondence' too.
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A poet and a librarian, Elizabeth James is interested in the history and future of material texts and social networks. Her recent collection is 'Base to Carry' (Barque, 2004). She works at the National Art Library, a division of the Word & Image Department at the Victoria & Albert Museum, London. http://www.cottage.clara.net/
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See above (Thursday evening's curator)
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'Version 1' uses Flash to create textual animation effects to morph language and mimic popular forms of advertising to recontextualise sloganised, familiar speech. The Flash animation is displayed in parallel to a read performance, some of which is displayed onscreen, some of which is contained within the animation’s source code. The performance both complements and interferes with the electronic text.

'Docile History' is a work in progress, using found photographic material as the basis for building fictional biographies. The old is placed within the formal context of new media, which, alongside the performed text, place the new authority of a biography written through web blogs onto the anonymous subjects of the photographs.
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Born in Barcelona, Spain. Albert Pellicer has been living in London since 1995. He earned a BA at Antioch University in Creative Writing and has finished an MA in Poetic Practice at the Royal Holloway University of London this year. He has worked as a teacher, translator, journalist, foreign correspondent as well in a circus and for an airline. Pellicer envisages poetics as the sense and essence of creative activity.
His present work is an inquiry into the depths of field and thresholds in conceptual space.
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A web-based story that explores the concepts of distance and arrival. An enquiry into the idea of home and asylum seeking when it comes down to a 'paperless' citizenship.
'The Cloud Reader' was originally thought as a verse novel whose character describes the experience of being "sans papier" in Barcelona while living in an attic shed where the sky and the passing clouds become readable.

... plus ...

'here T here'
Using a lenticular system 'here T here' explores the spatial poetics of in-betweeness when the reader's movements become involved.

The Paper Is Dreaming: do not turn the page [stand-alone laptop piece]
uses basic 3D anaglyph and stereo-sound effects as a means to explore conceptual space. It approaches the process of reading by involving space as well as excess. Inspired by Bruce Andrews's I Don't Have Any Paper So Shut Up, 'The Paper Is Dreaming' attempts to see space as readable excess. It also uses the stereoscopic notion that 3D vision is the result of two different views of the same object and applies this concept to text and sound by reading two very similar verses within a minimal time gap thus producing a depth of field.
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Kate Pullinger’s books include the novels Weird Sister, The Last Time I Saw Jane, and the short story collection, My Life as a Girl in a Men's Prison. Her most recent novel, A Little Stranger, will be published in January 2006. She edits the anthology of the Asham Award; the next edition, Don’t Know A Good Thing, comes out in spring 2006. Kate Pullinger's radio play, ‘The Egyptian Collection’, was broadcast on BBC Radio 4 on September 14th. You can find a web taster for her latest multi-media piece, The Breathing Wall, at http://www.katepullinger.com/. Kate Pullinger teaches fiction on the MA in Creative Writing at the University of East Anglia, and is involved in setting up a brand-new MA in Creative Writing and Technology at De Montfort University.
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The piece tells the story of a girl, Lana, communicating with her boyfriend, Michael, through the wall of his prison cell. She is dead; he's been falsely convicted of her murder. The story is told through a series of day-dreams (hypertext-based flash movies) linked to a series of night-dreams. The night-dreams reside in HTF, an experimental software that allows the computer to respond to the viewer's rate of breathing.
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Lawrence Upton. Poet; sound and graphic artist, digital / analog. Directed Sub Voicive Poetry (94-05) and now co-directs Writers Forum.
Collaborations with Cobbing included D.A.N., Collaborations for Peter Finch; & WORD SCORE UTTERANCE CHOREOGRAPHY.
He participated in e-poetry 2001 and e-poetry 2003; & in all 3 Incubation conferences. Latest solo publications include Initial Dance, Cumbria Poems and QEV. Filling Station (Canada) has just published Intimacies.
Recent collaborative performances: Trachea (04) with Rory McDermott; and Crowded (05) with John Levack Drever.

John Levack Drever is a Lecturer in Composition at Goldsmiths College. Drever's work is regularly presented internationally in a wide range of contexts: concert hall, radio, cathedral, catwalk, headphones, ice cream van, classroom, devised theatre, fine art gallery, video, internet, dance and for specific sites such as the Tower of Winds, an eighteen century octagonal tower in Shugborough Hall, Staffordshire. Much of his work is collaborative, often working with writers and poets (e.g. Tony Lopez, Alice Oswald, Alaric Sumner, Lawrence Upton,). He is a member of Blind Ditch, company in residence at Dartington College of Arts. In an ongoing exploration into the relationship between sound and place he often works with environmental sound recordings. He has twice been awarded a prize in the annual Musica Nova competition, Prague.
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Projected images present a perhaps forming but chaotic letterscape which is read as a text, with the vocal output electronically treated and recomposed.
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78 Brick Lane, £10 + drinks.
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12, Gerrard St, Chinatown £9.99 + drinks.