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| The Bisociation Engine | |
(in progress) |
w' bill seaman |
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The
Bisociation Engine (B-Engine) is a software architecture and
series of interactive installations exploring mechanisms of associative thought.
Drawing on research from a range of disciplines (psychology, linguistics,
cognitive & computer science, etc.) the B-Engine software explores large
multi-media databases to 'discover' unexpected linkages between disparate
items. An initial
installation of the system, (entitled 'the Architecture of Association') will
take place in June, 2008 at the Museum of Image and Sound, Sao Paulo, Brazil.
Paper [presented at
the SLSA/Code conf.
Nov. 2007] |
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| Designed to support the creation of novel works of generative
literature, the RiTa library provides a unique set of tools
for artists and writers working in programmable media. Combining features of
natural language processing, computational stylistics, & generative systems
theory, RiTa enables a range of tasks, from statistical methods, to
grammar-based generation, to ontological databases (e.g., WordNet), to
text-mining, to text-to-speech, to image, audio, & animation, all in
real-time. RiTa has been implemented in the Java programming language as a
free/open-source project that runs either in 'stand-alone' mode, or in conjunction with the popular Processing environment for digital arts programming.
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| No Time Machine | |
(2008) |
w' aya karpinska |
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Quiet time, dead time, free time - there seems to be less and less of
it. What do we give up in the race to continually maximize our efficiency?
No Time Machine explores these questions by mining the web for
variations on the phrase 'I don’t have time for...' Results are analyzed algorithmically and reconstructed into a multi-voiced poetic conversation. Interwoven with this 'found poetry' are sentences that we have re-contextualized ourselves; a human-computer collaboration that expands the field of creative writing to include networked and programmable media.
No Time Machine is a commission for New Radio & Performing Arts, Inc.
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Part performance piece and part interactive digital
landscape, Text.Maze is a recombinant poetic system built upon the principles
of maze construction. As each increasingly complex maze extends
itself in 3-dimensional space, new text is revealed as it combines along the
edges of selected paths. As the mazes grow in complexity and phrases become
more self-reflexive, the work's vocabulary suggests the inability of language
to bridge the often vast communicative gaps between us.
*special thanks to Ken Perlin and Linnea Ogden
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| TrackMeNot | |
(2006) |
w' helen nissenbaum |
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| TrackMeNot blends software tool and artware intervention in a firefox extension designed both to protect users from surreptitious data profiling and to interpose in the unbalanced power dynamic between searchers and the corporations controlling our data. Unlike most privacy tools, TrackMeNot(TMN) works not by means of concealment or encryption, but instead via noise and obfuscation. Running as a background process within the browser, TMN periodically issues algorithmically-generated decoy queries to popular search engines like Google, AOL, Yahoo!, MSN. Thus users' real searches, lost in a cloud of false data, are essentially hidden in plain view.
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Live.Text.Mix is a generative system for performed
improvisational writing, simultaneously exploring the 'remix' on multiple
levels (linguistic, visual, and aural). The system accepts real-time textual
input from a 'live writer', in conjunction with audio inputs from live
performers (e.g., readers of the generated text, spoken word artists,
vocalists, musicians, etc.) These inputs guide the text-generation component
of the software while the performers manipulate and 'remix' captured samples
into an evolving improvisational audio-visual work. Additionally the system
provides control over visual elements to the performers via game-style
joystick controllers.
*featuring
Nicole Terez & Aya Karpinska |
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| [meme.garden] | |
(2006) |
w' mary flanagan et al. |
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| [meme.garden]
blends software artwork and search interface to explore the dynamic and
social nature of information as mapped though language. Users begin by
entering words and phrases of particular interest which are expanded,
via a lexical database, into sets of related concepts. Each set is
visualized as a 'seed' which can be "planted' in the user's virtual
'garden'. Each of these seeds grows into a unique organism that evolves
through repeated interactions over time. The evolution of each user's
garden is also affected by the choices and interactions of other
members of the [meme.garden] community. As these virtual gardens grow
over time users and communities become linked in a persistent
contextual biosphere... [meme.garden] is a commission for New Radio & Performing Arts, Inc. |
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text.curtain explores relationships between poetic text and
ludic play via an interactively evolving recombinant text. Projected on a
wall-size screen, text.curtain presents a physics-based ‘spring-mass’
interface that organically responds to the interactions of multiple
simultaneous users. As the piece is disrupted and letters wash back and forth,
a granular synthesis engine provides realtime aural feedback. Tension is
created through the simultaneous desire of users to both disrupt the existing
text via 'play' and to ‘read’ the piece as it evolves and recombines in
response.
more> |
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Cave.Cubes, developed for the Brown CAVE environment, employs virtual physics and
three-dimensional geometries to define writerly constraints in embodied
virtual space. Like the grammars found in natural language, 3-D geometries
have specific ways in which they can connect and recombine. By leveraging
these (virtual) physical grammar within a dynamic physics simulation, a set of
organic constraints emerge to challenge the writer in embodied literary
space...
more> |
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| Open.Ended | |
(2005) |
w' aya karpinska |
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Extending poetry beyond
the printed page into interactive spaces calls for novel ways of designing the
poetic experience. As authors access a broadening range of technologies, new
methods of augmenting the reader experience become available. A work’s entry
and exit points may change across viewings, the ordering and spatialization of
words may update dynamically, and the work may transform itself in ways
independent of the reader. open.ended is an interactive,
three-dimensional system of poems which explores such techniques.
more>
3d font applet :: experimental typography
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| Code.Re(a)d
explores the potential of computer code to perform as literary 'text'
in digital media work; examining potential snyergies between 'process'
and 'product' via the dual nature of code as both fixed text and
dynamic process. Designed to augment existing programmed works, the
'code-reader' software provides easy access to source-code from within
a running program (decompiled if necessary). The software's own
instruction set may then be interpreted and presented in a visually,
sonically, or physically (the example applet below uses source text as
both its visual and aural (sonified through a text-to-speech engine)
material.
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| The
Phoneme.Machine series presents a set of generative (reversible)
algorithms via fragments of spoken language. By adding & removing 'agents',
each of which follow very simple rules, users trigger speech diphones (2
sequential phonemes), the basic building blocks of speech. Diphones are
triggered on collisions between agents as they follow their algorithmic
trajectories. While compositions begin simply, underlying the work is a
complex model that (theoretically) supports energy-free computation. These
works attempt to create linguistic environments where the creative potential of generative computation is foregrounded.
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| the Weight.of.Words (64 Stones) | |
(2002) |
w' tetsu kondo |
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| The
Weight of Words is a physical installation (constructed of 64
solenoid-powered stones, each capable of flipping itself up into the air) that invites
users to consider alternate (physical) representations of language. The
piece explores the transformation of language as it crosses from the analog to
the digital and back. As text is typed at the keyboard, it is converted into
its most basic informational representation, a machine-language comprised
exclusively of 0s and 1s. When these fragments of language are re-embodied
as physical objects, they speak to is through the sound of jumping stones...
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![[meme.garden]](img/meme150.jpg)
