Tributaries & Text-Fed Streams: A Feed-Reading of The Capliano Review is a work of electronic literature by J. R. Carpenter, curated by Kate Armstrong, commissioned by The Capliano Review. In February 2007 The Capilano Review published an issue dedicated to new writing and new technologies guest-edited by Andrew Klobucar. Tributaries & Text-Fed Streams: A Feed-Reading of The Capliano Review is a personal, experimental and playful rereading of and response to these essays by J. R. Carpenter. In this work, Carpenter explores the formal and functional properties of RSS, using blogging, tagging and other Web 2.0 tools to mark-up and interlink essays and to insert additional meta-layers of commentary in order to play with, expose, expand upon, and subvert formal structures of writing, literature, and literary criticism. Over a four-month period Carpenter read and re-read the essays, parsing them into fragments, which she then annotated, marked-up, tagged and posted. Fed into an RSS stream, the fragments could then be re-read, reordered, and reblogged in an iterative process of distribution that opened up new readings of the essays and revealed new interrelationships between them. The result of this process-based approach is part blog, part archive – an online repository for the artifacts of re-reading and a stage for the performance of live archiving. Streams are both literally and metaphorically the central image of the work. Streams of consciousness, data, and rivers flow through the interface and through the texts. Through this process of re-reading and responding, this textual tributary feeds into a larger stream while paying tribute to the original source.

Surfing the spirit of different occasions, Feed is a networked image/slogan mixer which is broadcast via a browser in real-time. Made by De Geuzen, Feed has been performed at Networked Media,Piet Zwart Institute (Rotterdam NL) and Artivistic 2009, Turn*On (Montreal, CA) With each venue the uploads are archived and represent a snapshot of a moment of convergence. So come with your laptop and be prepared to feed to be fed!

*www.geuzen.org

Thematic anagrammatic Flash poems are montaged with "brushes" made for the occasion with Jim Andrews dbCinema as I read from experiments in Flarf and a manuscript (You are, therefore I am) made out of 2009 twitter postings.

We'll explore elements of the culture of LiveSkyping parties.

Rettberg will read from Implementation, the sticker novel he coauthored with Nick Montfort. He will also invite your participation in the project, by asking you to take some of the novel home with you, to locate individual texts in a public physical environment, and photograph them. The photographs returned by readers will form the basis of a new iteration of Implementation, in coffee-table book form.

Connected Memories is part of my on going practice-led research in language-art and technology in the fields of art and literature and more specific in electronic poetry. The technical part of this piece has been developed by José Carlos Silvestre from Brazil.
It consists of a series of extracts from interviews of refugees living in London, which are compiled in a database.
It was my intention to blend two meanings together; one the literal part of the work; the narrative as a fundamental of human communication and the reading of legible extracts. The other, the textual narratives in the form of generative visual poems, where simultaneously the eye and the brain are functioning to reveal the semantic meaning, as well as the visual abstraction of the text.
As the participant explores and experiences the work by connecting the extracts from the narratives appearing in the screen, the fortuitous position of extracts produces new relationships, and in the process, a constant current of meanings, connections and narratives; shifting from the semantic linguistic meaning to the visual, from the literal, the legible, the transparent to the abstract memory; and simultaneously creating a poetic space of readable and visual textualities, connecting memories, blending them and making them disappear in turn to make other memories appear.
The way I envisage this work is as an installation with a microphone inviting the participants to read and share the stories. As with the oral storytelling tradition, in this work, the sharing of experiences happens at that moment in time. There is no recording facility; the text is in constant flux of becoming. My ultimate aim is to be able to get people to share their stories using technology as a participatory and inviting medium to perform and share stories.

Utter is a new interactive performance work that employs computer speech recognition, motion sensing and digital memory to create an adaptive linguistic palimpsest. The system records speech and the location, movement and orientation of the speaker, using this data to create a dynamic display of texts that can interact with one another.

Older utterances appear darker, smaller and further away whilst recent utterances appear larger, brighter and closer. The actions of the speaker determine the behaviour of the texts. Recorded utterances can recombine with one another, employing structural grammars to create new texts. Grammatical elements can migrate through the emergent 3D ecology of texts and thus through time.

Utter engages the performative through the transformative power of language and suggests a system of Chinese-whispers constituted as textual recombinance and migration.