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Research Group Electronic Literature

ELO2015 Exhibition

Hybridity and Synaesthesia in Electronic Literature

Experience works of electronic literature that appeal to our senses of touch, hearing and sight.

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Screenshot from Fish Net Stockings.
The installation “Fish Net Stockings” by Joellyn Rock and Alison Aune uses hybrid media to tell the story of a world where mermaids exists, and is part of the ELO2015 Hybridity exhibition at Lydgalleriet.
Photo:
Joellyn Rock

Artist's Talks 06.08.2015 16:15-17:30

Opening 06.08.2015 17:30-18:30

 

Come to Lydgalleriet in Østre Skostredet 3 between August 4 and 22nd 2015 to experience literary texts that challenge the idea of what literature can be. Many of the works displayed play with the interface between the reader and the story that is told. We are used to using books and more recently ebooks as interfaces to the stories told in novels, and television and cinema screens are familiar interfaces to visual stories. This exhibition provides examples of new ways of using technology as an interface to stories and poetry. 

 

The Ouija board can be seen as an interface between our world and the world of spirits, and John Murray and Anastasia Salter develop this by using a physical Ouija board as an interface to a hypertextual story about the supernatural, where the reader's movements of the planchette affect the course of the story. Caitlin Fisher and Tony Viere's Mother/Home/Heaven uses augmented reality to tell stories from everyday life in a Canadian pioneer village. The reader points an iPad at photographs of items from a general store in the village to access the stories. In Joellyn Rock and Alison Aune's Fish Net Stockings we discover a world where mermaids exist, and we encounter this story through a back-projected projection screen using vivid colours and silouette outlines as well as physical cardboard cutouts, sounds and words. Stephen Wingate explores combinatory cinema, while Julie Vulcan and Ashley Scotts RIMA translates the exhibition's visitors' physical movemnets through the gallery space control the Twitter diary of a semi-fictional prisoner of conscience. Angus Forbes uses visualisation techniques and text analysis software to create new versions of Emily Dickinson's poetry. Philippe Bootz and Nicolas Bauffe have programmed a pair of computers: one to generate music, the other to generate poetry in response to the music it hears. Mez Breeze and Andy Campbell's #Carnivast allows readers to move through a 3D textual landscape on the web or on touchscreens. 

 

This is one of five exhibitions that are part of ELO2015, and all are open to the public. For infomration about the other exhibitions and the two open performance nights, see the links below.  

 

Works presented in the exhibition include: “From Beyond” by John Murray (US) and Anastasia Salter (US), “a throw of the dice will never abolish chance .com” by Andy Simianmoto (AU) and Andy Karen Ann Donnachie (AU), “#Carnivast” by Mez Breeze (AU) and Andy Campbell (UK), “play music for my poem” by Philippe Bootz (FR) and Nicolas Bauffe (FR), “Poetry Chains and Collocations” by Angus Forbes (US), “Fish Net Stockings” by Joellyn Rock (US) and Alison Aune (US), “Mother/Home/Heaven” by Caitlin Fisher (CA) and Tony Viere (CA), and RIMA by Julie Vulcan (AU) and Ashley Scott (AU).