#screenbased

[gatheringkeepsakes]

we need more gif makers

[renatebraams]

First thoughts: medium and story

Since this term we have some classes in Maya and Unity, I am now thinking of combining those lessons with this project. My first thought is to make a 3D room where you as a viewer can walk around in. The space will give you the experience of an abandoned place. 

[freyaskatt]

Note #9 ~ 'Becoming the Icon’ from www.bleedonline.net

Today I have been watching ‘Becoming the Icon’ performance video by Lilian Steiner and Emile Zile that was presented on BLEED 2020 (www.bleedonline.net) festival.

This is the first collaboration work of Lilian Steiner and Emile Zile who both are Melbourne performance artists. ‘Becoming the Icon’ fuses movement and film to explore the ways in which politics manifests at the physical level. Two bodies exist in a realm whose boundaries are defined by light, their relationship and the eye of the camera. This is the metaphysical arena in which their shifting power dynamics will play out, at some times flaring up into outright confrontation, at others attempting to manipulate and persuade in more insidious ways.

Basically, it is quite engaging and resonant performance, which feeds upon a classical logic of theatrical play with an exposition, development, climax and finale.

As both artists have completely different body complexion and motoric skills it allows them to create an unusual symbiosis of a ‘pseudo-pair’ where partners complement each other well.

The performance lasts 30 minutes, including scenes with sound effects and the ones where we could hear only human voices. That serves successfully for putting right accents on important moments and manipulates our attention.

The piece consists of scenes where the characters could sit on chairs or stand on stage as if speaking to the public or journalists. Further, they are shown in profile in a low-key light, actively debating with each other. 

These scenes are interspersed with intriguing episodes that show subjective perception of how characters can perform their functions, being limited by something (e.g., the scope of their ‘political’ powers). Within the show, these restrictions are brought to an absolute and represent a limitation of the ability to physically control their bodies. As such the characters roll across the stage, forming chaotic and sometimes even creepy bodily compositions.

For more intensity, these sequences are entwined with a sort of ‘battle’ on markers. The characters being playing politicians, draw plans while interfering each other, crossing out what is written by the other side and confusing the whole process of ‘making plans’. Literally, we could see chaos on a verbal level that is an outcome of previous “subconscious” level (where bodies were rolling).

Within the show, the lighting is often set as on a theatrical stage or a TV program. However, there are sequences where characters use only gestures without saying anything. In this case, the low-key light is designed to emphasize the expression of gestures. I found it beautifully done.

Going to the soundtrack, it is an acoustic ambient that, at certain moments, powerfully sets the uprising tension and controls major narrative rhythms.

As to the editing, in the last scene I have noticed that they used the split screen and masking, so that the characters could be on the same level and say different things at the same time. It is also interesting to note that each of the characters would look at their own camera and they are lit in slightly different ways. 

My general impression from the performance was that the artists deprived the social role of ‘politician’ from its meaningful semantics, while trying to depict only politician's body language in different situations. It has done to such an extent that it is now perceived almost as a mental illness where a person is able to recognize objects but cannot identify them because of the brain injury. It is a strange and unpleasant feeling. We all know that politicians rely heavily on non-verbal body language to successfully achieve their goals. This video performance brings this to the point of absurdity and exposes the cynicism of manipulating the human psyche.

As I have experienced this work online, I would not say it would be different if to watch it in person, as it is screen-based work. Unless we mention the importance of cultural environment of physical festival in which this video piece would be a part of.

Here is the link to the performance:

https://bleedonline.net/program/becoming-the-icon/becoming-the-icon-film/

Following are the stills from the performance:

[designbynissen]

📱👩‍🏫 Prototyping and review

Thursday

Getting the prototype done! We spent the day getting our Figma prototype ready for the review and testing. Since this prototype is screenbased and is going to be tested it needs to be fully functional. The time was spent figuring this all out, and also how to present our style. We had developed a style that we felt reached our usergroup with both illustartions and a color palette.

All along we have strived to keep the child active during this project, either it was with physical objects or on screen. This week our goal was to translate the physical aspect to the screen. The answer we have developed this week was a screenbased control table, keeping the student active through interactions on the screen, movement and illustrations. We are excited to see how our user reacts to this versus the physical board with pieces.

Last week // This week

Illustartions, gifs and color palette (Illustarted by @charlotte-gereke ❤️)

Friday (remote)

Iterated 'Project statement 2':

How can one through illustartions, active interactions and movement on screen motivate students to explore the phase transitions that happen around us everyday?

Our Figma prototype

(Already seeing that we need more explaining some places, it's easy for me because I know it, but for someone opening it for the first time it could mean some confusions) - before feedback.

🏫 Feedback from teachers:

It's starting to begin to look like a good aesthetic expression - exciting to see if the aesthetics fits the targetgroup.

Needs more clearer intructions on different interactions (zoom)

How to turn this from passive information into activity? What moves you to the next exploration? What keeps the user going?

Look at the bigger picture - modular lab

Periodic table? - if not included in syllabus, create a better teaching aid where it excists (introduce earlier?)

Some detail work on control table - color on different factors needs to be differentiated.

[franziska-linnea]

Gregor Wright (Screenbased Painting)

[fiert]

Brief #5 - Designing with APIs

This week, Eline and I are working with API’s. - Interpreting data and applying it in a dynamic visualization of some sort with HTML, Javascript and CSS. We started by exploring and decoding different datasets that caught our eye, but landed on Oslo Bysykkel’s data for the bike stop at Telthusbakken right outside our school.

After working and scetching through some ideas we both agreed to abstract it completely and narrow down the user group to our own people in our own classroom. A screenbased visualization on our classroom wall. 

[box-tank]

officialtokyosan replied to your post: officialtokyosan replied to your post: ...

oh yeah. those are pretty fancy. any screenbased tablet is. you could try a wacom bamboo, it’s bigger but unfortunately it’s no screen

The one I have already is actually a Bamboo Splash by Wacom, it’s a tiny little fella. Yeah I’ve been looking at the normal ones too like the Bamboo but even with all the practice I have this weird disconnect between drawing while trying to keep the pen going correctly while drawing that I haven’t able to get past but I guess if I maybe tried one of the bigger ones in-person, it could possibly work out

[h-ibiscus]

this article im reading is going to kill me

[leanstooneside]

Failing to honor well-established traditions and limits

social assimilations this abstract assimilation is not without controversy

digital environments images are in the process

altruistic activism to advertisements and even more obscene to cite ads as poetry but that is our next step

cognitive mode that occurs when text/image is read in parallel

critical writing Concrete Poetry: A World View echoes the ideology of concrete’s origins: “... there is a fundamental requirement

mediumlength written work is laid out in a virtual

other challenge is technical

paradigmatic axioms: We are all code

Concrete poetry is the obvious

final result is output

normal popular view is that words

poetic line is not flat it

romantic poets is denigrated as a preliminary step

ideological tug of wars he is being used

flat disk are rotated at constant speed

ergodic reading environment.22 In ascii portraits image and text have fused but in a power relationship much like détente; both are readable

digital media is once again making typography malleable

iconic TextRain is another example

concrete movement was conceived as semantically pure attention to language’s visual element and the works produced which are often sensual aesthetic organic lush

dimensional typography with implications for digital poetry there are some prescient pioneers

emotional relation to the work has ontological implications: it is a stepping stone precedence

alternative interpretation is equally valid

volumetric typography owes a lot to the past to graffiti and tag styles which in turn are indebted

redolent forms undulant in black space swollen with language are unreadable

thick they are like oil

major painters of our era are 3D artists

casual eye the similarities between the trace markmaking of petroglyphs papyrus hieroglyphs and screenbased digital typography are strong

contemporary screen then its depth is implicit it

next step in the evolution of textimage toward symbiotic fusion is popularly referred to as word

concrete poem as just language has resulted in a landscape where digital and malleable typographic examples are to a great degree trademarked

visual language’s primary users are marginalized radicals poets

same year 1998 Cho developed a storm swarm 3D algorithmic text Nutexts: Nutexts is a series

fundamental steps occur when digital text is made malleable

visible live it is also a fossilized excretion

digital poetry is that the craft

Visual poetry in this evolving ecosystem is just one species

torque indecipherability toward shared sentience that language is born and becomes separate

mimetic functions are subsumed

slushy ink; each letter now germinates and extrudes like a sprout; sexual a thick fountain a forest of letters a field of wavering black stalks rises off the page; each is plush

visual form does something rather than that it is something. Johanna Drucker SpecLab

nuanced example is Camille Utterback’s Written Forms

public warehouses are sliced

minimalist type and visual minimalist structural and semiotic poems are far

exponential: reconfiguring what it retrieves into a format that is readable

amenable it is to both cinematic

rare example of a poetpainter is Peter Ciccariello

normal view is easily found; a typical example

new mode of reading are best actualized

concrete poem is language

representational technology offered an expanded toolset for poets “The camera is fit to be used expressively

monochromatic entity; instead it is that print in static form

concrete poetry was purely about the word distancing itself from collage and hybrid practice timebased malleable digital poetry as I create and conceive it is about image conjunctions assimilations permutations

[courtneyopenbrief]

The Brief

Introduction

For this project you are required to select and produce one of the following:

Motion Typography Piece:

Select a poem, lyrics from a song, or a short passage of prose and design and produce a typographic sequence based on your chosen text.

Keep in mind compositional issues in two and three dimensions as well as in time; rhyme, scale, contrast, line, white space, negative space, texture, pattern etc.

Typography and words/dialog have always has a special relationship. Typography can echo the words and feelings of the author, and is one of the few occasions where words and type enjoy such a connection and have a chance to come to life. The brief presents an opportunity for you to set the scope of invention into type applied to television and any digital media deemed necessary.

Promotional Motion Poster:

Select a film, a TV show or a game and produce 3 motion posters to promote your chosen subject.

TV shows and games nowadays have a similar marketing budget to feature films to promote themselves. Call of Duty and Destiny have started to produce ‘live-action’ trailers to accompany game releases, along with Assassin’s Creed in recent years, that gain huge amounts of viral shares and hit online, as well as being shown in regular advertisement breaks on television.

With this in mind, bring your chosen subject into the domain of motion posters designed to be shown to the public at a variety of locations.

Think carefully about utilising space, composition and rule of thirds to produce an effective piece that is sharp, to the point and grab’s a viewers attention without being intrusive or clichéd - and remains faithful to your chosen subject.

Research into hoe your chosen subject is represented currently is essential.

Think about the next step in advertising media - executions that fans of the genre can actually benefit from given the opportunities presented to us using new media advertising. Think animated outdoor billboard advertising, anything that promotes the even through sight and sound within the environment, e.g. bus shelters, phone booths, shop windows and high streets etc.

Animated Book Advertising:

Create an animated marketing campaign for a book of your choice. You may re-create a specific chapter/page/paragraph of your chosen book and depict its content using any media you see fit. Animated illustration, digital film-making and motion graphics responses are all welcomed, with attention given to typography, sound and screenbased composition. You should aim to provide a solution that defines the usual print based marketing conventions and show how your idea works as a teaser campaign.

In the mind of many book publishers, promotional campaigns are geared solely to print based advertising, e.g. posters, magazines, etc. Your submission needs to change that. The breadth of digital media can take the promotion of this genre to a far wider variety of locations, and consumers need to be aware of this.

Think Waterstones/Boarders as in-store plasma screen advertising. How would you enhance the overall overall atmosphere of the book by visualising it with sound and moving image? Also web-based movies for book sellers such as Amazon and Play. The opportunities are vast.

A Subject of Your Choosing:

You may choose your own subject, but you MUST make a formal proposition, backed by a credible outline plan of what you intend to do. This must be checked and approved by your tutor before you begin preproduction. Propositions should be in a week or so after the initial briefing.

Approach

This project asks you to use your imagination and communicate something intelligent in a very simple, effective way. Immerse yourself in investigative research and experimentation, but remember that this must all boil down into a simple but strong piece of communication. Being and artist, designer or film-maker is not about making something just look pretty- you must think about content and meaning, your work must have attitude and communicate a point. This is not to say in anyway that your response must always be serious-you should also be considering humor as a means of communication.

As you are just starting your second year, begin to be your own best critic, learn to take a step backwards and assess your own work. Think about what you want to say and why, then ask yourself if your product really achieves this.

Outcomes

Digital submissions to be made in 16:9 format rendered out as Apple Pro Res codec.

[designbynissen]

🚀 A new approach

Week 4

Monday (remote)

Today we shared different tasks between us, to then merge and discuss when meeting at school.

Inspiration (Toca Lab)

I started to look at the oppurtunities regarding the periodic table. Although the periodic table does not really get mentioned in the syllabus, we see a need that students know about it before learing the more advanced. Therefore we are thinking of the periodic table as something that the students get slightly introduced to and can recognize later.

The idea now is kind of a 'collecting game', where you can explore the different elements (phase transitions and chemical reactions). This can help to increase the need to explore. It is also meant to be used in a classroom setting, where the teacher decides and intructs the students which elements to explore. After learning about the use, the students can also explore on their own (e.g. leisure, homework).

Tuesday

Merge and discuss!

We had all worked on different aspects of our screenbased experience, me focusing on how to intregate the periodic table. The initial idea was that the periodic table could be a set of tasks you choose to explore, gaining new elements the more you explore. This is a good angle, but there would so many tasks and explorations, so we discussed turning the periodic table to more of a library.

We decided to work with the layout that worked from concept 1 (the screen from the physical board). Letting the teacher/students choose between exploring chemical reactions or phase transitions, and then do tasks/explorations where the goal is to gain elements into the periodic table library.

We also discussed using more relevant examples when the students explore. This is something several science teachers we have talked to have told us is a very important aspect for a good learning experience. This can also mean that our learning tool can be used as a tool in different science lessons.

"I think it is essential for the students that we link to things that happen around us in everyday life."

One way of using our learning tool

Going for a excursion one lesson, learning as they go, making a fire, having a good experience. Then the next lesson discussing what they experienced during their trip, where the students will hopefully be excited to tell about their fun experience. Then exploring their experience closer in our learning tool.

[designbynissen]

📱Iteration and prototyping

Tuesday

A rough scetch of what the app will contain, with the different interactions like zoom and sliders to keep the student active. We are trying to figure out how to translate the physical board to a screenbased interaction.

🤸🏼‍♀️📲 From physical to screen:

Keep the child active with many interactions with the screen (zoom and sliders)

A screenbased 'control table' with the different factors the user can adjust.

Figma prototyping (in development)

Wednesday (remote)

We started the day by making a moodboard, to help us better understand how we wanted our new screenbased interaction to look like.

We used alot of the day to figure out the layout, style and the different interactions for the user in Figma. We want our user to be active, which can be diffucult to prototype, but we have to think about all the advantages of this approach and not get discouraged. It's alot of fiddling during this process in Figma, what is the best approach? But from this we have already figured out some questions that our user can give us some insights on.

Start of the day

End of the day

Tomorrow we will finish the prototype and get some insights from other classmates seeing their reactions. During the weekend we will test with our user.

[designbynissen]

🌟 New focus

Week 3

Sunday (interview/test 2)

We did another interview/test on sunday pretty similar to the first interview, but this time also asked more about what the preferences where (tasks and exploring/experiements, or maybe only one?)

Girl 10 years old (5. klasse)

🔑 Keypoints from interview/test 2:

Likes to be active, use hands and explore (she explained the pieces as something other than only words and a screen).

'Sliders' - controlling different factors seems cool, and would make it more fun and engaging to use.

'Learning through play' - "It's not just typical school and A4" (showing a frame with her hands).

Exploring yourself - testing and exploring seems fun, seeing reactions on the screen of what you are doing.

Even though it's fun to experiment, it's a possibility that you don't get to much out of it, therefore it's important to learn things in advance (in the app or as a part of a learning sequence is something we need to consider)

Monday (remote)

New week, new focus!

We started our day meeting on zoom, discussing last week and the interviews we conducted Monday and Sunday. We decided to point our project even more, focusing more on one specific aspect our chosen competence goal: "utforske faseoverganger og kjemiske reaksjoner og beskrive hva som kjennetegner dem" (explore phase transitions). We also decided to focus on one grade in general (5. klasse) and because of that one chapter in the Solars 5 textbook. This will help us during the rest of the project and give us guidelines to make something that motivates the children. From this we discussed and decided that we want to make chemistry more alive, and give the students a closer look at what actually happens around us.

Screen based vs physical

Our concept from last week was very physical and kept the children active, which both of our users liked, but it can also contribute to some diffuculties. It's harder to test the actual experience, the money aspect and also the reasons why to add something even more (comments from last fridays review). We believe we have sufficiant arguments to why, but we have decided to this week focus on screenbased and test this with our user. Maybe we will find out they are both great concepts that will help and motivate students to learn? Maybe this will give us even more arguments to why we want to go that way? Maybe only one will work in a school setting? We will see what this week brings.

🔑📱 Key guidelines designing screen based:

Visual cues that guide the user

Focus on broader gestures (seiling, grabbing and tapping)

Visual and auditory feedback (children expect to be rewarded for whatever they do)

Children like cool stuff happening om the screen, but there needs to be a meaning behind it - " [...] a method to the proverbial madness" - Debra Gelman (UX researcher and designer)

Like adults, children also expect consistent design patterns - get annoyed by design elements that seem random and unecessary.

Purpose is key - as designers we need to clearly articulate what the app does and how it works (give the user a good reason to KEEP using it!)

A lagniappe - 'a little something extra' (easter egg) thrown in to delight people - both adults and kids enjoy small and unexpected interactions that enhance the experience.

The rest of the week will consist of figuring out what our learning tool will contain and then making a new prototype for our user to test.

[leanstooneside]

It is better to be green and growing than ripe and rotten

NORMAL POPULAR VIEW IS THAT WORDS

FLAT DISK ARE ROTATED AT CONSTANT SPEED

THICK THEY ARE LIKE OIL

VOLUMETRIC TYPOGRAPHY OWES A LOT TO THE PAST TO GRAFFITI AND TAG STYLES WHICH IN TURN ARE INDEBTED

MONOCHROMATIC ENTITY; INSTEAD IT IS THAT PRINT IN STATIC FORM

MINIMALIST TYPE AND VISUAL MINIMALIST STRUCTURAL AND SEMIOTIC POEMS ARE FAR

COGNITIVE MODE THAT OCCURS WHEN TEXT/IMAGE IS READ IN PARALLEL

VISIBLE LIVE IT IS ALSO A FOSSILIZED EXCRETION

NEW MODE OF READING ARE BEST ACTUALIZED

MEDIUMLENGTH WRITTEN WORK IS LAID OUT IN A VIRTUAL

EMOTIONAL RELATION TO THE WORK HAS ONTOLOGICAL IMPLICATIONS: IT IS A STEPPING STONE PRECEDENCE

CONCRETE POEM AS JUST LANGUAGE HAS RESULTED IN A LANDSCAPE WHERE DIGITAL AND MALLEABLE TYPOGRAPHIC EXAMPLES ARE TO A GREAT DEGREE TRADEMARKED

CONCRETE POETRY IS THE OBVIOUS

FINAL RESULT IS OUTPUT

REPRESENTATIONAL TECHNOLOGY OFFERED AN EXPANDED TOOLSET FOR POETS €œTHE CAMERA IS FIT TO BE USED EXPRESSIVELY

FUNDAMENTAL STEPS OCCUR WHEN DIGITAL TEXT IS MADE MALLEABLE

ALTRUISTIC ACTIVISM TO ADVERTISEMENTS AND EVEN MORE OBSCENE TO CITE ADS AS POETRY BUT THAT IS OUR NEXT STEP

MIMETIC FUNCTIONS ARE SUBSUMED

ERGODIC READING ENVIRONMENT.22 IN ASCII PORTRAITS IMAGE AND TEXT HAVE FUSED BUT IN A POWER RELATIONSHIP MUCH LIKE DéTENTE; BOTH ARE READABLE

CONCRETE POETRY WAS PURELY ABOUT THE WORD DISTANCING ITSELF FROM COLLAGE AND HYBRID PRACTICE TIMEBASED MALLEABLE DIGITAL POETRY AS I CREATE AND CONCEIVE IT IS ABOUT IMAGE CONJUNCTIONS ASSIMILATIONS PERMUTATIONS

CONTEMPORARY SCREEN THEN ITS DEPTH IS IMPLICIT IT

AMENABLE IT IS TO BOTH CINEMATIC

CRITICAL WRITING CONCRETE POETRY: A WORLD VIEW ECHOES THE IDEOLOGY OF CONCRETE€™S ORIGINS: €œ... THERE IS A FUNDAMENTAL REQUIREMENT

ALTERNATIVE INTERPRETATION IS EQUALLY VALID

POETIC LINE IS NOT FLAT IT

REDOLENT FORMS UNDULANT IN BLACK SPACE SWOLLEN WITH LANGUAGE ARE UNREADABLE

PARADIGMATIC AXIOMS: WE ARE ALL CODE

OTHER CHALLENGE IS TECHNICAL

SLUSHY INK; EACH LETTER NOW GERMINATES AND EXTRUDES LIKE A SPROUT; SEXUAL A THICK FOUNTAIN A FOREST OF LETTERS A FIELD OF WAVERING BLACK STALKS RISES OFF THE PAGE; EACH IS PLUSH

NORMAL VIEW IS EASILY FOUND; A TYPICAL EXAMPLE

ICONIC TEXTRAIN IS ANOTHER EXAMPLE

CONCRETE MOVEMENT WAS CONCEIVED AS SEMANTICALLY PURE ATTENTION TO LANGUAGE€™S VISUAL ELEMENT AND THE WORKS PRODUCED WHICH ARE OFTEN SENSUAL AESTHETIC ORGANIC LUSH

SOCIAL ASSIMILATIONS THIS ABSTRACT ASSIMILATION IS NOT WITHOUT CONTROVERSY

ROMANTIC POETS IS DENIGRATED AS A PRELIMINARY STEP

DIGITAL POETRY IS THAT THE CRAFT

NEXT STEP IN THE EVOLUTION OF TEXTIMAGE TOWARD SYMBIOTIC FUSION IS POPULARLY REFERRED TO AS WORD

DIMENSIONAL TYPOGRAPHY WITH IMPLICATIONS FOR DIGITAL POETRY THERE ARE SOME PRESCIENT PIONEERS

DIGITAL ENVIRONMENTS IMAGES ARE IN THE PROCESS

CASUAL EYE THE SIMILARITIES BETWEEN THE TRACE MARKMAKING OF PETROGLYPHS PAPYRUS HIEROGLYPHS AND SCREENBASED DIGITAL TYPOGRAPHY ARE STRONG

MAJOR PAINTERS OF OUR ERA ARE 3D ARTISTS

VISUAL LANGUAGE€™S PRIMARY USERS ARE MARGINALIZED RADICALS POETS

CONCRETE POEM IS LANGUAGE

SAME YEAR 1998 CHO DEVELOPED A STORM SWARM 3D ALGORITHMIC TEXT NUTEXTS: NUTEXTS IS A SERIES

[leanstooneside]

Double clothesline

MONOCHROMATIC ENTITY; INSTEAD IT IS THAT PRINT IN STATIC FORM

COGNITIVE MODE THAT OCCURS WHEN TEXT/IMAGE IS READ IN PARALLEL

VOLUMETRIC TYPOGRAPHY OWES A LOT TO THE PAST TO GRAFFITI AND TAG STYLES WHICH IN TURN ARE INDEBTED

FUNDAMENTAL STEPS OCCUR WHEN DIGITAL TEXT IS MADE MALLEABLE

CONTEMPORARY SCREEN THEN ITS DEPTH IS IMPLICIT IT

PUBLIC WAREHOUSES ARE SLICED

REDOLENT FORMS UNDULANT IN BLACK SPACE SWOLLEN WITH LANGUAGE ARE UNREADABLE

FINAL RESULT IS OUTPUT

VISIBLE LIVE IT IS ALSO A FOSSILIZED EXCRETION

MINIMALIST TYPE AND VISUAL MINIMALIST STRUCTURAL AND SEMIOTIC POEMS ARE FAR

MIMETIC FUNCTIONS ARE SUBSUMED

NEW MODE OF READING ARE BEST ACTUALIZED

ROMANTIC POETS IS DENIGRATED AS A PRELIMINARY STEP

CASUAL EYE THE SIMILARITIES BETWEEN THE TRACE MARKMAKING OF PETROGLYPHS PAPYRUS HIEROGLYPHS AND SCREENBASED DIGITAL TYPOGRAPHY ARE STRONG

SOCIAL ASSIMILATIONS THIS ABSTRACT ASSIMILATION IS NOT WITHOUT CONTROVERSY

VISUAL POETRY IN THIS EVOLVING ECOSYSTEM IS JUST ONE SPECIES

PARADIGMATIC AXIOMS: WE ARE ALL CODE

THICK THEY ARE LIKE OIL

ICONIC TEXTRAIN IS ANOTHER EXAMPLE

MAJOR PAINTERS OF OUR ERA ARE 3D ARTISTS

NEXT STEP IN THE EVOLUTION OF TEXTIMAGE TOWARD SYMBIOTIC FUSION IS POPULARLY REFERRED TO AS WORD

ALTERNATIVE INTERPRETATION IS EQUALLY VALID

ALTRUISTIC ACTIVISM TO ADVERTISEMENTS AND EVEN MORE OBSCENE TO CITE ADS AS POETRY BUT THAT IS OUR NEXT STEP

RARE EXAMPLE OF A POETPAINTER IS PETER CICCARIELLO

OTHER CHALLENGE IS TECHNICAL

DIGITAL ENVIRONMENTS IMAGES ARE IN THE PROCESS

SAME YEAR 1998 CHO DEVELOPED A STORM SWARM 3D ALGORITHMIC TEXT NUTEXTS: NUTEXTS IS A SERIES

EXPONENTIAL: RECONFIGURING WHAT IT RETRIEVES INTO A FORMAT THAT IS READABLE

SLUSHY INK; EACH LETTER NOW GERMINATES AND EXTRUDES LIKE A SPROUT; SEXUAL A THICK FOUNTAIN A FOREST OF LETTERS A FIELD OF WAVERING BLACK STALKS RISES OFF THE PAGE; EACH IS PLUSH

NUANCED EXAMPLE IS CAMILLE UTTERBACK€™S WRITTEN FORMS

VISUAL FORM DOES SOMETHING RATHER THAN THAT IT IS SOMETHING. JOHANNA DRUCKER SPECLAB

AMENABLE IT IS TO BOTH CINEMATIC

DIMENSIONAL TYPOGRAPHY WITH IMPLICATIONS FOR DIGITAL POETRY THERE ARE SOME PRESCIENT PIONEERS

MEDIUMLENGTH WRITTEN WORK IS LAID OUT IN A VIRTUAL

DIGITAL POETRY IS THAT THE CRAFT

IDEOLOGICAL TUG OF WARS HE IS BEING USED

NORMAL POPULAR VIEW IS THAT WORDS

ERGODIC READING ENVIRONMENT.22 IN ASCII PORTRAITS IMAGE AND TEXT HAVE FUSED BUT IN A POWER RELATIONSHIP MUCH LIKE DéTENTE; BOTH ARE READABLE

NORMAL VIEW IS EASILY FOUND; A TYPICAL EXAMPLE

CONCRETE POEM AS JUST LANGUAGE HAS RESULTED IN A LANDSCAPE WHERE DIGITAL AND MALLEABLE TYPOGRAPHIC EXAMPLES ARE TO A GREAT DEGREE TRADEMARKED

[leanstooneside]

Handling a difficult situation with finesse

ancient times up until After Effects ribbons is that there

other challenge is technical

digital poetry is that the craft

same year 1998 Cho developed a storm swarm 3D algorithmic text Nutexts: Nutexts is a series

semantic meaning; it is a composite hybrid perched

concrete poem as just language has resulted in a landscape where digital and malleable typographic examples are to a great degree trademarked

mimetic functions are subsumed

visual form does something rather than that it is something. Johanna Drucker SpecLab

casual eye the similarities between the trace markmaking of petroglyphs papyrus hieroglyphs and screenbased digital typography are strong

public warehouses are sliced

fundamental steps occur when digital text is made malleable

visual connection between a word pointer and what it points toward is what the linguist Ferdinand Saussure

digital environments images are in the process

complex knot of luxury honey melted gold heraldry status shields labyrinth reading over and over until a message at the centre like a lure is taken or takes

torque indecipherability toward shared sentience that language is born and becomes separate

major painters of our era are 3D artists

contemporary screen then its depth is implicit it

normal view is easily found; a typical example

representational technology offered an expanded toolset for poets “The camera is fit to be used expressively

flat disk are rotated at constant speed

nuanced example is Camille Utterback’s Written Forms