Thank you Candace, I'm always interested in asemic texts. This is something
to follow up. Steve.
Steve Armstrong
Publisher
Wegway
P. O. Box 157
Station A
Toronto, Ontario
Canada
M5W 1B2
416 712 2716
http://www.wegway.com
- Original Message -
From: LeClaire, Candace [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Tuesday, April 13, 2004 1:35 PM
Subject: FLUXLIST: Slought Foundation
Hello Everyone,
I just wanted to share this with you. If anyone will be in the Philadelphia
area in the next few weeks, these events/projects might be worth seeing...
Candace.
--
From: Slought Announcements
Reply To: Slought Announcements
Sent: Tuesday, April 13, 2004 1:20 PM
To: [EMAIL PROTECTED]
Subject: Opening This Saturday at Slought Foundation
Slought Foundation is located at 4017 Walnut Street, Philadelphia. We are
open to the public, except during installation, Wednesday through
Saturday, from 11:00am to 6:00pm. Exhibitions and events, unless noted
otherwise, are free to the public. For more information, call Aaron Levy
at 215.222.9050 or visit us on the web at http://slought.org/calendar/
Public Override Void
Software and installation by Jim Carpenter. Curated by Aaron Levy and
Jean-Michel Rabaté.
For more information: http://slought.org/content/11207/
Opens Saturday, April 17, 2004; 6:30-8:00pm | Free
Reception and Public Conversation: Thursday, April 29, 2004; 6:30-8:00pm |
Free
Slought Foundation presents Public override void, a vault installation
featuring Jim Carpenter's Electronic Text Composition (ETC) project, on
display from April 17-May 20, 2004. The opening reception on Thursday
April 29, 2004 from 6:30-8:30pm has been organized in conjunction with a
live presentation by Carpenter and a public conversation between Bob
Perelman, Nick Montfort, and Jean-Michel Rabaté (50 min). The installation
includes self-service poetry stations and wall panels of code, and takes
its name (Public override void) from an actual string of code embedded
in the software program. Information on the public conversation is
available: http://slought.org/content/11199/
The Electronic Text Composition Project's Poetry Engine is a suite of
software components that allow a user to generate aesthetic texts. Drawing
word associations from its language database, the Engine's grammar uses a
probability-based approach to constructing syntactic constituents, which
it aggregates into utterances, which it in turn aggregates into
compositions. The project postulates that the construction of its texts
does not actually occur within the software-these constructions, absent
authorial intent and divorced from any underlying message, assume their
status as poems only as they are read. The process of textual construction
is firmly situated within the reader, not the software. Over the last year
a dozen poems composed with the Poetry Engine's aid and submitted under
the pen name Erica T. Carter have been accepted for publication in a
number of little magazines and literary journals. As evidence of the
project's success (or perhaps indicative of its failure), one editor
accepted a poem with the comment, I found your works intriguing, but have
to admit I couldn't wrest the meaning from them.
Framing (Haacke's Condensation Cube)
For more information: http://slought.org/content/11208/
Opens Saturday, April 17, 2004; 6:30-8:00pm | Free
Slought Foundation presents Framing (Haacke's Condensation Cube), a
vault installation organized by Aaron Levy featuring Hans Haacke's
Condensation Cube of 1963-65, on display from April 17-May 20, 2004. This
installation inaugurates a new series at Slought Foundation showcasing
notable conceptual practices that invite a reconsideration of the effect
framing has on critical interpretations. An essay on Haacke written in the
1980s by curator and critic Edward Fry (d. 1992) is also available:
http://slought.org/content/21085/
In his early work, artist Hans Haacke was concerned with systems and
processes. His Condensation Cube of 1963-65 [Clear acrylic, water, light,
air currents, temperature, climate in exhibition situation; 30 x 30 x 30
cm; Collection of Edward Fry and Sandra Ericson] demonstrates the
dependency of a relatively closed system on the environment in which it is
situated: changes in temperature lead to the evaporation of water and its
condensation on sidewalls of the cube. Haacke's condensation cube is a
pedagogical tool still pertinent to understanding conceptual art and
contemporary life. Questions to consider include: how does one frame or
contextualize a work such as the condensation cube? What are its contents?
To what degree is the cube a screen on which we can project our
interpretations? Can this box be understood as a storage device, and if
so, what is it storing?
Slought Foundation Online:
* Slought Foundation | Slought.org
* visiting information directions
* online audio archives
* donate
