Jim Andrewsin visuaalisen runouden työkalu Aleph Null ja bill bissettin runoihin perustuvaa visuaalista runoutta. Visual poetry tool Aleph Null created by Jim Andrews and poems with Aleph Null based on poems by bill bissett.
Avautuu satunnaiseen näkymään. Käyttäjän on mahdollista valita valikosta eri runoilijoiden tuotantoa lähdemateriaaliksi ja muokata visuaalisia elementtejä, joita Aleph Nullin sivellin niihin tuottaa.
Click here to open Aleph Null with a random brush. In the menu you can choose a poet and adjust the visual elements created by the brush of Aleph Null.
Sarja aseemisia runoja. A series of asemic poetry.
”Sarjan runot on kirjoitettu Tuli&Savun pyynnöstä alkukesästä 2018. Lehti kertoi suunnittelevansa numeroa monikielisestä, kieltenvälisestä, baabelilaisesta runoudesta ja halusi mieluusti mukaan jotain aseemista tai sen kaltaista tekstiä. Toimeksianto ja sen toteutus kertovat olennaisen. Tekstit syntyivät nopeassa tahdissa tabletin näytölle perinteistä kalligrafiaa jäljittelevällä applikaatiolla.
Tuloksena on eräänlainen menuetti tai minuuttiharjoitus. Sormi lähtee liikkeelle ja toteuttaa asiansa yhtenä eleenä tai eleitten sarjana ilman ennakkosuunnitelmaa. Käänteet ja suorat sanelee vaisto. Ei epäröintiä, ei korjaamisen mahdollisuutta. Vain hylkäys tai hyväksyminen. Tässä ei tavoitella täydellisyyttä, päinvastoin pieni horjahdus on aina paikallaan.
Koska aseemisella tekstillä ei ole merkityksen tai sisällön vaatimusta, se ilmaisee jotain muuta. Aseeminen kirjoitus tapahtuu fyysisen ja henkisen rajapinnassa. Aseemista kirjoitusta luetaan silmällä, mutta lukemista ohjaavia sääntöjä, kuten esimerkiksi aakkostoa, ei ole. Päästäkseni helpommin irti ajattelun, sisällön ja merkityksenannon vaatimuksista muutan toisinaan tavanomaista kirjoitussuuntaa tai oikein hullutellakseni suljen molemmat silmäni. Tekotavasta johtuen runot ovat olemassa vain digitaalisina. Koska näin on, minkä kokoisia ne ovat tai mitkä ovat niiden mittasuhteet? Koska yksiselitteistä vastausta ei ole, annoin myös lehden taittajille vapaat kädet niiden muokkaamiseen. Koska minuuttiharjoituksilla ei ole kiinteää olomuotoa, niitä saa suurentaa, pienentää, rajata tai käsitellä ihan miten tahansa. Käsitys siitä, mikä on taideteos ja missä sen rajat kulkevat, ei ole aina itsestään selvä.”
Julkaistu Nokturnossa 2018 | Published in Nokturno 2018
Kaksi menetelmällistä äänirunoa. Two procedural sound poems.
”The poems were created using Google searches ”words containing ”kind” and words ending in ”ness”” and ”words ending in ”man””. The results are used as a textual stone that is cut down and reshuffled, until a story emerges from their meaning.”
Runo kolmesta kävelymatkalla kohdatusta kasvista. A poem about three plants encountered by the writer on a walk.
”With the piece in question it is me looking at the relationship of one’s natural environment and technology. Technology is now not only an integral part of my life it has become a part of my natural environment. For instance if I am lost I use sat nav or google maps on a phone. And like the poem at hand I will often use online botanical keys or even google search to identify plants and birds I encounter. The one point of this that makes me worry is the commercialisation of technological in regards to augmenting negative class structures. And this is why I, somewhat sarcastically, use the descriptions from amazon rather than a botanical key. The amazon description offers a very weird and almost unsettling view of nature as commodity removed from ourselves. This disjointed feeling of the modern person having to continuously fight to remain in the world is something I try to incorporate in a lot of my work.”
Three plants encountered on a woodland walk in central Scotland documented by product descriptions on amazon.co.uk
Oxalis acetosella
You are purchasing one 10×8 inch (25x20cm) Print Artwork: Leaves of the wood sorrel -Oxalis acetosella- with dew drops Richard Dorn Printed on 254x203mm archive quality paper for unrivalled stable artwork permanence and brilliant colour reproduction with accurate colour rendition and smooth tones. Size refers to paper used Image size 254x169mm. For matching prints please search for 12536449 Image supplied by Fine Art Storehouse (c) This content is subject to copyright
Chrysosplenium alternifolium
Excellent for shady, woodland/garden areas Tolerates poor soil Fast growing groundcover Native evergreen
Allium ursinum
Sow from autumn to late winter prior to the last frost. Scatter thinly on disturbed bare ground in a shaded damp location on soil contained a high level of organic matter. Do not cover or rake in the seed. Sowing rate 150 seed per square meter. Germination will occur when the soil starts to warm in spring as the light levels increase. Professional DEFRA licenced (07274) Quality Seed Supply only – Minimal packaging – Ziplock labelled bags – Instructions not attached – See details provided above for cultivation advice.
Kuusi äänirunouden esitystä, jotka on tallennettu Sound Poetry Night -tapahtumassa toukokuussa 2018. Teokset ovat syntyneet Helsingin Taideyliopiston äänirunouden kurssilla, jonka vetäjinä toimivat Mikael Brygger ja Ava Grayson.
Six pieces of sound poetry performances filmed at Sound Poetry Night in May 2018. Works are results of a sound poetry course at Uniarts Helsinki conducted by Mikael Brygger and Ava Grayson.
Kuvaus | Filmed by Pavel Rotts 1. Diliana Stoyanova & Reetta-Stiina Rannanmäki: Shamanic Disco Sound Poetry
2. Zane Perkone & Minna Miettilä
3. Harold Hejazi
4. Pavel Rotts
5. Ignacio Lopez Olivares & Riku-Pekka Kellokoski: What´s Wrong With Alex
6. Stephen Webb & Daniela Pascual Esparza: On the topic of Ventilation [Une lecture]
Diliana Stoyanova & Reetta-Stiina Rannanmäki: Shamanic Disco Sound Poetry
Shamanic Disco was born out of the melding of two specific forms of repetitive ritualistic sound forms: shamanic chanting and disco rhythms. Our performance incorporates the use of a meditation labyrinth, inspired by the Finnish jatulintarha. The audience will be invited to step in as an immersive experience during the piece. The conceptual basis of the piece is the soul communication through both sound and rhythm that cross the boundaries between individuals.
For both Reetta-Stiina and Dili, the Sound Poetry course has been an amazing experience of our creativity and artistry breaking open and breaking free.
Broken open Rikki auki
Zane Perkone & Minna Miettilä
The material for this work has been a recording of an everyday, casual discussion between the artists. The narrative content has been cut out, giving space for filler words and phrases like “like” or “you know,” and other non-semantic sounds uttered during a conversation.
Words and sounds are rearranged, taken apart, multiplied, and modified into a composition where intelligible sounds exist next to, under, and on top of sounds no longer recognisable as human. The result is an arrangement with hints of spoken language, where the interaction and qualities of voice as such become the content. The semantic meaning disappears in an extended rhythmic limbo of always being about to say something.
Harold Hejazi
happy |ˈhapē| adjective (happier, happiest) feeling or showing pleasure or contentment
Finland Finland Finland Finland Finland Finland Finland Finland. Happy. Happy. Happy. Happy. Happy. Happy. Happy. Happy. Is Finland the Happiest Country in the World? Yes. But how did it get this way?!
The piece attempts to explore Finland’s happiness through a combination of euphoric field recordings, joyful cultural references, and cheerful local histories.
Pavel Rotts
What is the voice? It is never just one pure sound. One voice is always a chorus of voices. The richness of the voice is the sum of a number of distinct frequencies. The sound waves overlap and combine, and the balance of these amplitudes is a major factor in the characteristic sound of each voice. That’s why any voice has its own unique timbre.
In this performance, I’m using Google Translate as a chorus. To create the synthetic artificial voice, one needs to put many different sounds together. Google Translate works the same way with translation: it improves itself based on billions of words translated every day by people all over the world. It is literally the chorus of the world. The classical distinction between protagonist and chorus doesn’t work anymore. Millions of voices becoming one voice.
To create an artificial voice with different timbres, contemporary technology uses voice databases—libraries of people’s recorded voices speaking different languages. In one of these databases in Wikimedia, I’ve found the recorded voice of the first minister of education and culture during the early Soviet Union. In this speech, he was talking about the importance of recording a human voice and its possible future. It is the starting point for my performance.
Ignacio Lopez Olivares & Riku-Pekka Kellokoski: What´s Wrong With Alex
room: -Alex can’t talk inside computer.
there is some information related with the name, several cases of achievable wishes, someone sue itself.
outside: – did you disable my dead ray? – you are going to jail – Your reputation is amazing. I will not let you down.
Stephen Webb & Daniela Pascual Esparza: On the topic of Ventilation [Une lecture]
Une femme avec un sac à dos rouge. A man kicking a soccer ball, obscured by the edge of a blue car. Trois oiseaux. Pensif, a man with a bag stares. La fumée monte. Au fond, des vitres cassées. Busses come by, their number always hidden by the trees. Un couple, une carriage, trois enfants. Gr Gr Gr Gr Gr Gr. Un vélo jaune. There is a light blue sign, unassumming, advertising the café’s special. La fumée se dissipe. Un autre sac rouge et un paraplui. Il fait gris. Gr Gr Gr Gr Gr Gr. A 1950s magazine cover reminds me to drink coffee. La lettre H et un contour blanc. Longue pause. We are one kilometer away.Une femme avec un sac à dos rouge. A man kicking a soccer ball, obscured by the edge of a blue car. Trois oiseaux. Pensif, a man with a bag stares. La fumée monte. Au fond, des vitres cassées. Busses come by, their number always hidden by the trees. Un couple, une carriage, trois enfants. Gr Gr Gr Gr Gr Gr. Un vélo jaune. There is a light blue sign, unassumming, advertising the café’s special. La fumée se dissipe. Un autre sac rouge et un paraplui. Il fait gris. Gr Gr Gr Gr Gr Gr. A 1950s magazine cover reminds me to drink coffee. La lettre H et un contour blanc. Longue pause. We are one kilometer away.
