Mooring the Vaast Bin | ALN

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Le Répertoire des arts et littératures hypermédiatiques (ALH) propose une recension des œuvres artistiques et littéraires employant plusieurs pratiques hypermédiatiques.

Mooring the Vaast Bin

Soumis par Simon Brousseau le lun, 05/26/2008 - 11:41

Auteur·e·s:

Brousseau, Simon

Fiche simple

Mooring the Vaast Bin est une oeuvre qui contient deux volets. La partie intitulée «vaast soundscape» est une vidéo Quicktime dans laquelle l'internaute peut visionner des images et des fragments de textes défilant dans une fenêtre, le tout étant accompagné de musique et de voix. La partie intitulée «vaast kinetic-stills» présente un poème qui est à la droite d'une fenêtre dans laquelle défile des images tirées de cette vidéo Quicktime.

Mooring the Vaast Bin

Artiste·s:

Peters, Michael

Média:

Internet

Année:

2008

Disponible sur Internet Archive

Infos

Site d'hébergement:

hyperrhiz.net

URL du site d'hébergement:

http://www.hyperrhiz.net

Date de dernière consultation de l'oeuvre:

26 Mai 2008

Groupe de recherche:
nt2

Taxonomies

Nature:

Oeuvre

Interactivité:

Activation, Navigation à choix multiples

Format:

Image, Image animée, Musique, Texte, Texte animé, Vidéo/film/court-métrage, Voix

Thème:

Oiseau, Paysage, Poésie

Média:

Internet

Année:

2008

Langue(s) de l'oeuvre:

Anglais

Traitement numérique des ressources:

HTML, Lecteur média (Quicktime)

Citation(s)

for a note left - and upon the velocity of it motion into the parameters in_creasing the crease of moreover behalves it becomes it in entering it } // —

Discours (notes)

Vaast Bin; n Ephemerisi is a poem-book; it's a "score." It consists of three components that cannot be extracted as an initial source for the poem-book. These three components, with all of their overlappings, are: book—with static images and words; sounds—voice and in amplification, the play of sound material that begins the procedural opening in all pores with the cognizance; and kinetic images—no less a visual poetry exploring inceptions of rolling contiguities up, abeyance via the volume and amplitude. The kinetic sound and image elements that are available for viewing, here at hyperrhiz—Kinetic Soundscape for Vaast Bin and Stills from the same kinetic images of that soundscape—belie the sounds in "the poem-book" and the visual aspects, both static and kinetic, of "the poem." Within the microcosmic level of the poem-book's building, each of the three components continued to shape any combination of the other components toward its present state. These components, in various moments of collogue, shaped "it" out—to allow for an "in" of any numerable potentials. In the crevices of the performance of these sounds and their wave modulations, one can take the necessity of their energy, and in a sense, climb into the book's structure—riding the sound waves to an "in" that's decipherable as a series of dissolving skeletal or structural guidance systems that speak with the reader/listener through that opening of one in the listening of the reading. And yet, by its very structure, not only guides them, but programs them for discoveries, which is its purpose: The inkling of expanding energies, trusting in the natural processes of the procedural unfolding. One has only to follow the "adjustment instructions." A non-lysergic, mathematical programming—which is to say, an abstraction of sorts without representation that does not replace or substitute but is that which, at the same time, stimulates a sensory poetics based upon the provocation of the loose alignment between image-sounding (and its resulting simultaneities of confluence) so that it produces connections that are unique to each experience within it. Therein, it opens not only connections, but shares one's auth path.

Biographie(s)

Peters, Michael

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