[click title or image for poem]
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STATEMENT
slippingglimpse is a collaborative interactive Flash piece using videos shot off the coast of Maine. This poem is based in the profound conviction that we need to be in conversation with the waters of the world. Needless to say, pouring oil on, over, or through their self-directed motions is the act of a speaker who does not listen.
The poem is structured as three “readers”–who, in a ring, read each other’s readings, performing both mutuality and interdependence.
In the full-screen opening view, words of a poem are mapped, entrained, by computer code, to the water’s own patterns–those attractor patterns waters form, and return to, even as they remain in motion. Here the water “reads” human words.
In the hi-rez mode, one sees the water patterns (called chreods) most distinctly, as “read” by the camera and videographer, whose long apprenticeship in both ecology and topology led him to appreciate them.
In the scroll-text view, a poem text “reads”/meditates on technologies that capture earth, water, and image–by sampling and recombining words of artists who use digital techniques, my own words, words from Hildegarde of Bingen, and words from an old Silesian folktale, The Passion of the Flax. This folktale explores the very oldest capture technologies, such as harvesting plants for food and flax for paper.
Where does exploitation of earth resources start, and how do we justify it to ourselves, is a question asked implicitly here.
slippingglimpse is a collaborative interactive Flash piece using videos shot off the coast of Maine. This poem is based in the profound conviction that we need to be in conversation with the waters of the world. Needless to say, pouring oil on, over, or through their self-directed motions is the act of a speaker who does not listen.
The poem is structured as three “readers”–who, in a ring, read each other’s readings, performing both mutuality and interdependence.
In the full-screen opening view, words of a poem are mapped, entrained, by computer code, to the water’s own patterns–those attractor patterns waters form, and return to, even as they remain in motion. Here the water “reads” human words.
In the hi-rez mode, one sees the water patterns (called chreods) most distinctly, as “read” by the camera and videographer, whose long apprenticeship in both ecology and topology led him to appreciate them.
In the scroll-text view, a poem text “reads”/meditates on technologies that capture earth, water, and image–by sampling and recombining words of artists who use digital techniques, my own words, words from Hildegarde of Bingen, and words from an old Silesian folktale, The Passion of the Flax. This folktale explores the very oldest capture technologies, such as harvesting plants for food and flax for paper.
Where does exploitation of earth resources start, and how do we justify it to ourselves, is a question asked implicitly here.
PRIOR PUBLICATION
slippingglimpse was first shown at e-poetry 2007 in Paris. It has also appeared in hyperrhiz: new media cultures no. 4, 2008, http://hyperrhiz.net and at Counterpath Press Electronic Literature Special Edition http://counterpathpress.org/elitpath/
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Stephanie Strickland’s fifth book of poems, Zone : Zero, includes two interactive digital poems on CD. Her prize-winning volumes include V: WaveSon.nets / Losing L’una, True North, and The Red Virgin: A Poem of Simone Weil. Current projects include a collaborative poetry generator and a book-length sequence, “Huracan’s Harp.” She is a director of the Electronic Literature Organization.
Cynthia Lawson Jaramillo is a digital artist, technologist and educator. She is particularly interested in reconfigurations and representations of time and space through media. Her artwork has been internationally exhibited and performed, including at Exit Art and HERE Arts (NYC), UCLA Hammer Museum (LA), Point Éphémère (Paris) and the Museums of Modern Art in Bogotá and Medellín (Colombia). She recently self-published “Of and In Cities,” an academically framed art book about five of her photographic projects, and “Cross Urban,” which documents the first two years of an ongoing collaboration with Klaus Fruchtnis. Cynthia has a B.S. in Electrical Engineering from Universidad de los Andes (Bogotá) and a Masters in Interactive Telecommunications (ITP) from New York University. She is currently Assistant Professor of Integrated Design in the School of Design Strategies at Parsons The New School for Design and an active member of Madarts, an arts collective in Brooklyn, NY.
Paul Ryan loves water and has been studying water patterns with a video camera for forty years. His video water art has shown in over a dozen countries. He presented his Design for an Environmental Television Channel at Bogazici University in Istanbul, The Contemporary Arts Center in New Orleans, The Catheral of Saint John the Divine in New York City, and MoMA. An Associate Professor at the New School, Mr. Ryan authored Cybernetics of the Sacred, Video Mind, Earth Mind, and The Three Person Solution. The Smithsonian Institution is archiving his work.
Cynthia Lawson Jaramillo is a digital artist, technologist and educator. She is particularly interested in reconfigurations and representations of time and space through media. Her artwork has been internationally exhibited and performed, including at Exit Art and HERE Arts (NYC), UCLA Hammer Museum (LA), Point Éphémère (Paris) and the Museums of Modern Art in Bogotá and Medellín (Colombia). She recently self-published “Of and In Cities,” an academically framed art book about five of her photographic projects, and “Cross Urban,” which documents the first two years of an ongoing collaboration with Klaus Fruchtnis. Cynthia has a B.S. in Electrical Engineering from Universidad de los Andes (Bogotá) and a Masters in Interactive Telecommunications (ITP) from New York University. She is currently Assistant Professor of Integrated Design in the School of Design Strategies at Parsons The New School for Design and an active member of Madarts, an arts collective in Brooklyn, NY.
Paul Ryan loves water and has been studying water patterns with a video camera for forty years. His video water art has shown in over a dozen countries. He presented his Design for an Environmental Television Channel at Bogazici University in Istanbul, The Contemporary Arts Center in New Orleans, The Catheral of Saint John the Divine in New York City, and MoMA. An Associate Professor at the New School, Mr. Ryan authored Cybernetics of the Sacred, Video Mind, Earth Mind, and The Three Person Solution. The Smithsonian Institution is archiving his work.
Poets for Living Waters 
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