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Cartoonist Matt Madden rejoins the show to celebrate his new collection, SIX TREASURES OF THE SPIRAL: Comics Formed Under Pressure (Uncivilized Books). We talk about the liberation to be found in formal constraints, his history with OULIPO and its OUBAPO offshoot, how structure can inspire story, and the formal and thematic challenges in sequencing the stories in the collection. We get into how he tried to make the most of a multi-year residency at La Maison des Auteurs in Angouleme, the unwitting influence of Hergé on one of his favorite stories, the changes in his art & storytelling since publishing Ex Libris in 2021, and the "director's commentary" he added as back matter for Six Treasures. We also discuss Lewis Trondheim's challenge to him to make a comic without a formal rule or constraint, his Substack-goal of sharing OUBAPO rules, the balance of comics-making with child-rearing, the fun of making foldy-comics, why it's important not to let the formal constraints overwhelm the heart of the stories, and more. Follow Matt on Instagram and YouTube and subscribe to his Substsack • More info at our site • Support The Virtual Memories Show via Stripe, Patreon, or Paypal, and subscribe to our e-newsletter
Could the cities of tomorrow thrive by reimagining the structures of today? Vinciane Albrecht talks about the mass timber buildings designed by her partner Anne Carcelen in France, showcasing their approach to sustainability and design. Together, they've developed concepts like hybrid city and inter-building - a three-step method to preserve existing structures, build smarter, and bridge the past with the future. OulipO, a transatlantic architecture studio, is reshaping how we approach sustainable building. Rooted in the belief that “constraint is ground for inspiration,” OulipO brings new life into existing structures, leveraging innovations like prefabrication and the lightweight benefits of mass timber to create resilient, forward-thinking designs. Discover why timber is a game-changer for fire safety, energy efficiency, and mental well-being, and how local resources can shape stunning, low-impact designs. To explore more about Vinciane Albrecht and her work, you can follow her on Linkedin or visit their website oulipo-architecture.com. You can also follow Anne Carcelen on LinkedIn. Join me, Ladina, on this green journey, and don't forget to subscribe for more insightful conversations about sustainable living and architecture and drop us a review. If you have suggestions for future guests or topics, I'd love to hear from you on my socials! Let's explore the world of green architecture, one conversation at a time. Contact: Ladina @ladinaschoepf Website: buildinggreenshow.com Produced by: marketyourarchitecture.com
Sarah Hart investigates the mathematical structures underlying musical compositions and literature. Using examples from Monteverdi to Lewis Carroll, Sarah explains to Steve how math affects how we hear music and understand stories. SOURCE:Sarah Hart, professor emerita of mathematics at the University of London. RESOURCES:Once Upon a Prime: The Wondrous Connections Between Mathematics and Literature, by Sarah Hart (2023)."Ahab's Arithmetic: The Mathematics of Moby-Dick," by Sarah B. Hart (Journal of Humanistic Mathematics, 2021)."Online Lecture: The Mathematics of Musical Composition," by Sarah Hart (Gresham College, 2020).Black Mirror: Bandersnatch, film (2018).The Luminaries: A Novel, by Eleanor Catton (2013).Not Quite What I Was Planning: Six-Word Memoirs by Writers Famous and Obscure, edited by Rachel Fershleiser and Larry Smith (2008).Les Revenentes, by Georges Perec (1972).A Void, by Georges Perec (1969).Cent Mille Milliards de Poèmes, by Raymond Queneau (1961).Through the Looking-Glass, and What Alice Found There, by Lewis Carroll (1871).Alice's Adventures in Wonderland, by Lewis Carroll (1865).OuLiPo. EXTRAS:"The Joy of Math With Sarah Hart," by People I (Mostly) Admire (2023)."Mathematician Sarah Hart on Why Numbers are Music to Our Ears," by People I (Mostly) Admire (2021).
Send us a textAh-hem. Stop thinking like that. Think like a poet! Dwell in negative capability and write in a way that reflects the sheer messiness of human cognition! That's better isn't it? We meet Dai George and talk about his book How to Think Like a Poet (Bloomsbury Continuum 2024) - where Dai creates a new and generous canon of 24 poets from Homer, Sappho, to Frank O'Hara to Audre Lourde - and looks at their lives and preoccupations.Now the festive period is upon us, Robin and Peter are in a whimsical mood. So you can expect things like steam trains, OuLiPo and Alfred, Lord Tennyson's spirited good riddance to the old year. Merry Christmas and Happy new year to all our listeners. See you in 2025... Thanks for listening! Support the showPlanet Poetry is a labour of love!If you enjoy the podcast, please show your support and Buy us a Coffee!
Marco Alfano"Parole a manovella"La linea scrittawww.lalineascritta.itSpesso i grandi scrittori si mettono a giocare mentre scrivono.Dagli insospettabili Dante e Boccaccio fino a Joyce, Nabokov, Cortàzar e Primo Levi, solo per citarne alcuni, la letteratura si è nutrita e si nutre sottotraccia di sperimentazioni sulla forma che sono delle vere e proprie macchine giocose, i cui ingranaggi sono regole rigorose che producono piacere aggiuntivo nel lettore. E soprattutto che hanno la funzione di stimolo alla creatività, come ben sapevano gli scrittori dell'OuLiPo come Perec e Queneau (cui si unì Italo Calvino), che hanno prodotto capolavori assoluti a partire da una griglia di norme formali in cui sbizzarrirsi con la fantasia per ottenere il miglior risultato, proprio come in un gioco di società.E, d'altra parte, il piacere del gioco, che sia coltivato individualmente o in gruppo, si alimenta spessissimo con la lingua, le parole e la loro duttilità, i sensi multipli (e i nonsensi), le assonanze. Dal Gioco del vocabolario al Telegrafo senza fili, dal Taboo ai surrealisti Cadaveri Squisiti, ai molteplici giochi enigmistici il divertimento passa attraverso il linguaggio, la sua manipolazione gioiosa, lo stupore infantile della scoperta di nuovi sensi e nuovi suoni.Questo laboratorio vuole affrontare con serissima leggerezza la relazione tra parola e gioco, in entrambe le direzioni: usare il gioco e le sue regole come strumento creativo per scrivere e le parole per giocare e divertirsi. Lo faremo attraversando la miriade di forme della ludoscrittura, leggendo e analizzando gli scrittori e i poeti che l'hanno praticata ma soprattutto scrivendo e giocando assieme. A chi è rivolto:A chi scrive e vuole aggiungere nuovi utensili, manovelle, trottole, scatole a molla e caleidoscopi alla sua cassetta degli attrezzi narrativaA chi è appassionato di giochi, letteratura, enigmistica, poesia, combinatoria, scrittura umoristicaA chiunque, che sia o no incluso nelle due categorie precedenti, voglia divertirsi e impararenuovi giochi e cimenti da sperimentare in gruppo o da soloCome si articolaSei incontri in videoconferenza, il giovedì, di due ore ciascuno, con una parte teorica e, principalmente, l'applicazione pratica e creativa delle varie forme di scrittura ludica o “a contrainte”. Esercizi, giochi e scritture saranno condivisi continuativamente attraverso una mailing list e un gruppo Facebook che saranno attivi durante il laboratorio e anche successivamente.Alcuni degli argomenti/giochi:l'OuLiPo e la scrittura a contrainte; Lipogrammi e tautogrammi; Acrostici, palindromi e anagrammi; Poesia metasemantica; Le lingue inventate; Le parole inesistenti e il gioco del vocabolario; La combinatoria; Le forme poetiche come Ur-contraintes; Il nonsense e i Limericks; Le scritture automatiche; Il cut-up di Borroughs; Il cinegioco (gioco dei titoli).Alcuni degli autori trattati:Georges Perec; Raymond Queneau; Primo Levi; Stefano Bartezzaghi; Giampaolo Dossena; Umberto Eco; Italo Calvino; Tommaso Landolfi; Julio Cortázar; Jorge Luis Borges; J. Rodolfo Wilcock; Giorgio Manganelli; Marcello Marchesi; Achille Campanile; Ettore Petrolini; Raymond Roussel; Leonardo Sciascia; Vladimir Nabokov; Giovanni Boccaccio; Dante Alighieri; Gianni Mura; Beppe Varaldo; Toti Scialoja; Edward Lear; Lewis Carroll; Fosco Maraini.Marco AlfanoCura per Lalineascritta, nei cui laboratori si è formato, il sito web, e i corsi in videoconferenza, che ha ideato e realizza assieme ad Antonella Cilento dal 2011. È docente del laboratorio di ludoscrittura "Parole a Manovella". Ha pubblicato racconti in numerose antologie, sui quotidiani L'Unità e Roma e sulla rivista internazionale «Storie». È in preparazione una sua raccolta di poesie illustrate ispirate a Toti Scialoja e sta lavorando al suo primo romanzo. Musicista, è stato membro fondatore dei Panoramics (con i quali ha tra l'altro composto le musiche originali per lavori video e teatrali di Mario Martone e Andrea Renzi e collaborato con Enzo Moscato e Peppe Servillo) ed è attualmente componente dei Ferraniacolor, pop band il cui album di esordio è uscito nel marzo del 2018. È tra gli autori di «Perdurante», tributo a Francesco Durante pubblicato nel 2021 dall'OpLePo, sezione italiana dell' OuLiPo.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.
What happens when a novelist wants “nonsense and joy” but his characters are destined for a Central European sanatorium? How does the abecedarian form (i.e. organized not chronologically or sequentially but alphabetically) insist on order, yet also embrace absurdity? Here to ponder such questions with host John Plotz are University of Wisconsin–Madison's Sunny Yudkoff (last heard on ND speaking with Sheila Heti) and Adam Ehrlich Sachs, author of Inherited Disorders, The Organs of Sense, and the recently published Gretel and the Great War. Sachs has fallen under the spell of late Habsburg Vienna, where the polymath Ludwig Wittgenstein struggled to make sense of Boltzmann's physics, Arnold Schoenberg read the acerbic journalist Karl Kraus, and everyone, Sachs suspects, was reading Grimms' Fairy Tales, searching for the feeling of inevitability only narrative closure can provide. Beneath his OULIPO-like attachment to arbitrary orders and word-games, though, Sachs admits to a desire for chaos. Thomas Bernhard, later 20th century Austrian experimental novelist Heinrich von Kleist, “Michael Kohlhass” Romantic-era German writer Italo Calvino,If on a Winter's Night a Traveler OULIPO Home of French literary experimentalists like Perec and Raymond Queneau Georges Perec's most famous experiment is Life: A User's Manual (although John is devoted to “W: or the Memory of Childhood”) Dr. Seuss, On Beyond Zebra! (ignore John calling the author Dr Scarry, which was a scary mistake.,..) Marcel Proust: was he a worldbuilder and fantasist, as Nabokov says or, as Doris Lessing claims, principally an anatomist of French social structures, a second Zola? Franz Kafka is unafraid of turning his character into a bug in a story's first sentence. Virginia Woolf in Mrs. Dalloway offers the reader a mad (Septimus) and a sane (Mrs Dalloway herself) version of stream of consciousness: how different are they? Cezanne, for example The Fisherman (Fantastic Scene) The Pointillism of painters like Georges Seurat Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
What happens when a novelist wants “nonsense and joy” but his characters are destined for a Central European sanatorium? How does the abecedarian form (i.e. organized not chronologically or sequentially but alphabetically) insist on order, yet also embrace absurdity? Here to ponder such questions with host John Plotz are University of Wisconsin–Madison's Sunny Yudkoff (last heard on ND speaking with Sheila Heti) and Adam Ehrlich Sachs, author of Inherited Disorders, The Organs of Sense, and the recently published Gretel and the Great War. Sachs has fallen under the spell of late Habsburg Vienna, where the polymath Ludwig Wittgenstein struggled to make sense of Boltzmann's physics, Arnold Schoenberg read the acerbic journalist Karl Kraus, and everyone, Sachs suspects, was reading Grimms' Fairy Tales, searching for the feeling of inevitability only narrative closure can provide. Beneath his OULIPO-like attachment to arbitrary orders and word-games, though, Sachs admits to a desire for chaos. Thomas Bernhard, later 20th century Austrian experimental novelist Heinrich von Kleist, “Michael Kohlhass” Romantic-era German writer Italo Calvino,If on a Winter's Night a Traveler OULIPO Home of French literary experimentalists like Perec and Raymond Queneau Georges Perec's most famous experiment is Life: A User's Manual (although John is devoted to “W: or the Memory of Childhood”) Dr. Seuss, On Beyond Zebra! (ignore John calling the author Dr Scarry, which was a scary mistake.,..) Marcel Proust: was he a worldbuilder and fantasist, as Nabokov says or, as Doris Lessing claims, principally an anatomist of French social structures, a second Zola? Franz Kafka is unafraid of turning his character into a bug in a story's first sentence. Virginia Woolf in Mrs. Dalloway offers the reader a mad (Septimus) and a sane (Mrs Dalloway herself) version of stream of consciousness: how different are they? Cezanne, for example The Fisherman (Fantastic Scene) The Pointillism of painters like Georges Seurat Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
What happens when a novelist wants “nonsense and joy” but his characters are destined for a Central European sanatorium? How does the abecedarian form (i.e. organized not chronologically or sequentially but alphabetically) insist on order, yet also embrace absurdity? Here to ponder such questions with host John Plotz are University of Wisconsin–Madison's Sunny Yudkoff (last heard on ND speaking with Sheila Heti) and Adam Ehrlich Sachs, author of Inherited Disorders, The Organs of Sense, and the recently published Gretel and the Great War. Sachs has fallen under the spell of late Habsburg Vienna, where the polymath Ludwig Wittgenstein struggled to make sense of Boltzmann's physics, Arnold Schoenberg read the acerbic journalist Karl Kraus, and everyone, Sachs suspects, was reading Grimms' Fairy Tales, searching for the feeling of inevitability only narrative closure can provide. Beneath his OULIPO-like attachment to arbitrary orders and word-games, though, Sachs admits to a desire for chaos. Thomas Bernhard, later 20th century Austrian experimental novelist Heinrich von Kleist, “Michael Kohlhass” Romantic-era German writer Italo Calvino,If on a Winter's Night a Traveler OULIPO Home of French literary experimentalists like Perec and Raymond Queneau Georges Perec's most famous experiment is Life: A User's Manual (although John is devoted to “W: or the Memory of Childhood”) Dr. Seuss, On Beyond Zebra! (ignore John calling the author Dr Scarry, which was a scary mistake.,..) Marcel Proust: was he a worldbuilder and fantasist, as Nabokov says or, as Doris Lessing claims, principally an anatomist of French social structures, a second Zola? Franz Kafka is unafraid of turning his character into a bug in a story's first sentence. Virginia Woolf in Mrs. Dalloway offers the reader a mad (Septimus) and a sane (Mrs Dalloway herself) version of stream of consciousness: how different are they? Cezanne, for example The Fisherman (Fantastic Scene) The Pointillism of painters like Georges Seurat Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature
Amanda Silberling, tech journalist and podcaster, joins the podcast mostly to dunk on former guest Giovanni Colantonio, but also to brag about going to the Olympics. Inbetween all that, they make the game "Mail-puss," a game based on the prompts: incredibly haunted, Mail-puss, Played secretly at a party or event The resulting folk game(s) can be played at any convention, party, or Olympics you're attending! If you're alone, play the name-based Mail-puss. If you have 8 people, then lean into the incredible haunted rumor-mongering version. Fun for all ages and number of players! Hear more of Amanda Silberling's voice on her podcast Wow, If True. Play Pokemon: Emereld Rogue here. Check out the excellent game I Was a Teenage Exocolonist. Read about the Oulipo's Hundred Thousand Billion Poems here. Visit the DFTBA Big Game Hunger merch shop at bit.ly/jennamerch. Support this show, and submit your OWN random prompts, by subscribing at Patreon.com/TheJenna. Email the show at BigGameHungerPod@gmail.com. Big Game Hunger is part of the Multitude Collective of podcasts. Created and hosted by Jenna Stoeber.
Denis Cosnard nous a fait la joie, au-delà de son interview, de nous décrire dans cet épisode bonus le bonheur selon son écrivain fêtiche Georges Perec, l'auteur de "La Vie mode d'emploi".Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
In today's flashback, an outtake from Episode 679, my conversation with author Sebastian Castillo. It first aired on November 4, 2020. Castillo is a writer and teacher based in Philadelphia. He was born in Caracas, Venezuela and grew up in New York. He is the author of a novella entitled Salmon (Shabby Doll House), 49 Venezuelan Novels (Bottlecap Press), a collection of surreal micro-fiction, and another book called Not I (Word West). *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch @otherppl Instagram TikTok Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices
Plataforma MAL arranca este año inaugurando la primera exposición individual de la artista Fátima Santiago (Fuente del Maestre, 1997), una muestra de sus esculturas donde trabaja con materiales opuestos como el papel y el bronce para dar forma al silencio. Inspirada por el grupo de experimentación literaria Oulipo, Santiago crea obras que unen el sonido de las palabras y la materialidad de su suporte, creando un mundo que evoca los susurros de los rezos, el silencio de los espacios religiosos y el sentido ritual del lenguaje. Se inaugura el 28 de enero y hemos charlado con ella.
Janina Kos je uveljavljena prevajalka iz francoščine in španščine. V njenem opusu najdemo več kot dvajset prevedenih knjig, večinoma romanov najvidnejših sodobnih francoskih pisateljev, kot so Hervé Le Tellier, Maylis de Kérangal ali Yasmina Reza. Vmes najdemo dela dokumentarne literature, kot je na primer knjiga Žvižgači Florence Hartmann in tudi poezije Luisa Chavesa in Raúla Zorite. Za prevod romana Anomalija Hervéja Le Tellierja), Goncourtovega nagrajenca, je dobila Janina Kos lani Nodierovo nagrado za najboljši prevod iz francoščine. Anomalija je privlačno, zanimivo branje o nenavadnem dogodku, anomaliji v vesoljnem redu, ki zamaje življenje 243. potnikov na letalu iz Pariza v New York. V besedilu najdemo številne osebe, različne žanre, pogoste navedke iz drugih besedil, saj si je Hervé Le Tellier kot je sam povedal, roman zamislil kot večplastni pisateljski izziv. Je namreč predsednik društva OULIPO. Člani si prizadevajo ustvariti dela z uporabo omejenih tehnik pisanja in s tem doseči poseben učinek. Le Tellierju je to uspelo, saj je roman Anomalija preveden v več kot 40 jezikov in je velika uspešnica. Na Slovenskem ima za zanimivo bralsko izkušnjo zasluge Janina Kos.
Gianluca Gatta ha finito di leggere questa settimana LA VITA ISTRUZIONI PER L'USO di Georges Perec, un romanzo che racconta le vite e le avventure mirabolanti degli abitanti di un condominio. Di camera in camera, di appartamento in appartamento, arriviamo a intravedere lentamente, tra le tante storie che si intrecciano, l'immagine completa di un meraviglioso puzzle letterario.
Shortlisted for the 2023 Lumen Prize, Kat Mustatea's Voidopolis (MIT Press, 2023) is a hybrid digital artistic and literary project in the form of an augmented reality book, which retells Dante's Inferno as if it were set in pandemic-ravaged New York City. Voidopolis is a digital performance about loss and memory presented as an augmented reality (AR) book with a limited lifespan. The book loosely retells the story of Dante's Inferno as if it were the dystopic experience of wandering through New York City during the pandemic; instead of Virgil, however, the narrator is guided through this modern hellscape by a caustic hobo named Nikita. Voidopolis is meant to culminate in loss. It features images that are created by digitally “wiping” humans from stock photography and text that is generated without the letter “e”—in homage to Oulipo author Georges Perec's A Void, a 300-page novel written entirely without the letter—by using a modified GPT-2 text generator. The book, adapted from a series of Instagram posts that were ultimately deleted, is likewise designed to disappear: its garbled pages can only be deciphered with an AR app, and they decay at the same rate over a period of one year, after which the decay process restarts and begins again. At the end of this decay cycle, only the printed book, with its unintelligible pages, remains. Each July 1, the date the project first started on Instagram, the book resets again, beginning anew the cycle of its own vanishing. A first-of-its-kind augmented reality book from a major university press, Voidopolis is a unique and deeply affecting artwork that speaks as much to our existential moment as it does to the fragility of experience, reality, and our connection to one another. A guide to reading Voidopolis can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Shortlisted for the 2023 Lumen Prize, Kat Mustatea's Voidopolis (MIT Press, 2023) is a hybrid digital artistic and literary project in the form of an augmented reality book, which retells Dante's Inferno as if it were set in pandemic-ravaged New York City. Voidopolis is a digital performance about loss and memory presented as an augmented reality (AR) book with a limited lifespan. The book loosely retells the story of Dante's Inferno as if it were the dystopic experience of wandering through New York City during the pandemic; instead of Virgil, however, the narrator is guided through this modern hellscape by a caustic hobo named Nikita. Voidopolis is meant to culminate in loss. It features images that are created by digitally “wiping” humans from stock photography and text that is generated without the letter “e”—in homage to Oulipo author Georges Perec's A Void, a 300-page novel written entirely without the letter—by using a modified GPT-2 text generator. The book, adapted from a series of Instagram posts that were ultimately deleted, is likewise designed to disappear: its garbled pages can only be deciphered with an AR app, and they decay at the same rate over a period of one year, after which the decay process restarts and begins again. At the end of this decay cycle, only the printed book, with its unintelligible pages, remains. Each July 1, the date the project first started on Instagram, the book resets again, beginning anew the cycle of its own vanishing. A first-of-its-kind augmented reality book from a major university press, Voidopolis is a unique and deeply affecting artwork that speaks as much to our existential moment as it does to the fragility of experience, reality, and our connection to one another. A guide to reading Voidopolis can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
Shortlisted for the 2023 Lumen Prize, Kat Mustatea's Voidopolis (MIT Press, 2023) is a hybrid digital artistic and literary project in the form of an augmented reality book, which retells Dante's Inferno as if it were set in pandemic-ravaged New York City. Voidopolis is a digital performance about loss and memory presented as an augmented reality (AR) book with a limited lifespan. The book loosely retells the story of Dante's Inferno as if it were the dystopic experience of wandering through New York City during the pandemic; instead of Virgil, however, the narrator is guided through this modern hellscape by a caustic hobo named Nikita. Voidopolis is meant to culminate in loss. It features images that are created by digitally “wiping” humans from stock photography and text that is generated without the letter “e”—in homage to Oulipo author Georges Perec's A Void, a 300-page novel written entirely without the letter—by using a modified GPT-2 text generator. The book, adapted from a series of Instagram posts that were ultimately deleted, is likewise designed to disappear: its garbled pages can only be deciphered with an AR app, and they decay at the same rate over a period of one year, after which the decay process restarts and begins again. At the end of this decay cycle, only the printed book, with its unintelligible pages, remains. Each July 1, the date the project first started on Instagram, the book resets again, beginning anew the cycle of its own vanishing. A first-of-its-kind augmented reality book from a major university press, Voidopolis is a unique and deeply affecting artwork that speaks as much to our existential moment as it does to the fragility of experience, reality, and our connection to one another. A guide to reading Voidopolis can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications
Shortlisted for the 2023 Lumen Prize, Kat Mustatea's Voidopolis (MIT Press, 2023) is a hybrid digital artistic and literary project in the form of an augmented reality book, which retells Dante's Inferno as if it were set in pandemic-ravaged New York City. Voidopolis is a digital performance about loss and memory presented as an augmented reality (AR) book with a limited lifespan. The book loosely retells the story of Dante's Inferno as if it were the dystopic experience of wandering through New York City during the pandemic; instead of Virgil, however, the narrator is guided through this modern hellscape by a caustic hobo named Nikita. Voidopolis is meant to culminate in loss. It features images that are created by digitally “wiping” humans from stock photography and text that is generated without the letter “e”—in homage to Oulipo author Georges Perec's A Void, a 300-page novel written entirely without the letter—by using a modified GPT-2 text generator. The book, adapted from a series of Instagram posts that were ultimately deleted, is likewise designed to disappear: its garbled pages can only be deciphered with an AR app, and they decay at the same rate over a period of one year, after which the decay process restarts and begins again. At the end of this decay cycle, only the printed book, with its unintelligible pages, remains. Each July 1, the date the project first started on Instagram, the book resets again, beginning anew the cycle of its own vanishing. A first-of-its-kind augmented reality book from a major university press, Voidopolis is a unique and deeply affecting artwork that speaks as much to our existential moment as it does to the fragility of experience, reality, and our connection to one another. A guide to reading Voidopolis can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society
Shortlisted for the 2023 Lumen Prize, Kat Mustatea's Voidopolis (MIT Press, 2023) is a hybrid digital artistic and literary project in the form of an augmented reality book, which retells Dante's Inferno as if it were set in pandemic-ravaged New York City. Voidopolis is a digital performance about loss and memory presented as an augmented reality (AR) book with a limited lifespan. The book loosely retells the story of Dante's Inferno as if it were the dystopic experience of wandering through New York City during the pandemic; instead of Virgil, however, the narrator is guided through this modern hellscape by a caustic hobo named Nikita. Voidopolis is meant to culminate in loss. It features images that are created by digitally “wiping” humans from stock photography and text that is generated without the letter “e”—in homage to Oulipo author Georges Perec's A Void, a 300-page novel written entirely without the letter—by using a modified GPT-2 text generator. The book, adapted from a series of Instagram posts that were ultimately deleted, is likewise designed to disappear: its garbled pages can only be deciphered with an AR app, and they decay at the same rate over a period of one year, after which the decay process restarts and begins again. At the end of this decay cycle, only the printed book, with its unintelligible pages, remains. Each July 1, the date the project first started on Instagram, the book resets again, beginning anew the cycle of its own vanishing. A first-of-its-kind augmented reality book from a major university press, Voidopolis is a unique and deeply affecting artwork that speaks as much to our existential moment as it does to the fragility of experience, reality, and our connection to one another. A guide to reading Voidopolis can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices
Shortlisted for the 2023 Lumen Prize, Kat Mustatea's Voidopolis (MIT Press, 2023) is a hybrid digital artistic and literary project in the form of an augmented reality book, which retells Dante's Inferno as if it were set in pandemic-ravaged New York City. Voidopolis is a digital performance about loss and memory presented as an augmented reality (AR) book with a limited lifespan. The book loosely retells the story of Dante's Inferno as if it were the dystopic experience of wandering through New York City during the pandemic; instead of Virgil, however, the narrator is guided through this modern hellscape by a caustic hobo named Nikita. Voidopolis is meant to culminate in loss. It features images that are created by digitally “wiping” humans from stock photography and text that is generated without the letter “e”—in homage to Oulipo author Georges Perec's A Void, a 300-page novel written entirely without the letter—by using a modified GPT-2 text generator. The book, adapted from a series of Instagram posts that were ultimately deleted, is likewise designed to disappear: its garbled pages can only be deciphered with an AR app, and they decay at the same rate over a period of one year, after which the decay process restarts and begins again. At the end of this decay cycle, only the printed book, with its unintelligible pages, remains. Each July 1, the date the project first started on Instagram, the book resets again, beginning anew the cycle of its own vanishing. A first-of-its-kind augmented reality book from a major university press, Voidopolis is a unique and deeply affecting artwork that speaks as much to our existential moment as it does to the fragility of experience, reality, and our connection to one another. A guide to reading Voidopolis can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/photography
Shortlisted for the 2023 Lumen Prize, Kat Mustatea's Voidopolis (MIT Press, 2023) is a hybrid digital artistic and literary project in the form of an augmented reality book, which retells Dante's Inferno as if it were set in pandemic-ravaged New York City. Voidopolis is a digital performance about loss and memory presented as an augmented reality (AR) book with a limited lifespan. The book loosely retells the story of Dante's Inferno as if it were the dystopic experience of wandering through New York City during the pandemic; instead of Virgil, however, the narrator is guided through this modern hellscape by a caustic hobo named Nikita. Voidopolis is meant to culminate in loss. It features images that are created by digitally “wiping” humans from stock photography and text that is generated without the letter “e”—in homage to Oulipo author Georges Perec's A Void, a 300-page novel written entirely without the letter—by using a modified GPT-2 text generator. The book, adapted from a series of Instagram posts that were ultimately deleted, is likewise designed to disappear: its garbled pages can only be deciphered with an AR app, and they decay at the same rate over a period of one year, after which the decay process restarts and begins again. At the end of this decay cycle, only the printed book, with its unintelligible pages, remains. Each July 1, the date the project first started on Instagram, the book resets again, beginning anew the cycle of its own vanishing. A first-of-its-kind augmented reality book from a major university press, Voidopolis is a unique and deeply affecting artwork that speaks as much to our existential moment as it does to the fragility of experience, reality, and our connection to one another. A guide to reading Voidopolis can be found here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/digital-humanities
12 tables; 300 novels, 1500 pages of nature description: This is how Tom Comitta created The Nature Book (Coffee House Press, 2023), a one-of-a-kind novel cut from 300 years of English literary tradition. It has no human characters, no original writing, and it is astoundingly good! Tom sits down with distinguished Harvard prof, Deidre Lynch and host Aarthi Vadde to talk about how he wrote a book out of found language. The conversation reveals why The Nature Book is so compelling: it scrambles the usual distinctions between narrative and database. It is fast-paced, propulsive, full of cliffhangers and yet also a “mood collage” composed of macro, micro, and nanopatterns that Tom identified in his corpus. Writing through a complex set of Oulipo-like constraints, he checked his own authorial freedom to create a book in which the human hand becomes distant and ghostly – its traces felt in the change of seasons and at the bottoms of oceans yet nowhere seen. Deidre connects Tom's “literary supercut” (his own term for his practice) to the centuries-old tradition of commonplacing in which ordinary readers would cut and paste favored passages into books that then became archives of personal experience and collective memory. The Nature Book thus finds its place in a countercultural tradition of authorship where recycling takes precedence over invention. Copying, curation, and rearrangement become a novelistic style of “degrowth” in which writers discover that, in lieu of developing new language, they can plumb the depths of our already existing language. The episode ends with a series of surprising answers to the signature question: narratives and databases cross paths with hookups and keepsakes! Mentions: Kota Ezawa Emily Brontë, Wuthering Heights Fiction for Dummies Amitav Ghosh, The Great Derangement Herman Melville, Moby Dick It Narratives – narratives in which protagonists are often manufactured objects (e.g. Adventures of a Corkscrew (1775)) Elvia Wilk, Death by Landscape Andy Warhol Foundation for the Visual Arts, Inc. v. Goldsmith et al. (edited) Find out more about Novel Dialogue and its hosts and organizers here. Contact us, get that exact quote from a transcript, and explore many more conversations between novelists and critics. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
12 tables; 300 novels, 1500 pages of nature description: This is how Tom Comitta created The Nature Book (Coffee House Press, 2023), a one-of-a-kind novel cut from 300 years of English literary tradition. It has no human characters, no original writing, and it is astoundingly good! Tom sits down with distinguished Harvard prof, Deidre Lynch and host Aarthi Vadde to talk about how he wrote a book out of found language. The conversation reveals why The Nature Book is so compelling: it scrambles the usual distinctions between narrative and database. It is fast-paced, propulsive, full of cliffhangers and yet also a “mood collage” composed of macro, micro, and nanopatterns that Tom identified in his corpus. Writing through a complex set of Oulipo-like constraints, he checked his own authorial freedom to create a book in which the human hand becomes distant and ghostly – its traces felt in the change of seasons and at the bottoms of oceans yet nowhere seen. Deidre connects Tom's “literary supercut” (his own term for his practice) to the centuries-old tradition of commonplacing in which ordinary readers would cut and paste favored passages into books that then became archives of personal experience and collective memory. The Nature Book thus finds its place in a countercultural tradition of authorship where recycling takes precedence over invention. Copying, curation, and rearrangement become a novelistic style of “degrowth” in which writers discover that, in lieu of developing new language, they can plumb the depths of our already existing language. The episode ends with a series of surprising answers to the signature question: narratives and databases cross paths with hookups and keepsakes! Mentions: Kota Ezawa Emily Brontë, Wuthering Heights Fiction for Dummies Amitav Ghosh, The Great Derangement Herman Melville, Moby Dick It Narratives – narratives in which protagonists are often manufactured objects (e.g. Adventures of a Corkscrew (1775)) Elvia Wilk, Death by Landscape Andy Warhol Foundation for the Visual Arts, Inc. v. Goldsmith et al. (edited) Find out more about Novel Dialogue and its hosts and organizers here. Contact us, get that exact quote from a transcript, and explore many more conversations between novelists and critics. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
12 tables; 300 novels, 1500 pages of nature description: This is how Tom Comitta created The Nature Book (Coffee House Press, 2023), a one-of-a-kind novel cut from 300 years of English literary tradition. It has no human characters, no original writing, and it is astoundingly good! Tom sits down with distinguished Harvard prof, Deidre Lynch and host Aarthi Vadde to talk about how he wrote a book out of found language. The conversation reveals why The Nature Book is so compelling: it scrambles the usual distinctions between narrative and database. It is fast-paced, propulsive, full of cliffhangers and yet also a “mood collage” composed of macro, micro, and nanopatterns that Tom identified in his corpus. Writing through a complex set of Oulipo-like constraints, he checked his own authorial freedom to create a book in which the human hand becomes distant and ghostly – its traces felt in the change of seasons and at the bottoms of oceans yet nowhere seen. Deidre connects Tom's “literary supercut” (his own term for his practice) to the centuries-old tradition of commonplacing in which ordinary readers would cut and paste favored passages into books that then became archives of personal experience and collective memory. The Nature Book thus finds its place in a countercultural tradition of authorship where recycling takes precedence over invention. Copying, curation, and rearrangement become a novelistic style of “degrowth” in which writers discover that, in lieu of developing new language, they can plumb the depths of our already existing language. The episode ends with a series of surprising answers to the signature question: narratives and databases cross paths with hookups and keepsakes! Mentions: Kota Ezawa Emily Brontë, Wuthering Heights Fiction for Dummies Amitav Ghosh, The Great Derangement Herman Melville, Moby Dick It Narratives – narratives in which protagonists are often manufactured objects (e.g. Adventures of a Corkscrew (1775)) Elvia Wilk, Death by Landscape Andy Warhol Foundation for the Visual Arts, Inc. v. Goldsmith et al. (edited) Find out more about Novel Dialogue and its hosts and organizers here. Contact us, get that exact quote from a transcript, and explore many more conversations between novelists and critics. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature
Hervé Le Tellier je šestinšestdesetletni francoski pisatelj in lingvist, avtor več kot dvajsetih proznih del, večinoma romanov in zbirk kratkih zgodb. Je predsednik skupine za potencialno književnost Oulipo (ulipó), kar ni zanemarljivo za njegovo pisanje. Prav o izzivih, ki si jih pri ustvarjanju sam postavlja, je namreč govoril v intervjuju s Tadejo Krečič Scholten. Hervé Le Tellier je bil leta 2020 dobitnik Goncourtove nagrade za roman Anomalija, ki ga imamo v slovenskem prevodu Janine Kos. To je najprestižnejša francoska nagrada za književnost. Hervé Le Tellier je nedavno obiskal Ljubljano in nastopil pred polno Kosovelovo dvorano Cankarjevega doma. Roman Anomalija pa so za svojo Goncourtovo nagrado izbrali tudi študenti francoščine na Filozofski fakulteti v Ljubljani. Dan po nastopu v Cankarjevem domu si je pisatelj vzel čas tudi za poslušalce Razgledov in razmislekov.
Gianluca Gatta ha letto questa settimana ESERCIZI DI STILE di Raymond Queneau, un libro che racconta in 99 forme diverse la storiella di un tizio antipatico che, su un tram parigino, litiga con un altro viaggiatore. È uno dei primi esempi di letteratura potenziale, approfondita poi a partire dagli anni 1960 dall'OULIPO, il gruppo francese di letterati impegnati nella ricerca di nuove forme e strutture letterarie.
To celebrate the first-ever English-language publication of Raymond Queneau's Sally Mara's Intimate Journal, and the reissue of Pierrot Mon Ami as a Dalkey Essential, Chris Clarke (whose retranslation of Queneau's The Skin of Dreams is forthcoming from NYRB) and Daniel Levin Becker (infamous member of Mujeres Encinta, member of the Oulipo, and author of Many Subtle Channels: In Praise of Potential Literature) joined Chad to talk all things Queneau. They discuss the books, the two major divisions of Oulipian writing, the process of retranslation, the joy of reading these books, and much more. The music on this episode is "À la pêche des cœurs (inédit)" by Queneau's good friend, Boris Vian. If you don't already subscribe to the Three Percent Podcast you can find us on iTunes, Spotify, and other places. And follow Open Letter and Chad W. Post on Twitter/X for more info about upcoming episodes and guests.
Our guest co-host. Arianna Reiche, is a Bay Area-born writer based in London. She is the author of the two-story chapbook Warden / Star (Tangerine Press), and At The End Of Every Day (Artia Books/Simon & Schuster). She was also nominated for the 2020 Bridport Prize and the 2020 PANK Magazine Book Contest. She won first prize in Glimmer Train's 2017 Fiction Open and Tupelo Quarterly's 2021 Prose Prize. Her stories have appeared in Ambit Magazine, Joyland, The Mechanics' Institute Review, Berlin's SAND Journal, Feels Blind Literary, Lighthouse Press, and Popshot. Her features have appeared in Art News, The Wall Street Journal, New Scientist, USA Today, The London Fashion Week Daily, Fest Magazine, Vogue International, and Vice. She also researches and lectures in interactive narrative and metafiction at City, University of London. In Episode 7, Arianna Reiche joins us for a conversation about Place, Peculiarity, & Persistence. We discuss ways we are able to write about place and how that may challenge common conceptions, embracing strange and peculiar perspectives, persisting through life changes, and bearing the brutal bruises of editing. Questions 1. Place has a lot to do with my fiction - I just wrote a whole novel about the grounds of a theme park, and my next book is set in Berlin - but I often struggle with feeling that I've earned the right to write intimately about any given place. I find that I often sidestep writing about towns/cities/countries with real earnestness because of that, and instead adopt a lens of irony or eeriness. Or I just end up writing about the Bay Area, where I grew up, more than I probably truly want to, because no one can challenge me on my connection to it! Have you ever felt that conflict before? And more generally, how do you approach geography in your work 2. What does writing in earnest and with authenticity-one's OWN sense of what is authentic-look like? How do you capture it on the page to honor our own telling or to honor our truth and perspective? And how, if it all, does that challenge and expand the narratives we see present in certain spaces or among certain people? 3. How do you deal with feeling repelled by your own work during the editing process? It's something I've heard almost every writer I know talk about; I describe the feeling of opening the laptop for your third round of manuscript edits as poking a bruise. How do you stay enthusiastic about your own work when you're frankly just sick of looking at it? Show Notes 1. At the End of Every Day by Arianna Reiche https://www.simonandschuster.com/books/At-the-End-of-Every-Day/Arianna-Reiche/9781668007945 2. Our Share of Night by Mariana Enriquez https://bookshop.org/p/books/our-share-of-night-mariana-enriquez/18486460 3. The Age of Magic by Ben Okri https://bookshop.org/p/books/the-age-of-magic-ben-okri/20082895?ean=9781635422689 4. The Ben Okri story about Istanbul is called “Dreaming of Byzantium” found in Prayer for the Living, https://bookshop.org/p/books/prayer-for-the-living-ben-okri/13693373?ean=9781617758638 5. Irenosen Okojie, https://www.irenosenokojie.com/ 6. Helen Oyeyemi, https://www.penguinrandomhouse.com/authors/59813/helen-oyeyemi/ 7. CA Conrad - Poetry Rituals https://somaticpoetryexercises.blogspot.com/2018/08/somatic-poetry-rituals-basics-in-3-parts.html 8. Raymond Queneau, was part of the Oulipo group, a collection of writers and mathematicians who imposed rules on writing to increase creativity. More here: https://www.poetryfoundation.org/learn/glossary-terms/oulipo#:~:text=An%20acronym%20for%20Ouvroir%20de,and%20mathematician%20Fran%C3%A7ois%20Le%20Lionnais. 9. Kathy Winograd - https://kathrynwinograd.com/about/ 10. La Maison Baldwin, https://www.lamaisonbaldwin.fr/
Quinn K joins the clubhouse to break down their IGF-nominated game "An Outcry." Your nice hosts learn about choosing your own limitations, the Haunted PS1 scene, and how much playtesting is still not enough playtesting. Postmortem: "An Outcry" An Outcry - Quinn K, itch.ioRPG Maker 2003Oulipo: freeing literature by tightening its rules - Andrew Gallix, The GuardianDogme 95 - Movements in FilmHuanted PS1 Demo Disc 2021 - itch.ioThe Shrike (ship) - Memory AlphaQuinn KGuest External link ItchTumblrPatreon
Christian Bök is an award-winning poet pushing the boundaries of the medium and exploring the capabilities of language itself. Rather than focusing on self-expression, Christian uses poetry as a laboratory for understanding language — probing its plasticity and character.His notable work, the bestseller Eunoia, draws inspiration from the avant-garde rules of Oulipo and takes it a step further by restricting each chapter to only one vowel. This constraint leads to the creation of such singular phrases as "Writing is inhibiting. Sighing, I sit, scribbling in ink this pidgin script."For the past two decades, Christian has pursued an even more ambitious project, The Xenotext. This project involves enciphering an "alien text" within the DNA of a resilient bacterium, Deinococcus radiodurans. One goal of The Xenotext is to create a text that could outlast human civilization. To add to the genomic challenge Christian has set a remarkable rule: the symbols of the text should be interpretable in two different ways, resulting in two poems that are encoded within the same string.Christian combines scientific techniques, trial and error, and computer programming to construct his poems, adhering to the rules he has established within his own poetic universe. Furthermore, he transforms art back into science by employing gene-editing to inscribe his poetic creation into the "book of life," the DNA of a living organism.Instead of looking back and inwards (the ideal of “emotion recollected in tranquility”, Christian looks outwards and to the future, fusing science and art to produce uncanny, unforgettable verse.References: Christian's website: umlautmachine.net His Twitter: @christianbok More detailed notes from this episode at: multiverses.xyz
В Преге - предаването за книги на Радио Пловдив, на 10.06.2023 г. бяха представени следните заглавия:
L'Ouvroir de littérature potentielle, également appelé Oulipo, est un groupe de littérature innovante et inventive née en 1960. Dans cet épisode, on vous parle de ce jeu d'écriture surprenant. Avant d'expliquer ce qu'est l'Oulipo, nous allons, comme le préconise Raymond Queneau, un de ses membres fondateurs, expliquer ce qu'il n'est pas. Elle n'est ni un mouvement littéraire, ni un séminaire scientifique, ni de la littérature aléatoire. Cette non définition ne vous avance pas plus, pourtant, elle est caractéristique de toute l'originalité proposée par ce groupe. En quoi consiste l'Oulipo ? Quelles sont les figures emblématiques de l'Oulipo ? Et quels sont les exemples d'Oulipo ? Ecoutez la suite dans cet épisode de "Maintenant vous savez - Culture". Un podcast écrit et réalisé par Thomas Deseur. Date de première diffusion : 13 septembre 2022 A écouter aussi : Pourquoi les personnages de série meurent-ils sans raison ? Quels sont les secrets de tournage de la saga Fast and Furious ? Quelles sont les performances artistiques les plus trash de l'histoire ? Learn more about your ad choices. Visit megaphone.fm/adchoices
Retrouvez-nous sur Instagram, Twitter et désormais TikTok @lesondapres.Le lien vers le questionnaire & la nouvelle playlist Deezer : https://linktr.ee/lesondapresMerci pour vos réponses !Les morceaux présentés : Kiyoshi Yamaha - Hohai-BushiKelela - Missed CallLil Yachty - pRETTYVoyou - L'hiverAutres références :Playlist LE SON D'APRÈS dispo sur Apple Music, Spotify, Deezer & YouTube !Si vous nous trouvez pas, liens ici : https://linktr.ee/lesondapresKIYOSHI YAMAHALe shop Oneness Records (rue du Maréchal Joffre à Nantes)Ras AbubakarZion Gate Hi-FiL'album « Wamono Groove: Shakuhachi & Koto Jazz Funk ‘76 »Le film « Ocean's Eleven » de Steven SoderberghKhruangbinKifu Mitsuhashi et son shakuhachiToshiko Yonekawa et son tokoLe morceau « Superstition » de Stevie WonderLes compilations « Wamono A to Z » a retrouver sur le bandcamp de Wamono seriesKELELAL'album « Take Me Apart »Aphex TwinYves TumorBrian EnoMount KimbieBADSISTABambiiLSDXOXOKAYTRANADAJunglepussyShygirl« Burn The Witch » de LSDXOXOMissy ElliottXL Recordingles labels Night Slugs et Fade To MindLa mixtape « Cut 4 Me »L'EP « Hallucinogen »Warp RecordsGorillazSolangeL'album « Raven » de KelelaL'EP « Dedicated 2 Disrespect » de LSDXOXOL'album « Song Feel » de Girl UnitLIL YACHTYQuavoPlayboi CartiMigosLe label Quality Control MusicLe morceau « Broccoli » du rappeur DRAMLe single « Poland »L'album « Let's Start Here »Tierra WhackPink FloydTame ImpalaMac De MarcoBenjamin Goldwasser de MGMTL'album « Lil Boat » L'album « Teenage Emotions »L'album « Light of Mine » du rappeur KyleVOYOUPépiteThe PirouettesFishbachBleu ToucanVendredi sur Mer« Les Soirées » de VoyouGatherYelleBen MazuéFlavien BergerL'album « Les Bruits de la Ville »Le titre « Il Neige »Agnès ObelL'album « Les Royaumes Minuscules »Le label EntrepriseGeorges PerecL'Oulipo (Ouvroir de Littérature Potentielle)« Tentative d'épuisement d'un lieu parisien » Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
We begin talking about Carroll's "The Hunting of the Snark" and what makes comic poetry what it is -- making the arbitrary tight (the way OuLiPo does, so this is this semester's excursus on OuLiPo). Then a little about the plot that some of the students may have missed. Following which, an introduction to John Clare, and the first stanza of his poem "The Winters Spring," which we'll continue with next class.
Do authors today still experiment to push boundaries, or simply out of boredom? Throughout their respective careers, writers Laura Lindstedt and Sinikka Vuola have been interested in experimenting with form and language. In 2022, together they published an Oulipo-inspired murder mystery 101 Ways to Kill Your Husband – a piece of sheer joy and fascination for readers, writers and translators. In our new episode, authors discuss literary experiments, possibilities, and... revenge.
Kyra Simone, Palace of Rubble A collection of stories composed primarily of single words culled each day from the New York Times, among other news sources. Written under constraint in the tradition of Oulipo, these hybrid works of prose are reconstructions that no longer resemble the original texts, yet draw from the same reservoir of vocabulary, conveying new images and ideas, while preserving some distant ember of the universe from which they were first generated. Emmalea Russo, Confetti By turns cinematic, cosmic, alchemical, and geometric, Confetti uses language to alter the boundaries between film and daily life. Against a backdrop of screens, personal relationships extend into a play of light to create a meditation on disposability and permanence. Confetti soaks up dirt, shimmers, and gets thrown up into the air, landing on the ground in strange piles. Join Simone and Russo as they discuss their work with episode host Halley Perry. _______________________________________________ Produced by Nat Freeman & Michael Kowaleski. Theme: "I Love All My Friends," an unreleased demo by Fragile Gang.
The first episode of Read Me to Sleep Ricky's second season is a reading by host Rick Whitaker from his own 2013 novel An Honest Ghost. "Like an Italian micromosaic, whose infinitesimal ceramic tesserae generate an unearthly glow just by being in close proximity to each other, Rick Whitaker's An Honest Ghost is both narrative and objet, a singular work of art whose singularity keeps beckoning to the reader. He has put the force back into tour de force." --John AshberyComposed entirely of discrete, unedited sentences recycled from more than 500 other books, An Honest Ghost is an autobiographical literary feat unlike any other. Music: Brad Garton's Coronavirus Suite (2020)The transcription following contains a list of all the quotes, in order of appearance, that make up An Honest Ghost. Each quote is followed by the author who wrote it; the book in my library from which the sentence was taken; and the page number on which it appears in that edition. RWSupport the show
En #DemasiadoHumano 2022 hablamos de ‘la epistemología’. Hacen sus aportes al programa de hoy el filósofo Eduardo Glavich y el biólogo Diego Golombek. En la sección literaria comentamos “El viaje de invierno y sus continuaciones” de Georges Perec y Oulipo
Puntata a cura di Untimoteo.La Fortezza (Donjon nell'originale francese) rappresenta un riuscitissimo tentativo di decostruire il genere fantasy. Immettendo contemporaneamente note comiche e tragiche, e giocando con le regole della serialità. I suoi due autori - Joann Sfar e Lewis Trondheim - partono dalle basi dell'epopea epica e prima la ridicolizzano, poi la immergono in un fiume di dramma e infine giocano con stili e schemi narrativi. Rimbalzando tra epoche e ambientazioni, con nostra somma gioia e contemporanea disperazione. Un esercizio di stile in perenne divenire. Con esiti felicissimi.“Fumetto” è il formato del podcast di Mondoserie dedicato al mondo dei fumetti. Dai grandi classici alle opere più recenti. Italiani, orientali, occidentali. Parte del progetto: https://www.mondoserie.it/Iscriviti al podcast sulla tua piattaforma preferita: https://www.spreaker.com/show/mondoserie-podcast Collegati a MONDOSERIE sui social: https://www.facebook.com/mondoseriehttps://www.instagram.com/mondoserie.it/ https://twitter.com/mondoserie_it https://www.youtube.com/channel/UCwXpMjWOcPbFwdit0QJNnXQ https://www.linkedin.com/in/mondoserie/
It's the last Verb before we break up for the summer term, so we're having an end of term games day. Games Writer Rhianna Pratchett has worked across many games in a 20 year career. Some are big studio titles like Tomb Raider, where she was brought in to update the character of Lara Croft for a new generation, and others are indie games like Sketchbook Games' ‘The Lost Words', a game that Rhianna was involved in from early development and which was inspired by her own personal experiences of grief. Philip Terry, poet and editor of 'The Penguin Book of Oulipo' lets us into the world of avant-garde language games. It's Oulipo vs the Surrealists…get your Exquisite Corpse at the ready. And verb regular Ira Lightman embraces the chaos and creates poetry with the roll of a dice. He's built our very own Verb board game, Snakes and Ladders and Words! We also look ahead to the 'Sound of Gaming' Prom, the very first prom to centre on Computer games music with Sound of Gaming presenter Louise Blain, who also gives us an insight into the narrative possibilities computer games can offer us. Our 'Something New' this week comes from poet Will Harris. and our Something Old Archive recording is Adrian Henri reading ‘She Loves me' Presenter: Ian McMillan Producer: Jessica Treen
Welcome to the FuturePerfect Podcast where we talk with compelling people breaking new ground in art, media, and entertainment. This podcast is produced by FuturePerfect Studio, an extended reality studio creating immersive experiences for global audiences. Episodes are released every two weeks, visit our website futureperfect.studio for more details.The text version of this interview has been edited for length and clarity. Find the full audio version above or in your favorite podcast app.For episode 005, Wayne Ashley interviews Nick Fortugno, co-founder of the New York-based game studio Playmatics and designer of numerous digital and non-digital projects, including board games, collectible card games, large-scale social games, and theater.INTRODUCTION AND ROLEPLAYINGHey Nick, thanks for joining us. I'm really excited to dig into some of your background, ideas, projects, and particularly your alternative vision for a future of theater. I see you as a catalyst, a kind of cultural interlocutor making links across different forms of knowledge and practice, and the work you've done really attests to this. You've designed video and board games as well as outdoor public games. You're the co-founder of Playmatics, a New York game studio and the lead designer on many theater works, including Frankenstein AI and The Raven. And of course, one of the lead creators of the blockbuster mobile game Diner Dash. But first I want to go back a bit. Your cousin introduced you to roleplaying when you were quite young and you ran your first game of Dungeons and Dragons at six years old. Is it too much to assume that roleplaying is one of the most critical activities for you, if not a central organizing practice leaking into everything you do? Give us a sense of how roleplaying has activated much of your thinking and practice.Nick Fortugno: I think a central organizing principle is like a good way of thinking about it. It doesn't inform all of my work in a literal sense, but it's the heart of how I think about aesthetics. In Dungeons and Dragons, essentially what you do is you tell stories with other people and you use a rule system to adjudicate disagreement. You have a lot of “I hit you”—“no you didn't” stuff in roleplaying so you need rules to deal with that. When you're storytelling in that system and you're the person responsible for making the story, you don't story-tell the way you do in other forms where you have an idea of the story in your head and you're figuring out how to implement it in a way that will affect the audience. Instead, the players or the protagonists are interacting with you and they're changing it constantly. And so you don't know where the story is going. You have ideas of where you could go, you have ideas of what you might want to happen, but you're really in this collaborative process. And so this idea of improvising and using systems to generate things and being responsive to the interactions of other people is very much at the heart of my work. It's how I teach, how I think about storytelling centrally, and it informs a lot of my aesthetics. So yeah I would not be the person I was today if my cousin Joey didn't teach me D&D (Dungeons and Dragons) in Glen Ellyn, Illinois.DESIGN THINKINGYou're also a prolific researcher, not only of games, but of literature, theme parks, new technologies, and performance. I'm thinking about a previous discussion we had where in one breath you mentioned cultural forms that most people would never bring together in the same conversation. The list is long, but indulge me here: the British theater company Gob Squad, Galaxy's Edge at Disneyland, Harry Potter hotel, the theater collective The Wooster Group, the blockbuster event Sleep No More, the novels of Joyce and Pynchon, Evermore Park in Utah, and the epic video game Elden Ring. This cluster excites me because it's how we think as well, across these kinds of groupings. You also use this concept of affordances to enable you to think systematically across all these activities. Can you say more about that?NF: Affordance is a concept from design thinking, Donald Norman really popularized it. It's the idea that a form has features about it that lead to certain kinds of use. There are things that are intuitive in a way, or natural in a way, that come from a form. If I put a handle in a certain place, you hold the handle and that changes your use of the device. That idea that the forms start speaking to certain kinds of use cases is very central to thinking about interactive design. Because when you're a designer in those spaces you make the affordances. You don't tell users what to do. You give them something and you have them do it. That's why it's interactive. It's not like a roller coaster where I strap myself in and I just ride the rails that were put out in front of me. It's more like a theme park where there's just a bunch of stuff. But I don't go wandering off into the most boring part of the theme park. I go towards the lights, I go towards the sound, I go towards the interactive things. The design of those things that attract me, the things that challenge me, the obstacles and the rewards, all of that stuff moves me around in those spaces. This is central to the way I think about my practice.LITERATURE, PLAY AND AMBIGUITYYou have a BA in graduate study and literature. In our previous conversation, you noted an overlapping relationship between post-war American literature and the kinds of interactive narratives found in gaming. Do I have that right?In our other podcasts I've been really interested in what brings disparate people to these emerging hybrid media spaces. They come from film, dance, theater, visual art, and gaming. I think you're the first person in our podcast series making connections between Pynchon and James Joyce with interactive gaming structures. I'm curious about how you came to make these connections.NF: When I got interested in literature I was drawn to postwar postmodernist approaches to writing, like I'm thinking fifties, sixties, and seventies. But really you could stretch it from a Borgesian and Joycean and Steinean space up through the modern day. There's still authors like Ali Smith doing stuff like this. But when you look at like things like Pynchon and Nabokov in particular, their works start becoming a little bit obsessed with interpretation. Interpretation becomes the center of the novel. The novels become games about interpretations. There are other authors in that space who are really breaking down the sense of what you're supposed to consume from the story because they are, in a meta way, thinking about the fact that you're interpreting them. Whether it's Crying of Lot 49 asking you to think about what communication systems are and then challenging you on how we interpret conspiracies. And that's also all over Foucault's Pendulum. Or a book like Lolita, which is basically laughing in your face about your attempts to understand it. Or Pale Fire for that matter, which I think is an even deeper experiment. What you see over and over again is this idea that the novel is a game that the reader is playing with the novelist. It's not a puzzle. You're not going to get the answer out of it. That's not the point. And certainly postmodern poetry and people like Asbury would argue that if you got one meaning out of a poem, you didn't really read the poem anyway. The work becomes something that you as the audience have some ownership of because it is open to you and because it's an ambiguous object that you have to work with. That's what got me. I was already, just from roleplaying, very used to the idea that I participate in stories and that they come from this relationship with me and the text.So I don't like talking about interactive narrative. I think that's a bad phrase because I I'm always interacting with story. That's not new, what's new is the types of affordances of interaction that I get from stories, and what the possibilities for changing those stories are, and how much the story is a fixed thing that I encounter, and how much the story is flexible to my input. To me, the literature study was partly just giving me an outlet for stories and a place where stories can actually be quite experimental because when you just write it's cheap to make crazy worlds. It's the same amount of ink to write a crazy world as it is to write a realistic one. You can go very far with literature in a way that would be harder to do in film because you have to shoot all that stuff. The drive of novels from the modernist period on has been a drive towards more and more stylistic experimentation and that has been really engaging to me because you start seeing it as almost a formal thing. You can look at it like a structure and then you can see that the structure is doing something. Joyce's Ulysses is an excellent example of that. Each chapter is written stylistically and formally different. There are chapters that are dialogues, there are chapters where the stream of consciousness changes radically, there are chapters that drift, and that's part of the narrative. If you go back to the Oulipo experimentation that Calvino and other French and Italian authors were doing, they were literally creating that whole idea of branching trees. You start to see that there are patterns of structures of story that we can start to establish.That's the approach I take to this question of rhetoric. Exploration is a set of tropes, and branching is a set of tropes. It's similar, whether you're branching in a YouTube video or branching in a choose your own adventure, or branching in a game like Until Dawn. The branching is similar, it has similar tropes. So we can look at it structurally and say, well, what does the structure do? How do the choices in the design of the structure change things independent of content. And then what is the intersection between the content and the structure?DYNAMIC STRUCTURES AND GAMESIt's interesting to note how the strategies found in avant-garde and experimental literature have leaked into, or have become one of the dominant ways of constructing narrative within popular culture, video games, and even marketing. What was on the periphery has, in a sense, moved to the center and become part of the entertainment industry.NF: I think so because as you start moving into more dynamic and particularly digitally dynamic work it starts to have to be structural. Although that spills back into the analog, especially as internet of things (IOT) becomes very reduced in size and cost and technology starts coming back into the real world. You start seeing this there too.I'm riffing a lot on arguments in a book called Expressive Processing by Noah Wardrip-Fruin. If I make a piece of work that changes with every user and produces a different outcome, then the output of that work is not really an analysis of that work. If the work has a hundred thousand possibilities, one possibility is such a small segment of what it could be. That it gives me information as a user, but I can't really critique the work from that perspective. I have to look at the structure because it's procedural, it's not predetermined. And I think as we start moving into works that are like that, and since computers enable us to do that, that's what computers are good at is that kind of dynamic procedural, then we start to see that structural analysis and system design become more and more important. As it does, and we see the affordances that has, we can start pulling those affordances into other forms where we see similar audience relationships. So I don't think: does theater need this? Does film need this? Does installation need this? No, It doesn't need it. You can make good art without it, and obviously we have made thousands of years of good art without it, but the possibilities of the art change when you start seeing those things. That's why I think it's starting to permeate. Digital games are a very big industry and there's been a lot of really interesting storytelling in them. I don't think all people who study this stuff know that because it's locked a bit behind barriers of picking up a PlayStation 4 controller and trying to get through it. Shadow of Colossus, for example, is one of the most important digital works ever made. But not many people experience it because it's a really hard digital game. And it has to be hard. That's part of its aesthetic. But I think that the people who have bridged this are starting to see that you can inherit things from those forms into these other spaces. That's just changing the way we think and then you start to see work in the world that is just more procedural. Work that does just become more dynamic in its nature. Then you end up with stuff like LARP (Live action role-playing) where, you can't make LARP the way you make theater because I don't know what the players are gonna do. So my scripts in LARP can't be like a theater script, it doesn't make sense. I need a structure that will support 40 people running around doing random things.PARTICIPATORY EXPERIENCES DRIVEN BY TECHNOLOGYThis brings me to theater, particularly two participatory theatrical installations that you co-created. First, Frankenstein AI: a monster made by many which was an AI powered immersive experience that premiered at the 2018 Sundance Film Festival. And The Raven, which was performed as part of the Lincoln Center's New York Film Festival in 2019. Tell us what audiences might have experienced when they participated in Frankenstein AI and what was the genesis of that work?NF: Frankenstein AI has had a couple of different forms. Its original form was a small audience immersive experience where you came into a room and you interacted with another audience member at a surface computer that was like built into a table. It was formulated as an artificial intelligence asking you questions about what it was like to be human and you're sort of marking values on the table using a physical computing device that looked like an ouija board. That information was sent to an actual AI that was in a cloud which was used as the seed to determine a mood that the AI had. And then when you finished that exercise, you were brought into a room that was mapped with projections and IOT procedurally played drums and you would have a chance to talk to the artificial intelligence. The artificial intelligence would generate a question and then it would be delivered in text to speech to the audience in the room. And then the audience in the room would direct the docent to type a question into a typewriter and that would be sent back to the AI. This was all formulated where there's this AI that's been created, it has escaped into the internet and it is trying to understand what it is and what humanity is. And it's using the narrative of Frankenstein as this thing that was created that doesn't understand its role as a seed to understand where it's going. The whole thing was essentially a meditation on two things. One is this question of what is AI and what should we be worried about AI? These were the conversations that I had with Lance Weiler and Rachel Eve Ginsburg who were the co-creators of that project. My big argument was that everyone worries about Terminator, but what we should really be worried about is Kafka. AI is not a monster that takes us over. AI is a thing that doesn't understand us and then just acts procedurally in ways we don't understand.This is around the time that Microsoft had released an AI that became wildly racist and we were thinking about what it meant that we're teaching AI and how could we make a piece that gets people to reflect on the idea that we're engaged with artificial intelligence in the world? We are training it and we are going to teach the AI what it does. So if that's the case, what is our responsibility? The whole piece was kind of a meditation on that process. I did the creative technology design on that and some of the interactive narrative design of the sequencing of it. I'm very proud of that piece personally, because it was the first piece of creative technology that I ever actually showed in an exhibit. I worked on the technology that connected all of devices. So it meant that when the AI changed mood, the projections changed, and the drums changed and it pulled the AI's response and then fed that into the speech to text and delivered it into the room. So I basically did the technology that connected the surface tables to the AI, to the projectors, and to the drums. This was a topic of research I've had for a long time about how technology could be used to create these like kind of seamless connections between things. You didn't see anything happen, you just asked a question and suddenly the projections and drums changed. I call that seamless technology—technology that doesn't have clear lines where it connects. I think that could be a kind of magic and that was important to me. What did you learn from producing Frankenstein AI that changed your approaches when you then began to develop The Raven? How does The Raven work as an experience that grew from or built upon your previous work?NF: The Raven was an immersive performance where we allowed an audience into The American Irish Historical Society where they experienced a magically real story of Edgar Allan Poe's The Raven. The center of the technology of the piece was that every user had a lantern that they carried around with them. The lantern was an IOT device that was reading beacons in the space and connected to a central system. The audience also had a set of headphones that were playing audio for them. So most of the audio that was present in the piece came from the headset that was being played based on where they were and based on a character they picked at the beginning of the piece. Everyone was sort of playing a performer in the piece. The performer Ava Lee Scott, who was playing Poe and co-wrote the piece, was moving through the space as Poe meditating with these characters. But you, as the audience, were one of the people that Poe knew from his life or his creations. What Lance Weiler and I carried from Frankenstein AI was this idea that we could create a central technology system that was guiding all these users without having to have actors on top of those users moving them around. And that the storytelling could really be based on their decisions, because it was in part based on where you went and what you encountered. The other thing that Frankenstein AI taught me, in a real sense, was that these technologies could be stable. The work had a server system, that's how it ran, it was a server that was running on a small piece of technology called the Raspberry Pi. We turned it on and on the first day when we were running it we just didn't turn it off. We wanted to see if it would stay up overnight. And then we didn't turn it off for two full weeks. It just ran nonstop for two weeks and it never broke. We never had to restart it. So that taught me these things can be made battle ready. We brought a similar kind of technology to The Raven. There were obviously different technical constraints to The Raven and there were different bugs we were facing, but we went through a similar process of creating a central system that guided the narrative. If we do that right and we have the right affordances to connect to the audience that can take the place of a bunch of docents, a bunch of rules, a bunch of structures, and people can just explore. Then through that exploration they can find story. I should say that we worked with pretty robust technologies on that project. We were in partnership with Microsoft and we were using pretty heavy Azure servers and things like that, but it was not for heavy lifting stuff. It was for reliability of the delivery of the material. And then we built this gigantic XML file that was the branching script of the entire piece so that we knew where people were. We could time lights and sound cues and things like that.THE LIMITS OF THEATERWhat I find compelling about both of these projects is their capacity to posit alternative models for theater's future. They either directly or implicitly suggest that theater needs to be remediated or fixed. For the purposes of this discussion, can I make that assertion?NF: Yeah, I will also defend traditional theater, but… [laughs]That's good [laughs], but what is it about certain kinds of theater that need to be remediated and how are your explorations accomplishing this? I'm very careful to say alternative models and I'm not asking you to generalize. I think from our audience's perspective, people are going to ask: what's wrong with the kind of theater that I do? And why do I need these other systems? Why do I need to even consider these technologies? All these kinds of questions are implied, for better or worse, in the kind of work that you're proposing and the kind of exciting research that you're carrying out.NF: First of all, there's just aesthetic possibilities that are very hard to create in a linear format like theater. Guilt is hard to create in an audience. Triumph is hard to create in an audience because they don't do anything. You can get to shame, but there's types of shame you can't get to. So there's aesthetics that become possible just when someone is culpable and when someone has the ability to achieve. That becomes kind of interesting. Games have lots of emotions attached to victory and failure that can be leveraged in all sorts of interesting and weird ways. There are pieces like The Privilege of Escape, which was an escape room that was a meditation on systemic bias. That's an interesting example of a piece where the designer was trying to use the affordances of games to demonstrate a problem in the world. And games typically do that. There's just pure emotions that are inaccessible to linear media. I think because there aren't affordances for the audience to access them, despite the diversity of emotions that these forms can create. The second possibility is, it's a question of how you want to engage with your audience. As an artist, I don't really like telling people stories, that doesn't really engage me.You're the second person we've interviewed who has talked disparagingly about stories and storytelling. Say more about that.NF: I don't mind being blunt about this. I'm not that interested in my biology. I'm not that interested in my history. I don't find those things that interesting. I don't think I have a vision of storytelling that's so powerful that some muse came to me uniquely and now the word of heaven is coming through my body or something. And this isn't to knock people who do that, there are geniuses who make that work, but that's not how I create and that's not what I do. What I want is to play with you. I want to be able to engage with you and you know, catch the ball you throw and throw it back. And this isn't altruistic just to be really clear, I mean I like doing that with people, but it's also really fun to catch a bunch of balls coming at you in crazy directions and keep the whole thing on track. There's an artistry to that. That's what running an RPG is, it's like throwing track in front of a moving train. So I think that's really powerful and you get things that you would never get otherwise. Similarly, if you jam you get something that you would never get when you compose. The improvisation and the participation of other people leads you to create something new and you can do that with audiences. And you can do that with audiences in ways that don't make crappy, thin, gray, over-democratized work. Because I'm not saying that's not a problem, if you just let everybody come in and cook in the kitchen then you get no food or you get bland food or inedible stuff. Structures make it possible for people to participate in ways that are meaningful, but controlled, that fit within the aesthetic. So people understand what kinds of creations are possible in this space. And that is a whole set of techniques that then allows audiences to come in completely ignorant of what you're doing and then tell a story that they helped make that is still in the aesthetic you wanted. There's a magic to that that I think is really powerful. It opens up whole new kinds of forms and it's a different way of engaging with the world for the audience and I think that's powerful because we haven't really seen it before. There are some experiences like that, but they tend to be very high demand on the creativity or they tend to be gate-kept or they're high skill-based. And what immersive theater can do that I think is unique and independent of digital games and LARPs, is that they can be approachable. I can show up and not really know much and still participate. And I think that's a space that's really powerful. And then the third beat that I just have to mention all the time is that tickets are very expensive to these things. They charge a lot of money to get people into those things. I think that there's opportunity, from a business perspective, if you can figure out the scaling. You're seeing pieces like Particle Ink in Las Vegas which is a piece with projection mapping and dance where they're starting to figure out how to grow the audiences in ways that don't hurt the piece. You start looking at genuine business models for keeping those things up. What are other business models that can keep dancers, actors, and set designers involved? Because none of those people are going away in immersive theater, we need all of those people. We need them the same way we need them in other forms. It's a parallel skill if not an identical skill right. So we're not telling actors they're out of work. We had actors in The Raven, the actor was the center of The Raven in a lot of ways, but the actor was supplemented by all of these other things to create a new form where people can explore and make choices and feel directly engaged.NEW FORMS OF PEDAGOGYGiven this technologically seamless environment within which performance might take place, do you see the training of actors taking a different path? Or different ways for how writers produce scripts? Do we need new kinds of training for scenographers, sound and lighting designers that will accommodate and respond to these ideas and new approaches to performance? NF: Well acting, for example, in these kinds of cases, has a lot more improvisation in it. It's much more deeply based in that kind of improvisation, but it's also a lot about vulnerability. This is something that I'm just going to riff off of a writer and actor that I know Char Simpson would talk about. Char was part of the Blackout Haunted House for many years and talks very much about how they created vulnerability and that the creation of vulnerability was really important. That becomes a different way of thinking about acting. But also the idea that an audience member might ask you your favorite color and you need an answer that seems natural. That's a more roleplaying kind of acting than I think some actors are trained in, of course some actors are good at that. You don't know what's going to happen so you can't write a script the way you would normally write a script. It has to have some variation in it. You have to think about it more like story, like world building. I think directing changes because I don't know when we're gonna hit a specific moment or I don't know what perspective I'm gonna be coming from in a specific moment. So I have to think differently about that too. And you see that in digital games which will sometimes have cut scenes that are very film-like, but they'll also have scenes where users can walk around and watch what's happening. Which is why when we talk about VR we talk more about immersive theater because the viewpoint is not singular, it is a multiple viewpoint environment. So I'm thinking about it more from that perspective. Theater in the round is also relevant here. Again, that's not a new form, but it solved this problem. So maybe VR should look at theater in the round and then learn some lessons for how you keep an audience's attention in a broad space. And in fact, we're getting that big, we could think about station-based theater where people are really just drifting over a whole plaza and engaged in an experience. Are these forms going to change acting, writing, directing and set design? Sure, of course they are because the affordances of the audience are going be different and that's going to lead to different outputs. But it's not like we made up all this stuff just because the technology came along. We had happenings, we had station-based theater, we had rituals.I'm thinking about the Ramlila which I participated in India many decades ago in Varanasi. This is a month-long event that is played out over the entire city in which the inhabitants take on all the various roles. The city performs and becomes an immersive ritual and religious space. So there are absolutely precedences that are centuries old that we can draw upon. I'm thinking about how the pedagogical needs of theater will continue to change in response to these new forms that are becoming more and more central to our lives.NF: Yeah I teach immersive and dynamic narrative and I teach it in the way that we've been talking about. I teach it in this very broad, cut-across-media way. Media does not matter for the purpose of the class, that's not what it's about. It's about the tropes that the media use and how those things relate. And then you see this in disciplines like narratology where people are really coming at narrative from lots of different directions and trying to figure out how stories get told.Another point that's just very important to me is in the intersection of these forms. Because you're not going to get immersive theater from theater alone. There's a bunch of pieces that theater doesn't really know about like interaction design and a sort of multiple viewpoint about the pacing for that kind of stuff. Games understand that, but games don't understand what theater's good at. Games don't understand how you create scenes or understand how you create dramatic power, and games don't understand the value of liveness, frankly. Some of that we can get from LARPs, but LARPs aren't theater either. So it really is in the intersection of all of these fields.I think more of this is happening. You're seeing escape rooms get more theatrical. I think it's too slow, like way too slow. We could have gotten to where we are five years ago and we could be five years ahead of where we are right now. But you're starting to see some of that thinking happen. You're starting to see immersive pieces that are bringing some game elements into them. You can have conversations with people about VR where you talk about digital games and they don't scoff. This focuses again on the ideas of interaction and affordance and how those relate to storytelling that changes the orbit of everything. And then the skills that people have been learning, like the acting, writing, directing, set design, costuming, they all have a place. They're all going to be there, they're just going to circle around a different sun. And that sun is this audience member who can change what you do. That's different.Nick, thanks for all of the conversations we've had. I look forward to working with you. I think you're a really important thinker and maker, and your experiments and research bring a lot of insight into the future of performance.NF: Thank you, I appreciate that there are people like you that are thinking about these problems and working in these problems. Like with your own wonderful work and that podcasts like this exist to have these conversations. I look forward to a really bright future because there's other people like you in it. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit futureperfect.substack.com
Georges Perec es el autor elegido para cerrar la primera temporada de GRANDES INFELICES, un podcast literario de Casa Blackie presentado y dirigido por el escritor Javier Peña (autor de “Agnes” e “Infelices”). Pocos autores exploraron como Perec las posibilidades del lenguaje y de la experimentación literaria. Uno de sus mayores esfuerzos fue escribir una novela entera de 280 páginas sin la letra ‘e’, que en la traducción española perdió la letra ‘a’ y se llamó “El secuestro”. Un prestigioso periodista francés la leyó y escribió su crítica sin darse cuenta de la ausencia para regocijo de Perec. En el episodio hablaremos de este juego literario y de muchos otros que practicó como miembro del grupo Oulipo. Hablaremos también de su obra maestra, “La vida instrucciones de uso”, que Perec diseñó siguiendo los saltos de un caballo de ajedrez sobre un tablero con forma de fachada de edificio, que él mismo dibujó.
Daniel Levin Becker in conversation with Ian S. Port, celebrating the release of his new book "What's Good: Notes on Rap and Language," published by City Lights Books. This event was originally broadcast live via Zoom and hosted by Peter Maravelis. An early contributor to the groundbreaking lyrics site Rap Genius (now known as Genius), Daniel Levin Becker is an American critic, translator, and editor, and the youngest member of the Oulipo literary collective. He is the author of "Many Subtle Channels: In Praise of Potential Literature" (Harvard UP, 2012) and the translator of, among others, Georges Perec's "La Boutique Obscure" (Melville House, 2013) and Eduardo Berti's "An Ideal Presence" (Fern Books, 2021), and co-translator of Frédéric Forte's "Minute-Operas" (Burning Deck, 2015) and "All That Is Evident Is Suspect: Readings from the Oulipo 1963–2018" (McSweeney's, 2018). He is a contributing editor to The Believer, senior editor at McSweeney's Publishing, and English editor for the French nonfiction publisher Odile Jacob. He lives in Paris. Ian S. Port is the author of "The Birth of Loud" (Scribner, 2019), an acclaimed portrait of electric guitar innovators Leo Fender and Les Paul and their impact on music. Ian's writing has also appeared in The New York Times Magazine, Rolling Stone, Village Voice, and many other outlets. A Bay Area native and former music editor of SF Weekly, Ian spent seven years in New York City, and is trying to decide where to live next. Songs included in this event: "Exhibit C (Instrumental)" by Jay Electronica; Decon Records, 2009; produced by Just Blaze "We Major" by Kanye West; Roc-a-Fella Records, 2005; produced by Kanye Wet, Baby Dubb, and Jon Brion "Stay Schemin (Album Version [Explicit])" by Rick Ross; Maybach Music Group, 2012; produced by the Beat Bully This event was made possible by support from the City Lights Foundation: citylights.com/foundation/
Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Georges Perec, (born March 7, 1936, Paris, France—died March 3, 1982, Ivry) was a French writer, often called the greatest innovator of form of his generation. Perec was orphaned at an early age: his father was killed in action in World War II, and his mother died in a concentration camp. He was reared by an aunt and uncle and eventually attended the Sorbonne for several years. His best-selling novelLes Choses: une histoire des années soixante (1965; Things: A Story of the Sixties) concerns a young Parisian couple whose personalities are consumed by their material goods. In 1967 he joined the Ouvroir de Littérature Potentielle (Workshop of Potential Literature). Known in short as Oulipo, the group dedicated itself to the pursuit of new forms for literature and the revival of old ones, and it had a profound impact on the direction of Perec's writing.Perec's novel La Disparition (1969; A Void) was written entirely without using the letter e, as was its translation. A companion piece of sorts appeared in 1972 with the novella Les Revenentes (“The Ghosts”; published in English as The Exeter Text [1996]), in which every word has only e as its vowel. W; ou, le souvenir d'enfance (1975; W; or, The Memory of Childhood) is considered a masterpiece of innovative autobiography, using alternating chapters to tell two stories that ultimately converge. By far his most ambitious and most critically acclaimed novel is La Vie: mode d'emploi (1978; Life: A User's Manual), which describes each unit in a large Parisian apartment building and relates the stories of its inhabitants.From https://www.britannica.com/biography/Georges-Perec. For more information about Georges Perec:“The Absolute Originality of Georges Perec”: https://www.newyorker.com/books/page-turner/the-absolute-originality-of-georges-perec“Why Curators and Artists Love the Complex Literature of Georges Perec”: https://news.artnet.com/art-world/author-georges-perec-art-1120154
Ce soir, un épisode spécial, court, un "bonus" pour les vacances... Une collection d'ordinaires, et un clin d'œil à La Grande Aventure de Victor Pouchet. Si tu aimes ce podcast, tu peux le soutenir en ajoutant une note
Епізод про Oulipo - один з найбільш експериментаторських рухів у літературі ХХ ст. Про письменників, які простягнули руку математикам та показали, що обмеження може збагачувати літературу та робити її вільною. Ремон Кено, Жорж Перек, Італо Кальвіно - вони вважали себе інвенторами, винахідниками, а не творцями. - Для патронів бонус: творчість VS винахідництво у культурі. Стати патроном і слухати більше можна тут: patreon.com/kultpodcast
Mathematical concepts have often been used to create new structural forms in fiction, as in the works of Raymond Queneau and Jorge Luis Borges. The members of Queneau's Oulipo group (including Georges Perec and Italo Calvino) sought to create works using various constraints as an impetus to innovation. Eleanor Catton's The Luminaries (2013) continues in this tradition. And mathematical concepts have even been used as plot devices, such as series of dastardly murders made possible by the mathematical idea of "non-transitivity".A lecture by Sarah Hart 9 MarchThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/maths-fictionGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege
Pour ce premier épisode de narcoleptica, installe-toi confortablement et laisse les ronrons te faire rêver... Narcoleptica, c'est le podcast qui t'aide à dormir en te racontant des histoires. Abonne-toi pour ne manquer aucune histoire, et retrouve-moi sur instagram @narcolepticalepodcast
Qu'est-ce que l'Oulipo ? Merci d'avoir posé la question ! Lundi 30 novembre, le lauréat du prix Goncourt 2020 a enfin été dévoilé ! Et c'est Hervé Le Tellier avec son livre "L'anomalie" qui a été consacré. L'écrivain déclare aussitôt : "Si je n'étais pas membre de l'Oulipo, j'aurais écrit un roman très différent". "L'anomalie" est d'une certaine manière, un hymne à l'Oulipo dont Hervé Le Tellier est le président depuis 2019 et, premier écrivain du groupe, à recevoir le prix Goncourt. Mais c'est quoi exactement l'Oulipo alors ? À l'automne 1960, un petit groupe de poètes scientifiques se rassemble autour du poète Raymond Queneau et de son ami le mathématicien François Le Lionnais, sous le nom d'OUvroir de LIttérature POtentielle, OuLiPo. Littéralement, atelier pour fabriquer de la littérature. Ce mouvement littéraire, qui compte parmi ses adeptes des écrivains tels que Georges Perec ou des artistes comme Marcel Duchamps, entend produire une littérature sous contrainte. Qu'est-ce qu'une littérature sous contrainte ? L'oulipo est-il encore actif aujourd'hui ? Quel est le rapport avec le rap ? Ecoutez la suite dans cet épisode de "Maintenant vous savez". Un podcast écrit et réalisé par Zineb Soulaimani. A écouter aussi : Qu'est-ce que "Djomb" ? Qu'est-ce qu'un boloss ? Qu'est-ce que "miskine" ? Vous pouvez réagir à cet épisode sur notre page Twitter. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out. Learn more about your ad choices. Visit megaphone.fm/adchoices
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