txt/performance/net at MACHFELD, Vienna, June 26

Categories:  electronic literature, performance
Tags: , , , ,

I’m doing a digital text installation and performance at MCACHFELD in Vienna Saturday, June 26, thanks to the generosity and super organizational prowess of Vienna-based digital sound visual interactive poet, member of the institute for transacoustic research and member of the vegetable orchestra Jörg Piringer, who set the whole thing up.

MACHFELD (Michael Mastrototaro & Sabine Maier) was founded 1999 in Vienna. Based on Mastrototaro’s cyber-novel of the same name, MACHFELD developed an art-label focused on: web-art, short- and experimental films, streaming-projects, interactive installations as well as works for the public space. Since 2004 MACHFELD has run an interdisciplinary Medialab in Vienna, with projects, exhibitions and installations / screenings in Africa, Europe, Central- and North-America.

If you happen to be in Vienna Saturday, 26 June, come by MCACHFELD for an evening with txt/net-installations & -performances by:

j.r. carpenter
http://luckysoap.com/

peter moosgaard
http://duebomba.blogs.sonance.net/

jörg piringer
http://joerg.piringer.net/

with a guest appearance by decadent chef Durain Gray.

machfeld invitation

Saturday, 26 June 2010 at 20:00
machfeld | studio
2., max winter platz 21/1
Vienna, Austria

PW10 Performance Writing Weekend at the Arnolfini

Categories:  electronic literature, performance
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I will be presenting digital work in PW10 Performance Writing Weekend at ARNOLFINI in Bristol, UK, May 8-9, 2010. PW10 is part of Lingua Franca, a series of exhibitions and events looking at intermediary language, linguistic translation and the subjectivity of language presented by Arnolfini during 2010.

As part of the Lingua Franca season, ARNOLFINI has collaborated with the Performance Writing and English with Creative Writing fields at University College Falmouth to create PW10: a weekend of performances, talks, readings, digital and audio / visual work exploring interdisciplinary approaches to language, textuality and environments for writing. PW10 artists and writers include Ric Allsopp, Emma Bennett, J.R. Carpenter, Nisha Duggal, Drew Milne, David Prior, Jean-Jacques Lecercle, Tony Lopez, Marianne Morris, Nancy Reilly-McVittie, Redell Olsen and Aaron Williamson.

A two-day workshop exploring the theme of writing and water, accompanying the PW10 Performance Writing weekend. Led by University College Falmouth lecturers Jerome Fletcher and Simon Persighetti, this practical writing project will use the floating harbour adjacent to Arnolfini as a site to explore the relationship between writing and water.

PW10 will run May 7-9, 2010. These dates coincide with the opening of a major re-site of a text/audio installation by Caroline Bergvall and Ciarán Maher, “Say Parsley,” running for 8 weeks in the ARNOLFINI Gallery, Sat 8 May – Sun 4 July, 2010.

“Say Parsley” is a sparse sound and language installation by London-based French-Norwegian writer Caroline Bergvall and Irish composer Ciarán Maher. Organized across a number of spaces, the installation becomes a place for mishearings, recognition, assumptions, misattribution. You hear what you want to hear. You hear what you think you hear. The background to Say Parsley is the biblical ‘shibboleth’, a violent event where language itself is gatekeeper, and a pretext to massacre. The pronunciation of a given word exposes the identity of the speaker. To speak becomes a give-away. Are you one of us, not one of us? How you speak will be used against you. The most recent example of a large scale shibboleth was the massacre of tens of thousands of Creole Haitians on the border of the Dominican Republic in 1937, when the criteria for execution was the failure to pronounce ‘perejil’ (parsley) in the accepted Spanish manner, with a rolling ‘r’.

PW10 May 8-9, 2010
ARNOLFINI
16 Narrow Quay, Bristol BS1 4QA

In(ter)ventions – A Note on the Agenda

Categories:  Banff, conference, electronic literature, performance, reading
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In case I haven’t mentioned this already, I am really, really, really excited about In(ter)ventions — Literary Practice At The Edge: A Gathering happening at The Banff Centre February 18, 2010 – February 21, 2010. I had the good fortune to be involved in the planning of this event. In December 2008, Steven Ross Smith – Director of Literary Arts at The Banff Centre – invited Marjorie Perloff, Lance Olsen, Fred Wah and me to Banff for a three-day think tank on bringing new practices to the the Literary Arts program. The incredible diversity of practice, knowledge and experience at that table was both humbling and exhilarating. It has been wonderful watching the many names, works, issues and ideas from a vast array of literary practices we discussed coalesce into the dreamboat agenda we have today.

The best part of this agenda is, now we get to go enact it – live in real time in Banff. On Friday, February 19, 2PM, I’m on a panel on Digital Effects – Digital Literary Creation & Dissemination with Stephanie Strickland and Chris Funkhouser moderated by Nick Montfort. Later, at 8PM that evening, I’m doing a reading/performance with Lance Olsen and Erin Moure. Then, on Saturday February 20, at 3:30PM, I’m presenting a screening of digital literature co-curated with Ram Devineni. For the rest of In(ter)ventions I’ll be litstening, watching and reading with rapt attention, catching up with friends and generally resisting the urge to ask everyone for their autographs.

The full In(ter)ventions agenda (pdf): http://www.banffcentre.ca/programs/id/0900/925/agenda.pdf


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In(ter)ventions: Literary Practice At The Edge

Categories:  Banff, conference, electronic literature, performance
Tags: , , ,

In(ter)ventions — Literary Practice At The Edge: A Gathering is a conference unlike any held previously in Canada. Over the course of four days, thirty six forward-thinking literary artists will create a context for the demonstration and discussion of cutting-edge literary practice. In a mixture of panels, papers, readings, performances, and more, participants will explore digital literature, interactivity, collaboration, cross-disciplinary work, formal innovation, “uncreative” writing, new modes of dissemination, and literary pedagogy.

Within the rapidly changing landscape of literary practice and dissemination, technology has rocketed forward, putting more power into the hands of writers and other artists. New literary modes have appeared and continue to develop, and the ability to share information rapidly across disciplines has resulted in exciting and challenging cross-pollination. In(ter)ventions will explore the edges of literature, where technology, innovation, and literary practice meet.

This conference is open to writers, new media artists, students, critics, educators, and others who want to contribute to, or listen in on, the conversation taking place with regards to innovative modes of literature. Participants will come away from this cutting-edge conference with a better understanding of the future of literary practice and inspiration to further explore emerging trends in the discipline.

In(ter)ventions: Literary Practice At The Edge: A Gathering
The Banff Centre, Banff, Alberta, Canada
February 18, 2010 – February 21, 2010

Director: Steven Ross Smith
Presenters: Charles Bernstein, Jen Bervin, Christian Bök, J.R. Carpenter, Maria Damon, Ram Devineni, Craig Dworkin, Al Filreis, Christopher Funkhouser, Kenneth Goldsmith, D. Kimm, Larissa Lai, Daphne Marlatt, Nick Montfort, Erin Moure, Lance Olsen, Stephen Osborne, Marjorie Perloff, Kate Pullinger, Stephanie Strickland, Steve Tomasula, Fred Wah

Further information || Agenda (PDF)
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Wild Party – Skype Tea with World Tea Party at Centre A

Categories:  performance
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Part slumber party, part jungle party, WILD PARTY goes on 24/7 in a bedroom in an 18th c country house in South Devon, England. The kettle is always on in this wilderness of laptops, iPods, data projectors, bad puns, random theories, tea trivia, tea lights, throw pillows, paper cut-outs and painted plywood trees. Drop in on a fiction writer in stripy dressing gown, a teenager in a wolf suit, a butler in track pants, a stuffed cow in a plush coat and a panda in a bikini for a cup of Wild Berry Tea.

J. R. Carpenter, Aphra Kennedy Fletcher, Jerome Fletcher, Mooey and Panda, with guest appearances from Couch Potato (who is basically a potato) and The Zebra Socks, will broadcast one hour of their ongoing WILD PARTY live via Skype from Sharpham House, South Devon, England, to Centre A, 2 West Hastings St., Vancouver, British Columbia, Canada, February 13, 1400 PST / 2200 GMT

WILD PARTY is part of WORLD TEA PARTY
Celebrations of global Tea Culture
Presented by Centre A
February 12-28 & March 12-21, 2010
Gallery Hours: 2:00 pm – 10:00 pm
Free admission before 6:00pm
Opening Reception: Friday, February 12, 7:00 pm

Centre A is pleased to present World Tea Party, animated by lead-artist Brian Mulvihill (aka Trolley Bus), one of the world’s leading tea masters and calligraphers based in Vancouver. Mulvihill is producing a special Olympiad edition of The World Tea Party.

Previous versions have been presented for large publics at the Winnipeg Pan Am Games, the Venice Biennale, the National Gallery of Canada, the Hollywood Bowl, the Eiffel Tower and other venues. The project is based on the notion that humanity shares in the drinking of tea a spirit of generosity and understanding that both celebrates and transcends our cultural diversity. Tea is the most common beverage in the world community.

The World Tea Party is a “social sculpture” that involves the creative empowerment of the audience and the general public. Its interactive aspect makes the World Tea Party an effective vehicle for a debate about the relationship between the Olympics and the Downtown Eastside.

Free Tea and Large Scale Video Projections
During gallery hours, tea is offered for free, both inside the gallery and at times on the street, while video projections are shown on the building’s exterior windows daily from 6:00 pm to 10:00 pm.

Two 5,000 lumen video projectors will be used to project images 40 feet wide across the front windows of the gallery. Content will include works by commissioned artists, live images of performances, pre-recorded tea images, documentation of the World Tea Party in different contexts

Special Events
The World Tea Party features a number of special events, including Skwxumesh First Nations artist Cease Wyss, who will host a First Nations welcome event on Sunday, February 14, featuring indigenous herbal teas. On Saturday, February 20, Jun Oenoki, who is Associate Professor, Communication Studies, Tokyo Keizai University and artist-in-residence at Centre A, will produce a teleconference with partners in Yokohama which will be streamed live to the Internet and edited for outdoor display. The traditional Japanese tea ceremony is presented by the Urasenke society of Vancouver. The relaxed atmosphere of the World Tea Party invites conversation and informal performances. New additions to the line-up will be posted to the website.

Local Network – “Bright Light” partnership of 10 DTES arts groups
World Tea Party is key station in the City of Vancouver’s Olympic and Paralympic Public Art Program: Bright Light, an initiative that provides pedestrian friendly light-based public art works, projections and performances along Carrall Street, Hastings Street and in the neighbouring area. The project brings together a consortium of 14 creative partners, including Access, Helen Pitt, Downtown East Cultural Centre, Artspeak, LIVE, UBC Architecture and others. Centre A acts as a hub and meeting place for Bright Light.

Come have a cup of tea!

Please see these websites for complete event schedule:
www.worldteaparty.com
www.centrea.org
http://bright-light.ca/
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Next Stop, SappyFest!

Categories:  electronic literature, mini-books, performance, reading
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Literary types of all stripes will invade SappyFest this year. Thursday, July 30, I’ll pack a suitcase full of zines and novels and join the migration eastward.

SappyFest is a little independent music festival produced annually in partnership with the Ok.Quoi?! Contemporary Arts Festival, Struts Gallery & Faucet Media Arts Centre. The festival takes place July 31 – August 2, 2009, in Sackville, New Brunswick, the centre of the universe.

If you happen to be in the centre of the universe that weekend, come visit me at the Zine Fair, Saturday August 1, 12 to 4 PM at the United Church. There will be participants from across Canada, a kids workshop, a presentation by Andy Brown (Conundrum Press) and readings by Jeffrey Makie, Jaime Forsthythe and Dawn-Aeron Wason.

Sunday, August 2, 11:00 AM to 1:00 PM, check out the The Vogue Writers Block, a multi-media event at The Vogue Theater (Sackville’s art deco movie theater) featuring The Joe, Catherine Kidd, J.R. Carpenter, Lezlie Lowe, Andrea Dorfman, Ian Roy, and Thesis. I’ll reading a section of my novel, Words the Dog Knows, that traverses three different electronic literature projects (How I Loved the Broken Things of Rome, Entre Ville, and in absentia).

Now a registered non-profit organization, SappyFest Incorporated, the festival was founded in 2006 by the good people of Sappy Records, Julie Doiron, Jon Claytor and Paul Henderson.

Ok.Quoi?! is an interdisciplinary festival of contemporary art, focusing on video, audio, new and independent music produced by Struts Gallery & Faucet Media Arts Centre in partnership with SappyFest. The works of over 50 artists will be presented over 6 days in a variety of screenings, installations, concerts, broadcasts and performances. Alongside exciting international and national work, Ok.Quoi?! features new and innovative projects from local and regional artists. All events save for the Last Chance for Summer Romance concert and barbecue are free, and open to all ages.

More info: SappyFest & Ok.Quoi?!


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E-Poetry Festival – Barcelona 2009

Categories:  electronic literature, in absentia, performance, poetry
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Next week I will present in absentia at the 5th edition of the E-Poetry Festival, which will take place in Barcelona May 24th-27, 2009. Artistic and academic events will take place at key Barcelona venues such as the the University of Barcelona, the Barcelona Center for Contemporary Culture (CCCB) and the Caixaforum, providing authors the opportunity to present their works to a public curious about new poetry and artistic trends employing technology and communication during the Setmana de la Poesia.

The event is organized by UOC’s research group Hermeneia, with the collaboration of Electronic Poetry Center (University of Buffalo) and the Laboratoire Paragraph (Univ. Paris VIII). Keynote speakers will include Roberto Simanowski (Brown University) and Jean Clément (Université Paris 8).

E-Poetry is an international biennial conference and festival of digital poetry. It is the most significant digital literary gathering in the field, bringing together an impressive roster of Electronic Literature’s most influential practitioners from around the world. Authors and researchers will present the latest research and the newest, most important works of electronic literature will be presented. Presenting at E-Poetry will bring my work to the attention of an influential international audience of critics, academics, practitioners and the public.

For more information or to register, please visit: http://www.e-poetry2009.com/

in absentia is a web-based project that uses fiction, digital images, historical maps HTML, javascript and the Google Maps API to address issues of gentrification and its erasures in the Mile End neighbourhood of Montreal. The result is an interactive non-linear narrative map of interconnected “postcard” stories written from the point of view of former tenants of Mile End. In recent years many long-time low-income immigrant and elderly neighbours have been forced out of their homes by economic decisions made in their absence. The neighbourhood is haunted now, with their stories. Our stories. My building was sold during the production of in absentia. Faced with imminent eviction I began to write as if I was no longer here, about a Mile End that is no longer here. The Mile End depicted in in absentia is a slightly fantastical world, a shared memory of the neighbourhood as it never really was but as it could have been. The sterile and slightly sinister “developer’s-eye-view” of the neighbourhood offered by Google Maps satellite imaging has been populated with stories, interrupted with silhouette voids, intimate traces of the sudden disappearances of characters (fictional or otherwise) from the places (real or imagined) where they once lived.

At E-Poetry I will present the piece by giving a brief contextual overview of the work and then read aloud from a number of the stories contained in the work.
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soirée de performances hypermédiatiques bleuOrange

Categories:  electronic literature, performance
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Vous êtes cordialement invitées, invités à la soirée de performances hypermédiatiques bleuOrange, mettant en vedette J .R. Carpenter, Jason E. Lewis et David Jhave Johnston, trois artistes reconnus pour leurs pratiques d’écriture faisant usage des technologies numériques. Ils seront suivis d’une prestation du groupe Graffiti Research Lab – Canada.

J.R. Carpenter est la récipiendaire du Carte Blanche Quebec Award décerné par la Quebec Writer’s Foundation, elle a remporté deux fois la CBC Quebec Short Story Competition, ainsi que, plus récemment, le Expozine Alternative Press Award dans la catégorie Best English Book pour son premier roman, Words the Dog Knows. Ses œuvres de littérature électronique ont été présentées partout dans le monde. Elle est présidente du conseil d’administration du Laboratoire des Nouveaux Médias OBORO à Montréal.
http://luckysoap.com

Artiste du Web, David Jhave Johnston a débuté sa pratique comme poète avant d’intégrer les outils informatiques et numériques à sa production. Il est engagé dans de nombreuses collaborations, notamment avec le collectif torontois Year01 dans le cadre duquel il agit régulièrement à titre de commissaire. Son travail a été présenté notamment aux Biennales d’art contemporain de Montréal, en 2003, et de Toronto, en 2004. Diplômé de l’université Concordia en 2004 en Sciences informatiques, il a également complété une maîtrise en Arts interactifs à l’université Simon Fraser (Vancouver) en 2005 et est actuellement doctorant à Concordia.
http://www.glia.ca

Jason E. Lewis est un artiste des médias numériques et un designer de logiciels. Il est le fondateur de Obx Laboratory for Experimental Media, où il est le directeur des projets de recherche et de création. Leur objet est de trouver de nouvelles manières de produire et de lire des textes numériques, de développer des systèmes permettant un usage créatif de la technologie mobile, d’assurer le design d’interfaces alternatives pour des performances artistiques en direct et d’utiliser des environnements virtuels afin d’assister les communautés aborigènes dans la préservation, l’interprétation et la communication de leur histoire culturelle. Obx Labs est dévoué au développement de nouvelles formes d’expression en travaillant simultanément sur le plan conceptuel, créatif et technique. Les œuvres et les écrits de Jason E. Lewis sur les médias ont fait l’objet d’expositions et de conférences sur quatre continents. Il est présentement professeur associé au département des arts informatiques de l’Université Concordia.
http://www.obxlabs.net

Graffiti Research Lab – Canada. Quand la voix du peuple ne peut se faire entendre par les moyens traditionnels, la population doit opter pour des méthodes subversives. Entraîné dans les profondeurs de la plus grande jungle urbaine de la planète, le Graffiti Research Lab déploie un groupe d’agents canadiens de niveau Splinter Cell élite pour combattre l’establishment et pénétrer la conscience des masses. Extrêmement efficaces dans l’utilisation d’Armes de Défiguration Massive, ces agents dévoyés travaillent à la libération du peuple, et contre la guerre psychologique des agences de publicité. Leurs armes? Peindre avec la lumière et diffuser avec des lasers.
http://www.GraffitiResearchLab.ca

Les performances auront lieu le samedi 2 mai 2009, à 20 heures
à l’Agora Hydro-Québec du Coeur des sciences de l’UQAM
175, avenue du Président-Kennedy, Montréal
Métro Place-des-Arts, accès entre l’UQAM et l’église au toit rouge

Entrée libre
La revue bleuOrange (http://revuebleuorange.org) profitera du colloque international Histoires et Archives, arts et littératures hypermédiatiques (colloque2009.nt2.uqam.ca) pour tenir une soirée de performances d’œuvres hypermédiatiques le 2 mai 2009 à 20 h, et souligner le lancement du second numéro de bleuOrange, revue de littérature hypermédiatique.

bleuOrange est un projet soutenu par le Laboratoire NT2 : Nouvelles technologies, nouvelles textualités et Figura, le Centre de recherche sur le texte et l’imaginaire, tous deux rattachés au Département d’études littéraires à l’Université du Québec à Montréal.

INFORMATIONS
Alice van der Klei
Rédactrice en chef
bleuOrange, revue de littérature hypermédiatique
514 987.3000 poste 1931
info@revuebleuorange.org
http://revuebleuorange.org


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Wired Women Salon # 70 :: Top Chrono

Categories:  performance
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The time has come for our 2008 TOP CHRONO Salon! Once again, Studio XX will showcase the work of talented women artists who will share sneak peeks of their latest artworks, productions or performances. Audiences will enjoy performance pieces, presentations with images and sound, spoken word, music, video and other magnificent surprises true to our artform. Invited artists will be subject to the playful random rules of the universe : each will have between 4 to 7 minutes to execute their presentation. The lenght will be determined by the cast of the dice!

Join us for a fabulous celebration capping off a prolific year of creative endeavours !

With : Lorella Abenavoli, Beewoo, J.R. Carpenter, Darsha Hewitt, Virpi Kettu, Maroussia Lévesque, Hélène Prévost, Nelly-Ève Rajotte and Victoria Stanton.

Wired Women Salon # 70 [Dec. 18] :: Top Chrono
Thursday, December 18th 2008, from 6:00 to 8:00 PM
@ Geordie Theatre Space:: 4001 Berri St., Ground Floor Montreal
Entrance Fee : 6$, free for Studio XX members.

*** Top Chrono Special : one-night only !
Become a member of Studio XX at the event and receive a complimentary copy of our limited edition xxxboîte : http://www.studioxx.org/en/xxxboite

STUDIO XX
4001 Berri St., Suite 201, Montreal (Quebec) H2L 4H2
Between Roy and Duluth
Sherbrooke Metro, or the 24 bus (Sherbrooke)
http://www.studioxx.org

Information :: 514.845.7934
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Tributaries: Behind the Scenes at the Vancouver Launch Event

Categories:  electronic literature, performance, Tributaries and Text-Fed Streams
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Over the course of the six months that I was posting to Tributaries & Text-Fed Streams I had the occasion to explain the project many times to many people, often with little or no success. Some said: Wow, that sounds so cool… But I know they’d never read a word of it. Others smiled and nodded even as their eyes literally glazed over. Only a brave few admitted they had no idea what I was talking about. You few, you are true friends.

None of this bothered me of course. I knew that this exploration of the formal, functional and poetic properties of RSS would be best understood in its natural element (online) and would be most closely read by an online community already habituated to navigating the tributaries of text-fed streams.

So why, from day one, did I insist that the commissioning body, The Capilano Review, go to the trouble and expense to fly me from Montreal to Vancouver for a real-time one-time only launch event?

The more open-ended, circuitous and recursive a project sets out to be, the more necessary closure becomes. I posted the last fragment of text from the “original” source two days before the Vancouver launch. Had not had a plane to catch and a mic to get in front of I could have continued frigging around with the texts of TCR 2-50 indefinitely.

Tributaries curator Kate Armstrong supported the idea of a Vancouver launch event from day one. While she was researching potential launch event venues she sent me this email:

HI JR
Do you by any wild chance know Billy Mavreas?

BILLY MAVREAS is a Greek-Canadian artist and cartoonist living in Montreal. His artwork has been shown internationally. He is the author of The Overlords of Glee (2001) and the upcoming Inside Out Overlap (Timeless Books, 2008), and also the proprietor of his enduring project, Monastiraki, a Mile-End magickal curiosity shoppe and art gallery.

I replied:

> Yeah, he’s my neighbour and dear friend and we were at Banff together
> and so on. Why do you ask? He’s having a show at Helen Pitt around
> the same time I’ll be in Vancouver.

The rest, as they say, took a few more weeks to plan. But in the end, yes, we had the launch event at the Helen Pitt Gallery, where my friend and Montreal neighbour Billy Mavreas was artist in residence and the director Lance Blomgren had just agreed to contribute texts to another electronic literature project I’m working on and all three of us are Conundrum Press authors. Thank you Lance and Billy for letting us take over the Helen Pitt for the evening. Special thanks Billy for physically remixing a print copy of TCR 2-50 and handing out the mini-zine results on the spot, and for making such Tributaries-looking wall art for us to all stand in front of. And extra special thanks Emilie for pouring wine all evening and without whom I might not have made it to the gallery at all that day, but that’s another story.

Many dear friends showed up for the event, including some long-lost ones and some never before met in person ones and some in the “I have no idea what this project’s about” category. The pressure was on!

The Tributaries & Text-Fed Streams project is nowhere near as complicated as it sounds. It’s about reading. I held up my copy of TCR 2-50 for the audience to see all the underlined passages, circled sections, arrows, stars and annotations scribbled in the margins. We all do this when we read, don’t we? We interpret, interrupt, form metal images, take notes, and make associations. As I parsed and posted fragments of the essays of TCR 2-50 I marked them up, into JRML, as Kate Armstrong once quipped.

There are hundreds of different ways to read Tributaries & Text-Fed Streams. One good place to start is with the post: What the Heck is RSS?

A good example of JRML is section of Sandra Seekins’ essay dealing with the metaphors and media of biotechnologies which led to me to quote a sequence of pre-genetic-technology references made in literature and philosophy to “metaphors” of bodies as “composites of replaceable parts” in this excerpt: Metaphors of Biotechnology

An intertextual dialogue between TCR 2-50 authors emerges in the matrix/chora section of Kevin Magee’s poem To Write as Speach.

After showing these ways of reading Tributaries I went behind the scenes to show how the piece actually works. I posted an image to Flickr, commented on it, tagged it and then it appeared on the Tributaries main page through the magic of a Flickr RSS feed. I saved a bookmark to del.icio.us and that too was pulled into the Tributaries interface. I posted a new post to Tributaries: Alternate Readings: The In This Issue Remix, then logged into Facebook as Babble Brook (a character created to aid and abet with the Tributaries project). RSS had already pulled the afore mentioned Flickr image, del.icio.us bookmark and Tributaries post into Babble Brook’s profile and pushed news of them out into the feeds of all her friends. Having fed all that info into the text-fed stream, Babble Brook and I got off the mic and let the experts take over.

In a stroke of pure genius Tributaries curator Kate Armstrong invited three experts on streams to perform at the launch event: Dr. Michael Boyce, expert in stream of consciousness; Dr. Maria Lantin, Director of the Intersections Digital Studios, a research space at Emily Carr and thus an expert in data flow; and Dr. Jeremy Venditti, an expert in river geomorphology, turbulence and sediment transport dynamics in gravel-bedded streams. Now Dr. Boyce I’ve known for fifteen years, but Dr. Lantin and Dr. Venditti I’d never met before. This triumvirate of stream experts gave a brilliantly intermingled reading that riffed on the theme of streams. For example, if anyone is still wondering why on earth one would feed the texts of a print journal into a RSS stream, consider the transformational effects of the stream as outlined in this passage quoted by Dr. Venditti:

The Stream – Along the bottom of every gorge is a stream channel. In it may flow a great river or a brook or only a temporary torrent. The stream is there because the slopes of the land guide the water that way, and the stream may thus be said to exist on account of the channel. But in an equally important way the gorge exists because of the stream, for the stream is in fact the maker of the gorge and is still at work on it, deepening and enlarging. Let us look at the stream…
Grove Karl Gilbert and Albert Perry Brigham, An Introduction to Pyhsical Geography, 1902.

For me – standing in the audience having only just emerged seconds before from six intense months of working on Tributaries & Text-Fed Streams – this intertextual interdisciplinary reading of the work was a gift, and a joy to witness. Thank-you Michael, Maria and Jeremy for your generosity and thank-you Kate from coming up with this idea.

Meanwhile, on the other side of the gallery, throughout the evening TCR 2-50 guest editor and contributor Andrew Klobucar had been feeding portions of the readings into the Global Telelanguage Resources Workbench, which is basically a definition-generating machine. Despite having marked up an essay about this tool in Tributaries, it wasn’t until Andrew read performed the definitions generated in response to the evening’s other performances that I understood how innately hilarious the Global Telelanguage Resources project is! Thank you Andrew!

The performances were followed by a set from DJ Leigh Christie, who had already rocked my world earlier in the day during the tech set up. Even when the internet connection conked out, even when the data projector insisted on projecting upside-down, DJ Leigh kept our spirits running high. Thank you Leigh!

The longer you work on a project the more likely a launch event is to feel anti-climatic, especially an entirely web-based project. In this case, this was not the case. I’m grateful to The Capilano Review for seeing the project through to this conclusion. I was blown away by the turn out for the event, by the emotions of reuniting with long lost friends, by the generosity of all of the contributors and performers and by the responses to the work that the event generated.

Here’s how I know the event was a success: all the people who had told me beforehand that they didn’t get what this work was about came up to me after and said that now they get it. That’s about as climatic as you can get.
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BROWSE