Walks from City Bus Routes – new work published in The New River

Walks from City Bus Routes is a web-based computer-generated guide ‘book’ which perpetually proposes plausible yet practically impossible walking routes through the city of Edinburgh and its environs using JavaScript developed by Caden Lovelace and images and text culled from a City of Edinburgh Transport Map published by the Edinburgh Geographical Institute in the 1940s and a pamphlet called Walks from City Bus Routes published by Edinburgh City Transport in the late 1950s.

Walks from City Bus Routes || J. R. Carpenter

Walks from City Bus Routes has been published in the Spring 2015 issue of The New River – a long-standing online journal of digital writing & art founded by Edward Falco with help from Len Hatfield in 1996. The New River posts new issues twice a year in December and May, and is currently hosted by Virginia Tech’s Center for Digital Discourse and Culture. This Spring 2015 issue is edited by Arian Katsimbras & Emily Dhatt and contains work by Alan Bigelow, J. R. Carpenter, Chris Joseph, J.P. Sipilä, Aaron Oldenburg, Jody Zellen.

Readers keen on web-based bookish-drifting-wander-walking may also be interested in Wanderkammer: A Walk Through texts, a web-based collection of hyperlinked quotations from great writing on walking. Wanderkammer first appeared Walk poems: A series of reviews of walking projects edited by Louis Bury Corey Frost published on Jacket2 in 2011.

Along the Briny Beach included in the ELMCIP Anthology of European Electronic Literature

My web-based computer-generated narrative / poem / performance machine, Along the Briny Beach, is included in the ELMCIP Anthology of European Electronic Literature, edited by Maria Engberg, Talan Memmott, and David Prater. The anthology officially launched with the distribution of USB drives at the ELMICP conference Remediating the Social, which took place in Edinburgh, 1-3 November 2012, and is now available online: http://anthology.elmcip.net

ELMCIP Anthology USB

Of Along the Briny Beach, the ELMCIP Anthology editors have this to say:

Using scripts both generative and performative, the work is a continuous rewriting of itself. Though much of the text is appropriated from other sources –Conrad, Carroll, and Charles Darwin – we can still call Carpenter the author of the work due to the intentional selection of appropriated texts and their rearrangement, or reconfiguration as Along the Briny Beach. From the consistency in selected works – all have to do with the sea – to the sea foam green color palette; Carpenter presents text as integration between writing, function, and design.

The ELMCIP Anthology contains works by 18 authors, as well as a selection of videos, essays, syllabi, and other teaching materials pertaining to Electronic Literature. For more information about ELMCIP, visit: http://elmcip.net/

The Broadside of a Yarn: A Situationist Strategy for Spinning Sea Stories Ashore

Announcing The Broadside of a Yarn, a new hybrid print-digital-performance-writing work by J. R. Carpenter, commissioned by ELMCIP for Remediating the Social, launching at Inspace in Edinburgh 1 November 2012.

In theory, The Broadside of a Yarn is a multi-modal performative pervasive networked narrative attempt to chart fictional fragments of new and long-ago stories of near and far-away seas with naught but a QR code reader and an unbound atlas of hand-made maps of dubious accuracy. In practice, this project is, in a Situationist sense, a willfully absurd endeavour. How can I, a displaced native of rural Nova Scotia (New Scotland), perform the navigation of a narrative route through urban Edinburgh (Old Scotland)? How can any inhabitant of dry land possibly understand the constantly shifting perspective of stories of the high seas?

The Broadside of a Yarn

The Broadside of a Yarn remediates the broadside, a form of networked narrative popular from 16th century onward. Broadsides were written on a wide range of topical subjects, cheaply printed on single sheets of paper (often with images), widely distributed, and posted and performed in public. During the Remediating the Social exhibition (Inspace, Edinburgh, 1-25 November 2012), The Broadside of a Yarn will be posted as a grid of A3-sized square maps, and freely distributed as broadside-sized sheet (while supplies last).

Like the printed broadside ballads of old, the public posting of The Broadside of a Yarn signifies that it is intended to be performed. Embedded within the highly visual cartographic space of this printed map are QR codes which link mobile devices to a collection of separate yet interrelated web pages containing computer-generated narrative dialogues. They may propose imprecise and possibly impossible walking routes through the city. Or they may serve as scripts for poli-vocal performances.

The Broadside of a Yarn

The Broadside of a Yarn will be performed in four or possibly five voices (microphone availability depending) Thursday 1st November 20.00 in the Sculpture Court of Edinburgh College of Art. For more information, please see the Remediating the Social program.

A comprehensive overview of the Remediating the Social conference and exhibition has bee posted on Electronic Literature Authoring Software by Judy Malloy: ELMCIP Invites Scholars and Artists to Remediating the Social, Edinburgh, November 1-3, 2012

For more information – including a bibliography of the wide range of maps and literary works cited in The Broadside of a Yarn – and to view more images of the print maps to be installed at Inspace, please visit Luckysoap.com.

Whisper Wire: A Poetry Generator Transmitting and Receiving Electronic Voice Phenomena Through Haunted Media

Whisper Wire is a new poetry generator by J.R. Carpenter, a text transmitter, a code medium sending and receiving a steady stream of strange sounds, disembodied voices, ghost whispers, distant wails and other intercepted attempts to communicate over vast distances through copper wires, telegraph cables, transistor radios and other haunted media.

From the outset, telegraphy has been associated with otherworldly presences. If intelligence and consciousness could be transmitted independent of the body, surely the dead could speak to the living though electromagnetic means. This perception persisted nearly a century, even as telegraph and telephone networks girdled the globe with cables, signals, switches and stations.

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December 14, 1901, three short sharp clicks skipped this grid. The Morse letter S travelled from Poldu, Cornwall — not troubled at at by the curvature of the Earth or the salt wet and wind of the Atlantic — to Saint-John’s, Newfoundland, where it was received by a telephonic headset held to the highly sensitive receiver of Guglielmo Marconi’s waiting ear.

Was the Morse letter S appended to Saint-John’s that day? Hoax rumours abound. Some suggest that what Marconi heard was actually a harmonic — a connection, yes, but not a transmission. Distance distorts. Distance distends. We hear what we need to. Wireless technology revealed a vast, unfathomable ocean of silence and static. Deep listening into that void can return uncanny results. Whisper Wire generates an unheimlich poem of un-homed messages, a spectrum of strange and unexplainable sounds, hunting the either for a listener, a receiver, a media to haunt.

The source code of Whisper Wire is itself possessed. Whisper Wire is a remix of Nick Montfort’s Taroko Gorge. Excerpts and source code of another of J.R. Carpenter’s remixes of Taroko Gorge, titled simply GORGE, appear in her new hybrid code narrative book GENERATION[S], published by TRAUMAWIEN.

Whisper Wire will be performed in Edinburgh on Halloween night at Inspace… no one can hear you scream, an evening of language in digital performance presented by the third International Conference on Interactive Digital Storytelling and New Media Scotland.

Whisper Wire will become a live wire during this 20 minute hybrid performance. Performance writers J.R. Carpenter and Jerome Fletcher will mix generated text, javascript, found sounds and live readings from the works of decadent authors, Medlar Lucan & Durian Gray and others.

“As we stand on the clifftop at Poldhu, watching the wind which roars in off the Atlantic whipping spindrift off the tops of the waves, we are filled with an overwhelming sense of horror. Between here and New York nothing but grotesque tonnages of uncooked haddock swim. Nowhere is Nature present in such profusion, and we have chosen to expose ourselves to it for the next three days!

At this spot a century ago, Guglielmo Marconi set up a circle of masts by which he would transmit the first radio signals beyond the curve of the earth. We too are here to communicate. Not with the Living, however, but with the Dead.”

Medlar Lucan & Durian Gray with Paul Renner, The Hell Fire Touring Club, Oxford: Pharsalia, 2004, page 21.

48 hours | Inspace… no one can hear you scream.
Sunday 31st October 2010, 7.30 for 8pm.
Inspace, 1 Crichton Street, Edinburgh EH8 9AB

Inspace