Archived copy from 2024 — (un)linked. Original: https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/recent-events.rss. View full archived copy.

https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/recent-events.rss

<?xml version="1.0" encoding="utf-8" ?> <rss version="2.0"> <channel> <title>Algorithms & Imaginaries Schedule</title> <copyright>Copyright (c) 2026 University of Central Florida All rights reserved.</copyright> <link>https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule</link> <description>Recent Events in Algorithms & Imaginaries Schedule</description> <language>en-us</language> <lastBuildDate>Tue, 28 Apr 2026 22:18:39 PDT</lastBuildDate> <ttl>3600</ttl> <item> <title>What did the line that you last drew ask you?</title> <link>https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/58</link> <guid isPermaLink="true">https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/58</guid> <pubDate>Fri, 19 Jul 2024 19:45:00 PDT</pubDate> <description> <![CDATA[ â€˜What did the line that you last drew, ask you?,â€™ presents a virtual platform for digital exhibition and performance. This work is a research collaboration between Alys Longley, Jeffrey Holdaway and Kate Stevenson of DotDot Creative Studio, made in collaboration with international artists (such as pavleheidler [Sweden], Francisco GonzÃ¡lez Castro [Chile], val smith [NZ] ). The DotDot Social platform offers a new form of virtual performance space that combines live interaction with artwork online. We will present an interconnected series of virtual worlds that cross creative disciplines from contemporary poetics, performance, choreography, sound composition, gaming and visual art. Our site is highly interactive and is constantly iterating in relation to audience feedback. Our virtual platform curates and translates artworks into interactive immersive worlds through visual imaginings, creating playful interactive spaces within the worlds, and finding ways in which the site can be simultaneously a performance, an exhibition, an installation, a repository for creative process and a space where contributions from audiences can be held. Participants enter the digital exhibition 'What did the line that you last drew ask you?' via a simple button, and meet inside the digital exhibition/performance together. They can then converse in real time, while being able to see each other through real-time avatars accessing the microphone and camera of their device, and navigate through a series of digital worlds or rooms, navigable via the different studio research projects that inform this work. The resources of digital gaming, real-time social connection and virtual interactivity, are brought together in a series of experiments in poetry, choreography and visual art. ]]> </description> <author>Alys M. Longley et al.</author> </item> <item> <title>Closing & Awards Ceremony</title> <link>https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/57</link> <guid isPermaLink="true">https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/57</guid> <pubDate>Sun, 21 Jul 2024 16:45:00 PDT</pubDate> <description> <![CDATA[ The conference closing ceremony and community celebration of this year's ELO Awards winners! Videos in celebration of Dene Grigar's award are available through <a href="https://youtube.com/playlist?list=PLmenxxwxVeXbdiiv7pBsLZcLHAgX1qfoQ&si=Pr4TTPBn98Y_3y3M"> YouTube</a>. All those additional videos, as well as promotional and celebratory videos made by the awards team, are also archived here and available for download below. ]]> </description> <author>Jason Nelson et al.</author> </item> <item> <title>Reading a website?</title> <link>https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/56</link> <guid isPermaLink="true">https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/56</guid> <pubDate>Fri, 19 Jul 2024 19:00:00 PDT</pubDate> <description> <![CDATA[ This October I have published a poetry book* made after a website active in between 1997 and 2007. For ELO 2024 in a talk called ".... - a book derived from a website - Why and how?", I explain the decisions in and the process of the making of this book. For the performance section of the same ELO conference I will perform a re-turn of the poetry in the book to the digital environment of zoom. It will be an experimental reading where different languages (English, Dutch and French)and codes (html, javascript and php) mingle into a "fabulous and fascinating semiotic mess"**. The original website addressed emotional needs, moods, and desires, which related to connectedness with others and had several sections where visitors could contribute to texts on for instance violence, solitude, desires or fear; thus participating in the creation of what I called at the time the "voice of the multitude". In the performance Reading a website? I will, besides demo-ing the poetic force of natural language mixed with code, revisit the affect transmitted in these contributions by inviting the assisting conference members to take part in a short section of Reading a website? with their own voice. (I guess this will take around 5 minutes of the whole 15 minutes allowed) * 44 poems,160 pages printed in offset, black and white, format A5, bound,hardcover with one spot colour. 150 copies, available via book-stores. ** from the Fore Words in the book by an e-lit scholar: "A fantastic and fascinating semiotic mess. It is text. Type undefined. We bounce back and forth between languages that we understand and others we don't, between ourselves and others, between humans and the space between them, caught in the interface that connects and separates them and us." ]]> </description> <author>Annie Abrahams</author> </item> <item> <title>RIVETED IN THE WORD: Portraying the Experience of Broca Aphasia in a New Work of Digital Fiction</title> <link>https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/54</link> <guid isPermaLink="true">https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/54</guid> <pubDate>Fri, 19 Jul 2024 19:15:00 PDT</pubDate> <description> <![CDATA[ This three-person talk/performance will describe, demonstrate, and perform (excerpts) of â€œRiveted in the Word,â€ a new e-lit book-app inspired by the true story of a writerâ€™s hard-fought battle to regain language after a devastating stroke. Written and designed by a longtime author/designer of highly-visual books and animations, this dynamic e-book made for mobile devices places the reader inside the mind of an author/historian as she recalls her journey with Broca Aphasia. The book-app is developed and programmed in close collaboration with an interdisciplinary web/electronic literature developer. The resulting interface reflects the bifurcation of hemispheres within the protagonistâ€™s stroke-traumatized brain, and toggles between columns of text read at oneâ€™s own pace and animated sections that evoke gaps between perceptions (thoughts, emotions, memories) and the words needed to communicate. â€œRiveted in the Wordâ€ is a story about overcoming seemingly insurmountable obstacles, told in an innovative way with kinetic typography and an original soundtrack. The project combines creative writing, music, user interface and motion design with healthy doses of poetic license to create an empathic literary experience that helps communicate an otherwise little-understood condition. In the face of so many fast-paced online/digital reading and gaming platforms designed to satisfy shorter and shorter attention spans, this unusual but approachable setting of a seemingly difficult text containing fragmented language about a challenging subject offers a hopeful future for an electronic literature that can slow down the pace of reading and facilitate deep, mid-length to long-form reading experiences. This lively and informative presentation will be presented by the author/designer, the programmer, and an actor. ]]> </description> <author>Warren Lehrer Mr. et al.</author> </item> <item> <title>Conundrum Luna</title> <link>https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/53</link> <guid isPermaLink="true">https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/53</guid> <pubDate>Sat, 20 Jul 2024 19:00:00 PDT</pubDate> <description> <![CDATA[ Conundrum Luna is a short video work reflecting on humanityâ€™s impending colonization of the moon. A gift of a drum in the shape of our nearest planetary neighbor launches a journey that blends echoes of sci-fi cinema, moon missions past and present, and the increasing vulnerability of the lunar environment to human exploitation. The project will be performed live in VR, but the performance will be designed for spectating on traditional screens. ]]> </description> <author>Erik Loyer</author> </item> <item> <title>Islands to Port Eighty</title> <link>https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/52</link> <guid isPermaLink="true">https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/52</guid> <pubDate>Sat, 20 Jul 2024 19:15:00 PDT</pubDate> <description> <![CDATA[ The performance â€œIslands to Port Eightyâ€ invites readers to generate in concert diverging versions of a â€œpoemâ€ - a mock archaeological tablet - while following the Paxos distributed consensus algorithm. Leslie Lamportâ€™s 1988 paper â€œThe Part-Time Parliamentâ€ introduces the Paxos algorithm, used to establish consistency between unreliable processes, through the frame fiction of an archeology paper about the democratic rulers of an invented Ionian island state. Lamport later republished the result within a more traditional form for computer science research, but its name and origins maintain this gesture towards allegory and archaeological history. This algorithm and its successors enable the operation of the globe spanning database infrastructures which store and process our digital presences. â€œIslands to Port Eightyâ€ implements the Paxos algorithm in a critical context to draw out the role of metaphors and historical representations in shaping a scientific field associated more often with futurity, and to raise questions of consensus and dissensus in reading. The text generators draws on bronze age inscriptions to make statements and develop a lingua-franca between the participants in the performance. The words are assigned various tags, with each participant starting on an â€œislandâ€ associated with an archaeological transcription and possessing its language. Participants are sequentially given the chance to broadcast one of their assertions to all the other â€œislandsâ€ - each recipient then may decide whether or not to add this statement to the common vocabulary. If a majority of recipients agree to learn the statement, all â€œislandsâ€ then incorporate all the words in that statement as well as its pattern of tags into their own generator. At each stage, their â€œtabletâ€ grammatically generates additional statements from their â€œislandâ€â€™s personal vocabulary and syntax, as well as its prior utterances. The statements are assertional, cryptically authoritative, and focus on rulers, deities, and commerce like their source materials. A digital performance will allow enough readers to be present making the text(s), while the contrast of their personal versions with the one on my own screen (which I share and read on Zoom for those who choose not to participate directly) emphasizes the gaps as well as moments of contact between readers. The performance is conducted through client-side web pages making use of a Javascript peer-to-peer communication library and an API to broker connections. A technical proof of concept version of the piece has been written with plans for substantial revisions. Participants only require a web browser. Distributed systems theory is full of metaphors about political power with its Byzantine generals and part-time parliaments (and even disturbing reference to â€œmasterâ€ and â€œslaveâ€ processes), simultaneously centering and effacing more classical rhetorics theorizing systems of (algorithmic) control. See Wendy Hui Kyong Chunâ€™s _Control and Freedom_ for a study of the tensions between visions of â€œfreedomâ€ and operations of control in networked computation. Although distributed systems are most famous now for blockchain protocols and tokens, blockchains are not directly or substantially addressed in this performance (while elements of the discourse surrounding them are relevant). ]]> </description> <author>Kavi Duvvoori</author> </item> <item> <title>Hot or Rot: What Kind of Society Are We Going to Be?</title> <link>https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/51</link> <guid isPermaLink="true">https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/51</guid> <pubDate>Fri, 19 Jul 2024 19:30:00 PDT</pubDate> <description> <![CDATA[ Hot or Rot - What Kind of Society Are We Going to Be? is an interactive performance piece that contemplates the future trajectory of our society. The audience can vote for what they think will happen in a dystopian madcap quiz. The piece's duration is of approximately 15 minutes. It is run on Zoom and voting is carried out via the platformâ€™s polling system. I engage participants with some banter during the brief and intermittent moments of voting. The quiz presents three distinct pathways: a technocrat-libertarian society, a commons-based society, and a society under the influence of a figure resembling a cult leader. As the performance unfolds, it transitions into a short story that serves as a meditation on tragedy, connectedness, resilience, and hope. My artistic intention with Hot or Rot is to create a work that is as much about the experience of participation as it is about the content itself. By involving the audience in the formulation of the narrative, the piece becomes in a way a co-created reflection on our individual experience within the contemplation of a societal trajectory. It challenges participants to consider the future not just as a set of ideal outcomes and a path ideally established by moral guidelines, but as a destination that is ultimately unknown. We cannot know where we will end up, and so our main struggle, at a personal level, is to preserve our humanity. The humor that is very present in the first two thirds of the piece fades away at the end. I find that that initial humor and amusement is very engaging and opens the audience up, so that the pathos and meditation at the end can be digested in a more natural and intuitive way. The draft text of the piece can be found <a href="https://docs.google.com/document/d/143kTrV4oQ1cHfc5of0ZwNZbzv5u2IdeGWz9EWnLTMyI/edit?usp=sharing">here</a>. ]]> </description> <author>Margot Machado Knuth</author> </item> <item> <title>The Zone of Pure Doubt, Episode 2: The Dateline Theory</title> <link>https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/50</link> <guid isPermaLink="true">https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/50</guid> <pubDate>Sat, 20 Jul 2024 20:00:00 PDT</pubDate> <description> <![CDATA[ The Zone of Pure Doubt Episode 2: The Dateline Theory The Zone of Pure Doubt is an ongoing multimodal project with elements of poetry, augmented reality, and musical performance that explores memory, obsolescence, gender, and time-travel through forms inspired by equatorial line-crossing ceremonies and the age-old human art of navigation by the stars. The Zone references an area of the pacific where the correct timing of the Jewish sabbath cannot be agreed upon using any of the traditional rules applied to account for the loss and gain of hours across regions of global time-keeping, an uncertainty amplified because of the disputed location of an ideal dateline, not necessarily equivalent to the international standard, itself subject to occasional reshaping. The Zone is imagined as a longitudinal slide of restlessness, a theoretical area where to rest is always to wrest, where past selves and their mythologies as well as larger histories of indigenous knowledge and colonial violence are manifested as the wreckage of past navigational errors hidden below the surface of the ocean, at a depth previously, but perhaps no longer, impervious to the limitations of technological probings. The performance of The Zone, The Dateline Theory, marks a 25 year interval since the creation of My Name is Captain, Captain., an early seminal hypermedia night-flight elegy published by Eastgate Systems in 2002 and currently undergoing restoration with the support of a National Endowment of the Arts grant, â€œNew Frameworks to Preserve and Publish Born-Digital Art.â€ The obsolete work haunts the emerging one, synthesizing parallel movements of memory and media archaeology into a generative reckoning with the past on multiple scales. ]]> </description> <author>Judd Morrissey et al.</author> </item> <item> <title>Tapest[o]ry</title> <link>https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/49</link> <guid isPermaLink="true">https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/49</guid> <pubDate>Sat, 20 Jul 2024 19:45:00 PDT</pubDate> <description> <![CDATA[ Marine animals, particularly cetaceans, heavily rely on sound for communication, navigation, and hunting, and noise pollution can disrupt these essential functions. Tapest[o]ry, aims to raise awareness of this environmental issue by leveraging the weaving tapestry technique's potential for storytelling and its texturised affordances, embedded with capacitive technology (Bare Conductive Touch Board, conductive threads, and fibres) to promote user interaction through touch while giving audio feedback. In this performance, the artist will stand before the tapestry and trigger several story moments by touching the tapestry so that the audience can follow the narrative that the tapestry embodies. The narrative tells the story of two young friends, a fearful whale and an adventurous clownfish, in an adventure that happens between two worlds: 1) A healthy ocean where marine life can survive and fully use their vital functions; 2) An unhealthy ocean full of threats, mainly caused by human intervention, expanding and invading the healthy side of the ocean. In the performance, the audience can visualise how the tapestry design illustrates these two worlds since the tapestry is around 1,20m X 1,60m and will be placed in a well-lit room to be fully visible through the Zoom screen. The artist will touch different interaction elements and move the two narrative characters through the different interaction points in the tapestry. Their dialogue will be triggered as the artist places the characters in the correct interaction spots. The sound will be transmitted through Zoom; in this way, the audience can follow the charactersâ€™ struggle to return home safely when their journey is interrupted by noises from human intervention. the visuals, narrative, interaction, and audio were created thinking about engaging the audience within the story of two improbable friends (whale and clownfish), showing how they are affected by marine noise pollution, and giving them human-like characteristics to humanise the perception of the message Tapest[o]ry transmits, aiming to evoke empathy and compassion as a poignant reminder of our responsibility, as humans, to protect the oceans. The tapestry design displays different visual aspects for both sides of the ocean, differentiating the healthy side with clean and vibrant colours and the unhealthy side with dirty and desaturated colours. The healthy side of the ocean audio displays a healthy soundscape with natural ocean sounds, and the unhealthy side shows disturbing anthropogenic sounds. The total duration of the performance is approximately 10 minutes, and a short demonstration is present in the following video: <a href="https://drive.google.com/file/d/1TLy6eve1BozHVDewYsp4ZY_DjCYbTmFj/view?usp=drive_link">https://drive.google.com/file/d/1TLy6eve1BozHVDewYsp4ZY_DjCYbTmFj/view?usp=drive_link</a> At the beginning of the performance, the artist will showcase some close-up details of the artwork by moving the camera closer to the tapestry to give the audience a better glimpse of the weaving techniques and materials. ]]> </description> <author>Laura Santos et al.</author> </item> <item> <title>now & then</title> <link>https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/48</link> <guid isPermaLink="true">https://stars.library.ucf.edu/elo2024/algorithmsandimaginaries/schedule/48</guid> <pubDate>Sat, 20 Jul 2024 19:30:00 PDT</pubDate> <description> <![CDATA[ This performance is an experimental presentation via Zoom that will combine performative lecture aspects with sound recordings and audience interaction. This presentation will take as its departure the authorâ€™s project now & then, which is an ongoing, multi-part transmedia project that includes a lecture essay, a series of recorded conversations, nonlinear text compositions, and slideshow presentations of images primarily concerning the life and work of photographer Alvin Baltrop; excerpts from this work will be presented along with images during the performance. now & then has as its nexus a work of electronic literature on Twine. The project positions Twine as a constellation of archived instances, both historically verified and imaginary. Because of Twineâ€™s capabilities, these instances are able to intersect in ways that create encounters which could not occur in linear time; instances far removed on the timeline are possible for the reader to link polytemporally. The performance lecture places artworks and the artists that produce them in an ongoing conversation that spans back and forth across time. The lives and work of Alvin Baltrop, Every Ocean Hughes, David Wojnarowicz, David Hammons, and others at first appear temporally distant; navigating through the work on Twine, it gradually becomes clear that these works and points on the timeline converge at a body of water: the Hudson River and the ruins of the piers that once stood there. This performance is informed by notions of archival fluidity and futurity and a sustained engagement with the artistic output and archival materials of the photographer Alvin Baltrop. Artistic and academic research methodologies have informed an exploration of the reframes that collaborative dialogue might assume, with multiple possible pathways of access to and from it. Through re-enacting, or re-embodying, past events in the present moment, future possibilities and outcomes expand and diverge, and past histories are recalled and reclaimed. The ruins of the built environment function as a particularly profound site for the cross-temporal collaborations that this performance lecture proposes: in the ruins of what once was, the collapse of the past is understood. This is the space where infinite possibilities arise. It is where anything might be, where what is not yet formed could become, where the process of becoming exists in infinite permutations. ]]> </description> <author>sarah bricke</author> </item> </channel> </rss>