Words With Letters Torque

Words With Letters Torque – We are increasingly asked to read different things in different ways – from emojis to social media feeds, speed reader phone apps and public information screens. This combination of new places and new forms of text makes reading more common and more difficult to understand – putting pressure on our attention and reading ability, and demanding new forms of literacy.

The Relearning to Read exhibition functions as an alternative library-like space, showing how artists can offer different and experimental ways of reading and writing that can help us navigate the new textual environment we now live in.

Words With Letters Torque

Many works have been performed along the space between more traditional print-based and analog media and new digital technologies. Down in the foyer, the audience was invited to bring their own books or borrow books from the adjacent library, to use on a new “reading machine” created in collaboration with Tom Schofield. To activate the machine, readers placed their book on a scanner that converted their analog text to digital, which in turn was translated to a speed reading display. The scanned text was then analyzed using a form of AI to look for ‘interesting’ words and then reconstructed into text that the computer tried to write and communicate.

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An original quote from philosopher Willem Flusser’s book, How Human Reason Works Like a Knife, is accepted more than 100 times by a voice recognition program. The computer’s own logic – how it (mis)interprets the various voices, the artist and her daughter, and the synthetic speech software – is read back into the interface to produce further adaptations. Represented as a series of long lines to be read from left to right, or a sequence of utterances to be read from top to bottom, the resulting text becomes a map, where we can read clusters of errors, retentions, adaptations and gaps charting the relationship between them. Readers and computer software generate new associations and descriptions. The scales of these maps demand a very special kind of reading to explore the text, as does the eye, the juxtaposition of large and small.

Each of these architectural models depicts a room designed for reading a particular novel. The fragile physicalities that form in the mind when we read novels are reimagined here as an environment that surrounds and engulfs the reader, bringing us one step closer to our real world experience. By clever adaptation of the material. For example, the “onyx wall” from Simon Mawr’s 2009 novel The Glass Room is here done in soy wax, and Edwin A. The absurd allegorical world of Abbott’s Flatland is created by the intersection of card angles and arches.

Using a sentiment analysis tool to categorize all of the artist’s written documents into positive, neutral, and negative throughout 2015, only those texts classified as negative by the algorithm were created, which were then arranged in order of increasing negativity. Video documents scorti reading this text with a speed reading app. It makes for a vertiginous experience, re-reading and re-enacting the artist’s descent into depression and her inability to keep pace with personal, professional and intellectual pursuits during these years.

The video captures Skorty’s nervousness and urgency in relation to the daily pressure to constantly move forward and improve, which is demonstrated in the video through the efficiency app. Overlaid and cut in with screen-recorded video of online searches as well as camera uploads from his own archive, the negative documents the harmful impact of digital technologies on our mental health, particularly the way our attention is captured and mined for commercial use. . ends.

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A device that turns print books into a speed reading experience. By scanning the book, the speed reading software displays the text one word at a time. Speed ​​readers are often advertised as performance devices, but the form and finish of this design are designed to suggest a deeper, perhaps more involving, relationship between books and readers. The work suggests a particular form of the postdigital, where computers do not replace, but enhance and transform our experience of the book.

Place your book on the scanner and pay attention to the screen as the rereader plays the text to you at up to 1000 words per minute. The typeface is designed to mimic natural forms for minimal cognitive friction, and works with the mind’s use of intersecting contours to identify objects creating a more liminal reading experience. A single-word display allows you to absorb information from a book without moving your eyes to the body of the text as in ‘normal’ reading. A close-up textural study of the now blank page, the re-reading ends with a sequence of images. The reader itself learns to write from the books it views using artificial intelligence (AI) algorithms. Watch the video documentation here.

The Scandinavian Institute for Computational Vandalism (Nicolas Malewe, Michael Murtoff, Aleph Prestsetter) TSWKTM, The Script Who Knows Too Much, 2017, digital video and publication

In The Man Who Knew Too Much, James Stewart is told an important secret by a dying man. A murder will be committed in London. Our hero must tell the authorities about the mysterious “Ambrose Chapel”. Throughout the film, Stewart searches for this man until he realizes that what he was looking for is not a man, but a place, Ambrose Chapel. Like Hitchcock’s character, the OCR program knows a secret it shouldn’t: There’s a language that speaks through every image. And like Hitchcock’s character, he assumes too much. Behind any configuration of pixels, it appears a letter waiting to appear. And, knowing too much, it doesn’t know enough.

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And yet. Is it so wrong? Is it wrong to see the alphabet sprouting in city images? Isn’t there a typography of light that distributes the shape of the walls? A calligraphy of shadows that draw faces and expressions?

TSWKTM is created using a modified version of the OCR program Tesseract. OCR programs are usually configured to find lines of words in documents. For this project, we asked the program to find everything it considers a possible character, even if the character is not part of a word. This leads our script to look for characters and punctuation in many unexpected places. The script analyzed various YouTube amateur and promotional videos about Blackpool. The video on the display shows all the frames where characters or punctuation marks occur in the script.

Using components of a VR headset, two identical poems are played for the reader – one in each eye. The visual cortex produces a variety of responses, including mashing up separate words, shifting its attention between the two, and reading them together. The poem is set in a table for a more comfortable reading experience.

A poem drawn from a compline (or evening prayer) set for a flickr-book. Readers focus on one line at a time while flicking to read the poem in its entirety. Eye and page together create an effect similar to digital text animation.

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Words beginning with “Re”, set in copper leaf, are distributed in alphabetical order on the stairs leading to the upper gallery. Verbs such as ‘reconfigure’ are followed by nouns such as ‘reconnaissance’ to create a chant like a re-reading of this particular lexicography. Etymologically, ‘re’ is a word-form element meaning “back to the original place; again, anew, once more,” but also with the sense of “undo.” 1200, from Old French and directly from Latin re- “again, back.” , afresh, against”.

Browse a linear offline selection of Torque’s web history of over 2000 pages preserved on 16mm archival film, including essays and images that have informed the project and document our activity today.

Anna Barham, Nathan Jones, Erica Skorti, Tom Schofield, Sam Skinner, Emily Speed ​​and the Scandinavian Institute for Computational Vandalism are bringing out “A Grammar of Petwin,” by UC Davis linguistics alumnus Lewis Lauer, the first published description of the Petwin language. Together with the knowledge of past speakers and researchers.

For his graduate research comparing languages ​​around the world, Lewis Lawyer could not find a single published reference book on Petwin, a once-endangered language spoken in hundreds of communities in Northern California, including what is now Davis.

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With the release of A Grammar of Petwin by the University of Nebraska Press earlier this year, the findings of his dissertation are now available to scholars as well as Petwin/Wintun people working to revive their ancestral language.

In the book, Vakil (Ph.D., Linguistics, ’15) brings together two centuries of work by linguists — a synthesis of word lists, notebooks, audio recordings and manuscripts in archives across the country.

While his graduate studies were initially global in scope, Lawyer switched midway to focus solely on Petwin. That U-turn began with a seemingly simple idea. “I thought, ‘Oh, wouldn’t it be nice if I added a local language to my database.'”

Three dialect groups of the Patwin language — Hill Patwin, River Patwin, and Southern Patwin — are indigenous to a region stretching from the San Francisco Bay Area to Colusa.

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