Robolettries

Robolettries is a collection of animated, dynamic poems presented via computer. Some of these works were created as homages to other artists/writers who work in the domain of computer science (Jean Pierre Balpe, Antoine Schmitt). Alexandre Gherban, the author of the Robolettries presents these poems in an observable transitory fashion. These poems can be classified under the “Lettrism” movement. In the art of this movement, letters and symbols are not considered as carriers of useful messages, but rather as artwork or as visual material. On the website, there is a list of works that follow the same programming classification. In these works, we see the programmed movement and behavior of the “fluctuating letters.” The name of the program comes from the word “robographe.” In total, Gherban created 9 Robolettries, each having a different title and therefore a different theme and variety of colors and movements. The reader is not expected to read the letters on the screen to understand words and phrases, but rather consider them as part of an image. The movement of the “fluctuating letters” is random, therefore the reader only needs to click on the name of the Robolettrie to start the program. Each robolettrie is characterized by different colors that are vibrant against the black screen. Some of the robolettries contain sound as well (Number 2: The homage to Jean Pierre Balpe and Number 3: Proto-écritures). The use of sound gives the poetry of the program an additional facet when compared to traditional poetry. Gherban describes these poems as small robots that explore the programmed functions of the letters. From a poetic or literary standpoint, it is difficult to decipher the meaning of each poem. We can analyze the colors, the sound and the movement to decipher meaning, but the overarching theme of the work is not always clear. Traditionally, poetic techniques are used to create movement, sound and color. Here, these three aspects are automated in the program. Because of this apparent lack of meaning, one can lose his or herself while viewing the programs, thus creating an impression of “déprise.” To more precisely analyze the Robolettries of Gherban, we can consider the 7 typology questions from Espen Aarseth. This program is dynamic, the scriptons are invariable because of the random function. The robolettries are indeterminate because of the randomization that changes the movements. The movement of the cursor by the reader does not have an effect on the movements in the program. The linking is therefore explicit. The perspective is impersonal because the user does not interact with the art. The role of the user is exploratory on the menu page, but becomes more observatory once inside each individual program. (Source: Erin Stigers and Sergio Encinas)