4. Execu&on
“like
poetry,
the
aesthe&c
value
of
code
lies
in
its
execu+on,
not
simply
its
wriHen
form”
(Cox,
McLean
and
Ward,
2000,
n.p)
5. Execu&on
The
code
is
interac&ng
with
the
user,
itself,
its
environment,
and
the
systems
it
has
access
to
via
many
mul&-‐layered
and
mediated
interfaces
that
are
available
to
it.
Many
of
the
components
are
predetermined,
but
through
the
combina&ons
of
interac&ons
combined
with
the
dynamism
and
unpredictability
of
live
ac&on,
the
result
is
far
from
fixed
as
a
whole.
(Cox,
McLean
and
Ward,
2004
p.
164)
7. Love
LeHer
Generator
(1952)
“My
–
(adj)-‐(noun)-‐(adv)-‐(verb)
your-‐(adj)-‐(noun)”
“You
are
my-‐
(adj)-‐(noun)”
“Yours-‐(adv)
M.U.C”
8. If
I
wrote
you
a
love
leHer
would
you
write
back
(and
thousand
of
other
ques&ons)
By
Winnie
Soon
and
Helen
Pritchard
-‐
2016,
Electronic
Literature
Collec&on,
Volume
3
-‐
2015,
Ar&s&c
Research,
Kunsthal
Aarhus
@
Denmark
-‐
2013,
Digital
Futures,
Victoria
and
Albert
Museum
@
London,
UK
-‐
2012,
Microwave
Interna&onal
New
Media
Arts
Fes&val
@
Hong
Kong
9. If
I
wrote
you
a
love
leHer
would
you
write
back
(and
thousand
of
other
ques&ons)
The
network
asks
us
‘If
I
wrote
you
a
love
leHer
would
you
write
back?’
in
this
work.
Computa&onal
code
draws
thousands
of
ques&ons
from
online
maHer
into
the
exhibi&on
space.
The
ques&ons
are
gathered
in
real-‐&me
from
the
social
media
site
TwiHer
and
encoded
to
speech.
Listening
is
a
form
of
decoding,
and
in
this
work
the
machine
constantly
undergoes
the
process
of
edi&ng,
encoding
and
decoding
texts.
What
happens
when
wriHen
texts
of
the
network
are
converted
to
speech?
How
does
it
feel
to
listen
to
the
ques&ons
of
a
machine,
when
these
ques&ons
are
our
familiar
tweets?