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Punkto 0
The coordinates are deceptive! Doesn’t matter the position of the point, but the force that it produces, the space that it opens in the landscape of the real. This issue zero aims to contribute to a non-cartesian idea of point. Thinking its meaning from four anti-geometrical hypotheses. The point as a beginning (a space opening); the point as force and disturb (maybe creative); the point as network (points that aggregate other points), but most of all, the point as something that takes place, that supervenes in the unquiet landscape of the real, a singularity.
The contributions presented here, depart from those coordinates and destroy them:
// They reflect on the creative nature that the point represents/identifies in the architectonic/artistic production landscape: Álvaro Seiça Neves, Pedro Bismarck.
// They identify strategies of thought/construction that evolve the connective and communicative singularity of the point: Pedro Oliveria, André Sier,
// They understand the role of the critic as (re)production and (re)cognition of creative points: André Tavares, Bernardo Amaral.
Alvaro Seica - 26.09.2014 - 13:51
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Digital Genres: Digital Art, Electronic Literature, and Computer Games (DIKULT 103, Spring 2015)
Digital Genres: Digital Art, Electronic Literature, and Computer Games (DIKULT 103, Spring 2015)
Alvaro Seica - 04.02.2015 - 13:07
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Early Digital Art and Writing
Decades before digital art and writing became widely transmitted and accessed online, pioneers in these expressive fields relied predominantly on sponsored exhibitions of their work. Prior to the emergence of the World Wide Web (WWW), computer-based practitioners desiring to share their compositions - and audiences interested in these contemporary developments - depended on a small number of sympathetic museums and galleries that promoted such innovations. In the 1960s and early 1970s, these exhibits tended to unite experiments produced by both digital writers and artists. Gradually, as electronic arts expanded in a way that digital writing would not until the proliferation of personal computing and global networks in the 1990s, subsequent exhibitions in the 1970s and 1980s predominantly featured graphical rather than language-oriented works. The arts, historically familiar with formal shifts in media in ways that literature was not, quickly responded to the calling of computerized machinery; writers more gradually adapted to digital possibilities.
(Source: Author's introduction)
Thor Baukhol Madsen - 06.02.2015 - 12:30
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Trust, representation and use of storytelling in online scams
Andreas Zingerle, from the University of Linz, visited Digital Culture at the University of Bergen on an Erasmus teacher exchange in week 8 of 2015. Zingerle presented his research on February 16 and also gave a workshop on February 18.
Zingerle writes:
My work focuses on human computer and computer mediated human-human interaction with a special interest in transmedia and interactive storytelling. Since 2010 I collaborate with Linda Kronman as the artist group 'kairus.org'. We have worked with the thematic of internet fraud and online scams, constantly shifting our focus and therefore approaching the theme from a number of perspectives like: data security, ethics of vigilante communities, narratives of scam e-mails, scam & technologies. Research subjects are online scammers, vigilante communities of scambaiters and their use of storytelling and technology.
Alvaro Seica - 17.02.2015 - 14:46
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Overboard: An Example of Ambient Time-Based Poetics in Digital Art
overboard by John Cayley, with Giles Perring, is an example of literal art in digital media that demonstrates an 'ambient' time-based poetics. There is a stable text underlying its continuously changing display and this text may occasionally rise to the surface of normal legibility in its entirety. However, overboard is installed as a dynamic linguistic 'wall-hanging,' an ever-moving 'language painting.' As time passes, the text drifts continually in and out of familiar legibility - sinking, rising, and sometimes in part, 'going under' or drowning, then rising to the surface once again. It does this by running a program of simple but carefully designed algorithms which allow letters to be replaced by other letters that are in some way similar to the those of the original text. Word shapes, for example, are largely preserved. In fact, except when 'drowning,' the text is always legible to a reader who is prepared to take time and recover its principles. A willing reader is able to preserve or 'save' the text's legibility.
(Source: Author's Abstract)
Alvaro Seica - 06.05.2015 - 22:01
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For a New Mnemosyne: Art, Experience, and Technology
This paper will outline the key elements of an ongoing research project, whose main focus is to explore the application of new technology to the study of key works of modernism, whilst simultaneously arguing that modernism can itself offer fresh perspectives on contemporary digital art. I am interested in the way modernism presents the artwork as both an object to be experienced and as a structured theory of knowledge. This tension can be seen most obviously in such canonical works as Ezra Pound’s Cantos (1917-1969) where his aesthetic of the ‘luminous fragment’ is set against the poem’s larger, Dantescan, vision of history. Concomitantly, I wish to argue that the resources of digital technology offer a significant new set of tools for approaching modernism itself, allowing us to explore the boundary between the work of scholarship and work of art.
(Source: Abstract ICDMT 2016)
Hannah Ackermans - 08.12.2016 - 14:24
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Between Play and Politics: Dysfunctionality in Digital Art
Marie-Laure Ryan argues that dysfunctionality in new media art is “not limited to play with inherently digital phenomena such as code and programs,” and provides a number of alternative art examples, while also arguing that dysfunctionality “could [also] promote a better understanding of the cognitive activity of reading, or of the significance of the book as a support of writing.”
tye042 - 20.09.2017 - 12:32
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The Metainterface: The art of platforms, cities and clouds
Metainterface is about interface aesthetics and culture, and as an analytical strategy, it focuses on the tendency in art that reflects the contemporary interface; that is, on readings of artworks. In this sense, it presents contemporary art works, but it also reflects on the current challenges of contemporary interface culture in a situation where the computer’s interface seemingly both becomes omnipresent and invisible; where it at once is embedded in everyday objects and characterised by hidden exchanges of information between objects; or, what it conceptualizes as a metainterface. By bringing the tendency in artworks forward, the book aims to demonstrate how certain critical interfaces have an ability to reflect the deeper fissures within new technologies and the production of the work of art itself; an ability to show us an interface, after the interface has seemingly disappeared into ‘smart’ futures and new promises of anticipation, participation, and emancipation.
Søren Pold - 31.10.2017 - 13:50
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#ELRFEAT: Interview with Stuart Moulthrop (2011)
An interview with Stuart Moulthrop, a Professor of Digital Humanities in the Department of English, at the University of Wisconsin–Milwaukee (USA) and an early author of works of electronic literature.
Daniele Giampà - 07.04.2018 - 14:58
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Academy as Network
Guest lecturer by Greg Niemeyer at the University of Bergen, May 02, 2018. As the University of Bergen develops a new strategy to become a leader in innovative approaches to digital media and culture, the Berkeley Center for New Media provides a compelling model of cross-campus engagement.
The University of Bergen program in Digital Culture, the departments of Media, Art, Design, and Media City Bergen are pleased to welcome Greg Niemeyer, the co-founder of the Berkeley Center for New Media, to UiB. Professor Niemeyer will give a presentation on BCNM's innovative interdisciplinary approach to critical and artistic engagement with new media.
Scott Rettberg - 02.05.2018 - 23:24
