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Retournement
Retournement est une animation syntaxique de 1991. Ce n’est pas tant le mouvement des mots sur l’écran qui compte dans l’animation syntaxique, mais la modification syntaxique que ce mouvement entraîne. Ainsi, suivre les mots des yeux pour lire ou effectuer une lecture spatiale de l’écran « produit » des textes différents. La lecture pouvant à chaque instant basculer entre ces deux modes, le nombre de textes contenus dans ces quelques mots est indéterminé et il est impossible pour le lecteur de les construire tous à la lecture de l’animation. Il s’agit d’un type de générateur non algorithmique que seul un traitement spatio-temporel du langage permet et dont le lecteur est lui-même le moteur d’inférence. À certains moments de l’animation, le sens peut ainsi être perçu comme optimiste ou pessimiste selon la modalité de lecture ; un verbe peut même devenir son propre sujet, rendant la phrase performative. Tout cela dans un geste visuel temporel qui tient de la caresse souligné d’une improvisation au violon.
Scott Rettberg - 02.02.2011 - 14:30
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Metamorphose
Metamorphose
Scott Rettberg - 02.02.2011 - 14:35
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Ré veille d’artiste
Ré veille d’artiste
Scott Rettberg - 02.02.2011 - 14:48
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Amour
Amour
Scott Rettberg - 02.02.2011 - 14:50
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Jean-Marie Dutey
Jean-Marie Dutey
Scott Rettberg - 02.02.2011 - 14:52
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Le mange-texte
Le Mange-Texte is a work by Jean-Marie Dutey that perfectly represents the esthetic of frustration. There are two versions of Le Mange-Texte: the original 1989 version (that was programmed and published in alire 0.1 and alire 1) and the 1994 version. When one starts to look at the black screen, squares appear, changing into the form of four letter words. The words gradually develop and the reader tries to decipher the letters in order to make sense of the unclear words (that can be read vertically, revealing the verses of the poem). The moment one tries to read the words in their proper context, the machine “eats” the text which transforms into different shapes. The color changes from blue to pink and instead of squares, one sees flowers, and the words change. Some words repeat, but the word “rose” (which can also be translated from original French into English as “pink”) appears, for example. Once again, the machine “eats” the words and the process repeats. It is difficult to read the text because the reader must try to distinguish the letters.
Scott Rettberg - 02.02.2011 - 14:53
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Je t'aimerai
Je t'aimerai
Scott Rettberg - 02.02.2011 - 14:55
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The Role of the Reader in Performative Digital Poetry
The object of digital poetry has been claimed to be the process initiated by the user and therefore dynamic. What is processed and made visible on screen is what Philippe Bootz (2007) calls the “texte-à-voir”, what we are given to see and what is only a selection of the underlying artwork. For digital poetry the processes executed by a programming language is the material the artist uses. Following Burgaud (2006) the user is “reading a process”. With the focus on the processes instead of the “object” the description and analysis of digital poetry is facing the problem that what the reader can see on the screen is not enough to understand the art work. Especially the change from a conceptual verbal art read in front of a computer screen mostly by an individual reader to installation art, caves to performances on stage including text, music, and dance and to performances in virtual environments such as Second Life ask for descriptions that are able to deal with the dynamics of those processes.
Eric Dean Rasmussen - 02.02.2011 - 15:09
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Kiene Brillenburg Wurth
Kiene Brillenburg Wurth works as an Associate Professor with the Department of Comparative Literature at Utrecht University. In her research, she focuses on aesthetic theory, literary theory and intermediality, especially the relations between literature and music in the 18th-, 19th-, and 20th centuries. She has published on the sublime, music, British and German Romanticism, philosohpy of art, and post-modern philosophy.
Eric Dean Rasmussen - 02.02.2011 - 15:37
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Endless Text: New Media Technologies in The Raw Shark Texts
Since the digital revolution of the 1990’s, the ‘end’ of literature has been often proclaimed from both a utopian and apocalyptic perspective. While the former has imagined a release of the literary from the constraints of paper and print, in the animation of letters and words, the latter has lamented the end of reading and writing as ‘we’ know it. However, as clear as the opposition between the hopeful visions of theorists such as George Landow and the nostalgic lament of critics like Steven Birkerts may be, their respective stances are easily disclosed as two sides of the same coin: both the positive and negative presentations of the end of literature build on the subtext that literature ‘is’ something; an inside (a space, or a practice) that is either creatively challenged or threatened from the outside – as if it were a backward country or a country under threat, to be opened up and developed or protected respectively. This paper challenges such a distinction between inside and outside by reading ‘literature’ as an interface of other media technologies.
Eric Dean Rasmussen - 02.02.2011 - 15:42
