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1. Poésie numérique: enjeux de lecture, lecture en jeu, étude de cas

   Poésie numérique: enjeux de lecture, lecture en jeu, étude de cas

   Scott Rettberg - 27.04.2011 - 14:20

2. minE~i+)_mire ®+U experienced?

   minE~i+)_mire ®+U experienced?

   Scott Rettberg - 27.04.2011 - 14:25

3. Du jeu d l'art et des e-formes: perspective combinatoire

   Du jeu d l'art et des e-formes: perspective combinatoire

   Scott Rettberg - 27.04.2011 - 14:31

4. Le jeu au risque de l'art

   Le jeu au risque de l'art

   Scott Rettberg - 27.04.2011 - 14:36

5. Peinture et création numérique: le jeu et les coulisses

   Peinture et création numérique: le jeu et les coulisses

   Scott Rettberg - 27.04.2011 - 14:39

6. En guise de conclusion: Lieux d'opcité, le sort en jeu dans l'art

   En guise de conclusion: Lieux d'opcité, le sort en jeu dans l'art

   Scott Rettberg - 27.04.2011 - 14:41

7. Event and Meaning: Reading Interactive Installations in the Light of Art History

   Roberto Simanowski demonstrates in a close reading of two interactive in- stallations that they do not simply create an event as “a period of time to be lived through” (Bourriaud 15). Looking at Still Standing by Bruno Nadeau and Jason Lewis and Zachary Booth Simpson’s Mondrian, Simanowski maintains that these pieces do not only offer two different concepts of the interactors’ actions and hence body experiences; they also engage in a very difficult way with the issues of inter- and transmediality and thereby refer to the history of the avant-garde movements of the early 20th century.

   (Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)

   Scott Rettberg - 23.05.2011 - 11:50

8. The Gravity of the Leaf: Phenomenologies of Literary Inscription in Media-Constituted Diegetic Worlds

   John Cayley reports on writing and the practice of literary art in the immersive 3D audio-visual environment of the Cave at Brown University, addressing the use of text-as-surface in a three-dimensional space. He develops a conception of new media as “complex surfaces” based on Cave writing courses to confront the relationship between language and embodiment, language and materiality—always attempting to develop a specific literary aesthetics.

   (Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)

   Scott Rettberg - 23.05.2011 - 15:10

9. Beyond the Complex Surface

   Noah Wardrip-Fruin analyzes how the relations between audience experience and underlying processes apply to interactive works. Referring to Cayley’s conception, he focuses on such works that turn the recipient’s attention to the complexity of their “complex surfaces.” While most authoring of electronic lit- erature has so far focused on data and processes, Wardrip-Fruin argues for using innovations at the surface levels to allow for new literary and artistic experiences.

   (Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)

   Scott Rettberg - 23.05.2011 - 15:31

10. Hyperlinking in 3D Interactive, Multimedia Performances

    Dene Grigar discusses ways in which hyperlinks are utilized in three-dimensional multimedia performance works that offer a narrative or poetic focus. In the new spaces of three-dimensional performance environments, hyperlinking can be incorporated as a performative element into the work and therefore always makes a purposeful act necessary for the performance to unfold. Grigar argues that hyperlinking may denote a change of scene, the progression of a poem’s instantiation or the evocation of musical notes comprising a composition.

    (Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)

    Scott Rettberg - 23.05.2011 - 15:36

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