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  1. Writing on Complex Surfaces

    Writing in programmable media is theorized in relation to the surface of writing.[1] Within the framework of currently dominant cultural and technological formations, the surface of writing is conceptually simple, and this overdetermines practices of writing. As it is typically conceived, the surface of writing is a flatland plane, a 3rd-dimensionless scroll (however segmented or, indeed, fragmented) on which linguistic symbols, similarly dimensionless, are arrayed. Once language has come to rest on this simple surface, any qualities it may possess of temporality or material depth are bracketed. Programmable media problematize this dominant but simple model, and yet, arguably, its depthless, timeless surface misdirects the composition and publication of writing, even writing that is instantiated in programmable media. In the field of poetics, there are traditions for which the surface of writing is complex. Although rarely made explicit, such approaches to the writing surface have enriched the practices of important writers, particularly poetic writers.

    Patricia Tomaszek - 14.09.2010 - 17:21

  2. Ethnographic Study of an Online Creative Community

    Ethnographic Study of an Online Creative Community

    Penny Travlou - 21.09.2010 - 11:04

  3. On Navigation and Interactivity

    On Navigation and Interactivity

    Simon Biggs - 21.09.2010 - 11:22

  4. Vers de nouvelles formes en poésie numérique programmée?

    In English:

    I intend to illustrate some programmed forms among the most representative one of the
    digital poetry of today. They use two important features of the digital medium: dual performative
    signs and a semiotic gap between the author and the reader.

    Bootz Philippe. "About some programmed forms in e-poetry". Conference paper. EPC, SUNY Buffalo, 2006.

    In French:

    Cet article réalise une synthèse de mes travaux récents et propose, pour l’analyse des formes programmées, de nouveaux critères complémentaires de ceux proposés par ailleurs. La notion de forme programmée se dégage peu à peu des genres apparus en poésie numérique dans les années quatre-vingts Nous discutons les concepts à l’œuvre dans ces formes en insistant sur ceux de technotexte et d’intermédia. Ayant dégagé des axes analytiques performatif, lectoriel et instrumental, nous proposons et classifions quelques formes programmées.

    Patricia Tomaszek - 28.10.2010 - 16:52

  5. Collaborative Art Experiments on Facebook

    Collaborative Art Experiments on Facebook

    Patricia Tomaszek - 12.01.2011 - 16:25

  6. What is "The Asian Tower"?

    Un manufatto, un romanzo, un luogo di incontro, o piuttosto, come forse è più  giusto, un catalizzatore di energie creative, che sconfinano dal web al mondo reale, dalle lands di Second Life alle pagine dei blog e delle riviste cartacee, alle città del mondo, dall’architettura e dal desing alla scrittura, alla musica, all’arte visiva. Un progetto multimediale e plurilinguistico, dunque, che si è lasciato scoprire e interrogare nel suo farsi, sui blog dedicati e in occasione di diverse presentazioni e mostre, a Bologna, Firenze, Roma, Milano, Potenza. “La Torre di Asian” come manufatto virtuale, nasce dalla sperimentazione dell’idea dello spazio virtuale come racconto del suo costruttore, Asian Lednev aka Fabio Fornasari, owner in Second Life, architetto e desing bolognese nella vita reale; “La Torre di Asian” come romanzo collettivo, nasce dalla sperimentazione della narrativa, come restituzione letteraria della babele linguistica ed esperienziale contemporanea, da parte della scrittrice potentina, Lorenza Colicigno, in Second Life Azzurra Collas.

    Patricia Tomaszek - 12.01.2011 - 16:28

  7. Multimodal Metaphor and Intersubjective Experiences: The Importance of Eye-Contact in Davidson’s Graphic Novel The Spiral Cage and in Annie Abrahams Net-Project On Collaboration

    Multimodal Metaphor and Intersubjective Experiences: The Importance of Eye-Contact in Davidson’s Graphic Novel The Spiral Cage and in Annie Abrahams Net-Project On Collaboration

    Patricia Tomaszek - 12.01.2011 - 16:32

  8. WIKIARTPEDIA

    WIKIARTPEDIA

    Patricia Tomaszek - 12.01.2011 - 16:37

  9. Digital Arts and Literature – Is it Just a Game?

    “Games are not serious; digital art and literature are playful; therefore they are not serious”. Formulations such as these are sometimes used when discussing the playfulness of digital art and literature. The origin of this argument is based on the traditional opposition between “serious” and “playful”. Because of their interactive nature, digital art and literature have often been considered as particularly close to play - and to “mass culture”. Depending on the approaches, this proximity is interpreted as an opportunity, or as a risk, as I will show in this article.

    On the one hand, art and play are so closely related that it has become commonplace to assert: “art is play”, “play is art”. On the other hand, it seems equally impossible to deny the existence of playfulness in art and literature. Indeed, is it not one of their fundamental privileges to allow free, unselfish play with the materials, codes and conventions, while science, craft industry, and industrial design are "condemned" to produce and capitalise?

    Patricia Tomaszek - 12.01.2011 - 16:44

  10. Digital Literary Text as a Play and a Ride

    Digital Literary Text as a Play and a Ride

    Patricia Tomaszek - 12.01.2011 - 16:45

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