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Los Wikiless Timespedia
A satirical take on the Wikitorial debacle, when the Los Angeles Times opened up a wiki for opinions, letters to the editor, and opinion pieces. In this Bunk Magazine feature, The Los Angeles Times decides to repair the damage by going whole hog—transferring to an entirely wiki form, demonstrating their web-savvy might and giving the paper to the people.
Mark Marino - 14.03.2011 - 23:05
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Plaintext Performance
It's a live writing performance over the net combining 1) keyboard writing, 2) machinated, algorithmic writing, and 3) feeds from the processes surrounding the writing (like system monitoring, net connection monitoring, ftp log, etc). All in realtime and plaintext. It was performed live at the BIOS symposium, Center for Literary Computing, West Virginia University, September 2006, with a unix ytalk session as a sideshow. The static version shown here is based on the exhibition "e and eye - art and poetry between the electronic and the visual" at Tate Modern, London, October 2006. It's part of a series of work called "protocol performances". 'Protocol' is meant both as a lower level set of rules of the format of communication, and as statements reporting observations and experiences in the most fundamental terms without interpretation, relating it to phenomenological 'noemata' - thought objects, and thus identifying a data stream with a stream of consciousness. 'Performance' is meant both as a data protocol's physical performance as much as its play on the meaning as an artist-centric execution of work.
Eric Dean Rasmussen - 16.03.2011 - 10:31
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Scholarly Publishing of Hypertext, the Case of "The Victorian Web"
George Landow discussed the development of The Victorian Web, an online resource hosted by Brown University, for the study of Victorian literature, and its relation to his scholarship on hypertext.
Eric Dean Rasmussen - 16.03.2011 - 11:50
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Perdersi
“Loss of Grasp” recreates the loss of self-control. What happens when one has the impression of losing control in life, of losing control of his/her own life? Six scenes tell the story of a man that is losing himself. “Loss of Grasp” plays with the self-control and the loss of self-control and invites the reader to experiment with these feelings in an interactive work.
Patricia Tomaszek - 16.03.2011 - 12:03
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FILMTEXT 2.0
FILMTEXT 2.0 is an elaborate work of net art that investigates emerging forms of electronic literature in relation to interactive cinema, live A/V performance, games, and remix culture. It remediates formal experiments from older media like film, video art, and the visual/metafiction novel.
(Source: Author's abstract at narrabase.net)
"FILMTEXT" is a digital narrative created for cross-media platforms. It is has appeared as a museum installation, a net art site, a conceptual art ebook, an mp3 concept album, and a series of live A/V performances. In the initial 1.0 iteration of the net art site, commissioned by PlayStation 2 in conjunction with Amerika's "How To Be An Internet Artist" retrospective at the Institute of Contemporary Art in London, Amerika referred to "FILMTEXT" as "the third part of my new media trilogy," following his two other major works of Internet art, "GRAMMATRON" and "PHON:E:ME."
(Source: Description for the 2008 ELO Media Arts show)
Scott Rettberg - 16.03.2011 - 16:51
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Sea and Spar Between
Sea and Spar Between is a poetry generator which defines a space of language populated by a number of stanzas comparable to the number of fish in the sea, around 225 trillion. Each stanza is indicated by two coordinates, as with latitude and longitude. The words in Sea and Spar Between come from Emily Dickinson’s poems and Herman Melville’s Moby Dick. Certain compound words (kennings) are assembled from words used frequently by one or both. Sea and Spar Between was composed using the basic digital technique of counting, which allows for the quantitative analysis of literary texts.
(Source: Authors' abstract at Dear Navigator)
Scott Rettberg - 16.03.2011 - 17:05
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Philippe Castellin
Philippe Castellin (1948, Isle sur-Sorgues, France) – poet, digital poet, artist, performer, critic. Graduated from the Rue D’Ulm Université (Paris), in 1991 received a doctorate degree (Aesthetics and Semiology) at the Université de Paris IV. He is the author of a number of poetry books and collections, including the following: Où il ne faut pas (Paris: Confidentielles Ed., 1976), Immalamour (in collab. with J.-Y. Bosseur,1982, a part was published in the Doc(k)s #50), Livre (Ajaccio: Akenaton Ed., 1984), Paesine (Paris: Ed. Evidant, 1989), L’Afrique (Ales: Aiou Ed., 1996), Travelling Slow (Marseille: Akenaton Editions, 1996), Khaki (Paris: Al Dante, 1999), Les_Grandes_Herbes (FidelAnthelmX ed., Marseille, 2011) and also of the visual poetry works, presented in the collection of the Galerie La Marge (Ajaccio) and published in various international magazines, catalogues, literary miscellanies and anthologies on the experimental poetry.
Eric Dean Rasmussen - 17.03.2011 - 13:16
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Stan VanDerBeek
American experimental filmmaker. His desire for the utopian led him to work with Ken Knowlton in a co-operation at Bell Labs, where dozens of computer animated films and holographic experiments were created by the end of the 1960s. Between 1964 and 1967 Vanderbeek created Poem Field, a series of 8 computer-generated animations with Ken
(Source: Wikipedia)
Eric Dean Rasmussen - 17.03.2011 - 14:09
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Friday's Big Meeting
A narrative that unfolds in a chat room with photographic avatars. Author's intro: It was said by some, in North America, in the boom period of the late 1990s, that a web design company would have to work very hard to lose money. Well, one little company was working harder than most. And in the chat room of that company, two lovers crossed lines...
Scott Rettberg - 17.03.2011 - 15:39
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These Waves of Memories: A Hyperfiction by Caitlin Fisher
The web-based ‘hypermedia novella’ These Waves of Girls by Caitlin Fisher won the first prize in the fiction category awarded by the Electronic Literature Organization in 2001. In this article I’ll take a closer look on some of the aspects of this work, a confessional autobiography about a girl coming to terms with her lesbian identity. The article is structured around a set of relations: the relation between the critic and the work; textual and audio-visual representation; personal and social relations; hypertextual structure and autobiographical, unreliable narration. These Waves is a class-room example of the so-called associative hypertext. The hypertextual structure is also closely linked to the problematics of autobiographical narration.. As readers we get to ponder about the nature of remembering, of telling stories about one’s life. One of the genuine accomplishments of Fisher’s work is to bring forth these questions in a tangible, and still discreet, way.
(Source: author's abstract).
Eric Dean Rasmussen - 20.03.2011 - 09:58
