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Authorship and agency in networked environments
This text discusses how our understanding of authorship has evolved over the past few decades and how this process is now being effected by developments in network and communications technologies. Situating the discussion in relation to post-structuralist theory, Actor Network Theory and the anthropological work of James Leach the impact of network technologies are considered, with particular attention to the emergence of distributed forms of authorship and models of expanded agency. The work of two artists who engage network and communications technologies in distinct ways is discussed in order to evoke perspectives on emergent forms of authorship and agency. The work of Mez Breeze is considered as evidencing a shift in authorship from the human author to an agency of computability embedded in the formal structures of the language employed in the work, suggesting that the text operates as an automatic generative system that constructs the reader as computational interpreter.
Simon Biggs - 21.09.2010 - 11:04
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Transculturation, transliteracy and generative poetics
author-submitted abstract:
What effect are the current profound changes in global communications, transport and demographics having on language and its readers and writers, those defined through their engagement with and as a function of language? What happens to our identity, as linguistic beings, when the means of communication and associated demographics shift profoundly? What is driving this? Is it the technology, the migration of people or a mixture of these factors?Language is motile, polymorphic and hybrid. Illuminated manuscripts, graphic novels, the televisual and the web are similar phenomena. The idea that the ‘pure’ word is the ultimate source of knowledge/power (a hermeneutic) was never the case. Don Ihde’s ‘expanded hermeneutics’ (1999), proposes, through an expanded significatory system, that what appear to be novel representations of phenomena and knowledge are, whilst not new, now apparent to us.
Fernando Ortiz (1947) proposed the concept of ‘transculturation’, which may offer possible insights in relation to these questions.
Simon Biggs - 21.09.2010 - 11:07
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Art, Creativity, Intellectual Property and the Commons
Let us begin with a story about art. In this story, art produces aesthetic works of durability and stability — things that “stand up on their own”. The act of artistic production doesn’t come from nowhere; neither is it born in the heads of private individuals. It doesn’t dwell in a social nothingness. Nor does it start with a blank canvas. Any moment of production involves the reassembling and rearranging of the diverse materials, practices and influences that came before it and which surround it. Out of this common pool, art creates aesthetic works with emergent properties of their own. From the social world in which it lives, art creates affect and precept. It forms new ways of feeling, seeing and perceiving the world. It gives back to us the same object in different ways. In so doing, art invents new possibilities and makes available new forms of subjectivity and life. Art is creative and productive.
David M. Berry - 21.09.2010 - 11:11
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Networks, Margins and Centres
Networks, Margins and Centres
Simon Biggs - 21.09.2010 - 11:18
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On Byways and Backlanes: The Philosophy of Free Culture
We see before us a turning in free culture. This turning, lies between the claims of the ordinary against those of the extraordinary, and suggests that we need to carefully examine our current situation. The ordinary highlights the fact that even in the beginnings of free culture there existed its middle and its end, that its past invaded its present, and even the most extreme attention to the present is invaded by a concern for the future. Whereas the extraordinary highlights the possibility of thinking that brings us out of this life-world and instead opens out and unfolds the way in which we might reveal a different world. This world could be said to be both within capitalism and between capitalisms. Here we might think about the transformation of the economic base from an industrial fordist form of capitalism, to an economy founded on the valorisation of information and code, a postfordist capitalism. Free culture, then, could be said to lie in the interstices, and in so doing could be a rare chance to help to point the way from the lived to the desired.
David M. Berry - 21.09.2010 - 11:22
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Speaking With The Other
Speaking With The Other
Simon Biggs - 21.09.2010 - 11:24
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The Sentient Sign
The Sentient Sign
Simon Biggs - 21.09.2010 - 11:26
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Ping Poetics
Sandy Baldwin investigates the manner in which a computer "ping trace" can be classified as a form of digital poetics, and discusses the underlying symbolic practices of both poesis and poetics that encompass coding and computation.
Eric Dean Rasmussen - 21.09.2010 - 11:27
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Aesthetics of Visual Noise in Digital Literary Arts
The essay analyzes the phenomenon of digital poems representative of the use of a visually “busy” and typographically dense aesthetic. The essay focuses on digital works, such as Spawn by Andy Campbell, Diagram Series 6 by Jim Rosenberg, and Leaved Life by Anne Frances Wysocki. The author argues that a dominant aesthetic technique of these works, which is called “visual noise,” is generated by a tactilely responsive surface in combination with visual excess. This in turn requires an physical engagement from the reader/user in order for a reading to take place.
Maria Engberg - 21.09.2010 - 11:37
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From ALAMO to Transitoire Observable: evolution of the French digital literature
The presentation provides a historical overview of the evolution of electronic literature in France from the ALAMO group, an outgrowth of the OULIPO focused on combinatory aesthetics, through to the present day.
Scott Rettberg - 03.10.2010 - 22:28
