Search

The search found 12 results in 0.008 seconds.

Search results

1. Reading Augmented Spaces and the Dimensions that Define Them

   Most new media work establishes interactivity within a curated installation space: a gallery, a festival, or an area whose purpose is to exhibit art. However, recent experiments in new media narratives have made use of the capabilities of smartphones and tablets to present experiences that are aware of the user’s position in space and
   even their current behavior or object of attention.

   Specifically,augmented reality works set themselves apart by re-contextualizing environments and objects encountered in everyday life, removing the fourth wall and blurring or eliminating an interactive experience's boundaries. This differs markedly from the purism of the imagination tapped by literature, and often even favors more realistic integration, in contrast to stylistic depictions and abstractions used in monitor-based works. Augmented reality’s strength and interest lies in how it embeds a story in an environment, or how it can be used to awaken new awareness of a viewer to their surroundings. This bridges the world of the reader with the diegesis of the narrative, resulting in works that react to the immediacy of the experienced space.

   Eric Dean Rasmussen - 14.06.2012 - 15:13

2. Condors' polyphony and jawed water-lines catapulted out: Gnoetry and Its Place in Text Processing's History

   As chronicled on the “Beard of Bees” website, authors involved with Gnoetry, “an on-going experiment in human/computer collaborative poetry composition”, have collectively engaged with digital textual processing for more than a decade (see http://beardofbees.com/gnoetry.html and also http://gnoetrydaily.wordpress.com/). In 2011, the group published their first anthology, Gnoetry Daily, Vol. 1, a 52 page collection of verse spun with programs named Gnoetry, charNG, Infinite Monkeys, ePoGeeS, welatanschauung, and JanusNode, with accompanying commentary by Eric Elshtain, eRoGK7, Matthew, edde addad, nathanielksmith, and DaveTolkacz.

   Eric Dean Rasmussen - 14.06.2012 - 15:16

3. Transient Self-Portrait

   Transient self–portrait is an artistic research project with the aim of creating an interactive piece.
   I take as the point of departure two pivotal sonnets in Spanish literature that are normally studied
   alongside each other, En tanto que de rosa y azucena by Garcilaso de La Vega, a 16th Century
   Spanish poet, using Italian Renaissance verse forms and Mientras por competir con tu cabello by
   Luís de Gongora, a 17th Century Spanish poet from the Baroque period. Gongora’s sonnet is a
   homage to Garcilaso’s and the styles and the cultural aspects that appear on the sonnets are very
   different reflecting the attitudes from the Renaissance and the Baroque.

   Eric Dean Rasmussen - 20.06.2012 - 19:33

4. Interactive Technology and the Remediation of the Subject of Writing

   Interactive Technology and the Remediation of the Subject of Writing

   Scott Rettberg - 25.06.2013 - 13:59

5. For This We Play: an Introduction to this Issue’s New Media Poems

   For This We Play: an Introduction to this Issue’s New Media Poems

   Patricia Tomaszek - 09.07.2013 - 18:36

6. Transdução: Processos de Transferência na Literatura e Arte Digitais

   Electronic Literature and Digital Art share many processes, themes, creative and theoretical guidelines. In this sense, I developed a critical framework that could resist to a hyperdisciplinary analysis and include one of the characteristics of this sharing pattern: the transfer and transformation processes. In order to recognize these processes I have done an approach of the transduction concept that could perform a theoretical migration on these aspects: the transducer function. Thus, the transducer function appears in the critical analysis of the works by Mark Z. Danielewski, Stuart Moulthrop, R. Luke DuBois and André Sier. The selected works are representative of the following genres: novel, hyperfiction, net.art and digital installation, drawing on phenomena and concerns resulting from the creative production within the digital culture. In this research I have enhanced mechanisms, patterns, languages and common grounds: authorship, user, cybertext, surface, hypertext, infoduct, interactivity, pixel, algorithm, code, programming, network, software and data. (Source: Author's abstract)

   Alvaro Seica - 15.08.2013 - 15:59

7. Barroquismos Digitais

   Existe um barroquismo nas criações poética digitais contemporâneas. Seria este um barroquismo de arte e engenho no modo de as obras operarem e no modo de se relacionar com o mundo digital daquele que cria e daquele que o usufrui. Barroquismo na maneira de se dar ao mundo da obra digital, na similaridade com o modo de ser das obras barrocas, considerando três características: materialidade da obra enquanto doadora de sentido, multimidialidade da obra e a interatividade entre obra e fruidor. Este artigo se propõe a apontar para esse barroquismo e certo continuum barroco na literatura digital.

   (Fonte: Resumo do Autor)

   Alvaro Seica - 29.11.2013 - 13:38

8. A Interatividade na Poesia Digital

   This dissertation aims at comprehending interactivity in the digital work of art, through the perspective of Maurice Merleau-Ponty’s phenomenology. For such, I combine a general
   objective – that of mapping mechanisms and strategies of interactivity in digital poetry – and
   a specific objective – that of reading Rui Torres’ work Amor de Clarice – with the intention of better understanding both through their constant dialogue, on how they intercross, as to finally comprehend the process of interaction in digital work of art. For this purpose I return to
   

   Alvaro Seica - 29.11.2013 - 14:17

9. Disguised Tales: A Masqueraded Complexity in Children's Electronic Literature

   This paper explores what I define as a “masqueraded complexity”, a term that refers to the way
   children’s electronic literature disguises its multiple features to a formative reader (the child/young adult) in order to maintain/assert the whole range of semiotic and narratological creative approaches allowed in this new literary scenario. The paper paper also examines the lights and shadows of children's digital literature's inherent properties from an educational perspective. To support this exploration, I combine theoretical approaches to digital literature (Ryan, Murray, Hayles, Landow, etc.), the exploration of the digital literature landscape for youngsters and recent studies on children's literary education (Chambers, Colomer, Tauveron etc.). Some of my own research group ongoing case studies with real young digital readers will also be used to illustrate the outcomes.
   Despite its obvious heterogeneity, electronic literature presents a series of common complexities
   

   Jill Walker Rettberg - 20.06.2014 - 18:13

10. Immersion and Interactivity in Digital Fiction

    Digital fiction began by defining itself against the printed book. In so doing, transgression of linearity and the attempt to reduce the authorial presence in the text, were soon turned into defining characteristics of this literary form. Works of digital fiction were first described as fragmented objects comprised of “text chunks” interconnected by hyperlinks, which offered the reader freedom of choice and a participatory role in the construction of the text. These texts were read by selecting several links and by assembling lexias. However, the expansion of the World Wide Web and the emergence of new software and new devices, suggested new reading and writing experiences. Technology offered new ways to tell a story, and with it, additional paradigms. Hyperlinks were replaced with new navigation tools and lexias gave way to new types of textual organization. The computer became a multimedia environment where several media could thrive and prosper. As digital fiction became multimodal, words began to share the screen with image, video, music or icons.
    

    Daniela Côrtes Maduro - 05.02.2015 - 12:28

Pages