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Basquiat meets Mario Brothers? Digital poet Jason Nelson on the meaning of art games
An interview with the self-described digital poet Jason Nelson on the semiotic pleasures of playing and creating "art-games," indie works produced outside corporate game studios, which, Nelson predicts, will eventually be recognized as the most significant art movement of the 21st century. While explaining how he came to be a digital author, Nelson addresses topics such as his continued love of Flash as a production tool, despite its likely obsolesence, his appreciation for gamescapes that allow for aimless wandering, and the intense reactions his art-games provoke in players. Alluding to the fact that Digital Poet is not the most lucrative of professions, Nelson signals his desire to design "big budget console games," provided he could do so on his terms.
(Source: Eric Dean Rasmussen)
Eric Dean Rasmussen - 28.09.2011 - 12:44
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Expanding the Concept of Writing: Notes on Net Art, Digital Narrative and Viral Ethics
Expanding the Concept of Writing: Notes on Net Art, Digital Narrative and Viral Ethics
Eric Dean Rasmussen - 06.03.2012 - 11:55
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Remix Writing and Postproduction Art (Workshop)
What is remixology? What is postproduction art (PP Art)?
In this workshop, we will investigate a small selection of experimental literary texts, websites, music videos, and audio tracks that employ different remix strategies to develop new works of art. These remix artworks will trigger a more general discussion on the emergence of hybridized art forms that are growing out of a thriving interdisciplinary media arts scene.
Media art forms that will make their way into the workshop mix include electronic literature, net art, digital video, and live A/V performance.
Given our time limitations, the workshop will be targeted at introducing participants to the way contemporary media artists may turn to remix and/or postproduction methods to create unexpected works of art.
Questions . . .
Can you imagine remixing Gertrude Stein's "Tender Buttons" into a philosophical treatise on technicity and the loop and then using the treatise as a script for your spoken word performance in Second Life?Scott Rettberg - 07.01.2013 - 15:37
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Сети для художника
Сети для художника
Natalia Fedorova - 27.01.2013 - 00:11
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Russian E-Lit 1.0 - 3.0
Russian E-Lit 1.0 - 3.0
Natalia Fedorova - 29.01.2013 - 02:46
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Интернет как гетто
Если вы еще не знаете, что такое нет-арт, надо торопиться: он может исчезнуть вообще.
За свое недолгое существование с середины 90-х интернет-арт — или, в принятой терминологии, нет-арт — пережил эволюцию, на которую традиционному искусству понадобилось несколько десятилетий: от освоения возможностей своего языка до беспринципной вседозволенности, где каждый желающий может назвать себя художником. А ведь вроде бы в распоряжении сетевых художников оказалась вся палитра известных изобразительных средств: текст, статичное изображение, видео и аудио. Интернет добавил интерактивность, возможность управлять отдельными элементами и даже изменять их в реальном времени. Именно в сети реализовались идеи художников хэппенинга, которые мечтали вовлечь случайных прохожих в процесс создания произведения. (из http://os.colta.ru/art/projects/132/details/2015/)
Natalia Fedorova - 30.01.2013 - 18:30
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Elvia Wilk in Conversation with J. R. Carpenter
Electronic Literature is a loaded and slippery category. It is rather dryly defined by the Electronic Literature Organization (what other art form needs a governing body?) as “works with important literary aspects that take advantage of the capabilities and contexts provided by the stand-alone or networked computer.” Does this mean everything or nothing?
If there’s one person who knows the ins and outs of e-Lit as a category and an institution, it’s J. R. Carpenter. The Canadian artist, writer, performer – and myriad other titles – first logged onto the internet in November 1993, and has been deeply invested in making work both online and off ever since. This work floats across all mediums: zines, novels, hypertext fictions and performances, all referencing and circling back on each other.
J. R. Carpenter - 17.03.2014 - 10:57
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Mapping the Convergence of Networked Digital Literature and Net Art onto the Modes of Production
In this paper I argue that the restrictions imposed by technological barriers within select forms of digital literature and net art are cause for the success of these works from the early internet to the present—the technological restrictions themselves guided their formulation. Arguably, the
constraints create the aesthetic context in which the works thrive, while the artist figure
transforms into mechanical producer.Magnus Lindstrøm - 17.02.2015 - 15:53
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On the Platform’s Ruins: Practicing a Poetics of Obsolescence
Visual artists, writers, and other cultural producers have long leveraged networked technologies to establish platforms that circulate cultural products in participatory contexts intentionally distinct from cultural institutions. As technologies change over time—including deprecated plug-ins, changes to HTML, and linkrot—these platforms fall into various states of decay. In this paper, I examine an example of a platform, the Net Art Latino Database (1999-2004), an effort to document net-based artworks vulnerable to obsolescence that overall stands as a precarious monument to an earlier era of digital culture. As the platform slowly falls out of joint with current web technologies, the Database illustrates practices of cultural production that respond to the decay of the very technologies being used.
Milosz Waskiewicz - 25.05.2021 - 15:13
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On Reading and Being Read in the Pandemic: Software, Interface, and The Endless Doomscroller
A primary interface pattern of contemporary software platforms is the infinite scroll. Often used to deliver algorithmically-selected personalized content, infinitely scrolling feeds are one of many design decisions seen as responsible for compulsive use of social media platforms and other information-rich sites and apps. During the COVID-19 pandemic, a time marked by a substantive increase in time spent online, the infinitely scrolling feed has been implicated in a new negative pattern: “doomscrolling.” Doomscrolling refers to the ways in which people find themselves regularly--and in some cases, almost involuntarily--scrolling bad news headlines on their phone, often for hours each night in bed when they had meant to be sleeping. While the realities of the pandemic have necessitated a level of vigilance for the purposes of personal safety, doomscrolling isn’t just a natural reaction to the news of the day—it’s the result of a perfect yet evil marriage between a populace stuck online, social media interfaces designed to game and hold our attention, and the realities of an existential global crisis.
Lene Tøftestuen - 25.05.2021 - 17:21
