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Primal Affective Ground and Digital Poetry
Since the first symbolic scripts emerged, language has always been visual. My own work explores how language's visual can be read both as art and as poetry; how affect is amplified by sound; how generative and combinatorial layouts of text-video-sound open art from linear readings into infinite variations perspectives.
For ELO, I am interested in creating an artist talk that utilizes content derived from two essays on digital poetry written for my comprehensive exams in the summer of 2009. The original essays are entitled: "Affecting Language: interdisciplinary explorations of emotion (new media, neuroscience, phenomenology and poetry)" and "Defining Creative Conduits: mediations on writing in digital media". Since both essays (as take-home exams) were each written over a brief 72 hour span, I look fwd to the opportunity of synthesizing and refining their argument into a presentation format.
(Source: Author proposal)Eric Dean Rasmussen - 20.03.2012 - 12:42
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Entre Ville: this city between us redux
Hypermedia essay about Entre Ville, a work of digital literature created by J. R. Carpenter, commissioned, in 2006, by OBORO, a Gallery & New Media Lab in Montreal, on the occasion of the 50th anniversary of the Conseil des arts de Montreal.
J. R. Carpenter - 09.05.2012 - 13:34
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Re:Cycle - A Computationally Generative Ambient Video System
Ambient video art is designed in the spirit of Brian Eno's ambient music - it must never require our attention, but must reward our attention whenever it is bestowed. It comes in many forms, ranging from the kitsch of the Christmas yule log broadcast to more mature moving image art created by a number of contemporary video artists and producers. The author has created a series of award-winning ambient video works. These works are designed to meet Eno's difficult requirements for ambient media - to never require but to always reward viewer attention in any moment. They are also intended to support viewer pleasure over a reasonable amount of repeated play. These works are all "linear" videos - relying on the careful sequencing and meticulous transitioning of images to reach their aesthetic goals. Re:Cycle uses a different approach. It relies on a computationally generative system to select and present shots in an ongoing flow - but with constant variations in both shot sequencing and transition choice. The Re:Cycle system runs indefinitely and avoids any significant repetition of shots and transitions.
Eric Dean Rasmussen - 21.06.2012 - 12:57
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Towards an Art of Rhetoric in Electronic Literary Works: The Figures of Manipulation
On the basis of electronic literary works, we can identify specific rhetorical figures in interactive writing: the figures of manipulation. It is a category on its own, along with figures of diction, construction, meaning and thought. For example, the figure of appearance/disappearance (responding to an action of the reader) is as a key figure among the figures of manipulation.
What is emphasized in such figures is the coupling action/behavior, which could be considered as a basic unit in interactive writing. This coupling can be conceived independently from the medias (text, image, video) it relies on. Thus, it seems relevant to have an a-media approach when defining an art of rhetoric in interactive writing.
(Source: Author's abstract, 2008 ELO Conference)
Scott Rettberg - 08.01.2013 - 23:32
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(R)Evolutionary Communication: Defining and Refining Digital Literature, Art and Storytelling
As an educator as well as Director of Digital Media Studies at the University of Detroit Mercy, my pedagogical and personal interests lie in how to use media to incorporate inter-disciplinary studies; to use sound, images as well as visual and narrative compositions to communicate multi-dimensional ideas, passions and concepts. In relation to this inter-disciplinary approach, I incorporate the concept of "mixing" to weave together space, design, technology, story-telling and critical discourse. One of the concepts I try to reinforce is that 'space' includes the psychological as well as the physical. In addition, I teach digital media students that "design" is the intentional approach to choreograph the experiential and that digital technology is a tool for exploring these ideas. Accepting this, I challenge the students to consider: how does the user/viewer experience and process the interaction between digital media and the "narrative" of the everyday?
Scott Rettberg - 09.01.2013 - 14:35
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E-Poetry 2007 Paris Cellfone Documentary Extravaganza (Grand Text Auto)
A trip report from E-Poetry 2007, featuring short video clips of performances shot on a cell phone.
Scott Rettberg - 30.01.2013 - 12:26
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UbuWeb, the archive and the gallery
As a seemingly limitless and comprehensive resource, UbuWeb (http://www.ubu.com) has put together a map of the past hundred or so years of ‘experimental’ writing, film, video, and sound art. It resembles the archive in its breadth and depth, in its relentless collecting, in its inherent totalizing tendencies. My argument is that UbuWeb, while not an ‘archive’ per se, does have a cataloging logic, though it is not apparent, and that its specific logic is based on the commodification of the artwork and the effects of that commodification on its exhibition. To understand that logic, I want to situate UbuWeb at the latest point in a series of discontinuous institutions and discourses that have all taken the ‘artwork’ as their object.
Audun Andreassen - 03.04.2013 - 10:13
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The Exquisite Corpus: Issues in Electronic Literature
A One Hour Video-Essay by Talan Memmott featuring interviews with 17 scholars and practitioners of electronic literature.
Futures and Foci, Platforms and Politics, The Human Problem, Senses and Screens, Reading and Writing.
Topics include:
does electronic literature have a future?
is google the end of of the world?
what is in-between text and image?
where is the author and what is a scholar?
can there be a national e-literature?
what is the attraction of touch technologies?
what is the place of digital poetics in global politics?
is it possible to conceal intent?Featuring: Mark Amerika, Simon Biggs, Serge Bouchardon, J. R. Carpenter, John Cayley, Cris Cheek, Maria Engberg, Jerome Fletcher, Maria Mencia, Nick Montfort, Jörg Piringer, Jill Walker Rettberg, Scott Rettberg, Alexandra Saemmer, Roberto Simanowski, Christine Wilks, Jaka Železnikar
Talan Memmott - 17.10.2013 - 17:19
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'Roda Lume' by E. M. de Melo e Castro
Roda Lume is a 2’ 43’’ videopoem, which was broadcast by the Rádio Televisão Portuguesa (RTP) in 1969 and subsequently destroyed by the station itself, and was reenacted by Melo e Castro from the original storyboard in 1986. The work is indeed surprising, as a poem that overlaps text, kinetic text, image, moving image and sound, anticipating and influencing various genres of digital hypermedia poetry mainly launched after the birth of the World Wide Web. It constructs a different notion of space-time, opening a “visual time” (Melo e Castro 1993: 238) of unfolding images and text that comprises a new reading perception.
(Source: Author's text)
Alvaro Seica - 07.04.2015 - 17:00
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Literature Beyond the Text: Vliterature, Towards a Post-textual Literature?
Moving from writing to amateur video could not have happened without the easily available technology and the web and social media that enable the author to circulate their work without needing a heavy infrastructure. In this sense, and with the underlying open attitude to the concept of the literary and modes of publication, this new ‘vliterature’ is fundamentally governed by the logic of the internet. At the same time, in addition to being inspired by filmmakers’ diaries and experimental short film, it can also be seen as a return to an older form of literature, the tradition of orality. This paper proposes to discuss the context in which this trend has emerged and the various practices it has engendered, with a focus on the modes of presence of what can be considered to be ‘literary’ practices and artefacts in such ‘writerly videos’ or vliterature.
Hannah Ackermans - 08.12.2016 - 14:45
