Search

Search content of the knowledge base.

The search found 43 results in 0.009 seconds.

Search results

  1. Grand Text Auto

    A group blog about computer narrative, games, poetry and art. From 2003-2009 operated as a collective effort on a single blog, now pulls conent from individual and institutional blogs of the contributors. Grand Text Auto also had two collective gallery shows of electronic literature and digital art, at the Beall Center for Arts and Technolgoy at UC Irvine (2007) and the Krannert Center at the University of Illnois (2009).

    Scott Rettberg - 14.04.2011 - 00:27

  2. Literatura Electrónica

    Weblog focused on electronic literature, digital art, and digital culture, featuring frequent reviews of works of electronic literature.

    Scott Rettberg - 14.04.2011 - 00:51

  3. Do the Domains of Literature and New Media Art Intersect? The Cases of Sonnetoid web projects by Vuk Ćosić and Teo Spiller

    Franco Moretti's notion of “distant reading” as a complementary concept to the “close reading”, which emerged alongside the computer based analysis and manipulation of texts, finds its mirror image in a sort of “distant” production of literary works – of a specific kind, of course. The paper considers the field, where literature and new media creativity intersect. Is there such a thing as literariness in “new media objects” (Manovich)? Next, by focusing on the three web sites that generate texts resembling and referring to sonnet form the paper asks the question about the new media sonnet and, a more general one, about the new media poetry. A mere negative answer to the two questions doesn't suffice, because it only postpones the unavoidable answer to the questions posed by existing new media artworks and other communication systems. Teo Spiller's Spam.sonnets can be viewed as an innovative solution to the question, how to find a viable balance between the author's control over the text and the text's openness to the reader-user's intervention.

    Eric Dean Rasmussen - 30.08.2011 - 11:59

  4. Comparative Analysis of the Cyberfeminist Hyperfiction and New Media Art work: Francesca da Rimini’s Dollspace

    Comparative Analysis of the Cyberfeminist Hyperfiction and New Media Art work: Francesca da Rimini’s Dollspace

    Eric Dean Rasmussen - 30.08.2011 - 12:36

  5. Creative Communities: Nooks, Niches, and Networks

    Creative Communities: Nooks, Niches, and Networks

    Eric Dean Rasmussen - 08.09.2011 - 16:38

  6. New Media Art

    New Media Art

    Meri Alexandra Raita - 02.10.2011 - 14:37

  7. Electronic literature or digital art? And where are all the challenging hypertextual novels?

    Lack of new and challenging, interactive hypertextual fictions causes a continuously growing frustration among literary scholars like myself. While we are witnessing a growing and exciting field within digital poetry, and especially digital art as such, hypertextual fictions seem to have become part of and/or floating into interactive digital performance and installation artworks. Noah Wardrip-Fruin’s CAVE-work Screen and Camilla Utterback’s Text Rain are among digital artworks based on text and words. According to Roberto Simanowski in “Holopoetry, Biopoetry and Digital Literature” (2007), however, Utterback’s work in particular, must be seen as a work of digital art rather than literature, since its aim is not to be read but to be played with. So how much text, how many literary generic traits must a hypertextual fiction include to be called literature and not digital art?

    Jill Walker Rettberg - 18.06.2012 - 11:10

  8. The Presumed Literariness of Digital

    This presentation will challenge the current, too quickly determined relationship between
    the ‘literary’ and digital media. The presumed literariness of digital art--these days, anything
    from performance art to virtual sculpture work--muddles the already confused and meandering
    genre of electronic literature, leading away from acts of reading and remarking on text and its location in new media. Electronic literature began as a study of literary writing produced and
    meant to be read on a computer screen, opening up new possibilities for interactive and dynamic
    storytelling, utilizing the new medium’s ability for linking lexias. The literariness of this work
    is manifest: the work was primarily textual, the centrality of reading paramount. Textuality was
    at the heart of the work, thus the term electronic literature was appropriate and uncontested.
    Lately, ‘electronic literature’ is an umbrella-term for all things digital. A spectrum of genres
    and forms are included, among them video games, interactive fiction, digital art, and (virtual)

    Eric Dean Rasmussen - 19.06.2012 - 14:41

  9. Of People Not Machines: Authorship, Copyright and the Computer Programmer

    Authorship of computer programs merits close attention, on one level, because it illustrates what is one of my more general observations about the relationship between ideas of authorship in law and the "digital arts": its complexity. The sphere of "digital arts" is characterised by a multiplicity of creative practices and consequently a diversity of ideas about “authorship”, which resist simplistic conclusions as to what the challenge of the digital should mean for law. At the same time, the status of computer programmers as authors draws attention to what for modern lawyers is likely to be an unexpected and counter-intuitive observation about certain aspects of the relation between digital art and law: far from always a source of challenge, the discourses of authorship in the "digital arts" can also provide the law with assistance. Indeed, as we will see, in humanising technology and exalting the computer programmer as a creative poet, certain discourses of digital art can in fact provide coherence and legitimacy to legal concepts of authorship, rather than challenging them.

    Elisabeth Nesheim - 27.08.2012 - 14:08

  10. The Fundamentals of Digital Art

    The book examines the way digital technology is forcing a complete rethink of creative priorities for artists in the twenty first century. Written from an artist's perspective, the author has had the cooperation of many important practitioners in digital arts in countries across the world. The book is written in an accessible style and alongside examples of work offers practical know-how that will enable to reader to begin using some of the methods described for themselves.

    The Fundamentals of Digital Art has six sections and each of these takes a specific aspect of the subject.

    Historical perspectives
    Dynamic “live” art
    The use of data sources in art
    The place of programming languages
    Network considerations
    Hybrid practice and the blurring of specialist boundaries.

    176 Pages with 150 colour illustrations

    Source: book presentation on accompanying website

    Patricia Tomaszek - 27.08.2012 - 17:06

Pages