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1. Canticle

   "Canticle" was written for Brown University's CAVE immersive virtual reality environment. Like a concerto, it was composed in three movements and arranged for collaborative performance between a solo user and programmed VR environment. In "Canticle", The CAVE system and its user operate in concert: rendering the world through cooperation and opposition. The tone of "Canticle" plays upon the spectacle of VR by inducing an aesthetic environment that is overly saturated despite its basic composition of greyscale letterforms. Evocative text and audio were used to assist this effect: "The Song of Solomon" and Nico Muhly's MotherTongue. A study of "The Song" resonated with the project's themes: the seduction of spectacle and awareness of a physical body within immersive spaces of illusion. Movements were written in response to spectacles that are native to the CAVE. Description of each movement refers to the specific quality of spectacle it explores: periphery, reactivity, stereoscopy, interface, depth or immersion.

   Stig Andreassen - 20.03.2012 - 15:12

2. Psychogeography, Détournement, Cyberspace

   Psychogeography, Détournement, Cyberspace

   Eric Dean Rasmussen - 07.04.2012 - 13:13

3. When Digital Literature goes Multimedia: Three German Examples

   In February 2000 Robert Coover noticed the "constant threat of hypermedia: to suck the substance out of a work of lettered art, reduce it to surface spectacle". Coover's message seems to be: When literature goes multimedia, when hypertext turns into hypermedia a shift takes place from serious aesthetics to superficial entertainment. What Coover points out is indeed a problem of hypermedia. If the risk of hyperfiction is to link without meaning, the risk of hypermedia is to employ effects that only flex the technical muscles. Can there be substance behind spectacle? In this paper I discuss three examples of German digital literature which combine the attraction of technical aesthetics with the attraction of deeper meaning.

   Jill Walker Rettberg - 09.10.2012 - 22:12

4. The Thing That Is What a Circle Is

   The Thing That Is What a Circle Is is a heavily mediated performative lecture engaging and interrogating the positions and relationships of technological and mediatic writing/performing apparatuses with “live” or “real” time, repetition, and circularity. Framed through explicit concerns with objects that begin to emerge through evading conventionally attenuated forms and discourses, The Thing That Is What a Circle Is is an attempt to conflate technological and performative repetition with traditional notions of “live/real” time through addressing and recuperating the object/image of performance, the performance as object/image, the object/image as performance. The lecture will be staged by occupying the interstices of the subjects of tautology and circular logic, the former being a successful instrument of philosophical argument, the latter being evidence of poor scholarship and criticism. How might deep repetition, radical mimesis, and performance and writing media and machines expose and reveal not only the aesthetic execution of performance/writing and

   Jorge Sáez Jiménez-Casquet - 17.11.2019 - 13:10