Search

Search content of the knowledge base.

The search found 6 results in 0.008 seconds.

Search results

  1. Humor — Technology — Gender, Digital Language Art and Diabolic Poetics

    This essay argues that the poetic turn from nothing to form art tends to “diabolic”
    strategies in present language allowing for a self-referential presentation of cultural distinctions.
    This poetic deconstruction of symbolic forms such as man/machine, male/female,
    or 0/1 is closely related to humor and gender in cultural and artistic performances.
    This shall be illustrated by discussing two examples of language art in the fi eld of digital
    electronics: the interactive installation Die Amme by Peter Dittmer and female extension, a
    subversive net art project by Cornelia Sollfrank. These projects are interpreted as gendered
    forms of the poetic as comic self-observation.

    Source: author's abstract

    Hannelen Leirvåg - 07.09.2012 - 07:35

  2. Geometrização do mundo e imagem digital: a tecnologia como condicionantes da arte contemporânea

    O assunto deste artigo é a transição do analógico ao digital, e seu tema específico é a imagem digital. Visando identificar de que maneiras a imagem digital pode condicionar a arte que dela se serve, reflete sobre a técnica ligada a essa imagem, e relaciona-a ao conceito de espaço na filosofia moderna. Argumenta que o digital barateia e simplifica o trabalho com imagens, mas que isso não garante que a imagem digital seja um vetor de democratização.

    Luciana Gattass - 06.11.2012 - 11:08

  3. Петербургская «Невидимая граница» в Москве

    Петербургская «Невидимая граница» в Москве

    Natalia Fedorova - 31.01.2013 - 01:27

  4. End over End

    This is a two-part meditation on where electronic literature came from, some of the places it’s been, and how (and why) it might possibly go on.

    Espen Aarseth will look at the roots of electronic literature in the period before 1997, discussing the origins of digital writing in terms of contemporary art and theory. Particular attention will be given to interactive fiction and what happened to it.

    Stuart Moulthrop skips over the really important bits (1997-2010) and concentrates on the state of electronic literature in the current decade, especially the intersection of various text-generation schemes with latter-day conceptualism and “the new illegibility.”

    Both keynote speakers will offer critical prospects on the very idea of electronic literature, the meaning of the name, and various present and future ontologies for our discourse.

    (source: ELO 2015 conference catalog)

    Hannah Ackermans - 27.10.2015 - 10:46

  5. The Electronic Literature, How, When, Where

    The term Electronic Literature (EL) is already obsolete, just as the term contemporary art. The obsolescence of words depends on the changes that the content of their meanings are undergoing. These contents change in the light of the technical-logical progress. Their own form changes giving ultimately rise to new signs and signifiers. New concepts generate new interpretations.

    The change of technological processes introduces new types of communication and of social relations. These changes weaken the rules of linguistics. The content and the meaning of words change, as well as their own signs that are used to define the EL and to describe what comes from it as an end: politics, social philosophy, aesthetics, ethics, business, and business ethics. The works that are produced through the EL undergo changes and have an outreach that involve a dialogue on an augmented art synchronically developed on a augmented reality perceived through the use of new technologies.

    Hannah Ackermans - 14.11.2015 - 15:23

  6. For a New Mnemosyne: Art, Experience, and Technology

    This paper will outline the key elements of an ongoing research project, whose main focus is to explore the application of new technology to the study of key works of modernism, whilst simultaneously arguing that modernism can itself offer fresh perspectives on contemporary digital art. I am interested in the way modernism presents the artwork as both an object to be experienced and as a structured theory of knowledge. This tension can be seen most obviously in such canonical works as Ezra Pound’s Cantos (1917-1969) where his aesthetic of the ‘luminous fragment’ is set against the poem’s larger, Dantescan, vision of history. Concomitantly, I wish to argue that the resources of digital technology offer a significant new set of tools for approaching modernism itself, allowing us to explore the boundary between the work of scholarship and work of art.

    (Source: Abstract ICDMT 2016)

    Hannah Ackermans - 08.12.2016 - 14:24