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Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations
From the publisher: How to interpret and critique digital arts, in theory and in practice Digital Art and Meaning offers close readings of varied examples from genres of digital art, including kinetic concrete poetry, computer-generated text, interactive installation, mapping art, and information sculpture. Roberto Simanowski combines these illuminating explanations with a theoretical discussion employing art philosophy and history to achieve a deeper understanding of each example of digital art and of the genre as a whole.
(Source: University of Minnesota Press catalog description)
Eric Dean Rasmussen - 24.02.2011 - 10:25
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Hyperlinking in 3D Interactive, Multimedia Performances
Dene Grigar discusses ways in which hyperlinks are utilized in three-dimensional multimedia performance works that offer a narrative or poetic focus. In the new spaces of three-dimensional performance environments, hyperlinking can be incorporated as a performative element into the work and therefore always makes a purposeful act necessary for the performance to unfold. Grigar argues that hyperlinking may denote a change of scene, the progression of a poem’s instantiation or the evocation of musical notes comprising a composition.
(Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)
Scott Rettberg - 23.05.2011 - 15:36
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Cityscapes: Thinking Through Practice
Cityscapes: Thinking Through Practice
Eric Dean Rasmussen - 13.06.2011 - 10:06
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Connecting Memories: Contextualizing Creative Research Practice
Connecting Memories: Contextualizing Creative Research Practice
Scott Rettberg - 17.06.2011 - 12:09
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Playable Media and Textual Instruments
The statement that "this is not a game" has been employed in many ways — for example, to distinguish between high and low culture electronic texts, to market an immersive game meant to break the "magic circle" that separates games from the rest of life, to demarcate play experiences (digital or otherwise) that fall outside formal game definitions, and to distinguish between computer games and other forms of digital entertainment. This essay does not seek to praise some uses of this maneuver and condemn others. Rather, it simply points out that we are attempting to discuss a number of things that we play (and create for play) but that are arguably not games. Calling our experiences "interactive" would perhaps be accurate, but overly broad. An alternative — "playable" — is proposed, considered less as a category than as a quality that manifests in different ways. "Playable media" may be an appropriate way to discuss both games and the "not games" mentioned earlier.
Jörgen Schäfer - 05.07.2011 - 13:35
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The New Digital Storytelling: Creating Narratives with New Media
The New Digital Storytelling: Creating Narratives with New Media
Eric Dean Rasmussen - 01.11.2011 - 16:55
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New Directions in Digital Poetry
As poets continue to use digital media technology, functionalities of computing extend aesthetic possibilities in documents focusing attention on crafting verbal content. Utility of these machines and tools enables multiple types of compounded articulation (combinations of verbal, visual, animated, and interactive elements). Building larger public awareness of the mechanics of digital poetry, New Directions in Digital Poetry aspires to influence the formation of writing with media in literary society of the future, specifically as a record of a particular technological era.
Scott Rettberg - 24.01.2012 - 13:52
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Aya Karpinska and Daniel C. Howe
This case study was originally prepared for, but does not appear in, New Directions in Digital Poetry (New York: Continuum, 2012); see http://newdirectionsindigitalpoetry.net
Source: footnote 2 to the article
Patricia Tomaszek - 06.09.2012 - 22:54
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Making Sense: aspects of the literary in electronic environments
This paper investigates the manner in which e-literature is reconstructing and intensifying some of the sensory capacities of literary language. The interactive nature of many works, as well as their use of image and sound and the fact that the ‘surface’ text is produced and informed by a ‘deeper’ level of generative code, means that new critical concepts, vocabularies and ways of reading adequate to this new situation need to be developed. Katherine Hayles. John Cayley, Talan Memmot, and Rita Raley, have all written authoritatively on the importance of software and code in determining approaches to electronic poetics, and the difference this makes to how we understand new media writing. Matt Kirschenbaum makes the distinction between formal and forensic materiality in order to break down the emergent logics at play in the digital ‘text’. We introduce a different perspective, one that focuses on the ecology of the body (its distribution) in its engagement with different forms.
Audun Andreassen - 14.03.2013 - 14:36
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Cyborg Tactics and Perilous Hermeneutics in Lexia to Perplexia Shifts in materiality across space.
Cyborg Tactics and Perilous Hermeneutics in Lexia to Perplexia Shifts in materiality across space¬—from monitor to cell phone screen, from private bedroom to public bus—alter experience and sway meaning. But time also entails an expectation of change that sometimes never comes: works of electronic literature often go without the steady updates to security, appearance, and functionality that corporate software enjoys, turning into strange ruins that, if not broken, carry that possibility. Eight years after the publication of Katherine Hayles’s Writing Machines, my paper returns to one of the book’s case studies, Talan Memmott’s Lexia to Perplexia, with the goal of investigating the effects of the passing years on the hermeneutics instilled in the user by the text. Focusing on the instability that time and software evolutions have sown, I argue that in this uncertain environment, the recourse of the user is a heightened emphasis on investigation, experimentation, and attempted recovery. With these motivations in mind, I turn to various palimpsests in the text, features of Lexia that straddle the divide between the literary technique and the glitch.
Audun Andreassen - 20.03.2013 - 09:24
