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Contrapoemas & Anfipoemas
Contrapoemas & Anfipoemas
Luciana Gattass - 28.11.2012 - 13:19
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Auto/onto-poiesis
The focus of many of my generative poetic artworks is identity. These works address this theme through the use of interactive systems, where the relationship between the viewer and the
artwork is explicit and active. This act of interaction functions to raise questions concerning being and, through the process of communication, the linguistic foundations of identity.Luciana Gattass - 07.12.2012 - 11:43
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Scott McCloud's The Right Number: Gaining Currency with Multimedia Technology and Digital Publishing in the Web Comics Revolution
Scott McCloud has been at the forefront of a movement to redefine comics on the Web. Though himself originally a print comics artist, McCloud has advocated moving away from print paradigms and publishing venues toward the "infinite canvas" he envisions on the World Wide Web. In advocating for digital publishing and interactive art, McCloud, much like Peter Greenaway on new media, believes the visual potential of comics can be radically developed, perhaps moving away from traditional print conventions, such as linear formats linked to the sequential and opaque page; static word/image art; or spatial and temporal coordinates dictated by the format and materiality of the graphic novel or comic book. But the radical shift to digital media has also meant reconsidering the means of publication, distribution, and compensation outside of the print industry.
Scott Rettberg - 08.01.2013 - 11:52
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Crossed Lines
Crossed Lines (2002-2007, Dir: Sarah Atkinson) is a multiform, multiscreen interactive film installation. The piece amalgamates multiform plots, multiscreen viewing environments, interactive interfaces and interactive story navigation forms into one storytelling paradigm. This presentation probes the challenges of designing, authoring and scripting such an ambitious piece, drawing comparisons to traditional approaches to screenplay authoring and traditional modes of fictional production. Practical demonstrations will be included alongside supporting user response data. Various theories and paradigmatic perspectives are referenced whilst reflecting on the extensive creative developmental and production process of the filmic installation.
Scott Rettberg - 08.01.2013 - 17:32
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Reading Practices in Electronic Literature: A Dialogic Approach
Writers experimenting with electronic literature who remediate classic literary content provide a nexus for understanding rhetorical techniques evolving from print-based practices. Further, Mikhail Bakhtin's theories of dialogism provide a basis for the critical analysis of remediated texts. Therefore, this presentation advocates looking at the evolving rhetoric of electronic literature dialogically, in other words, analyzing works that remediate familiar themes and structures from print-based contexts into electronic mediums. Examples will be drawn from Shelley Jackson's "Patchwork Girl" George Hartley's "A Madlib Frost Poem," Peter Howard's "Peter's Haiku Generator," Edward Picot's "Thirteen Ways of Looking at a Blackbird," and Helena Bulaja's "Croatian Tales of Long Ago."
(Source: Author's abstract, 2008 ELO Conference site)
Scott Rettberg - 08.01.2013 - 20:45
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Extended Narratives in Egypt: The Book of Going Forth by Day
Extended narratives in electronic literature often take place in a "setting" or series of landscapes that might be real or imaginary. In my work, I have often chosen a template from a "real" landscape (California, Egypt) as not only a narrative story feature but also as a part of the navigation system. In *Egypt: The Book of Going Forth by Day* the reader is encouraged to become familiar with a "screen" landscape that is schematic map, navigation tool and "register" for multiple points of view. In order to "map" these fields, the early reader is introduced to areas of the screen which recall the conventional organization of ancient tomb paintings and manuscripts and also correspond to land, river, and sky. Each of these areas is also linked to aspects of the narrative voice. Thus, the imaginary landscape is mapped in the storyline, the screen organization, and the navigation.
Scott Rettberg - 09.01.2013 - 12:00
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Hypertextual Forms and Functioning of Their Units in Russian Literature of the 10s of XXth century – 10s of the XXIst century
The theoretical background of the paper lies in postmodernist writings of Jacques Lacan, Jean-Luc Lyotard, Giles Deleuze, Michel Foucault, Jacques Derrida and Roland Barthes as well as in hypertextual studies carried out in the 1990's and 2000's by Jay David Bolter, Stuart Moulthrop, George Landow, Espen Aarseth, and Janet Murray. Four basic approaches to the hypertextal studies are surveyed: poststructuralist, describing but not naming the subject (R.Barthes, J.Derrida, J.Deleuze); utopian, dating back to the 1990 and claiming that hyperfiction could replace all the linear and paper communication (J.Bolter, M.Bernstein); narratological, tracing the nature of hyperfiction in the history of literature and narration (J.Murray), and ludological (E. Aarseth) speculating on hypertext’s correlation with game. Building on all of those, the paper suggests syntagmatic approach. The research is aimed to build a meaningful opposition between non-hierarchial hypertextual language and the paradigm of the natural language. The hypertext is defined as a text consisting of combinatorial permutable units that require an active reader.
Natalia Fedorova - 17.01.2013 - 15:03
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Интернет как гетто
Если вы еще не знаете, что такое нет-арт, надо торопиться: он может исчезнуть вообще.
За свое недолгое существование с середины 90-х интернет-арт — или, в принятой терминологии, нет-арт — пережил эволюцию, на которую традиционному искусству понадобилось несколько десятилетий: от освоения возможностей своего языка до беспринципной вседозволенности, где каждый желающий может назвать себя художником. А ведь вроде бы в распоряжении сетевых художников оказалась вся палитра известных изобразительных средств: текст, статичное изображение, видео и аудио. Интернет добавил интерактивность, возможность управлять отдельными элементами и даже изменять их в реальном времени. Именно в сети реализовались идеи художников хэппенинга, которые мечтали вовлечь случайных прохожих в процесс создания произведения. (из http://os.colta.ru/art/projects/132/details/2015/)
Natalia Fedorova - 30.01.2013 - 18:30
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Et snitmønsterdigt
Et snitmønsterdigt
Sissel Hegvik - 01.04.2013 - 20:53
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Hvis Adam i stedet havde spist en løg
Hvis Adam i stedet havde spist en løg
Sissel Hegvik - 01.04.2013 - 21:29
