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Why digital games and networks can help us to change reality and generate concrete changes in social environments
Starting by questioning why digital games and networks can help us to change reality and generate concrete changes in social environments we will research the application of playful techniques and spaces to address the challenges of our present world. We will state that these strategies can be useful to scrutinize specific and real questions. Using social game examples such as Investigate your MP’s Expenses (2009), World Without Oil (2007), Superstruck, Invent the Future (2008), Evoke (2010) and Playing with Poetry (2010), the aim of the paper/presentation is to promote and expand the field of experimental alternate reality games (ARGs) in a broader context. We will analyze some social games such as Farmville or Mafia Wars, derivatives of Facebook networking social programs, and the aim of the work is to research questions like why can players become addicted to this kind of simulation even if these playable environments are monotonous, boring and obvious? Why every day millions of people plant vegetables and flowers in a predictable platform on the web?
Eric Dean Rasmussen - 30.08.2011 - 11:56
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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
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Literary Aspects of the New Media Art Works by Jaka Železnikar and Srečo Dragan
E-literature dwells in the multi-media environment of the Internet, for which connectivity to other virtual and real phenomena is of the greatest importance, since it brings the literary components into close relations and interdependencies with languages of other disciplines. The visual languages of art and mass-media culture give shape and context to the literary content. Moreover, the programmability of e-literature references a wide variety of disciplines, e. g. logic, mathematics, computer and information science ... The social exchange and the performative character of communication is manifest especially in the projects that involve digital communities. The paper will present several e-literary projects by two established Slovene new media artists, in a time span of fifteen years of their exploration of the medium. Jaka Železnikar is a poet of e-literature. He writes literary algorithms and codes interventions into the user-browser communication. His e-poems involve words as well as they draw attention to the ways how we communicate with online content that is organized on the mainstream web 2.0 platforms.
Eric Dean Rasmussen - 30.08.2011 - 12:00
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New Media Textuality and Semiotics
New Media Textuality and Semiotics
Eric Dean Rasmussen - 30.08.2011 - 12:32
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Is There a Message in the Medium? The Materiality of Language
The initial argument of this essay is absurdly simple, obvious, literal: language must be embodied and thus its particular medium is—literally, ontologically—the matter, the flesh, the materiality of any message that it articulates. Marshall McLuhan urged us to recognize that media signify, that the matter in which the message is embodied also traces differences that were already what we have come to call ‘writing’ in a poststructuralist, Derridean sense: grammatological practices. However, McLuhan’s copula was not ontological. It expressed a concern that these other, parallel messages were more significant than any linguistic message they embodied. This same anxiety has reached a kind of apotheosis in recent criticism of digital literature—from Christopher Funkhouser and Roberto Simanowski—revenant as no less than our ancient fear of cannibalism. The message of the medium literally consumes the materiality of language: its own body, flesh of its flesh. But this cannibalism would only be literal—and thus taboo, thus truly terrifying—if McLuhan’s copula were ontological.
Eric Dean Rasmussen - 30.08.2011 - 12:34
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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
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The Four Corners of the E-lit world. Textual Instruments, Operational Logics, Wetware Studies and Cybertext Poetics
The Four Corners of the E-lit world. Textual Instruments, Operational Logics, Wetware Studies and Cybertext Poetics
Eric Dean Rasmussen - 30.08.2011 - 12:45
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The Extensions of the Body in New Media Art
The Extensions of the Body in New Media Art
Eric Dean Rasmussen - 30.08.2011 - 12:47
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Poetry Confronting Digital Media
Poetry Confronting Digital Media
Eric Dean Rasmussen - 30.08.2011 - 12:52
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(Techno)dispositifs in Contemporary Art Practice: Fifty-year Theater Performance Noordung 1995-2045 by Dragan Živadinov
Noordung, a 50-year theatre projectile, created by Dragan Živadinov and his collaborators, is a complex, long-term research project which saw its official start on April 20, 1995 at 10 pm with its first performance which is to have been followed by five more, performed every 10 years (2005 - 2015 – 2025 – 2035 - ) on the same day at the same time with the same actors by the year 2045. The essential part of the performance is that it includes the process of replacing the bodies of those actors who shall die in the meantime with remote-controlled technological abstracts. In the first phase of the 50-year process, the bodies of dead actors shall be replaced with remote-controlled sign which shall substitute an actor in their mise-en-scéne and shall also contain software for translating their speech into music – when an actress dies, her speech shall be translated into melody, whereas actors’ speech shall be translated into rhythm.
Eric Dean Rasmussen - 30.08.2011 - 12:56
