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The Quaker Oat Box – Infinite Regress
The Quaker Oat Box – Infinite Regress
Eric Dean Rasmussen - 14.06.2012 - 15:38
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Bookishness on Screen
Distance presentation
Eric Dean Rasmussen - 14.06.2012 - 15:39
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Terms of Use
'Terms of Use' (Sat)
A performative and polemical reading of a short prose piece concerning the ways in which the network services of vectoralist 'big data' are reconfiguring practices of writing and reading.(Source: Author's abstract, 2012 ELO Conference site)
Eric Dean Rasmussen - 14.06.2012 - 16:04
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We Descend, Volume 2
We Descend, Volume 2
Eric Dean Rasmussen - 14.06.2012 - 16:06
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Galatea’s Riposte: The Reception and Receptacle of Interactive Fiction
When I open the Spatterlight application to access “Galatea,” one of Emily Short’s many fabulous
pieces of interactive fiction, a supple string of text hails me, flirts with me, and stops just short of
calling me by name. The more I read, the more I learn about the source of the text itself, Galatea.
“She” is a simple yet oddly convincing AI, one who is as reactive as she is acted upon, whose words
emerge in response to my own, and whose short temper has shut down our collective story more
times than I can count. As startling as her salutations initially seemed and as accustomed to her
spurning me as I have become, I remain intrigued by Galatea’s overt and shameless invocation of her reader—in this case, me.Eric Dean Rasmussen - 14.06.2012 - 16:34
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Creativity is something for hairdressers - so what is it for writers? Why the differentiation of 'literature' and 'writing' is obsolete, and what the Internet has to do with it
I will try to make a blend between the notion of "creative writing", which is typically American (and doesn't exist in most of continental Europe), and the discourse of creative industries, which is typically European, and try to stab the notion of "creative" a bit as a kind of helpless placeholder for something that, for whatever reason, is no longer called literary or artistic. So, referring to Kenny Goldsmith, it's not about a dichotomy creative/uncreative, but what's questionable about the concept in the first place. If we shift the issue from an idealist to a materialist perspective, then the difference between creative/literary writing and common writing has always been arbitrary.
The critical edition of Kafka, which now includes the documents he wrote for his insurance company, is a good example, as are earlier examples of published letters, diaries etc. Foucault's criticism of the the notion of the oeuvre, whether it would include scraps and laundry bills or not, seems quite backwards to me. The actual difference has been one of published and non-published writing, with publishing being (for technical and economic reasons) controlled by an industry.
Eric Dean Rasmussen - 14.06.2012 - 16:38
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The Pasts and Futures of Netprov
Rob Wittig presents a slide-talk on the emergent artform of netprov (networked improv narrative). Play and go deep! Netprov creates stories that are networked, collaborative and improvised in real time. This is a remix of a talk given at the Electronic Literature Organization conference in Morgantown, West Virginia on June 22, 2012. Rob looks at the historical of netprov. from theatrical comedy to internet memes to literary fiction to alternate reality games. He describes his own recent netprov projects Chicago Soul Exchange and Grace, Wit & Charm.
Source: Vimeo video description
Eric Dean Rasmussen - 14.06.2012 - 16:39
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Geolocative Storytelling Off the Map
This paper explores the effects of sonic implacement in L.A. Flood. Engaging locative literature in situ, a reader can pull audio files that come very close to replicating the experience of hearing such files off-site. But same is not true of the visual interface, which is flat and sensory-impovershed. The deep attention one musters reading locative fiction on desktop is shattered by hypermediation in situ: buildings tower above us, sunlight and air press upon our skin; our devices, other people, weather and other on-site variables distract us from concentrated reading. Distracted reading creates a productive, hyperattentive cognitive dissonance.
Eric Dean Rasmussen - 14.06.2012 - 16:41
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Taroko Gorge Remixed: Repetition and Difference in Machine Texts
In 2009 Nick Montfort wrote a short program--first in Python and later in Javascript--that generated an infinite nature poem inspired by the stunning Taroko Gorge in Taiwan. While Montfort never explicitly released the code of “Taroko Gorge” under a free software license, it was readily available to anyone who viewed the HTML source of the poem’s web page. Lean and elegantly coded, with self-evident algorithms and a clearly demarcated word list, “Taroko Gorge” lends itself to reappropriation. Simply altering the word list (the paradigmatic axis) creates an entirely different randomly generated poem, while the underlying sentence structure (the syntagmatic axis) remains the same. Very quickly Scott Rettberg remixed the original poem, replacing its naturalistic vocabulary (“crags,” “basins,” “rocks,” “mist,” and so on) with words drawn from what Rettberg imagined to be a counterpoint to Montfort’s meditative nature scene--a garage in Toyko, cluttered with consumer objects. J.R.
Eric Dean Rasmussen - 18.06.2012 - 13:36
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Cicatrix: Pain, Sex, and Dying in E-Literature
This panel will deal with the relationship between extreme affect and electronic literature: How are pain, sex, and death _embodied_ in E-lit, virtual worlds, and textuality so that the abstract, for the reader, performer, or user, becomes empathetically embodied within hir? In other words, how can the skipping/skimming, which characterize the Net, be delayed, so that an actuality of politics and the body emerges? This panel will explore this and related issues. (Source: Author's abstract, 2012 ELO Conference site)
Eric Dean Rasmussen - 18.06.2012 - 13:38
