Search

The search found 3 results in 0.008 seconds.

Search results

1. Completely Automated

   I have formally performed “Completely Automated” on stage at a few conferences/venues and I think it could be a good fit for HASTAC’s themes. I would be very excited to perform it as part of an evening of performances. Total run-time is a duration of 15 minutes and it occurs in three parts. In the first part, I do a performative reading of a “historical” document that I have forged. To create the language of the forgery, I programmed a computer program to run a text analysis on a group of historical law tracts. I then skimmed the results and authored my own version of an early law tract. Calling on theater training, I perform this poetic text. In the second stage, the live performance overlaps and blends in with a short video that tells the story of how this forged document is digitally archived on google books as an “authentic” text. This video is blended with voice over of poetic text taken from the document. In the last stage I give a final performative reading of the changes that were made to the document when a group of users prepared it for upload in the digital archives.

   Stig Andreassen - 20.03.2012 - 15:14

2. E-lit context as Records Continuum: the “lost” Michael Joyce’s Afternoon Italian edition and the archival perspective

   Devoted to the study and retrieval of those artifacts of the past for which a disruption in the continuity of preservation occurred, archaeological sciences operate with – and against – historical and cultural fractures. Likewise, computer forensics provides assistance whenever a need to recover data in the event of a hardware or software failure occurs. The textual shifting from page to screen experienced in the past twenty years represented both a cultural fracture (a call for paradigmatic changes in preservation which archival sciences themselves were not prepared for) and an opportunity to test computer forensics practices on text-based digital artifacts (software and hardware failures being named, in this case, “obsolescence”). Our paper draws attention to the fact that both digital archaeology and computer forensics, however, no matter how useful in shaping the current preservation practices and methodologies adopted by scholarly communities operating in the digital field, cannot replace or do without the extensive scholarship developed in disciplines that have traditionally dealt with textual preservation in situations of cultural continuity.

   Audun Andreassen - 03.04.2013 - 16:07

3. Missed Collections: Away From the Canon, Toward the Archive

   This paper expands on some of the questions raised by my presentation at the 2009 Digital Arts and Culture conference, held last December at UC Irvine. While examining the work of Young-Hae Chang Heavy Industries (YHCHI), I asked what it might mean for a new media practitioner to intentionally disregard or shun many of the medium’s inherent capabilities. I was interested in the way in which YHCHI seemed to be protesting some of the assumptions or characteristics of the nascent canon of electronic literature, i.e. that works of new media are inherently multidirectional, adaptive, non-linear, etc.

   Audun Andreassen - 10.04.2013 - 12:47