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How the Universe Is Made: Poems New & Selected
Poetry. Women's Studies. To the question posed, to Job, as obviously unanswerable—have you seen to the edge of the universe?— Strickland's poems answer, we can, we have. Strickland probes the shape-shifting (reformatted) body and tests our changing (reconfigured) capability of caring for others as she expresses grief for historic, mystic, and mythic women; for women who burn, in space, at the stake, and as they sweep; for her mother and only daughter. Job is asked, Where is the road to light? In these poems, gathered from a lifetime of writing open to history, to code, to mathematics and matter as these translate each other, an abundance of pointers: no road that is not a road to light.
Julianne Chatelain - 26.05.2019 - 06:33
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A Plague Tale: Innocence
1349. The plague ravages the Kingdom of France. Amicia and her younger brother Hugo are pursued by the Inquisition through villages devastated by the disease. On their way, they will have to join forces with other children, and evade swarms of rats using fire and light. Aided only by the link that binds their fates together, they will face untold horrors in their struggle to survive.As their adventure begins… the time of innocence ends.
(Source: "About this game" description, Steam)
Sturle Mandrup - 06.11.2019 - 12:39
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Greetings from…
"Using both the Amazon Atlas and the AWS infrastructure map as starting points, I will track and identify new AWS data centres around the globe. I also hope to initiate contact and dialogue with artists/activists within specific AWS regions in order to promote and develop tactical, subversive and creative interventions within these systems of corporate networked power."
(Source: Schloss-Post Open Call Proposal)
Anne Karhio - 08.11.2019 - 11:40
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Texts, Interfaces, and the Puzzle Element in Her Story
Sam Barlow’s 2015 computer game Her Story is barely a game. The interface is an obsolete police database stocked with seven videotaped interviews of a woman accused of a crime, broken up into clips of between ten and ninety seconds. The game is played by typing in words to search through the clips, and the database returns only the first five videos, chronologically, that contain the query. The player pieces together the mystery at the heart of the game in whatever order they choose – the primary cue that the game provides is an initial search term, “MURDER,” – and the game is ‘over’ only when the player decides they have seen enough. As they play, the game’s interface design, along with its thematic focus on liminal and reflective surfaces, incorporates the player into a system of cognitive apparatuses. Critical responses to Sam Barlow’s 2015 video game Her Story were rapturous.
Vian Rasheed - 11.11.2019 - 22:55
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The Aesthetics of Feminist Digital Archiving in the Suffrage Postcard Project
In 2019, we have Twitter, Instagram, and Facebook. A hundred years earlier, there were postcards. In the “Golden Age” of postcards (1902-1915), postcards circulated with the same fervor, if not speed, of images on popular social media apps today. The Suffrage Postcard Project looks back at the early decades of the 1900s in the context of the women’s suffrage movement, a movement that gained momentum in the same historical moment of the Golden Age of postcards and produced hundreds of pro- and anti-suffrage images. This project asks: How can feminist DH and data visualization approaches to over 700 postcards offer new perspectives on the visual history of the U.S. suffrage movement?
Vian Rasheed - 11.11.2019 - 23:12
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Diamonds in Dystopia: container & tool
What does a cutting-edge collaboration between music, visual, and literary artists look like and how did it evolve? This ongoing, transdisciplinary collaboration between said types of artists evolves a born digital interactive poetry application for every presentation and exhibition opportunity. Our mission as collaborators is to open up creative workflows for interactive technologies and artists interested in using them to benefit the presentation and experience of the visual, musical, or literary arts. We developed an interactive, live-streaming poetry web app that takes audience response to trigger improvisations, sensory experiences, and create an event-specific poem collectively. The user acts as collaborator by sending word selections that resonate with individual users by tapping text from a born-digital “seed poem” on their mobiles to trigger Markov chain reactions, which enables succinct recombination of massive amounts of language as source material.
Vian Rasheed - 12.11.2019 - 03:11
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Polish “aesthetics”: Vaporwave outside the center
Vaporwave is an artistic movement, developed under the conditions of global capitalism, which functions in the space of global Internet. Piotr Płucienniczak – author associated with electronic literature, but also with Polish redefinition of vaporwave aesthetics, emphasizes that vaporwave is, on the one hand, an international cultural code, and on the other hand presents critically and ironically "goods inaccessible to us, poor people". I would like to discuss this paradox in my speech based on the analysis of the Polish postvaporwave projects. The western, American vaporwave is generally described by its critics (also in Poland) by means of hauntology, accelerationism and nostalgia. The Western vaporvawe expresses nostalgia for the 90s – a time of utopian thinking about timeless prosperity and development of technology. I put forward the thesis that these categories (especially nostalgia) do not quite match the Polish varieties of vaporwave aesthetics. The most recognizable, comprehensive and well thought out Polish vaporwave project is Z U S w a v e.
Vian Rasheed - 12.11.2019 - 03:40
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Boys and their Brains: Neuro(a)typicality and Gamer Masculinity
In recent years independent and amateur videogame designers have come from the margins to test the boundaries of the medium. Using forms like the ‘walking simulator’ and the ‘desktop simulator’ - forms that forego challenge and combat in favour of storytelling - they have pioneered new modes of interactive autobiography, exploring topics such as parenthood, gender, mental health, grief and faith. Meanwhile, gamer masculinity, that normative and normatizing identity, has been evolving. As the ‘hardcore gamer’ generation grows up, commercial videogame publishers have begun courting this ageing audience with titles that aim to satisfy gaming traditionalists (for whom independent games are often considered too sedate and cerebral to qualify as ‘real’ videogames) while also engaging issues like fatherhood and neurotypicality. This panel sheds light on gaming culture’s growing pains by addressing a series of titles centred on boys and their brains. These games enlist players in advancing stories about survivalist dads and decapitated know-it-alls, terminally ill toddlers and quasi-autistic online gamers.
Jorge Sáez Jiménez-Casquet - 14.11.2019 - 14:26
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Next Generation: On the Verge of Electronic Poetry but not quite. The Case of Women Poets in Spain.
In a world overloaded with information, a Google search with the Spanish words "mujer, poesía, tecnología” does not produce any result integrating the three of them. It would look as if the conjunction of those three terms remits to an empty signifier, an incongruous combination. However, for Spanish critics dedicated to exploring these crossroads, to study the ways in which we have used technology as a tool of poetic exploration, of inquiry about our new prosthetic identity, this scarcity only denotes a space out of field, existing but outside the focus of interest of a culture increasingly mercantilist and vacuous.
Jorge Sáez Jiménez-Casquet - 14.11.2019 - 14:53
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Writing for Vast Interactive Spaces
In November 2018, Studio Tender Claws launched Tendar, the first long-form, augmented reality game to merge AR technology with human sentiment analysis. Gameplay centers around an artificially-intelligent pet fish that responds to the player’s actions, emotions, and physical surroundings via a combination of generative and hand-scripted dialog. The fish recognizes over 100 user emotions and 200 physical objects as it navigates eight distinct developmental stages. As a small independent game studio, our challenge was to generate and trigger engaging dialog for the vast combinatoric writing surface that the game presented, all while dynamically adjusting tone, affect, and content according to player actions and the fish’s emotional state.
Jorge Sáez Jiménez-Casquet - 17.11.2019 - 11:43
