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1. Marking Transition: the Work of Neal von Flue

   For any regular Internet user, the hyperlink has become ubiquitous, almost rendered invisible
   through the frequency of its use. Trails in hypertext are meticulously laid out through the
   seemingly endless streams of data, connected by links imagined as points of intersection in the
   web. Links are used for reference, for navigation but also extensively in creative production, to
   fashion hypertextual narratives and images. It is in this realm of electronic literature, both visual
   and textual, that the function of the link shifts from the commonplace to a carrier of aesthetic
   potential.

   This presentation examines the aesthetic activation of the hyperlink as both an indicator of
   transition and site of transformation. It is a brief exploration of the hyperlink as a signifier, a
   mark both on and in the 'surface' of the digital text, through a close case study of two works by
   hypercomic creator Neal von Flue.

   Eric Dean Rasmussen - 21.06.2012 - 13:54

2. Merz-i

   For E-Poetry 2007, i explore the multiple understandings of the PiM's (Personal Investigation Material). The PiM's as Merz-i / Merz-i or as factor i+) is an interactive visual art film, made from "letters & signs",  called i+D/ signs (information + definition / sign). Merz-i or factor i+), associated with a internet engine, allow a  ®≠Make, a re/reading(s) to make in a clash, as a surging opposition ? (http://www.epoetry2007.net/artists/oeuvres/veyrat/merzi.html)

   Scott Rettberg - 30.01.2013 - 01:54

3. The Virtual Window: From Alberti to Microsoft

   "As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices—"windows" full of moving images, texts, and icons—how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen.[...]Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time." http://mitpress.mit.edu/books/virtual-window

   Anne Karhio - 10.04.2015 - 13:23

4. #ELRPROMO: “Other Codes / Cóid Eile: Digital Literature in Context”

   This is the first interview of a series called Electronic Literature Review Promotion. These interviews are published one month before the event takes place.

   Daniele Giampà - 07.04.2018 - 16:36

5. Voidopolis

   Voidopolis is a digital performance about loss and memory that is currently unfolding over 40-ish posts on my Instagram feed (@kmustatea). It is a loose retelling of Dante’s Inferno, informed by the grim experience of wandering through NYC during a pandemic. Instead of the poet Virgil, my guide is a caustic hobo named Nikita. Voidopolis makes use of synthetic language, generated in this instance without the letter ‘e’ and the images are created by “wiping” humans from stock photography. The piece is meant to culminate in loss, so will eventually be deleted from my feed once the narrative is completed. By ultimately disappearing, this work makes a case for a collective amnesia that follows cataclysm.

   (Source: Author's Statement)

   Cecilie Klingenberg - 27.02.2021 - 16:02

6. LOW Prophet

   This short video work was filmed in New York in 2000 and involves a plastic owl reading Bill Joy's text "Why the Future Doesn’t Need Us", published in Wired magazine in 2000. The text outlines a dystopian future where humans a rendered obsolete and are replaced by the sentient beings they created. The plastic owl whose sole purpose is to scare pigeons from the rooftop of the house in the west village spins whilst the words are whispered and the pigeons continue to go about their business paying no regard to it.

   (Source: Author's Statement)

   Cecilie Klingenberg - 01.03.2021 - 15:22