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Writing Space: The Computer, Hypertext, and the History of Writing
This book is a study of the computer as a new technology for reading and writing -- a technology that may replace the printing press as our principal medium of symbolic communication. One of the main subjects of Writing Space is hypertext, a technique that allows scientists, scholars, and creative writers to construct texts that interact with the needs and desires of the reader. Bolter explores both the theory and practice of hypertext, demonstrating that the computer as hypertext represents a new stage in the long history of writing, one that has far-reaching implications in the fields of human and artificial intelligence, cognitive science, philosophy, semiotics, and literary theory.
Scott Rettberg - 06.09.2011 - 11:54
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Firefly
Firefly: a tale told in 180 degrees of separation is a lyrical yet formal structure comprised of 6 stanzas, each five lines "long" and six lines "deep." Readers make their own way through the text by clicking on each line to reveal a different facet of the story. Click on the right hand icon for the next installment of lines.
The work is a "true" hypertext in that it cannot be read linearly. The structure, subtly changing settings, and reader interaction all provide multi-dimensional spaces for meaning, subtext, and context.
(Source: Description from Poems that Go)
Eric Dean Rasmussen - 07.09.2011 - 10:40
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Tactical Media
Rita Raley’s Tactical Media covers the “spectrum ranging from direct action (e.g., denial-of-service attacks and game space interventions) to symbolic performance (e.g., data visualization)” (150). Raley ties together a movement which eschews grand narratives and the contrapuntal teleological declarations of manifestos, identifying a strain of media activism that is, to use deCerteau’s term, “tactical”. What ties these practices together is a combination of “virtuosic performance and cultural critique” (Raley 150). As Raley maintains, and as the work reflects, tactical media is characterized not by its ability to instigate a widespread revolution, rather it is in the ability of relatively powerless operators, through skill and creativity, to turn systems of power against themselves, exposing, however fleetingly, the illegitimacy and injustice of their own authority.
Davin Heckman - 08.09.2011 - 13:11
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The Creative Imperative
Expanded concepts of agency permit us to question what or who can be an active participant in creative activity, allowing us to revisit the debate on authorship. We can ask whether creativity might be regarded as a form of social interaction. How might we understand creativity as the interaction of people and things rather than as an outcome of action?
Whilst creativity is often perceived as the product of the individual artist, or creative ensemble, it can also be considered an emergent phenomenon of communities, driving change and facilitating individual or group creativity. Creativity may be regarded as a performative activity released when engaged through and by a community and thus understood as a process of interaction.
Eric Dean Rasmussen - 08.09.2011 - 16:34
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Can We Help Being Creative?
People on the Rai Coast of Papua New Guinea take responsibility for the fertility and reproduction of land and people. Through gardening, hunting, ceremony and initiation, they are continually ‘creating’: both people/places, and the conditions for the emergence of these things as recognisably human. Engaging in the continual creation of the human world is not optional for them but intrinsic to what it means to be a human being. Creativity is necessarily distributed in such circumstances, power over creation or destruction oscillates, but to be a person means participation. As such, the emergence of persons or things, as objects of contemplation, or exchange, or value and beauty, are achieved momentarily as elements of the wider process of which they are part and through which they have meaning.
Eric Dean Rasmussen - 08.09.2011 - 16:41
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Nonlinearity and Literary Theory
Originally published in Hyper/Text/Theory, Rpt. in The New Media Reader.
Eric Dean Rasmussen - 12.09.2011 - 08:07
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Fictions d’Issy
Fictions d’Issy is a generative novel, its narrative being gradually composed as it is presented to the readers. It was first shown at the 2005 edition of the 1ER CONTACT FESTIVAL.
It retraces the story of two characters – he and she – and their relationship, oscillating between breaking-up and being involved. The story - continuously generated, sentence after sentence - is published in Issy-les-Moulineaux’ eleven urban e-newspapers, alternating with municipal information. The story takes place in the town of Issy; the names of public establishments, streets and squares are memorised by the text-generating device and appear regularly throughout the narrative. The local population is thus able to follow the characters’ adventures as they take place in familiar places.
Eric Dean Rasmussen - 13.09.2011 - 10:09
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Mechanisms: New Media and the Forensic Imagination
In Mechanisms, Matthew Kirschenbaum examines new media and electronic writing against the textual and technological primitives that govern writing, inscription, and textual transmission in all media: erasure, variability, repeatability, and survivability. Mechanisms is the first book in its field to devote significant attention to storage—the hard drive in particular—arguing that understanding the affordances of storage devices is essential to understanding new media. Drawing a distinction between "forensic materiality" and "formal materiality," Kirschenbaum uses applied computer forensics techniques in his study of new media works. Just as the humanities discipline of textual studies examines books as physical objects and traces different variants of texts, computer forensics encourage us to perceive new media in terms of specific versions, platforms, systems, and devices.
Eric Dean Rasmussen - 13.09.2011 - 14:38
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Agrippa (A Book of the Dead)
William Gibson wrote the linguistic text of the poem, artist Dennis Ashbaugh created the art for the book, an anonymous “hacker” programmed the e-poem, and publisher Kevin Begos, Jr. orchestrated the collaboration. The result was two limited edition artist’s books (printed on photo-sensitive paper that would fade after an initial reading) that came with a 3.5” disk with a program that would display the poem once (as seen in the video above) and self-destruct. (Source: Leonardo Flores, I ♥ E-Poetry)
Eric Dean Rasmussen - 13.09.2011 - 14:51
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Uncreative Writing
Uncreative Writing
Eric Dean Rasmussen - 16.09.2011 - 15:20
