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1. Overboard: An Example of Ambient Time-Based Poetics in Digital Art

   overboard by John Cayley, with Giles Perring, is an example of literal art in digital media that demonstrates an 'ambient' time-based poetics. There is a stable text underlying its continuously changing display and this text may occasionally rise to the surface of normal legibility in its entirety. However, overboard is installed as a dynamic linguistic 'wall-hanging,' an ever-moving 'language painting.' As time passes, the text drifts continually in and out of familiar legibility - sinking, rising, and sometimes in part, 'going under' or drowning, then rising to the surface once again. It does this by running a program of simple but carefully designed algorithms which allow letters to be replaced by other letters that are in some way similar to the those of the original text. Word shapes, for example, are largely preserved. In fact, except when 'drowning,' the text is always legible to a reader who is prepared to take time and recover its principles. A willing reader is able to preserve or 'save' the text's legibility.

   (Source: Author's Abstract)

   Alvaro Seica - 06.05.2015 - 22:01

2. Cybertextuality

   Cybertexts are the pairs of utterance-message and feedback-response that pass from speaker-writer to listener-reader, and back, through a channel awash with noise. Cybertextuality is a broad theory of communication that draws on the cybernetics of Norbert Wiener (1894-1964) to describe how we manage these dual message-feedback cybertexts into being and that helps explain the publishing, the transmission, and the reception of all speech and text. Recursiveness, complexity, and homeostasis are three principles of cybertextuality. Because we are cognitively blind to how we create most utterances (language belongs to procedural memory, which can be recalled only by enacting it), we unselfconsciously model even our own language acts (not just ones by other people) simply in order to recognize and revise them. We observe or receive our own language acts before anyone else does. Our feedback is to represent those acts meaningfully. Mental modelling, as a feedback mechanism, is recursive. Our every utterance or output serves as input to another (possibly silent) uttering. Messaging-feedback is also complex.

   Alvaro Seica - 11.03.2016 - 15:10

3. Rhythm Science

   "Once you get into the flow of things, you're always haunted by the way that things could have turned out. This outcome, that conclusion. You get my drift. The uncertainty is what holds the story together, and that's what I'm going to talk about." -- Rhythm Science The conceptual artist Paul Miller, also known as Dj Spooky that Subliminal Kid, delivers a manifesto for rhythm science -- the creation of art from the flow of patterns in sound and culture, "the changing same." Taking the Dj's mix as template, he describes how the artist, navigating the innumerable ways to arrange the mix of cultural ideas and objects that bombard us, uses technology and art to create something new and expressive and endlessly variable. Technology provides the method and model; information on the web, like the elements of a mix, doesn't stay in one place. And technology is the medium, bridging the artist's consciousness and the outside world.

   Hannah Ackermans - 05.04.2016 - 15:21

4. Literal Art (sidebar)

   This is a word poem about a empty mountain who can`t see, but hear human. The poem goes on and on, but letters begins to disappear. In the end it looks like the poem is written in another languange.

   Andre Lund - 22.09.2017 - 17:48

5. Approaches to Interactive Text and Recombinant Poetics

   A series of images from "approaches to interactive text and recombinant poetics".

   Andre Lund - 22.09.2017 - 17:57

6. What Does a Very Large-Scale Conversation Look Like?

   This is a series of images which represent "What does a very large-scale conversation look like?"

   Andre Lund - 22.09.2017 - 18:09

7. Between a Game and a Story?

   Illustrating Perlin’s “Can There Be a Form between a Game and a Story?”

   Andre Lund - 26.09.2017 - 13:02

8. From Game-Story to Cyberdrama

   Moving from the holodeck to the game board, Janet Murray explains why we make dramas of digital simulations.

   Andre Lund - 26.09.2017 - 13:09

9. A Preliminary Poetics

   The builder of Façade, an “interactive story world,” Michael Mateas offers both a poetics and a neo-Aristotelian project (for interactive drama and games).

   Andre Lund - 26.09.2017 - 13:15

10. Cyberdrama

    Pat Harrigan and Noah Wardrip-Fruin introduce Cyberdrama, the first section of First Person.

    Andre Lund - 26.09.2017 - 13:23

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