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Space and Landscape in Hearts and Minds: The Interrogation Project – Uncomfortable Proximities
This article focuses on the panoramic digital work Hearts and Minds: The Interrogations Project, and examines how it uses immersive audiovisual experience to examine the relationship between narrative memory, space and landscape. It argues that the spatial aesthetic of the work forces the audience members, the artists, and the narrators to interrogate their own conflicted positions in relation to the narratives of military power and torture. Hearts and Minds engages with visual perspective and space, and focalization through individual human voices, to consider agency, victimhood, witnessing and trauma, and does this in a manner that denies its audience a detached position from which to observe the events set in its digitally created environment.
Anna Nacher - 08.04.2019 - 20:41
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Electronic Literature, or Whatever It’s Called Now: the Archive and the Field
The umbrella term ‘electronic literature’ arches broadly over a multitude of digital art forms, so long as they satisfy the criteria ‘electronic’, and ‘literature’. However, it is this paper’s primary contention that the extent of the term’s coverage is delimited by whatever has already been archived. Understandings of what constitute ‘literature’ and the ‘literary’ are manifold and include concepts of the letterary (also as in ‘belles lettres’), the poetic, the lyrical – but also, the canonical, and the institutional. This paper will argue that that which can now be pointed to by literary and digital humanities scholars, and called ‘electronic literature’, is in large part only recognisable because archivisation has been used in its regard as an instrument for institutionalisation and canon-creation. This body of work is also only findable because archivisation has preserved it, faced as it is with the constant threats of platform erosion, and obsolescence sooner rather than later. Archivisation is therefore both a problem of media, and a problem of selection.
Vian Rasheed - 12.11.2019 - 03:35
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Digital Genres: Digital Art, Electronic Literature, and Computer Games (DIKULT 103, Spring 2020)
Digital Genres: Digital Art, Electronic Literature, and Computer Games (DIKULT 103, Spring 2020)
Hannah Ackermans - 12.02.2020 - 16:15
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Cmptr grrrlz
The exhibition is dedicated to Nathalie Magnan (1956-2016).
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The exhibition Cmptr Grrrlz brings together more than 20 international artistic positions that negotiate the complex relationship between gender and technology in past and present. Computer Grlz deals with the link between women and technology from the first human computers to the current revival of technofeminist movements. An illustrated timeline with over 200 entries covers these developments from the 18th century to the present. Invited are artists, hackers, makers and researchers who are working on how to think differently about technology: by questioning the gender bias in big data and Artificial Intelligence, promoting an open and diversified Internet, and designing utopian technologies.
Computer Grrrls is an exhibition by HMKV (Hartware MedienKunstVerein), Dortmund (DE), in coproduction with La Gaîté Lyrique, Paris (FR). The participating artists come from 16 countries: Australia, Canada, China, France, Germany, Greece, Iran, Italy, Mexico, the Netherlands, Russia, Switzerland, Turkey, UK, USA, and Yugoslavia/Serbia.
Maud Ceuterick - 09.07.2020 - 15:36
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Digifem
(Originally published on https://www.kampnagel.de)
Three days of intensive “digital feminism” featuring talks, video and room installations, workshops and DJ sets by international and Hamburg artists. World premieres and commissioned pieces look to pasts and futures, melding and blurring images and sounds – every bit as analogue as digital. Are we already “slaves to the algorithm” or can we find ways to escape the digital reproduction of inequalities? Representatives of the queer-feminist avant garde provide diverse approaches to and perspectives on these mediated worlds, local reference points and global echo chambers. Bots can lie but bits don’t bite!
Digifem is funded by Elbkulturfonds and within the framework of the Alliance International Production Houses supported by the Commissioner for Culture and Media.
Maud Ceuterick - 10.07.2020 - 12:45
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Spring 2020 Editors’ Note
In some ways, the COVID-19 pandemic brought us closer to the mission of The New River, even as it pushed our meetings apart. Since the beginning, The New River has dedicated a platform to emerging and established artists working at the intersection of digital art and literature. Excellent execution has always been one of our top priorities, along with innovative ideas and user-friendly engagement. We aim to challenge passive readership—a symptom of overindulgent screen time and existential Googling. The artists we have selected for the Spring 2020 issue of The New River compliment this vision and complicate the questions “what is art?” and “who is it for?”
Lucila Mayol Pohl - 08.10.2020 - 11:03
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Investigação-Experimentação-Criação: em Arte-Ciência-Tecnologia
Neste segundo volume da renovada coleção CIBERTEXTUALIDADES, dedicado à Investigação-Experimentação-Criação, no eixo Arte-Ciência-Tecnologia, reúnem-se especialistas de diferentes áreas do conhecimento, com reconhecido currículo científico e/ou artístico a nível nacional e internacional, e promovendo uma multiplicidade de abordagens, tão inovadoras e arrojadas quanto rigorosas e atentas. Não defendendo que as três componentes que serviram de mote a este volume sejam completamente indistinguíveis, a maleabilidade e o diálogo afirmaram-se, contudo, como critérios definidores para a estruturação do mesmo. Assumindo-se o esbatimento de fronteiras naturalmente existente entre os eixos apontados, os ensaios / poemas (visuais) / resenhas artísticas aqui reproduzidos distinguem-se, acima de tudo, pela sua natureza autorreflexiva e pelo seu cariz marcadamente multi/inter/trans e, por vezes, até mesmo, antidisciplinar.
Rui Torres - 21.02.2021 - 21:12
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Salon 5: June 12, 2020: E-Lit In the Wild
Rather than taking a lit-crit approach to a single piece of e-literature, we used this session to collect and discuss “e-lit in the wild”: works that we have found that often don’t have ties to the academic or artistic circles we traditionally look to for electronic literature. We created a Google Doc list of works we have come across that make interesting artistic and narrative uses of digital spaces, including customer reviews of products, interactive web comics, online bulletin boards, Reddit users, indie games and more.
Hannah Ackermans - 24.03.2021 - 10:56
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Executable Landscapes: Speculative Platforms for Ecological E-Literature
The contemporary digital environment is made possible through a matrix of behemoth infrastructures that traverse the orbital, atmospheric, oceanic, and terrestrial domains. These infrastructures manifest not only in the narrowly technical sense, but encompass the manufacturing chains, regulatory interfaces, and geopolitical contexts that enable (or forestall) the development, deployment, and maintenance of digital systems at a global scale.
Underpinning all these aspects are the flows of energy and materials constituting the liveable Earthly ecology. The latter comprises the ultimate baseline ‘platform’ on which specific digital platforms, as more commonly expressed, are enabled—but which, being so defined, can obscure these far larger structures and processes in which they are embedded.
Milosz Waskiewicz - 25.05.2021 - 15:09
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Art of the Pan-Opt-in-a-Con: FarmVille and the Gamification of the Digital Landscape [Original: The Tyranny of Completion; Or, How Electronic Art Can Engage the Firehose]
Toward the end of 2020, one of the most culturally impactful web games of all time shut down—at least, the original, Flash-based version did. FarmVille, by social game studio Zynga, was not outstanding for its gameplay mechanics nor for its imaginative qualities. In fact, social games like Farmville are defined by game designer and scholar Ian Bogost as “games you don’t have to play.” Rather, FarmVille was special because it tapped into 2009-era Facebook’s lax user-generated notification system, and its developers succeeded in creating a user-operated spam cannon disguised as a game. What made FarmVille a cultural phenomenon is best represented by the metanarrative about how it manufactured and sold compulsive behavior to a new audience. By targeting ludic luddites with its folksy facade and “freemium” business model, FarmVille ushered in a new era of games that encouraged users to exchange money for in-game effects.
Milosz Waskiewicz - 25.05.2021 - 15:20
