Search

The search found 7 results in 0.008 seconds.

Search results

1. Faceless patrons

   ‘Faceless patrons’ is an installation that documents stories used by Internet scammers in so called ‘overpayment check scams’. Scammers use scripted stories to reach their victims, yet when correspondence continues story worlds start to evolve. We wanted to take a closer look on these ‘419-fiction’ cybercrime stories, ‘419’ relating to the criminal code in Nigerian law that deals with fraud. While we were aware of the fact that we are dealing with scammers, we use a fictional character and narration to investigate how the scammers react to various turns in the plot. The story takes the form of e-mail correspondence where two characters are involved; one art patron created by the scammers and our fictional artist ‘Anna Masquer’. The scammers posed identity is often based on either identity theft or a confusing mix of several existing individuals, giving them the opportunity to remain faceless and anonymous. The installation setup consists of five photo-frames hanging on a wall. Each frame connects to a correspondence with a scammer and holds a photograph and a fake check that was received as an advance payment for Anna Masquers’ photos.

   Andreas Zingerle - 05.03.2015 - 14:25

2. Mother/Home/Heaven

   Mother|Home|Heaven is a magic-mirror augmented reality installation that overlays digital assets – 3D models, video, poetic spoken word and soundscape over a series of objects sourced from a pioneer village in Canada. It combines historical fact and literary fiction to weave together a series of fragments that together consider gender, space and place, private and public, loss, longing, time and place. Created with the Unity game engine and the Vuforia augmented reality plug-in, the experience uses fractal and non-linear narrative to bring real objects and accounts – notably an archive of amazing diaries – to life, while also using fictional, whispered secrets and ghosts to suggest what might haunt the neatly ordered shelves of the General Store. We wish to track 2-D images rather than physical objects. The viewer would encounter shelf after shelf of everyday objects relating to domestic material culture – teapots, kerosene lamps, spools of ribbon, wood burning stove and parlour games etcetera.

   Hannah Ackermans - 08.09.2015 - 10:47

3. Cavewriting Classics on the Oculus Rift

   There are many immersive e-lit works that require more than the affordances provided by a screen and a keyboard to experience. These get displayed rarely and even when they do get shown, they are often shown poorly, either due to a lack of facilities (CAVES are rare and expensive), lack of curation and context (a series of random technology demos does not an exhibition make), limited audience (4 at a time in a CAVE or one at a time with an HMD means that the number of people who can experience the piece is limited), rushed experience (when cramming 8 demos into a 4 hour slot with 5 pieces each most people spend more time waiting around in the dark while someone furiously clatters away at a command line trying to get the piece to launch than actually experiencing them).

   Hannah Ackermans - 10.09.2015 - 09:09

4. "Learn to taste the tea on both sides": AR, Digital Ekphrasis, and a Future for Electronic Literature

   This presentation will link the trope of “digital ekphrasis” (as articulated by Cecilia Lindhé) and the developing of platforms for “augmented reality” to argue that one probable future for electronic literature lies in the interweaving of “born digital” and print texts in ubiquitous layers of mediation. It will examine three instances of “augmented” print – the multimodal performance of ekphrastic poetry, the AR comic book Modern Polaxis, and the AR epistolary romance Between Page and Screen – all of which demonstrate the power of “intermediation” (Hayles) and foster a critical perspective on it. Looking at these amalgamations of print and digital textuality through the lens of digital ekphrasis reveals that electronic literature will most likely always arouse ambivalence, just as the trope of ekphrasis in traditional media has, for better or worse, provoked a sense of the uncanny through its interweaving of visual, auditory, tactile, verbal, or haptic experiences.

   Hannah Ackermans - 11.11.2015 - 16:12

5. Reading, Seeing, and Sensing: The Internet of Things Makes Literature

   Critics have understandably fetishized the electronic page or digital screen as a way to understand the relationship between the algorithmic logics that drive computation and the public rhetorics of display. At the same time an evolving set of practices within electronic literature continues to be in dialogue with contemporary digital media arts practice and its move to explore the meaning of incorporating autonomous sensing and new forms of human-computer interaction in dialogic works. Considering the rhetorical position of devices such as the iPad and considering them as more than viewing apparatuses or interfaces for reading it is possible to engage differently with a whole set of binaries around camera vs. scanner, optics vs. sensors, and representation vs. registration.

   Hannah Ackermans - 16.11.2015 - 09:45

6. On Landscape as an Interface: Textuality, Walking Practices and Augmented Location in Notes for Walking

   Since the early 2000s, media artists have explored the potentials of location-based technologies, developing locative media projects “in which geographical space becomes a canvas” (Hemment 2006). Artists both within and without the locative field, such as Teri Rueb (USA), Blast Theory (UK), Jeremy Hight (USA), Janet Cardiff (Canada), Chris Caines (Australia) and Paul Carter (Australia) have developed creative works involving narrative, textuality and place-based storytelling within a site-specific context. In many of these works, real world spaces are annotated and augmented with a range of artistic contents – primarily audio and/ or textual – and mediated by mobile devices.

   Hannah Ackermans - 27.11.2015 - 15:18

7. Kjell Theøry

   Kjell Theøry will be a site-specific mobile Augmented Reality poem mapped visually to geo-spatial coordinates in a public outdoor space in Bergen. The work responds to historical and fictive narratives of Norway as a landscape for exile and escape in conjunction with writings and memories from my residency as a Fulbright Scholar in Bergen last year. It will be accessible for viewing with internet-enabled smart phones and tablets throughout ELO 2015 and will be activated by a brief live event in which I manipulate and read from the virtual space and generate additional material by scanning augmented tattoos on the body of a local male performer. This work evolves out of my AR installation in June 2014 at the Bergen Bibliotek, The Empty House, but will be a substantially new iteration. (Source: ELO 2015 Catalog)

   Hannah Ackermans - 30.11.2015 - 10:29