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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
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The Ends of Publishing
If the media was the message for McLuhan in the 1960s, then audio-visual publishing platforms like YouTube and Vimeo have become a message today. In his 1998 article entitled “Database as Symbolic Form,” Lev Manovich fails to foresee the socially hypermediated turn of the new century when he argues that “database and narrative are natural enemies. Competing for the same territory of human culture, each claims an exclusive right to make meaning out of the world” (p. 7). From a purely mathematical, logical viewpoint, they do at first seem at odds, since the database is the superstructure and the narrative media files are the objects oriented within. For example, a database might house narrative-less stock photos or sound effects as easily as it does an audio-visual story. The (early) media database seems indifferent to its contents and does not seem to be able to tell a story. Likewise, the narrative within a digital movie file is indifferent to its matrix-host, because the “story” operates regardless of whether you play the film on a DVD player, digital projector, or a YouTube download.
Hannah Ackermans - 28.11.2015 - 13:51
