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  1. Programming for Fun, Together

    Ever since computers have been programmed, people have programmed them together. From almost the first days of programming, people have also programmed them unofficially, for fun, to create literary and artistic works, games, and technically impressive feats that suggest new directions for computing.

    This paper look into how programmers have worked together in the area of creative computing, and provide a brief discussion of three types of creative programming practices.

    Elisabeth Nesheim - 09.08.2012 - 20:01

  2. Remediating the Social

    The print version of the conference proceedings for Remediating the Social, the final conference of the ELMCIP project. An ebook version also exists and is freely downloadable.

    Elisabeth Nesheim - 10.08.2012 - 13:21

  3. Re:Mix

    What is transmedia narrative and what value does it have for contemporary remix artists? The traditional art and entertainment industries would have us believe that transmedia is a powerful marketing concept that uses new media technologies to aggregate fragmented audiences by delivering story information across multiple media platforms. But what about the fragmented stories being told by amateur-auteurs whose online personae remix their personal mythologies? These alternative transmedia narratives resist convergence yet also circulate in the networked space of flows. New media artists, many of whom identify with the historical avant-garde, can now expand the forms of transmedia narrative to foreground an anti-disciplinary [anti-authoritarian and interdisciplinary] approach to both contemporary practice and theory.

    Elisabeth Nesheim - 24.08.2012 - 11:39

  4. Bootstrapping Electronic Literature: An Introduction to the ELMCIP Project

    Developing a Network-Based Creative Community: Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) is a three-year (June 2010-June 2013) collaborative research project funded by HERA, the Humanities in the European Research Area framework, sponsored by EU FP7 and the national research councils of the countries participating in the framework. The project has involved researchers from seven institutions in six European nations, who together have produced seven events including seminars, workshops and the Remediating the Social conference and exhibition, documented by this volume, Remediating the Social.

    Elisabeth Nesheim - 27.08.2012 - 12:11

  5. Remediating the Social introduction

    The proposition that Remediating the Social considers is whether creativity might be considered a property emergent from a multi-modal social apparatus rather than, as is more commonly assumed, an attribute of individual or collective human agency. This proposition has been formulated within the context of an expanded apprehension of individual and collective ontology that considers selfhood, at least in part, as a socially contingent construct and, in this sense, both fascinatingly and idiosyncratically, a creation of the social space from which it emerges and is sustained within. In this context creativity is apprehended as a reflexive property of the inter-agency of social interactions, rather than as an activity concerned with the origination of novel things or a capability invested in an individual or group of individuals.

    Remediating the Social seeks to explore this proposition through considering instances of practice that employ digital and networked systems, in their structure and function, and evidence these emergent characteristics in the processes involved in their making.

    Elisabeth Nesheim - 27.08.2012 - 12:52

  6. Rhizomes, Lines and Nomads: Doing Fieldwork with Creative Networked Communities

    This paper presents the ethnographic study, part of the HERA-funded project “Electronic Literature as a Model of Creativity and Innovation in Practice” (ELMCIP), which asks how creative communities form within transnational and transcultural contexts and a globalised and distributed communications environment. 

    Elisabeth Nesheim - 27.08.2012 - 13:13

  7. The Compelling Charm of Numbers: Writing for and thru the Network of Data

    In postmodern times writing is different. With Facebook the personal diary has returned, reformulated for the 21st century. But this is not the diary as we use to know it. Here time gains a persistence and epistemological import and the person or persons recorded shift from being narrator to the quantified subject. This is not only a philosophical or psychological issue but also an economic and political one.

    Elisabeth Nesheim - 27.08.2012 - 13:27

  8. Creativity as a Social Relation?

    Social science in general and anthropology in particular has long attended to core concerns with the structure and form of societies, and with the constant interplay of individual and collective elements. These concerns are obvious: how we understand the emergence and form of human worlds necessitates an approach to creative agency alongside the conditions under which that agency is exercised. As Marx famously wrote in 1852, ‘Men make their own history, but they do not make it as they please’. But recent scholarship in the field of anthropology has taken theorising beyond the familiar impasses of structure and agency through an emphasis on practice (e.g. Bourdieu 1977) and on to the embodied and improvisational nature of knowledge and social action (e.g. Ingold 2000, Hallam & Ingold 2007). Creativity is central here. But creativity conceived not as individual genius (an approach that generates questions about how the individual and the collective collide; one clearly linked to other assumptions Westerners make about the bounded-ness of individual minds, and the proprietary nature of the self), but creativity as an emergent (and necessary) aspect of social relations.

    Elisabeth Nesheim - 27.08.2012 - 13:33

  9. Embodied Algorithms: On Space and Mobility as Structural Metaphors

    This short paper proposes the concept of "embodied algorithms" to describe the use of models borrowed or derived from other disciplines as structural metaphors in works of art. The models may originate in fields as diverse as phenomenology, linguistics, or computer science, and while they may not themselves be computational or procedural, their cross-disciplinary/cross-modal implementation imbues them with a symbolic dimension that suggests a hermeneutical methodology (hence, “algorithm”) for constructing interpretive narratives. The paper examines the constitutive role played by space and mobility in interpreting a series of the author’s own artworks. For the sake of brevity, it focuses primarily on a single interpretive model derived from the writing of phenomenologist Georg Gadamer, and relates it to a number of digital models, or algorithms, employed in the works.

    Elisabeth Nesheim - 27.08.2012 - 13:42

  10. DIWO: Do It With Others – No Ecology without Social Ecology

    In an age of post-industrial revolution, the acceleration of technological development has had a direct impact on our everyday lives, in which our behaviours and relationships are modified via our interactions with digital technology. As artists, we have adapted to the complexities of contemporary information communication technologies, initiating different forms of creative, network production. Another set of societal factors has also become equally significant as concerns about climate change and the economic crisis pose questions about how we adapt, as people and as artists. As imaginative practitioners exploring the possibilities of creative agency that these networks and social media offer, we need to ask ourselves about our role in the larger conversation. What part do we play in the evolving techno-consumerist landscape which is shown to play on our desire for intimacy and community while actually isolating us from each other.

    Elisabeth Nesheim - 27.08.2012 - 13:50

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