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Completely Automated
I have formally performed “Completely Automated” on stage at a few conferences/venues and I think it could be a good fit for HASTAC’s themes. I would be very excited to perform it as part of an evening of performances. Total run-time is a duration of 15 minutes and it occurs in three parts. In the first part, I do a performative reading of a “historical” document that I have forged. To create the language of the forgery, I programmed a computer program to run a text analysis on a group of historical law tracts. I then skimmed the results and authored my own version of an early law tract. Calling on theater training, I perform this poetic text. In the second stage, the live performance overlaps and blends in with a short video that tells the story of how this forged document is digitally archived on google books as an “authentic” text. This video is blended with voice over of poetic text taken from the document. In the last stage I give a final performative reading of the changes that were made to the document when a group of users prepared it for upload in the digital archives.
Stig Andreassen - 20.03.2012 - 15:14
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The State of the Archive: Authors, Scholars, and Curators on Archiving Electronic Literature
Archiving electronic literature and the challenges raised by this task is a subject of discourse and action as well as a formative force in shaping the emergence of electronic literature as field of scholarly study. The ELO Visionary Landscapes Conference in 2007 dedicated a keynote position to a panel on the topic of preserving electronic literature with archivists from leading universities, and the panel was a cornerstone of discussion at the conference and beyond. The current proposal for a panel on the topic seeks to continue the conversation while extending it to voices not usually included in critical conversation about archiving— artists whose work is selected for preservation. What kinds of experiences are involved in collecting and handing over one’s oeuvre to an archivist? Does this experience affect the practice (artistic and otherwise) of future creation? Are there specific aspects of these questions and their answers that are specific to the digital nature of the objects?
Audun Andreassen - 10.04.2013 - 11:21
