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The Extensions of the Body in New Media Art
The Extensions of the Body in New Media Art
Eric Dean Rasmussen - 30.08.2011 - 12:47
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Seven Types of Interface in the Electronic Literature Collection Volume Two
Seven Types of Interface in the Electronic Literature Collection Volume Two
Eric Dean Rasmussen - 05.10.2011 - 10:16
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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
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Hors-Categorie: An Embodied, Affective Approach to Interactive Fiction
The interactive fiction work "Hors-Categorie" stages a virtual encounter between bodies in a hotel room along the Tour de France bicycle race.
In the story, the player is confronted with a number of decisions regarding his or her body, which, in the game state exists virtually. Various bodily choices—blood doping, shaving one's legs, peeing in a cup—lead to the generation of affects that alter the game state. My effort in writing this work—concerning doping, cyclists, bodies, and ethics—is to think through the potentialities for engaging, designing, and theorizing new media with an emphasis on the embodied nature of affect.
Scott Rettberg - 07.01.2013 - 16:21
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On Moving and Being Moved
Mark Hansen (2004) argues that the privilege of literature as a technology of communication lies not in its imitation of the flexibility of technical media, but rather in its relationship with the body. This is apparent in the processes by which we acquire alphabetic literacy (how we learn to read and write) and in the reproduction of writing through processes of inscription, dissemination and reception. Newer media technologies are tapping into this relation of intimacy with increasingly greater speed and accuracy (Kittler, Levy). The conversion of text into language calls not only on the cognitive capacities of writers and readers, nor simply on the sense of sight alone. Rather, it mobilises these capacities along with those of all the other sensory modalities, including affect. Language itself is a supramodal synaesthetic medium, as various theories of metaphor make clear. This view of language makes electronic forms a privileged site for understanding the relationship between language, the visual, and the sonic as they are channelled and processed by the senses and temporarily organised in a series of ‘central assemblies'. We take this latter term from the work of Silvan S.
Scott Rettberg - 07.01.2013 - 22:57
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Code: Redact <Redact>
The "Codework Project" is an NSF (National Science Foundation) funded exploration of codework, language, performance, and embodiment, in relation to philosophies of the analog and digital. The exploration has resulted in exciting work at a leading edge of digital media practice. The project is based at West Virginia University, and continues several years of collaboration between the art/writer Alan Sondheim, WVU's Center for Literary Computing (CLC), and the Virtual Environments Laboratory (computer sciences). The work employs a range of technologies to map and remap the 'obdurate real' of bodies into the dispersions and virtualities of the digital (and back again, into real/physical spaces). We're working with both analysis and experience of coding and codework in order to understand the natures of the real and virtual. How is the real read? How is the virtual? Is reading even appropriate here? These questions play out in a series of artworks (videos, films, performance, installation) and theoretical texts.
Scott Rettberg - 09.01.2013 - 13:26
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Subjective Boundaries: Shelley Jackson's Hypertexts and the Terrain of the Skin
This presentation traces connections between Shelley Jackson's hypertext, "Patchwork Girl" (1995), and her more recent "Skin" Project (2003-present): a 2095 word short story published only once, tattooed word-by-word onto the bodies of applicants who have elected to become words, henceforth understood as embodying these words. Both works are interested in consequential relationships between living/dying bodies and texts: what it means to embody a text, what texts do to the body. Through avoiding traditional print media, both pieces also call into question the ways we read or write and the future of the book in the age of digital media.
(Source: Author's abstract, 2008 ELO Conference)
Scott Rettberg - 09.01.2013 - 14:28
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Digital Word in a Palm: Digital Poetry between Reading and immersive Bodily Experience
Poetry’s traditional role as the lyric atmospheres and projective saying provider is fundamentally being challenged by information technologies that are able to create their own particular atmospheres, new ways of user related text organization, and novel generations of hybrid and artificial languages. Novel textual practices are emerging in which presentation, linear way of narrative, depths, and meaning are being replaced with liquid textscape, blog- based remixability, the multi-sensuous textscape experience and special effects (e.g. Amy Alexander’s VJ shows featuring text-based visuals generated live from Internet engines queries). Text is undergoing radical shifts in its nature addressing both the author and the reader; within a new media paradigm we are facing the digital verbal with the new properties, which allow people to write, read, communicate, learn, explore and create in novel ways.
Scott Rettberg - 30.01.2013 - 21:52
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We have never had a mind of our own: A Poetics of the Integrated Circuit
The black-and-gray background of the splash page for the performance artist Stelarc’s website appears to be an abstraction of memory blocks, logic boards, and input/output pads. Into it is plugged a block of small white introductory text, a blip of red text listing devices necessary to access the site, and a sketch showing a body wired with EEGs to catch the brainwaves, ECGs to trace the heartbeat, EMG’s to monitor the flexor muscles, and an array of contact microphones, position sensors, and kineto-angle transducers to chart everything else. In this integrated circuit, voltage-in probes the body; voltage-out extends it. In case the point is not yet clear, two neon-bright chunks of text in the middle of the page blink on and off to announce it: “THE BODY IS,” the first lines read all in a rush, then slowly, spelling it out, “O-B-S-O-L-E-T-E.” In this paper, I would like to argue that the transformation from an organic, industrial society to the polymorphous information system Stelac enacts allows us to think back to machine-human collaborations overlooked in expressivist approaches to poetry.
Audun Andreassen - 03.04.2013 - 16:02
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The Monstrous Book and the Manufactured Body in the Late Age of Print: Material Strategies for Innovative Fiction in Shelley Jackson’s Patchwork Girl and Steve Tomasula’s Vas
In recent decades a growing number of innovative writers have begun exploring the possibility of creating new literary forms through the use of digital technology. Yet literary production and reception does not occur in a vacuum. Print culture is five hundred years in the making, and thus new literary forms must contend with readers’ expectations and habits shaped by print. Shelley Jackson’s hyptertextual novel Patchwork Girl and Steve Tomasula’s innovative print novel Vas: An Opera in Flatland both problematize the conventions of how book and reader interact. In both works an enfolding occurs wherein the notion of the body and the book are taken in counterpoint and become productively confused. Jackson’s book, alluding to Mary Shelley’s Frankenstein, is about a monster composed of various bodies while the book itself is also a monstrous text: a nonlinear patchwork of links across networks of words and images.
Audun Andreassen - 10.04.2013 - 13:12
