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1. From the Page to the Screen to Augmented Reality: New Modes of Language-Driven Technology Mediated Research

   From the Page to the Screen to Augmented Reality: New Modes of Language-Driven Technology Mediated Research

   Scott Rettberg - 17.06.2011 - 12:04

2. Basquiat meets Mario Brothers? Digital poet Jason Nelson on the meaning of art games

   An interview with the self-described digital poet Jason Nelson on the semiotic pleasures of playing and creating "art-games," indie works produced outside corporate game studios, which, Nelson predicts, will eventually be recognized as the most significant art movement of the 21st century. While explaining how he came to be a digital author, Nelson addresses topics such as his continued love of Flash as a production tool, despite its likely obsolesence, his appreciation for gamescapes that allow for aimless wandering, and the intense reactions his art-games provoke in players. Alluding to the fact that Digital Poet is not the most lucrative of professions, Nelson signals his desire to design "big budget console games," provided he could do so on his terms. 

   (Source: Eric Dean Rasmussen)

   Eric Dean Rasmussen - 28.09.2011 - 12:44

3. From OULIPO to Transitoire Observable

   As an early programmer of digital poetry, theorist, active participant in various literary French movements, and co-founder of journals (alire) and groups (Transistoire Observable), Philippe Bootz outlines the gradual development of a coherent French aesthetic of digital poetry. His article circles around the paradigm of text generation and its different evolving movements which he describes and relates to each other in detail by giving account to the various actors, conditions, and conceptualizations behind the scenes of the communities he analyzes.

   (Source: Author's abstract, Dichtung Digital)

   Eric Dean Rasmussen - 23.03.2012 - 07:33

4. Writing the Ephemeral […] and Re-Enchanting the Remnants: The Lability of the Digital Device in Literary Practice

   Whenever the program of a work is run by a computer, the digital device necessarily plays a role in its updating process: because of the operating systems, the software and the ever changing speed of computers, it may sometimes affect the author’s artistic project, or even make it unreadable on screen. Thus, authors lose control over the evolution of their work and the many updates it undergoes. Thus, the artist is given four options when dealing with the lability of the electronic device: (1) she demands the ‘right’context of reception for his work – a requirement which, over time, will be confronted with the impossibility to preserve obsolete machines, software and operating systems; (2) she ‘re-enchants’ the lability of the electronic device and ascribes a ‘technological sublime’ to it; (3) she simply ignores the lability of the digital device and creates at once, as if the digital framework was immutable; (4) she is fully aware of the instable environment in which his digital creation will be updated; he even considers the ephemeral and uncontrollable nature of his work as its fundamental aesthetic principle.

   Patricia Tomaszek - 12.12.2012 - 14:21