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Canticle
"Canticle" was written for Brown University's CAVE immersive virtual reality environment. Like a concerto, it was composed in three movements and arranged for collaborative performance between a solo user and programmed VR environment. In "Canticle", The CAVE system and its user operate in concert: rendering the world through cooperation and opposition. The tone of "Canticle" plays upon the spectacle of VR by inducing an aesthetic environment that is overly saturated despite its basic composition of greyscale letterforms. Evocative text and audio were used to assist this effect: "The Song of Solomon" and Nico Muhly's MotherTongue. A study of "The Song" resonated with the project's themes: the seduction of spectacle and awareness of a physical body within immersive spaces of illusion. Movements were written in response to spectacles that are native to the CAVE. Description of each movement refers to the specific quality of spectacle it explores: periphery, reactivity, stereoscopy, interface, depth or immersion.
Stig Andreassen - 20.03.2012 - 15:12
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The Heuristic Value of Electronic Literature
What makes electronic literature interesting for researchers?
Maybe not its artistic and literary value, but rather its heuristic value.
Indeed electronic literature not only permits previous media to be reexamined (paper for instance), but it also allows several well-established notions to be questioned (cf. figure above) such as:
- narrative in narratology;
- text in linguistics and semiotics;
- figure in rhetorics;
- materiality in aesthetics;
- grasp in anthropology;
- memory in archivistics;
- literariness in literary studies…Exploiting the heuristic value of electronic literature has two consequences:
- an evolution of some notions in certain scientific disciplines, and maybe of the disciplines themselves;
- a revealing effect regarding both digital technology and interactive and multimedia writing.Audun Andreassen - 14.03.2013 - 15:51
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UbuWeb, the archive and the gallery
As a seemingly limitless and comprehensive resource, UbuWeb (http://www.ubu.com) has put together a map of the past hundred or so years of ‘experimental’ writing, film, video, and sound art. It resembles the archive in its breadth and depth, in its relentless collecting, in its inherent totalizing tendencies. My argument is that UbuWeb, while not an ‘archive’ per se, does have a cataloging logic, though it is not apparent, and that its specific logic is based on the commodification of the artwork and the effects of that commodification on its exhibition. To understand that logic, I want to situate UbuWeb at the latest point in a series of discontinuous institutions and discourses that have all taken the ‘artwork’ as their object.
Audun Andreassen - 03.04.2013 - 10:13
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Mandelbrot.fr (private reading device)
The Mandel.brot Project (http://www.mandelbrot.fr, in French) has existed online since 1999. From the beginning, we dedicated our project to an experimentation with the aesthetics of the ephemeral and the flow; we thus refuse any archiving of the source files of our creations. The creations remain on the web for a few months. Then they are removed forever. And even when they are online, they permanently face extinction: the instability of the digital device is integrated as a fundamental aesthetic principle in all our works (see « Flux »: the movement of the words was supposed to be calm and relaxing; but on powerful computers, the flow is transformed into a wild torrent). Each creation on Mandel.brot thematizes this instability in a specific way.The Mandel.brot Project is a dialogue (we invite you to compare for example « Soleil Amer » and « Inexorable »), which sometimes becomes animated, and sometimes stops for a long time. None of the creations on Mandel.brot can be separated from their context: the website and the device, which remains deliberately unstable.
(Source: Authors' description for ELO_AI)
Scott Rettberg - 11.04.2013 - 12:49
