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Writing
Writing (2012) was inspired by and built with Joe Davis’s Telescopic Text, pairing the possibilities of expanding, effacing essay with the musings of a Monson or a Mezzanine. An introspective, interactive non-fiction, the work unfurls, an exploration of the processes of composition as much as a finished literary product. As the piece grew to dozens of junctions and thousand of words, the editing interface slowed dramatically, each erasure oredit taking a minute or more. This in turn forced an accountability to first thought – it became easier to publically ‘rewrite’ mistakes, misspeaks and infelicitous phrases than to invisibly edit them away. The result is a thinking aloud on the (web)page, a map to the writer’s trains of thought for the reader to unfold and explore. Writing featured in the 2013 electronic poetry edition of Australian literary journal Overland.
(Source: ELO Conference 2014)
Scott Rettberg - 19.06.2014 - 03:01
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The 2015 Fukushima Pinup Calendar
Satircal pinup calendar in HTML spreadheet format reflecting on environmental devastation related to Fukushima nuclear disaster.
The 2015 Fukushima Pinup Calendar is part of a larger piece, The Good Fortune Land, that uses Excel spreadsheets to create a narrative of the Fukushima Nuclear Meltdown and its aftermath. It continues the work of Tin Towns and Other Excel Fictions (2012).
Artist's statement:
The 2015 Fukushima Pinup Calendar adds another set of data points to The Good Fortune Land. As we look back on the years between 2011 and 2015, this Calendar is provided as a vivid reminder of the history of the five-year attempt to pretty up the picture. It was also a useful calendar online or printed, for home or office. It consists, of course, of the twelve months of the year – each month commemorating one of the extant issues surrounding the “control” of the plant and its surrounding water and land. In the spaces for each day, data from 2011, 2012, and 2013, and 2014 is recalled – along with the important holidays!
Scott Rettberg - 19.06.2014 - 03:15
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The Mission [Statement]
A group written mission statement netprov.
Scott Rettberg - 19.06.2014 - 03:26
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The Postulate to Hyperdescribe the World: Film Poems by Katarzyna Gie łż y ń ska
The film-poem emerges from the crossroads of literature, film and animation. Giełżyńska's works appear as ironic, personal, cross-medial statements. The Polish author sets herself an ambitious task: "to play at the world's own game" by describing it in a fast-paced, polimedial, synesthetic way. Resembling "animated posters", the film-poems reflect the condition of the contemporary artist and her cultural, linguistic and technological context and try to redefine the answers to the old question: how to describe the world? who is the author? what is the difference between the human and non-human? The message carried by the film-poems is quite universal, if not global, hence the decision to translate them into English
(Source: ELO 2014 conference.)
Scott Rettberg - 19.06.2014 - 03:28
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OccupyMLA’s Hidden Archive
Part protest novel, part guerilla theater, @OccupyMLA played out on the crowded virtual street corners of Twitter hashtags #mla and #omla for fifteen months before being revealed a as "fiction" at the 2013 MLA e-literature reading. Nineteenth- and twentieth-century protest fiction changed attitudes about slavery and industrial excess; @OccupyMLA charged #MLA members (and hashtag lurkers) to feel angry about dehumanizing adjunct working conditions built upon the "innocent dream" that Ph.D.s in literature could get paid to teach literature.
In a climate of "DH niceness," to dwell on adjuncting as a broken promise was agit-prop. Real life participants added their own anecdotes and Tweeted sympathy to Hazel, comingling "fiction" and "nonfiction" in an eerie, Barthesian "Reality Effect." The Netprov's melodrama and anger were deliberately out of sync with the positivistic #MLA discourse community. "Here's where #omla is correct," opined George Williams in a retweeted pair of Tweets, "conditions for contingent labor in higher ed are abomidable. But making the MLA the target of your ire and your movement is not going to get you very far. + #omla #imho."
Alvaro Seica - 19.06.2014 - 16:16
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“Coat and Uncoat!”: The My Book of GHcoats Project and Implications for Conceptual Writing
Using the internet and social media for that matter to create literature is a relatively new and burgeoning phenomenon in Sub-Saharan Africa, complementing more common uses such as political activism, economic opportunity and social networking. In November 2013, some Ghanaians on Facebook started a trend where fictional quotes were intentionally misattributed to famous people. This humorous trend went viral as many users created variations while others also shared and commented on these posts. The project evolved through multiple stages and eventually ended in the publication of an e-book entitled My Book of GHcoats which contained submissions from many Facebook users. The nature of the evolution thus positions My Book of GHcoats in the realm of conceptual writing.
Alvaro Seica - 19.06.2014 - 16:24
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Privacy Through Visibility: Disrupting NSA Surveillance With Algorithmically Generated "Scary" Stories
Computational artists engage the politics of networked communication through code. By
creating net art, hacktivist projects, and "tactical media," artists illuminate the dark sides of
networks, challenge the notion of the network as a liberating force, and propose mechanisms
for tweaking the "evil media" these networks facilitate. A primary example of network-based
politics is the US National Security Agency's (NSA) email surveillance efforts recently revealed
by Edward Snowden. Using systems to examine our text-based digital communications, the
NSA algorithimically collects and searches everything we write and send in a futile effort to
predict behaviors based on words in emails. Large collections of words have thus become
codified as something to fear, as an indicator of intent. This presentation will explore the
methods of artists who engage the politics of digital surveillance using algorithmically
generated language, and will explore the question of whether computationally produced text
can combat computational text analysis. A focus will be the author's project ScareMail,Alvaro Seica - 19.06.2014 - 16:35
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Gaming the City: Telephone City and Social Spaces of Transformation
In pervasive gaming, the city is transformed into a platform for public storytelling and play. In this paper I will address the potentialities and challenges inherent in devising a city-specific pervasive narrative. Play is the ultimate learning tool for humans, so much so that researchers see “play as essential not just to individual development, but to humanity’s unusual ability to inhabit, exploit and change the environment” (Dobbs). One of games’ most intoxicating aspects is their pervasive nature.
Alvaro Seica - 19.06.2014 - 16:41
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ScareMail
ScareMail is a web browser extension that makes email "scary" in order to disrupt NSA surveillance. Extending Google's Gmail, the work adds to every new email's signature an algorithmically generated narrative containing a collection of probable NSA search terms. This "story" acts as a trap for NSA programs like PRISM and XKeyscore, forcing them to look at nonsense. Each email's story is unique in an attempt to avoid automated filtering by NSA search systems. One of the strategies used by the US National Security Agency's (NSA) email surveillance programs is the detection of predetermined keywords. Large collections of words have thus become codified as something to fear, as an indicator of intent. The result is a governmental surveillance machine run amok, algorithmically collecting and searching our digital communications in a futile effort to predict behaviors based on words in emails. ScareMail proposes to disrupt the NSA's surveillance efforts by making NSA search results useless. Searching is about finding the needles in haystacks.
Alvaro Seica - 19.06.2014 - 17:25
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Learning to Throw Like Olympia: E-Lit and the Art of Failure
Viewed next to print literature, e-lit appears as a poor copy, a replica(nt) lacking both the genius agency of modernism and the abject subjectivity of postmodernism. In this talk, I will use the concepts of re-territorialization (Deleuze and Guattari) and “the open” (Giorgio Agamben) to show how, like Hoffman’s automaton, the “born digital” is powerful precisely because it fails to deceive. Neither preserving nor directly opposing the conventions of print-lit, e-lit functions as a reflecting apparatus that unmasks language and meaning-making as machines through the revelation of its own machine-works. Using multifarious examples from the work of Alan Bigelow, Mez Breeze, Emily Short, Jason Nelson, and others, I will show how these re-inscribe obstruction, glitch, error, randomness and obsolescence as potentiality. In doing so, they repurpose the productive and reproductive functions of writing not for some finite end or product, but for play.
(Source: author's abstract)
Jill Walker Rettberg - 19.06.2014 - 20:09
