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Les 12 Travaux de l'Internaute / The 12 Labors of the Internet User
In this piece, the internet user is regarded as the Hercules of the Internet. Often, he has indeed the impression to have to achieve Herculean labours. It can be a question of blocking popups which keep coming when one would like to see them disappear (the Lernean Hydra), cleaning the inbox of its spam (the Augean Stables), driving away the advertising banners (the Stymphalian Birds) or retrieving specific information (the Belt of the Queen of the Amazons)... This work draws upon the mythology of everyday life. It does not consist in showing the tragedy of existence, but in transforming our daily activities into a myth. It is consequently a question of experiencing technology in an epic - but also humoristic - mode.
(Source: Author's description)
Serge Bouchardon - 21.09.2010 - 12:00
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Semantisation, Exploration, Self-reflection and Absorption: Our Modes of Reading Hypertext Fiction
"How do we read hypertext fiction? The question has been widely explored (Moulthrop 1991; Kaplan and Moulthrop 1991; Snyder 1997; Miall and Dobson 2001; Ryan 2001; Gardner 2003; Gunder 2004; Landow 2006; Mangen 2006; Page 2006) and there seems to be a consensus regarding the reader’s experience of hypertext fiction. Many critics actually claim that reading hypertext fiction generates frustration and insecurity. These and other studies describe how their readers react on and respond to hypertext fiction, but, as I see it, they partly fail in that they put to much weight on the reader’s responds and hardly no weight on the fact that hypertext fiction just like print fiction encourage or prefigure different responses and different modes of reading. The consequence is that these studies suffers from limitations witch lessens their valuable contribution to our knowledge about reading hypertext fiction. One reason for this might be that hypertext theory lack established concepts for describing response structures that encourage different modes of reading.
Eric Dean Rasmussen - 27.01.2011 - 15:13
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The Aesthetics of Materiality in Electronic Literature
According to the French author and theoretician Jean-Pierre Balpe, “all digital art works are first conceived outside the framework of a pragmatic relation to materiality. Any manifestation of digital art is but a simulated moment of an absent matter.”
However, I wish to show that there is at least as much materiality in the digital media as in other media. Of course, as a formal description, digital and material can be distinguished. Digital media correspond to formalization, insofar as formalization is understood as the modelling of a given reality through the use of a formal code. But because digital media refers to the effectiveness of digital calculation, it can be considered as “material”, at least on two levels:
Eric Dean Rasmussen - 27.01.2011 - 15:39
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Teaching Digital Literature within a “Research and Teaching Partnership” in a Transatlantic Blended Learning Environment
This paper outlines the practices of teaching digital literature at the University of Siegen in Germany where Peter Gendolla and Joergen Schaefer taught courses on literature in computer-based media for students of both Literary and Media Studies. This paper thus provides an historical synopsis of the didactical transformations the teaching practices have undergone as well as an overview of the University’s profile and its focus on research and teaching literary studies. In 2007, the classroom moved online and held a class transatlantically in cooperation with Roberto Simanowski (Brown University/Providence, RI, USA). The online course approached an experimental Blended Learning concept. The paper introduces the methodological concept of the class “Digital Aesthetics” and discusses using Online Communication Systems in the context of the course of studies: Net Literature.
Eric Dean Rasmussen - 27.01.2011 - 16:52
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Endless Text: New Media Technologies in The Raw Shark Texts
Since the digital revolution of the 1990’s, the ‘end’ of literature has been often proclaimed from both a utopian and apocalyptic perspective. While the former has imagined a release of the literary from the constraints of paper and print, in the animation of letters and words, the latter has lamented the end of reading and writing as ‘we’ know it. However, as clear as the opposition between the hopeful visions of theorists such as George Landow and the nostalgic lament of critics like Steven Birkerts may be, their respective stances are easily disclosed as two sides of the same coin: both the positive and negative presentations of the end of literature build on the subtext that literature ‘is’ something; an inside (a space, or a practice) that is either creatively challenged or threatened from the outside – as if it were a backward country or a country under threat, to be opened up and developed or protected respectively. This paper challenges such a distinction between inside and outside by reading ‘literature’ as an interface of other media technologies.
Eric Dean Rasmussen - 02.02.2011 - 15:42
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Senghor on the Rocks
Senghor on the Rocks (SOTR) was published online under a creative commons license as the first novel illustrated with Google Maps. Every page of the virtual book that was created for the online presentation of the novel is accompanied by a satellite view of the current location of the story. Readers experience the novel’s action as a journey on the map, including smooth panning from location to location as the characters travel around or different zoom levels showing areas in close detail or as an overview. The novel itself is written in German and deals with an involuntary journey of young assistant cameraman Martin “Chi” Tschirner taking him through Dakar and the Senegal. In the first chapters Chi is busy shooting a promotional film in Dakar and does not care too much about where he is or what the city he is hurrying through may be like – other than loud, dirty and inscrutable. Chi doesn’t like his job or the people he works with too much and the routines of his work prevent him from seeing the world instead of a series of changing locations requiring different light filters and lenses.
Eric Dean Rasmussen - 16.02.2011 - 14:37
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The Last Performance
Author description: The Last Performance [dot org] is a constraint-based collaborative writing, archiving and text-visualization project responding to the theme of lastness in relation to architectural forms, acts of building, a final performance, and the interruption (that becomes the promise) of community. The visual architecture of The Last Performance [dot org] is based on research into "double buildings," a phrase used here to describe spaces that have housed multiple historical identities, with a specific concern for the Hagia Sophia and its varied functions of church, mosque, and museum. The project uses architectural forms as a contextual framework for collaborative authorship. Source texts submitted to the project become raw material for a constantly evolving textual landscape.
Eric Dean Rasmussen - 24.02.2011 - 08:10
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Fitting the Pattern
Cutting through memories, pinning down facts, stitching fabrications, unpicking the past - an interactive, animated memoir, created in Flash, exploring aspects of my relationship with my dressmaking mother. Life’s mysteries are rarely uncovered by a logical, linear process of deduction. You arrive at answers, ideas, suspicions, intuitions… haphazardly in fragments. Over time you build the picture, piece by piece, shuffling and rearranging, until you start to see a pattern emerging. The structure of Fitting the Pattern attempts to replicate this experience; hence it is a memoir in pieces that the reader can explore, to some extent, in a non-linear fashion. There are certain parallels between my mother’s creative craft process and my own in new media; therefore the visual design of the piece is based on the aesthetics of sewing patterns. These similarities, as well as our differences, are embedded in the digital media and text, literally drawn out through animation and dramatized through interactivity.
Eric Dean Rasmussen - 02.03.2011 - 13:49
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Accidental Meaning
Interested in the breaking and production of meanings, the non-semantic the visual, the oral, the blank page, the engagement of the reader/user in theshifting from the linguistic to the visual and back. To represent the broken and the formations of new meanings, I create an aesthetic environment consisting of a blank page/screen, inviting the reader/user to click/touch the screen in order to generate words. The installation includes a microphone to invite the users to read aloud and share with other users the experience of performing the work through their oral participation. As the user explores and experiences the work by connecting the random words appearing in the screen and assembling definitions, the accidental position of words produce new relationships, and in doing so, an on going process of meanings, connections and narratives; of shifting from the semantic linguistic meaning to the visual, from the literal, the transparent to the abstract; and simultaneously creating a poetic space of juxtaposed words, layers, and visual textualities.
Eric Dean Rasmussen - 10.03.2011 - 09:41
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Talking Cure
Talking Cure is an installation that includes live video processing, speech recognition, and a dynamically composed sound environment. It is about seeing, writing, and speaking — about word pictures, the gaze, and cure. It works with the story of Anna O, the patient of Joseph Breuer's who gave to him and Freud the concept of the "talking cure" as well as the word pictures to substantiate it. The reader enters a space with a projection surface at one end and a high-backed chair, facing it, at another. In front of the chair are a video camera and microphone. The video camera's image of the person in the chair is displayed, as text, on the screen. This "word picture" display is formed by reducing the live image to three colors, and then using these colors to determine the mixture between three color-coded layers of text. One of these layers is from Joseph Breuer's case study of Anna O. Another layer of text consists of the words "to torment" repeated — one of the few direct quotations attributed to Anna in the case study.
Eric Dean Rasmussen - 10.03.2011 - 10:20
