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Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres
While literature in computer-based and networked media has so far been experienced by looking at the computer screen and by using keyboard and mouse, nowadays human-machine interactions are organized by considerably more complex interfaces. Consequently, this book focuses on literary processes in interactive installations, locative narratives and immersive environments, in which active engagement and bodily interaction is required from the reader to perceive the literary text. The contributions from internationally renowned scholars analyze how literary structures, interfaces and genres change, and how transitory aesthetic experiences can be documented, archived and edited.
Patricia Tomaszek - 17.09.2010 - 17:19
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Babel
Babel is a site specific work for a non-site. The context of the work is non-physical. The site is an abstract thing...information space and the taxonomy of knowledge that all libraries represent...which the Internet, where the project is realised, is.
The Dewey Decimal numbering system, used in the cataloguing of library contents, is the key metaphor, visualised in a three dimensional multi-user space that is itself a metaphor for the infinite nature of information.
In Babel the Dewey Decimal system is used as a mapping and navigation technique. The structure of the library is re-mapped into the hyper-spatial that constitutes the Web. The Dewey numbering system is employed as a means to navigate the internet itself, the taxonomy inherent in the numerical codes mapping onto web-sites that conform with the defined subjects.
Simon Biggs - 21.09.2010 - 11:36
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Ex-foliations: Reading Machines and the Upgrade Path
In Ex-foliations, Terry Harpold investigates paradoxes of reading’s backward glances in the theory and literature of the digital field. In original analyses of Vannevar Bush’s Memex and Ted Nelson’s Xanadu, and in innovative readings of early hypertext fictions by Michael Joyce and Shelley Jackson, Harpold asserts that we should return to these landmarks of new media scholarship with newly focused attention on questions of media obsolescence, changing user interface designs, and the mutability of reading. In these reading machines, Harpold proposes, we may detect traits of an unreadable surface—the real limit of the machines’ operations and of the reader’s memories—on which text and image are projected in the late age of print. (Source: Publisher's website.)
Eric Dean Rasmussen - 24.02.2011 - 09:48
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The Incomplete
The Incomplete takes the form of an interactive 'virtual laptop' running Windows XP. The restoration of a folder from the Recycle Bin leads to a series of half-corrupted images, surreal floating files and icons, and a number of openly editable text documents that are free to be changed, modified or completely deleted by anyone visiting the project.
Andy Campbell - 13.05.2011 - 17:27
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Floppy
An old 3.5" floppy disk found on a deserted road turns out to contain a disturbing narrative.
Andy Campbell - 21.05.2011 - 16:47
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Scott Rettberg - 23.05.2011 - 14:32
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Entre
Entre (‘Enter’) (2001), a CD-ROM created by Brazilian artists Rafael Lain and Angela Detanico, that makes us think that it is possible to dare a non-phonetic thinking as a matrix of new cultural practices. The CD’s title, Entre, comprises some of its features. “Entre” in Portuguese means, as an imperative verb, “enter” and as an adverb it means “between,” and this double meaning transforms the title into an invitation and into a challenge: an invitation because it invites us to think of nothing but exploring its universe; a challenge because it constantly makes us hesitate in trying to define it, since it is a project that stays between writing and speech, between music and drawing, between letter and digit. Without explanations, it gives the reader two possibilities: to touch images, drawing with sounds, randomly using the computer keyboard; or installing a series of fonts created by Rafael Lain.
(Description from Giselle Beiguelman, "The Reader, the Player and the Executable Poetics: Towards a Literature Beyond the Book")
Scott Rettberg - 25.05.2011 - 16:24
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Déprise
“Loss of Grasp” recreates the loss of self-control. What happens when one has the impression of losing control in life, of losing control of his/her own life? Six scenes tell the story of a man that is losing himself. “Loss of Grasp” plays with the self-control and the loss of self-control and invites the reader to experiment with these feelings in an interactive work.
Serge Bouchardon - 18.06.2011 - 17:00
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Sydney's Siberia
Sydney's Siberia is a zoomable poem.
It is not technology making our wires, nodes and swimming data streams, our ever growing networks, beautiful. Instead it is the stories/poetics, the forever coalescing narratives that form the inter/intranet into a vitally compelling mosaic To explore, simply mouse-over/navigate to an appealing square, click and click, read, contemplate connections and repeat. Sydney’s Siberia recreates how networks build exploratory story-scapes through an interactive zooming, clicking interface. Using 121 poetic/story image tiles, the artwork dynamically generates mosaics, infinitely recombining to build new connections/collections based on the users movements.
Meri Alexandra Raita - 03.03.2012 - 18:49
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Aesthetic Animism: Digital Poetry as Ontological Probe
This thesis is about the poetic edge of language and technology. It inter-relates both computational creation and poetic reception by analysing typographic animation softwares and meditating (speculatively) on a future malleable language that possesses the quality of being (and is implicitly perceived as) alive. As such it is a composite document: a philosophical and practice-based exploration of how computers are transforming literature, an ontological meditation on life and language, and a contribution to software studies. Digital poetry introduces animation, dimensionality and metadata into literary discourse. This necessitates new terminology; an acronym for Textual Audio-Visual Interactivity is proposed: Tavit. Tavits (malleable digital text) are tactile and responsive in ways that emulate living entities. They can possess dimensionality, memory, flocking, kinematics, surface reflectivity, collision detection, and responsiveness to touch, etc…. Life-like tactile tavits involve information that is not only semantic or syntactic, but also audible, imagistic and interactive.
Patricia Tomaszek - 16.03.2012 - 16:49
