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[theHouse]
[theHouse] is a digital poetry piece which takes the form of computer-based spatialized organism.world. Through the process of enacting texts within, alongside, and outside of the text of computational code, this autobiographical work is regulated by the computational process of the sine wave. Here, the text is written upon "rooms," and these rooms emerge to create "houses" next to and among the intermingling text. As in much of electronic literature, the experience of the work as an intimate, interactive, screen-based piece is essential to understanding and appreciating it. Indeed, the work is only realized through user interaction and navigation. How does everyday spatial practice bring into focus the relationship between code, language, and relationships? What are the key characteristics of digital relationships as seen through this light? Does the recurring emphasis on process, chance, and interactivity also function as an indicator of larger questions about the chance writing of the text? The poem presented is autobiographical in nature yet engages the conceptualization of both language and embodiment as the text creates its own types of organism.
Eric Dean Rasmussen - 10.05.2011 - 13:15
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Interactive Drama: Narrativity in a Highly Interactive Environment
The most talked-about, and potentially the most significant consequence of recent advances in electronic technology for the practive and theory of literature is the promise of interactivity. The idea of interactivity is traditionally associated with hypertext. But compared to Interactive Drama, a genre existing mainly in the conceptual stage, hypertext involves a relatively low grade of interactivity: the freedom to select an itinerary on a network of author-defined pathways. In Interactive Drama, ideally, "the interactor is choosing what to do, say, and think at all times" (Kelso, Bates and Weyhrauch); "the users of such a system are like audience members who can march up onto the stage and become various characters, altering the action by what they say and do in their roles" (Laurel). This essay investigates the basic dilemma encountered by Interactive Drama, a dilemma reminiscent of a familiar theological problem: how can the system grant users some freedom of action, and yet enact an aesthetically satisfying narrative scheme ?
Scott Rettberg - 19.05.2011 - 17:14
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Why Digital Literature Has Always Been “Beyond the Screen”
Andrew Michael Roberts demonstrates that digital literature has always been beyond the screen. In many of the practices and framing ideas of electronic literature, he identifies recurrences of key conceptions of modernism and postmodernism such as literalization, enactment, difference, movement, etc. Nonetheless, as he argues, literature is embracing new forms of expression influenced by the evolving mediatechnological possibilities and the increased involvement of the recipient’s whole body.
(Source: Beyond the Screen, introduction by Jörgen Schäfer and Peter Gendolla)
Scott Rettberg - 23.05.2011 - 13:02
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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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Textmaschinen- Kinetische Poesie- Interaktive Installation: Studien zu einer Hermeneutik digitaler Kunst
From the publisher: Die digitalen Medien führen Experimente der klassischen Avantgarde weiter und bringen neue künstlerische Ausdrucksformen hervor. Doch wie begegnet man diesen ästhetischen Phänomenen? Soll man sich ganz auf die Materialität der Zeichen konzentrieren, auf die Intensität des Erlebens im Rahmen einer »Kultur der Präsenz«? Soll man das Erlebte der Interpretation unterziehen, im Rahmen einer »Kultur des Sinns«, die im Deutungsprozess auch Verunsicherung riskiert?Dieses Buch – eine theoretische Einführung ins Feld digitaler Kunst – diskutiert beide Optionen anhand ausführlicher Fallstudien zu interaktiven Installationen, kinetisch-konkreter Poesie, computergenerierten Texten und Mapping-Kunst.
Patricia Tomaszek - 25.08.2011 - 22:38
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Multimediality, Intermediality, and Medially Complex Digital Poetry
In Grammophone, Film, Typewriter, Friedrich Kittler envisioned a digital future of demediation: all traditional differences between media and mediations would be ended in a fusion of digital numbers. Kittler’s vision, I argue in my paper, is premediated by Richard Wagner’s artwork of the future: despite their differences, both stage the dream of a multimedial future in which monomediality or medial compartmentalization is effectively aufgehoben. This idea of premediation is further explored by comparing Wagner’s music drama’s to digital multimedia works and events of the 1990’s and early years of our twenty-first century that try to fuse words, bodily gestures, sounds, and images.
Patricia Tomaszek - 21.09.2011 - 14:34
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Riddles of the Interface: Hieroglyphic Consciousness and New Experimental Multimedia
A discussion of Reginald Woolery's CDROM World Wide Web/Million Man March (1997) and other experimental CDROMs in the context of modernist ideas of the hieroglyph, interface aesthetics, and afrofuturism.
Joe Milutis - 21.01.2012 - 17:04
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Creating Screen-Based Multiple State Environments: Investigating Systems of Confutation
The intentions of this practice-led thesis are to investigate the interplay between Internet based digital narrative, image and interaction, and ultimately develop new practice, which primarily within the experiencing of the artwork articulates a new contribution to the field of study. The dual literature and contemporary practice reviews highlighted this as desired output. The predominant research in the field is not focused on the production of new projects but uses various forms of literary and critical theory to search out new interpretations and structural understanding of the artefacts in question. Similarly the reviews revealed a strong set of visual hegemonies - namely the ascent of neo-minimalism and a preoccupation with the replication of reality. My practice sits between these poles as being a hybrid of detailed line art, handcrafting and popular imagery, and as such, functions with uniqueness. The interstitial paradigm is used to support the practice, as parallels are drawn not only in the aesthetics of the work but also the politic of the communication.
Meri Alexandra Raita - 19.02.2012 - 19:37
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Signal to Noise
"Signal to Noise" is a web-native hypertext designed for concurrent navigations by multiple readers, whose interactions with the text subtly influence one another's parallel readings in realtime.
Artist Statement:
"Signal to Noise" is a web-native hypertext designed to be read by multiple people simultaneously.
The interface is linked to a database via Ajax. A PHP engine tracks the parallel navigations and behavior of active users and responds by broadcasting relevant fragments, subtext, and other ephemera to all readers in realtime. Readers' concurrent movements through the narrative have subtle effects on one another's experiences. While readers are unable to directly communicate among themselves or evoke representative avatars in the virtual environment (with one clear exception), echoes and ripples are unavoidably left on the surface of the global text with every followed link. In time, these ripples subside and disappear.
Scott Rettberg - 28.03.2012 - 12:28
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The Interactive Onion: Layers of User Participation in Digital Narrative Texts
Using the metaphor an onion, Ryan provides a formalist analysis of four different levels of interactivity, plus a fifth meta-level, in digital narratives.
Eric Dean Rasmussen - 08.04.2012 - 09:16
