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Inkubus
You're a teenage girl, connected, clued-in, but what lurks in the deepest, darkest regions beyond the screen? A first-person coming-of-age story-game. ( Source: Andy Campbell ) A first-person playable coming-of-age story, in 2D and 3D, that centres on a teenage girl, immersed in contemporary digital culture. With creeping awareness, she / the player struggles with the insidious gender stereotyping, where womanhood is rendered as malleable and polymorphic as a digital doll, that literally threatens to drain her of life. ( Source: Patricia Tomaszek ) Inkubus is a first-person playable coming-of-age story, in media-rich 3D, about a contemporary teenage girl, who’s connected and clued in. But what lurks in the deepest darkest regions beyond the screen? The story-game progresses via skewed and leading questions, designed to distort the girl's behaviour, before being drawn into a visceral labyrinth where a malevolent force peddles a destructive artificial feminine ideal.
Andy Campbell - 18.01.2014 - 01:12
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Wish4[0]: 40 Days. 40 News Items. 40 Creative Responses.
Wish4[0] takes as its inspiration the perpetual tugging at a user’s consciousness by the digital. Each work takes as its immediate inspiration a headline (or item) drawn from the electronic news cycle of that specific day. The resulting block of poetic works: 1) Act as a digital and creative “literary snapshot” of a specific period. 2) Highlight the accelerated nature of an electronic/networked-based news cycle. 3) Illustrate the discrepancies – and perhaps similarities - between how a digital audience responds to items deemed newsworthy and creative responses to such items. 4) Echo (and partially emulate) elements of digital culture that have become seamlessly integrated into our everyday lives (including programs such as Twitter, Facebook, Pinterest, Vine, Snapchat and Instagram). This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
mez breeze - 05.05.2014 - 12:45
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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 Mission [Statement]
A group written mission statement netprov.
Scott Rettberg - 19.06.2014 - 03:26
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My Life in Three Parts
"My Life in Three Parts" addresses the question of how personal identity is influenced by the language of the web. Our online interactions are often circumscribed by tracking software and various social networks. As a result, our identities--how we view ourselves and how others view us--are shaped and expressed, in part, by personal browsing practices and the vocabulary associated with those practices. So what do our autobiographies look like in this new world? To answer this question, "My Life in Three Parts" ignores the conventions of traditional autobiography in favor of oblique readings of iconic visual symbols, terminology, and concepts found online within the private and social web-spaces of shopping, art, and mathematics. This work uses text, images, audio, and videos to create a synthesized narrative of the self. Nothing about personal identity is clear in this work: the life behind the story is only implied.
Jill Walker Rettberg - 19.06.2014 - 20:27
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Cardamom of the Dead
Written in Unity for use with Oculus RIFT glasses, Cardamom of the Dead is a literary VR environment - the user wanders through a virtual environment filled with a vast collection of things a narrator, heard in voice-over, has hoarded over years (decades? centuries?). The environment is filled with debris and stories and the piece is ultimately a meditation on collecting as madness, consoling practice and memory palace.
(Source: ELO 2014 Media Arts Show)
Scott Rettberg - 24.06.2014 - 19:14
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Troubadours & Troublemakers: Stirring the Network in Transmission & Anti-Transmission
Presented as part of an ELO 2014 conference panel session, "Troubadours of Information: Aesthetic Experiments in Sonification and Sound Technology," led by Andrew Klobucar. In his work, Trouble Songs: A Musicological Poetics, Johnson literally tracks the ways the word “trouble” passes through popular 20th and 21st century song, and the ways trouble is and is not represented via the Trouble Song. For Johnson, there is both a transmission and an anti-transmission of trouble in Trouble Songs: The singer performs an exorcism of trouble, or contributes to a discourse of authenticity with an audience of trouble voyeurs. (These are distinct but related processes, as the trouble singer can relate trouble from outside the community, and can as well—or instead—relate to the troubles of a community; likewise, the trouble singer can reflect, deflect or project trouble.) Trouble itself appears here simultaneously desired and feared, invited and expelled. “Trouble” replaces trouble as a protective spell, as a fetish, and as a generic signifier. The Trouble Song is cast as a spell that evokes and dispels trouble.
Jeff T. Johnson - 27.06.2014 - 20:48
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Claire Donato's We Discuss Disgust: Patafeminism Rides The Digital Abject: Cixous, Kristeva, Lispector, Jackson, Hayles, Damon, Lorde, and Others
"Claire Donato's We Discuss Disgust: Patafeminism Rides The Digital Abject: Cixous, Kristeva, Lispector, Jackson, Hayles, Damon, Lorde, and Others" was initially presented at ELO14 as a rhetorical front to conceal Special America Holds the Light. The front was employed prior to Special America's surprise appearance and announcement that it had absorbed the ELO and rebranded the Hold the Light conference as Special America Holds the Light. "We Discuss Disgust" was then folded into Special America's performance. In particular, we incorporated the following description, which had been provided to ELO for the program:
clairedonato - 27.06.2014 - 21:01
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HD pen
HD pour Haute Densité (High Density) mais également pour Harley-Davidson car ma moto est de cette marque, fabriquée à Milwaukee, WI, USA, c'est un modèle Sporster XR 1200 à la géométrie très européenne. C'est sur elle que j'ai filmé un parcours depuis mon domicile (Montreuil) jusqu'au département des cartes anciennes des Archives Nationales (Pierrefitte-sur-Seine). C'est par la vidéo qu'est rendu ce parcours, augmenté, en filigrane, par la lecture (simultanée en français et en anglais) d'un texte venant sampler et discuter celui de Jorge Luis Borges « De la rigueur de la science » dans l'Histoire universelle de l’infamie/Histoire de l’éternité, p. 10-18, Paris (1951, 1994). Dans ce texte l'auteur se livre sous la forme d'une fable, à une réflexion sur le rapport de la carte et du territoire, et pose finalement la question des rapports des arts et des techniques, de la science et du sensible. Je poursuis ici l'idée d'une écriture par le trajet, non déterminé par la nécessité de rejoindre un point donné comme un GPS nous aide à le faire, mais en dessinant sur la carte, des lettres formant quelques mots.
Luc Dall'Armellina - 10.10.2014 - 15:40
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Toxi•City
Toxi•City is a combinatory piece in which narrative segments and a chorus of historical anecdotes chronicling deaths from Hurricane Sandy are drawn from a data-based of materials. The database contains over one hour of materials and the clips are combined based on keywords. In Toxi•City, 6 characters describe conditions living in a future shaped by global warming and climate change. The film takes place in the industrial river setting on the US east coast. (Source: Author's description)
Alvaro Seica - 11.11.2014 - 21:06
