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1. Narrative (Pre)Occupations: Self-Surveillance, Participation, and Public Space

   Under consumer culture, self-surveillance—the act of submitting your own data to corporate interests like Amazon, TiVo or Facebook—becomes a revolutionary gesture of participation (Andrejevic 15)…or so corporate interests would have us believe. With the advent of social media, we now log our own data in the service of multinationals as we
   seemingly embrace the arrival of a technological Big Brother. Several digital media artists, however, have turned the tables or, more exactly, the camera on themselves by using digital media and self-surveillance as a means of creating new digital narratives.

   Eric Dean Rasmussen - 19.06.2012 - 14:21

2. Invisible Participation: Language and the Internet

   Language is the hidden scaffolding of networks, applications, and web sites. It is minified and monetized in ways that are often occluded from the everyday user’s experience. From their point of view, the interaction is innocuous – language is used for labels and explanations. A few words are typed into an empty field and thousands of related results appear instantly. A simple search, an email to a friend, a unique phrase – all easily logged, monetized, and indexed. This is the world of invisible participation.

   Scott Rettberg - 05.11.2012 - 16:28

3. The Artist, the Database, and the Project of the University

   John Cayley's talk at the ELMCIP Remediating the Social conference "Invisible Participation" panel, where he used the ELMCIP Knowledge Base to make some important points about the function of the database in the future of arts and humanities research, imagining a future in which the documentation of a work within the database (the artistic event) is the accredited publishing event.

   Scott Rettberg - 06.11.2012 - 10:47

4. Next Generation Literary Machines: The “Dynamic Network Aesthetic” of Contemporary Poetry Generators

   This dissertation investigates the current state of digital poetry generators. The study argues that today’s poetry programs embody a new stage distinct from second- generation digital literature. The new stage projects a “dynamic network aesthetic,” reflective of four trends in Web 2.0 cultural production: the potential for mass aggregation; the adoption of participatory platforms; the instability of textual material; and the unpredictability of individual actors. The chapters interrogate the ways in which the four characteristics emerge in three categories of poetry generators: programs that manipulate user input; programs that manipulate Internet text; and programs that generate autonomous content. Corresponding with the three categories, three theorists of the machine inform the discussion. Donna Haraway, Jean Baudrillard, and Gilles Deleuze each provide apt approaches to twenty-first-century technology. However, each theorist also demonstrates the ways in which recent models of the machine do not yet fully account for the “dynamic network aesthetic” of the Internet era.

   Scott Rettberg - 08.01.2013 - 17:07