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  1. (Techno)dispositifs in Contemporary Art Practice: Fifty-year Theater Performance Noordung 1995-2045 by Dragan Živadinov

    Noordung, a 50-year theatre projectile, created by Dragan Živadinov and his collaborators, is a complex, long-term research project which saw its official start on April 20, 1995 at 10 pm with its first performance which is to have been followed by five more, performed every 10 years (2005 - 2015 – 2025 – 2035 - ) on the same day at the same time with the same actors by the year 2045. The essential part of the performance is that it includes the process of replacing the bodies of those actors who shall die in the meantime with remote-controlled technological abstracts. In the first phase of the 50-year process, the bodies of dead actors shall be replaced with remote-controlled sign which shall substitute an actor in their mise-en-scéne and shall also contain software for translating their speech into music – when an actress dies, her speech shall be translated into melody, whereas actors’ speech shall be translated into rhythm.

    Eric Dean Rasmussen - 30.08.2011 - 12:56

  2. Re-reading the Digital: An Inquiry Through Practice

    Digital reading is not the same as reading a book, for several reasons. The main focus of this short piece brings together two of them: varying and implicit but usually hidden technological relationship/s; and a new and more complex construction of the reading Subject/ivity.

    Elisabeth Nesheim - 27.08.2012 - 15:14

  3. Interactive Technology and the Remediation of the Subject of Writing

    Interactive Technology and the Remediation of the Subject of Writing

    Scott Rettberg - 25.06.2013 - 13:59

  4. The Absence and Potential of Electronic Literature

    There is no understanding of electronic literature. No theory exists to analyze literary texts and signs on the computer and the network. How does the digital inscription become literary? Don’t get me wrong: there are admirable descriptive formalisms and historical genealogies of electronic literature. All these function as criticism should, but offer nothing of electronic literature as such. Existing criticism begins from the presumption that “there is” electronic literature and proceeds to describe the various works in existence (for example, in Electronic Literature Hayles explicitly refuses to theorize the subject of her book). The results are productive for maintaining the existing distribution of texts and readings in a field of literary and non-literary texts. My paper is part of a project refusing the given-ness of these forms and histories. The theory of “electronic literature” is a failure, and I insist on the achievement of this failure. The larger project is a technical and philosophical argument for the absence and potential of electronic literature. For purposes of this paper, I draw my examples from the ELC Volume 2.

    Alvaro Seica - 04.10.2013 - 12:08