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1. Warum es zuwenig interessante Netzdichtung gibt. Neun Thesen

   Warum es zuwenig interessante Netzdichtung gibt. Neun Thesen

   Johannes Auer - 08.11.2012 - 16:39

2. Trapped to Reveal - On webcam mediated communication and collaboration

   Trapped to Reveal - On webcam mediated communication and collaboration

   Annie Abrahams - 13.11.2012 - 16:39

3. Waldemar Cordeiro's Oeuvre and Its Context: A Biographical Note

   In Arteônica, Cordeiro's seminal text on electronic art, he stated that Brazilian Concrete art employed digital creative methods and offered algorithms largely employed in communications. It must be clarified that he did not use the words "digital" and "algorithms" literally here. He was not referring to actual computer programs; rather, he was suggesting that the visual forms created by Concrete art were applicable to mass communications and graphic and industrial design. It was not until 1969 that Cordeiro, working in collaboration with physicist Giorgio Moscati, created his first visual computer artwork. In this and in subsequent computer artworks (the last produced before his premature death of a heart attack in 1973), Cordeiro synthesized his lifelong concern with radically innovative forms and the social and political dimension of art. Cordeiro started his career exploring purely visual geometric abstract forms, only to incorporate semantically charged shapes and objects at a later stage.

   Luciana Gattass - 15.11.2012 - 17:22

4. Formen digitaler Literatur 2.0

   0. Einleitung
   1.1-2. Hypertexte: Merkmale und Theorie; der Link
   1.3. Vorläufer des digitalen Hypertexts
   1.4. Beispiel 1: Michael Joyce: afternoon, a story (1987)
   1.5. Beispiel 2: Shelly Jackson: Patchwork Girl (1995)
   1.6-9. Beispiele 3-5, Hyperpoetry
   2.1. Multimediale Dichtung: Visuelle und kinetische Poesie; Vorläufer
   2.2. Beispiele digitaler visueller Poesie; Stuttgarter Gruppe
   2.3. Bewegte Lettern, dreidimensionale Texte, multimediale Datenwerke
   2.4. Lautpoesie und Text-Musik-Kombinationen
   3.1. Dichtungsgeneratoren: Permutative Generatoren
   3.2. Fortgeschrittene Textgeneratoren
   4. Literarische Computerspiele
   5. Program Code Poetry
   6. Resümee
   Bibliographie

   Johannes Auer - 22.11.2012 - 16:27

5. Comedies of Separation: Toward a Theory of the Ludic Book

   To date, small effort has been given to create a general critical vocabulary for describing the wide range of digital literary works. This paper attempts to describe a range of effects in digital literature—relating to time, power, scale, duplication, being, and the ontology of the database—and introduces a new concept, the “simple,” here understood as a node of text/algorithm interaction. Several small-scale works that operate on one or two new media principles can be grouped under these simples. Cumulative works (such as the magisterial “88 Constellations for Wittgenstein” by David Clark) here known as “ludic books,” are described as being composed of several of these simples.

   Jill Walker Rettberg - 23.01.2013 - 12:04

6. История и практика сетевой литературы

   История и практика сетевой литературы

   Natalia Fedorova - 27.01.2013 - 10:51

7. Cavewriting

   Push aside the thick, dark curtain, step across the cables on the floor and you'll find yourself standing on a white floor with white screens in front of you and to each of your sides. Above you are projectors and speakers. You're given a pair of goggles and a glove. You put them on and wait for Screen to begin. The space darkens. A voice begins to read: "In a world of illusions, we hold ourselves in place by memories." In the dark there is nothing for you to do but listen.

   Screen is a literary work that can only be experienced in a Cave. In a Cave, images -- or in the case of Screen, words -- are projected on all three walls and on the floor. When you stand in the Cave wearing goggles, you experience the projected images as a three dimensional space in which you can move around. The goggles and glove allow the Cave to track your position, so you can control the environment by moving your body and your hand.

   Light over the sill of an unshaded
   bedroom window, into a woman's eyes.
   She turns away, slips half back under sleep.

   Scott Rettberg - 28.01.2013 - 00:51

8. Интернет как гетто

   Если вы еще не знаете, что такое нет-арт, надо торопиться: он может исчезнуть вообще.

   За свое недолгое существование с середины 90-х интернет-арт — или, в принятой терминологии, нет-арт — пережил эволюцию, на которую традиционному искусству понадобилось несколько десятилетий: от освоения возможностей своего языка до беспринципной вседозволенности, где каждый желающий может назвать себя художником. А ведь вроде бы в распоряжении сетевых художников оказалась вся палитра известных изобразительных средств: текст, статичное изображение, видео и аудио. Интернет добавил интерактивность, возможность управлять отдельными элементами и даже изменять их в реальном времени. Именно в сети реализовались идеи художников хэппенинга, которые мечтали вовлечь случайных прохожих в процесс создания произведения. (из http://os.colta.ru/art/projects/132/details/2015/)

   Natalia Fedorova - 30.01.2013 - 18:30

9. Петербургская «Невидимая граница» в Москве

   Петербургская «Невидимая граница» в Москве

   Natalia Fedorova - 31.01.2013 - 01:27

10. Et P set forfra, bagfra og fra siden

    A reflective essay on the history of Afsnit P, from the beginning, through finding its form as a contemporary electronic culture critical website, towards the end and a new function as archive over added digital content and own development.

    Sissel Hegvik - 07.03.2013 - 20:56

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