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I know that somewhere this is a homage some where
"I know that somewhere here this is a homage some where" is a mixed media appropriation designed to be streamed via a web browser. It combines the opening seqeunce of Welles' "Citizen Kane" with text from Nelson's "Literary Machines". This intertwingling reverberates in all sorts of ways, simply in their being drawn together. Kane's mansion (never finished) was Xanadu, and of course Coleridge's poem "Kubla Khan" was the result of a vision that was never able to be realised. Yet from within these impossible visions (which is probably also a rather apt way of considering Welles' life as a film maker) great works have been produced. There are other, more complex layers - for instance Citizen Kane's narrtive structure as memory palace, the film's appropriation of other discourses (newsreel, radio, literature), its play between the linear temporality of cinema and the nonlinearity of its flashback structure - but these are less explicit than the simple corollaries between Xanadu, Coleridge, Welles and Nelson.
(Source: Author's description from The New River 6)
Scott Rettberg - 12.10.2011 - 12:18
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Developing: the Idea of Home
If, as Henri Lefebvre asserted, "spatial thinking" involves several different ways of conceptualizing space-as idea, as lived, as imagined-then perhaps an open system of examples can generate new ideas about "home" in the future. This is an experiment in reading; the CD-ROM is organized in an associative manner, since the subject radiates in so many different directions. There is obviously a "direction" here, that is no hidden-but the user may peruse and reconnect the fabric of the piece in many different ways. And, if our habitat may be located within a given social order, defined by economics, culture, and history, these forces must be viewed as interacting, rather than fixed.
Scott Rettberg - 13.01.2013 - 21:48
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v i r a l p o e t i c s
Some writers and theorists postulate that the most important literary art in the future will be translation. I believe that this translation is not simply between different global languages, for example, but between different manifestations of all expressive form, with a redefinition of what the expressive and the aesthetic fundamentally is. Translations: data into the verbal, the verbal into the visual, the visual into the audible, the audible into the tactile.
The theory and practice of poetry, concerning itself with such fundamental questions as what poetry is, what it does, and how it should be composed and "written," is known as poetics. Here I am concerned with the poetics of the computer-how form is transmutable, how tasks are multiple and fluid, and how to create with a machine that was intended primarily to number crunch. To this end, I am creating a virus which will explore a workstations architecture and will create a poetics of the computer as its own autonomous object, with guest data from users such as you or me.
Scott Rettberg - 19.01.2013 - 15:24
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The Child
DESCRIPTION FROM CRITICAL COMMONS: The materialization of text in an urban landscape is nowhere more in evidence than in French designer Antoine Bardou-Jacquet's video for Alex Gopher's The Child. Bardou-Jacquet's all-textual rendering of New York city borrows its basic concept from Jeffrey Shaw's Legible City project from the late 1980s, while stripping narrative volition away from the viewer. Whereas Shaw's project allows reader-users to simulate moving through geographically and architecturally correct streets of Amsterdam, Manhattan, or Karlsruhe on a stationary bicycle while reading the text of a story mapped onto buildings in the city, The Child delivers a high-speed chase through the streets of New York City with both landmarks and people rendered as all text. The tension that exists in these works hinges on the conflict between real and constructed environments, as well as the insistent interplay of surface and depth.
Jill Walker Rettberg - 28.06.2013 - 22:20
