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Arte Digital: Pixel, Algoritmo, Código, Programação e Dados
In this essay [Digital Art: Pixel, Algorithm, Code, Programming, Data], we reached a theoretical framework that could withstand a hyperdisciplinary analysis and encompass one of the characteristics that both electronic literature and digital art share: the transfer and transformation processes. In order to recognize these processes we used the concept of transduction to perform a theoretical migration capable of supporting these aspects: the transducer function.
Alvaro Seica - 26.09.2014 - 11:23
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Punkto 0
The coordinates are deceptive! Doesn’t matter the position of the point, but the force that it produces, the space that it opens in the landscape of the real. This issue zero aims to contribute to a non-cartesian idea of point. Thinking its meaning from four anti-geometrical hypotheses. The point as a beginning (a space opening); the point as force and disturb (maybe creative); the point as network (points that aggregate other points), but most of all, the point as something that takes place, that supervenes in the unquiet landscape of the real, a singularity.
The contributions presented here, depart from those coordinates and destroy them:
// They reflect on the creative nature that the point represents/identifies in the architectonic/artistic production landscape: Álvaro Seiça Neves, Pedro Bismarck.
// They identify strategies of thought/construction that evolve the connective and communicative singularity of the point: Pedro Oliveria, André Sier,
// They understand the role of the critic as (re)production and (re)cognition of creative points: André Tavares, Bernardo Amaral.
Alvaro Seica - 26.09.2014 - 13:51
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Early Digital Art and Writing
Decades before digital art and writing became widely transmitted and accessed online, pioneers in these expressive fields relied predominantly on sponsored exhibitions of their work. Prior to the emergence of the World Wide Web (WWW), computer-based practitioners desiring to share their compositions - and audiences interested in these contemporary developments - depended on a small number of sympathetic museums and galleries that promoted such innovations. In the 1960s and early 1970s, these exhibits tended to unite experiments produced by both digital writers and artists. Gradually, as electronic arts expanded in a way that digital writing would not until the proliferation of personal computing and global networks in the 1990s, subsequent exhibitions in the 1970s and 1980s predominantly featured graphical rather than language-oriented works. The arts, historically familiar with formal shifts in media in ways that literature was not, quickly responded to the calling of computerized machinery; writers more gradually adapted to digital possibilities.
(Source: Author's introduction)
Thor Baukhol Madsen - 06.02.2015 - 12:30
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Anacrón: Hipótesis de un Producto Todo
Anacrón, Hipótesis de un producto todo is the vertiginous text that calls to the dead and the imagination. Both the subjects are attached to Mexican culture since ancient times and more than ever in our actual global society. Anacrón is an eclectic aesthetic e-poem that aims to respect the linear textual reading of the poem while it explores the boundaries of collaboration, multimedia and video game. Gabriel, the poet, and Augusto, the bandit. The entire project has developed without meeting each other. All communication has been done by e-mail. The journey starts when Augusto found an abandoned book called Caja over a couch in a Cafe at Puebla city. Of course, he stole both: the coffee and the book.
(Source: ELO 2014 Conference)
Marius Ulvund - 12.02.2015 - 13:49
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Trust, representation and use of storytelling in online scams
Andreas Zingerle, from the University of Linz, visited Digital Culture at the University of Bergen on an Erasmus teacher exchange in week 8 of 2015. Zingerle presented his research on February 16 and also gave a workshop on February 18.
Zingerle writes:
My work focuses on human computer and computer mediated human-human interaction with a special interest in transmedia and interactive storytelling. Since 2010 I collaborate with Linda Kronman as the artist group 'kairus.org'. We have worked with the thematic of internet fraud and online scams, constantly shifting our focus and therefore approaching the theme from a number of perspectives like: data security, ethics of vigilante communities, narratives of scam e-mails, scam & technologies. Research subjects are online scammers, vigilante communities of scambaiters and their use of storytelling and technology.
Alvaro Seica - 17.02.2015 - 14:46
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Triggerhappy
Triggerhappy is a gallery installation whose format will be familiar to anyone who has encountered that early arcade game, Space Invaders combining an absurd quest for information with an old-fashioned shoot-em-up computer game. In this, it accurately reflects, and comments upon, the electronic environment in which we live, work and play. "In effect", the artists say, "triggerhappy becomes a folly. A self-defeating environment looking at the relationship between hypertext, authorship and the individual." They cleverly recontextualise existing representations and subject them to active manipulation on the part of the viewer, who becomes an unwitting participant in a meaningless game of "info-war".
-- Michael Gibbs, 1998
(Source: http://www.thomson-craighead.net/docs/thap.html)
Alvaro Seica - 26.04.2015 - 17:49
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Overboard: An Example of Ambient Time-Based Poetics in Digital Art
overboard by John Cayley, with Giles Perring, is an example of literal art in digital media that demonstrates an 'ambient' time-based poetics. There is a stable text underlying its continuously changing display and this text may occasionally rise to the surface of normal legibility in its entirety. However, overboard is installed as a dynamic linguistic 'wall-hanging,' an ever-moving 'language painting.' As time passes, the text drifts continually in and out of familiar legibility - sinking, rising, and sometimes in part, 'going under' or drowning, then rising to the surface once again. It does this by running a program of simple but carefully designed algorithms which allow letters to be replaced by other letters that are in some way similar to the those of the original text. Word shapes, for example, are largely preserved. In fact, except when 'drowning,' the text is always legible to a reader who is prepared to take time and recover its principles. A willing reader is able to preserve or 'save' the text's legibility.
(Source: Author's Abstract)
Alvaro Seica - 06.05.2015 - 22:01
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The ChessBard Plays
In short, the ChessBard inputs the algebraic notation for a chess game in .PGN format (digital file format for archived chess games) and outputs a poem. The poems are based on 12 source poems I wrote, 6 poems for the white pieces, 6 poems for the black pieces: there is a 64 word poem for each colour’s pawns, knights, rooks, bishop, queen and king. When a piece lands on a square it triggers a word from the source poems and the translator compiles them together and outputs a poem. For more, see http://chesspoetry.com/about/about/. The site itself includes a translator capable of inputting any chess game in .pgn format as well as a playable version that combines the translator with a chess-playing AI. In my performance I play a game versus the ChessBard on chesspoetry.com and project it and the subsequent poems that are translated in real-time.
Hannah Ackermans - 05.09.2015 - 11:53
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Redshift & Portalmetal
Redshift & Portalmetal asks: as climate change forces us to travel to the stars and build new homes and families, how do we build on this land, where we are settlers, while working to undo colonization? The story uses space travel as a lens through which to understand the experience of migration and settlement for a trans woman of color. Redshift & Portalmetal tells the story of Roja, who's planet's environment is failing, so she has to travel to other worlds. The project takes the form of an online, interactive game, including film, performance and poetry.
Jill Walker Rettberg - 22.10.2015 - 18:40
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Icarus Needs
Daniel Merlin Goodbrey’s Icarus Needs is part of a series of works in which Goodbrey draws on the dual aesthetics of comics and classic video games. Built in Flash, the piece is strongly visual and provides a world of panels to explore. The player moves Icarus through the panels using standard keyboard controls, encountering dream-like objects (such as an oversized telephone) and hitting many dead ends and simple item-based puzzles that block progression out of the dream. The game as dream metaphor is explored fully (as one fragment of text warns, “Don’t fall asleep playing video games”) and creates a compelling world of flat 2D visuals in different monochromatic palettes. Icarus Needs is a hypercomic adventure game staring everyone's favourite mentally unhinged cartoonist, Icarus Creeps. (Source: ELC 3)
The goal of the game is to find his girlfriend, save her and escape the game. He need's to complete different tasks to do so. The tasks are puzzles that Icarus needs to solve, and when a mission is given is either by Icarus himself or another character. He communicates trough talking bubbles.
Eirik Tveit - 06.09.2016 - 18:07
