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Animal, Vegetable, Digital: Experiments in New Media Aesthetics and Environmental Poetics
In Animal, Vegetable, Digital, Elizabeth Swanstrom makes a confident and spirited argument for the use of digital art in support of ameliorating human engagement with the environment and suggests a four-part framework for analyzing and discussing such applications.
Through close readings of a panoply of texts, artworks, and cultural artifacts, Swanstrom demonstrates that the division popular culture has for decades observed between nature and technology is artificial. Not only is digital technology not necessarily a brick in the road to a dystopian future of environmental disaster, but digital art forms can be a revivifying bridge that returns people to a more immediate relationship to nature as well as their own embodied selves.
Scott Rettberg - 08.06.2018 - 09:12
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_Internal Damage Report_
“Internal Damage Data” uses the structure of a multiple choice questionnaire for self assessment of internal damage to shape the first part of the poem. For each question, Mez uses option C (maybe, unsure, other…) to develop her poem, seeking to transcend the traditional yes/no binaries in such questionnaires. In the part depicted above, she uses algorithms to structure her poem: using the logic and language of programming to guide the reader’s experience of the poem.
[From the "I Love EPoetry" “Internal Damage Data” and “Fleshis.tics” by Mez Breeze Entry.]
mez breeze - 11.08.2018 - 22:55
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TOPO_Trajectoires 20 ans de présence en art et littératures numériques
In 2018, TOPO is celebrating its 25th anniversary, and its 20th anniversary of involvement in creation and dissemination of digital art. The Montreal artist-run centre TOPO is a laboratory for digital writings and creations for web, performance, and installation spaces. Its mandate is to incubate, produce, and circulate original multimedia artworks that explore interdisciplinary and intercultural hybridizations in the digital arts.
It was through exploration of interactive narrative that the founders of TOPO – artists Michel Lefebvre and Eva Quintas – introduced TOPO to new-media circles in January 1998. A memorable ice storm had just ravaged Montréal when the FM network of Radio-Canada broadcasted a web-radio version of the three episodes of the photo-novel Liquidation, a first in Québec. This major pluri-media project, finalized in 2001 in the form of random fiction on CD-ROM, gave a foretaste of the organization’s orientations: collective creation, a multidisciplinary focus, exploration of various supports and narrative forms for new media, and extension of practices on the network into the public space and vice versa.Akvile Sinkeviciute - 26.09.2018 - 15:35
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Cody In Love
The narrator of Alan Bigelow's Cody in Love may well be the most human-seeming machine (or machine-like human) viewers will meet in their lifetimes, warrantied or not. In a piece that's made for the screen (as well as about the literal and figurative ones we live behind every day), form meets content as the viewer must make a choice: Take Cody's intimate confidences at face value, or peek behind the already threadbare curtain that casts shadows over the (pre-code) lovesick musings of a man-machine's inner life.
Source: https://www.cddc.vt.edu/journals/newriver/13Fall/editor.html
Chiara Agostinelli - 20.11.2018 - 16:34
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Towa Towa
Aaron Oldenberg gives new meaning to the phrase "bird's eye view" in Towa Towa, his visually-striking work of digital art steeped in Guyanese and Trinidadian culture. In addition to the whimsical fun of the challenge viewers take on as the presiding judges of bird debates, what strikes us about Towa Towa is its heavy emphasis on viewer involvement. Instead of voyeur, the viewer's role is of active participant, allowing for a more complete–if only digital–form of cultural immersion.
Source: https://www.cddc.vt.edu/journals/newriver/13Fall/editor.html
Chiara Agostinelli - 20.11.2018 - 16:39
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The Spectral Dollhouse
In Jilly Dreadful's hypertext work The Spectral Dollhouse, the death scenes are staged; the blood is (presumably) fake; and the owner of the house is, or was, a doll; and yet it looked like we'd seen ghosts after ouiji-ing our way through this work, which in the author's words, investigates "the literary oppression that women face in regards to the procreation of their stories and bodies" as well as the question of whether (and/or how) photography is representational of reality. In a way, though, we had seen ghosts, as Dreadful admits, "fiction haunts nonfiction," resulting in a piece that balances sure-footedly on the line where truth and artifice abut one another, with Dreadful taking handfuls of each to make one replete with the other.
Source: https://www.cddc.vt.edu/journals/newriver/13Fall/editor.html
Chiara Agostinelli - 20.11.2018 - 16:48
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Lines of Life
Navigate the chaos and destruction of modern life with your touchpad in Jody Zellen's Lines of Life, a collage of photography and digital sketches representing a global sampling of society's ills in which the myriad elements of disharmony conspire to caricaturize themselves.
Source: https://www.cddc.vt.edu/journals/newriver/13Fall/editor.html
Chiara Agostinelli - 20.11.2018 - 16:52
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We Are Fragmented
This digital artwork by Amira Hanafi was commissioned by the Centre for Applied Human Rights at the University of York, as part of the Navigating Risk, Managing Security, and Receiving Support research project.
It was made in response to research conducted in five countries (Colombia, Egypt, Indonesia, Kenya, and Mexico), where researchers spoke with human rights defenders around issues of security, wellbeing, and perceptions of ‘human rights defenders’ in their countries.
Reading through these transcribed and anonymized interviews, I was struck by the range and depth of emotions expressed. The speakers’ experiences resonated with me in their resemblance to the emotions I feel as a practicing artist in Egypt. This website translates my reading of these interviews into visual patterns, through a system of classifying sentences by emotions expressed and evoked.
The title of this work (we are fragmented) is taken from the words of one of the human rights defenders who participated in the research.
Hannah Ackermans - 25.03.2019 - 14:58
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Space and Landscape in Hearts and Minds: The Interrogation Project – Uncomfortable Proximities
This article focuses on the panoramic digital work Hearts and Minds: The Interrogations Project, and examines how it uses immersive audiovisual experience to examine the relationship between narrative memory, space and landscape. It argues that the spatial aesthetic of the work forces the audience members, the artists, and the narrators to interrogate their own conflicted positions in relation to the narratives of military power and torture. Hearts and Minds engages with visual perspective and space, and focalization through individual human voices, to consider agency, victimhood, witnessing and trauma, and does this in a manner that denies its audience a detached position from which to observe the events set in its digitally created environment.
Anna Nacher - 08.04.2019 - 20:41
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Electronic Literature, or Whatever It’s Called Now: the Archive and the Field
The umbrella term ‘electronic literature’ arches broadly over a multitude of digital art forms, so long as they satisfy the criteria ‘electronic’, and ‘literature’. However, it is this paper’s primary contention that the extent of the term’s coverage is delimited by whatever has already been archived. Understandings of what constitute ‘literature’ and the ‘literary’ are manifold and include concepts of the letterary (also as in ‘belles lettres’), the poetic, the lyrical – but also, the canonical, and the institutional. This paper will argue that that which can now be pointed to by literary and digital humanities scholars, and called ‘electronic literature’, is in large part only recognisable because archivisation has been used in its regard as an instrument for institutionalisation and canon-creation. This body of work is also only findable because archivisation has preserved it, faced as it is with the constant threats of platform erosion, and obsolescence sooner rather than later. Archivisation is therefore both a problem of media, and a problem of selection.
Vian Rasheed - 12.11.2019 - 03:35
