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Rita Raley
Rita Raley is Associate Professor of English, with courtesy appointments in Film and Media Studies, Comparative Literature, and Global Studies at the University of California, Santa Barbara (UCSB). Her primary research interests lie at the intersection of digital media and humanist inquiry, with a particular emphasis on cultural critique, artistic practices, and language (codework, machine translation, electronic literature, and electronic English). Her book, Tactical Media, a study of new media art in relation to neoliberal globalization, has been published by the University of Minnesota Press in its “Electronic Mediations” series. Her most recent publications include the co-edited Electronic Literature Collection, Volume 2, as well as articles on poetic and narratological uses of mobile and locative media and text-based media arts installations.
Eric Dean Rasmussen - 31.01.2011 - 11:59
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List(en)ing Post
Raley's essay is a careful and descriptive reading of Hansen and Rubin's interactive installation "Listening Post" paying particular attention to complexities of reading a textual work based on live information feeds contributed by an anonymous crowd, a literary work that is perceived as a live embodied experience in a multisensoral "polyattentive" environment.
Eric Dean Rasmussen - 31.01.2011 - 12:04
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N. Katherine Hayles
Katherine Hayles is Distinguished Professor of English and media studies at the University of California, Los Angeles. Her research interests concern topics related to literature and science in the 20th and 21st century; 20th and 21st century American fiction; electronic textuality, hypertext fiction and theory; science fiction; literary theory; and media theory. With degrees in both chemistry and English literature, Hayles is one of the foremost scholars of the relationship between literature and science in the late twentieth century. She is the author six books, including How We Became Posthuman: Virtual Bodies in Cybernetics, Literature and Informatics (1999), which won the Rene Wellek Prize for the Best Book in Literary Theory for 1998-1999; and Writing Machines (2001), which won the Suzanne Langer Award for Outstanding Scholarship. Her most recent book is Electronic Literature: New Horizons for the Literary (2007).
Eric Dean Rasmussen - 31.01.2011 - 12:55
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slippingglimpse
In slippingglimpse, we model a ring in which the roles of initiator, responder, and mediator are taken by all elements in turn. Our mantra for this: water reads text, text reads technology, technology reads water, coming full circle. Reading then comes to mean something different at each stage of the poem, in all cases involving sampling. Ryan reads and captures the image of 'chreods' (dynamic attractors) in water. Strickland's poem text, by sampling, appropriating, and aggregating artists' descriptions of processes of capture, reads this process of capture. And the water reads, via Lawson Jaramillo's motion-capture coding, by imposing its own sampled pattern. A variety of reading experiences are enabled: reading images while watching text; reading in concert with non-human readers, computer and water; reading frame breaks (into scroll or background); or reading by intervening. For instance, reversibility and replay are available on the scroll, as are reading in the direction and speed you wish; while, in the water, regeneration of text is available, as are unpredictable jostling and overlays.
Eric Dean Rasmussen - 31.01.2011 - 13:07
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Romy Achituv
Romy Achituv is an experimental interdisciplinary artist whose work engages issues of representation, language, time, and memory. Underlying his practice is an ongoing interest in the language of visual representation and in dynamics of spectatorship and interaction. His projects often employ the language and formal attributes of his media to fabricate structural and visual metaphors. His work in new media has focused on digital expressions of time and space, experiments in nonlinear cinematic narrative, and the exploration of non‐linear linguistic structures. In recent years he has developed a particular interest in projects that explore the manifestation of digitally inspired paradigms in physical environments. Romy Achituv’s work has been widely exhibited and has been acquired by major international public and private collections. He is a member of the International Academy for Digital Arts and Sciences, and a founding member of ARTEAM Interdisciplinary Art, a non‐for‐profit art collective based in Israel.
Eric Dean Rasmussen - 31.01.2011 - 13:31
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Text Rain
"Text Rain is an interactive installation in which participants use the familiar instrument of their bodies, to do what seems magical—to lift and play with falling letters that do not really exist. In the Text Rain installation participants stand or move in front of a large projection screen. On the screen they see a mirrored video projection of themselves in black and white, combined with a color animation of falling letters. Like rain or snow, the letters appears to land on participants’ heads and arms. The letters respond to the participants’ motions and can be caught, lifted, and then let fall again. The falling text will ‘land’ on anything darker than a certain threshold, and ‘fall’ whenever that obstacle is removed. If a participant accumulates enough letters along their outstretched arms, or along the silhouette of any dark object, they can sometimes catch an entire word, or even a phrase. The falling letters are not random, but form lines of a poem about bodies and language. ‘Reading’ the phrases in the Text Rain installation becomes a physical as well as a cerebral endeavor."
Eric Dean Rasmussen - 31.01.2011 - 14:27
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Kissing the Steak: The Poetry of Text Generators
Syntext, developed by Pedro Barbosa and Abílio Cavalheiro in the early 90s (later partially re-versioned on the World Wide Web), is a collection of fifteen computer programs from the 70s, 80s, and 90s that automatically generate various styles of poetry in DOS. Though the texts made by each of the programs are thematically unrelated, through these pioneering works by Barbosa, Nanni Balestrini, Marcel Bénabou, and others, each of the predominant fundamental attributes of text-generators is clearly divulged. Syntext, despite being primitive on the surface, powerfully brings to light the expressive possibilities, versatility, and variation within permutation texts, and provides sufficient evidence upon which a typology of computer poems can be established.
(Source: abstract of conference presentation)
Eric Dean Rasmussen - 31.01.2011 - 15:28
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Alice Bell
My research interests are digital literature, narrative theory and stylistics. My monograph, The Possible Worlds of Hypertext Fiction, develops and supplements Possible Worlds Theory for its application to hypertext fiction. The text includes analyses of four canonical hypertext fiction works and also offers a theoretical evaluation of Possible Worlds Theory. In my current work, I am developing a number of other narratological and literary linguistic frameworks for the analysis of digital fiction including cognitive poetic and unnatural narratological approaches. I am the principal investigator of the Digital Fiction International Network (funded by The Leverhulme Trust Jan 2009 - Jan 2010). The network provides an arena for a new generation of scholars to collaborate on integral theoretical and analytical issues within digital fiction research.
Eric Dean Rasmussen - 01.02.2011 - 10:31
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Figurski at Findhorn on Acid
Richard Holeton's Figurski at Findhorn on Acid is a hypertext novel released for Storyspace by Eastgate publishers in 2001. The story follows the main character Frank Figurski’s quest to acquire a legendary mechanical pig. As Alice Bell points out, this was one of the last major hypertext works created using Storyspace, as authors began to move to web-based tools and CD-ROM based platform became outmoded (150).
Background:
Holeton's hypertext work originated as an award-winning short story “Streleski on Findhorn on Acid" published in 1996 (Grigar et al). That same year, he took part in Robert Kendell's online writing class "Hypertext Poetry and Fiction" at the The New School for Social Research, where he reworked the print story into an electronic text. He produced a novel-length draft for his masters thesis at San Francisco State University; it was the first electronic thesis approved by SFU (Grigar et al). The "canonical" version of Figurski at Findhorn on Acid was released on CD-ROM by Eastgate publishers in 2001.
Eric Dean Rasmussen - 02.02.2011 - 14:30
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Retournement
Retournement est une animation syntaxique de 1991. Ce n’est pas tant le mouvement des mots sur l’écran qui compte dans l’animation syntaxique, mais la modification syntaxique que ce mouvement entraîne. Ainsi, suivre les mots des yeux pour lire ou effectuer une lecture spatiale de l’écran « produit » des textes différents. La lecture pouvant à chaque instant basculer entre ces deux modes, le nombre de textes contenus dans ces quelques mots est indéterminé et il est impossible pour le lecteur de les construire tous à la lecture de l’animation. Il s’agit d’un type de générateur non algorithmique que seul un traitement spatio-temporel du langage permet et dont le lecteur est lui-même le moteur d’inférence. À certains moments de l’animation, le sens peut ainsi être perçu comme optimiste ou pessimiste selon la modalité de lecture ; un verbe peut même devenir son propre sujet, rendant la phrase performative. Tout cela dans un geste visuel temporel qui tient de la caresse souligné d’une improvisation au violon.
Scott Rettberg - 02.02.2011 - 14:30
