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Spatial Remediations
This paper "Spatial Remediations: Navigating the social constructs of the interactive documentary image in Inside/Outside, The Unknown Territories Project, and Estuary" introduces three original works that use features of interactive documentary arts to explore social constructions of places and their attending narratives. The three interactive projects that are introduced are Inside/Outside, The Unknown Territories Project, and Estuary. The paper asks how tools of layering, compositing and navigation through documentary imagery in photography and film contribute to an understanding of the connection between social relationships and a sense of space.
Elisabeth Nesheim - 27.08.2012 - 14:54
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The New Gamified Social
How many friends do you have? How many followers? How many people have liked your recent post or video? How many shares or how many re-tweets did that post have? And then ultimately what is the total score? How influential are you?
These are questions that might not be openly asked but are always on social media users’ minds. Constantly looking after their “scores” and checking on the popularity of others’, users today clearly show that in the social networking world numbers matter. Numbers reveal how sociable users are, how popular their sayings are, how interesting their everyday life appears to be. High scores depend on the content, or rather the virtuosity of the user behind the content; on the way moments, actions and thoughts are captured, expressed and uploaded, in proper timing with a readiness for timely interaction.
Elisabeth Nesheim - 27.08.2012 - 15:07
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Where is E-Lit in Rulinet?
Almost two decades of Russian literary Internet (Rulinet) evoke observations about the directions it is taking and the communities shaping it. Runet (Russian language Internet) started as a literary phenomenon in the early 1990’s (Gorny 2007) with Dmitry Manin’s Bout Rimes and Roman Leibov’s ROMAN (Novel), Zhurnal.ru, Moshkov Library. The initial reason for this was technical – a low bandwidth internet meant it was necessary to engage audiences through textual means. A secondary reason was the emergence of Runet at a particular point in Russian history (according to different sources, simultaneously, or following, the collapse of the USSR) and in a particular Russian cultural context of literaturecentrism.
(Source: Author's introduction)
Elisabeth Nesheim - 27.08.2012 - 15:11
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Re-reading the Digital: An Inquiry Through Practice
Digital reading is not the same as reading a book, for several reasons. The main focus of this short piece brings together two of them: varying and implicit but usually hidden technological relationship/s; and a new and more complex construction of the reading Subject/ivity.
Elisabeth Nesheim - 27.08.2012 - 15:14
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Authorial Scholarship 2.0: Tracing the Creative Process in Online Communities
The age of letter writing is coming to an end, just as an era of e-mail, blogs, online groups, and social networks is emerging as a new mode of communication. The work of scholars interested in what writers have to say about their work has simultaneously become easier and more challenging, depending upon the technologies used by these writers. How do we conduct authorial scholarship in an age of digital media? This paper address this question through a case study: Flores' own research on Jim Andrews and his work, focusing on the challenges and affordances offered by the current media ecology.
Elisabeth Nesheim - 27.08.2012 - 15:18
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Players Only Love You When They’re Playin': Community as Algorithm in Programmable Poetics
Players Only Love You When They’re Playin': Community as Algorithm in Programmable Poetics
Elisabeth Nesheim - 27.08.2012 - 15:27
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Out of Place: Digital In-Grouping
Since the maturation of the mobile network and a pervasive immersion into social media, the concept of community has been irrevocably dislocated from traditional geographical interactions. Establishing what adequately characterises born or predominately digital groupings is being investigated and discussed in academic, public and civic arenas. Both the positive and negative positions have been voiced. Our "always on, always-connected" status (Antonelli 2008) has created a close and some would argue dependent psychological relationship with our technologies (Charles 2011). If we consider that these technologies have significantly changed our practical reality, a reality where human experience and technical artifact have, for many, become inseparable, and that we now live within a "life mix" (Turkle 2012) or pressured "cycle of responsiveness" (Perlow 2008) then traditional concepts of how community is enacted using (deleterious or not) technologies merits review.
Elisabeth Nesheim - 27.08.2012 - 15:31
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Stringing Disturbances in Poetic Array Spaces: Reading by Close Reading
Stringing Disturbances in Poetic Array Spaces: Reading by Close Reading
Elisabeth Nesheim - 27.08.2012 - 15:34
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Evaluating Digital Literature: Social Networks, Selection Processes and Criteria
The first experiments in digital literary forms started as early as the 1960s. From then, up to the mid-90's, was a period that, according to Chris Funkhouser (2007), can be considered as a “laboratory” phase. The rise of the Internet has resulted in the proliferation of creative proposals. The first involves indexing creative works in the form of databases, sometimes giving access to hundreds of works without any hierarchical order. Since 2000, digital literature has been experiencing a new phase, marked by the creation of anthologies. Over the years, the evaluation and selection criteria have proved to be as problematic as they are necessary for these projects. The main issue of this paper is to provide a critical discussion of these criteria.
Elisabeth Nesheim - 27.08.2012 - 15:44
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Thinking in Networks: Western/non-Western Interaction
This paper discusses artists' practices that in aesthetical-technical ways intervene into computer networked environments. The author is interested in Japanese media artists who, in interactive installations, rethink the use of technology that we encounter in the industrially-culturally compressed spaces of the metropoles, like Tokyo. These technologically saturated spaces have created super-density as a new cultural form of the present. The focus of the discussion is on artists' interventions in networks that in different ways make us aware of the possibilities for approaching and reflecting upon our behaviour in such media-cultural and ubiquitous mediascapes.
Elisabeth Nesheim - 27.08.2012 - 15:51
