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"a crisis in se_Mantics: gendered symbols and notion" in computer graphics imaging
Computer Graphics Imaging, CGI, is a rapidly growing industry permeating a variety of disciplines such as the military, the arts, and the sciences. Despite its state of the art character, CGI is a gendered technology manifesting itself in gendered disciplines. The application of CGI marks two highly significant events: one is the virtual and real experience of sexualized death and destruction. The other is reproduction by virtue of its presence and application in Bioinformatics.
Scott Rettberg - 15.01.2013 - 19:45
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Formes libres flottant sur les ondes
As a writer, I've always had a deep interest in the relations between words, and images. To me, they are the two members of an original sign which by itself was able to give things their meaning. Using the web authoring tools that makes mixing words and images easy, we can try to find this first means of representation again. But quickly this reasoning becomes invalid. We will never find this original sign again. We are, on the contrary, living in a world where words have been deprived of their power to name things by the abundance of images. This generates a misfortune that can be read in my Formes libres flottant sur les ondes.
(Source: 2002 ELO State of the Arts gallery)
Scott Rettberg - 15.01.2013 - 20:48
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The Hollow
A visual poem created with Macromedia Flash. It pictures a self that strives with closure and isolation. The theme of the work is the relation between individual world and external environment.
(Source: 2002 ELO State of the Arts gallery)
Scott Rettberg - 15.01.2013 - 21:40
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The Nothings
A modular novel for the net, named for the first decade of the 21st century, and designed to allow random or linear access and reader assembly.
Scott Rettberg - 17.01.2013 - 12:50
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Невидимые города (Invisible Cities)
"Невидимые города" состоят из 55 главок, в каждой из которых Марко Поло описывает Кублай-Хану некий якобы посещенный им город его империи. (Вопрос о внутрироманной реальности Кублая, Марко, правдивости его рассказов и соотношении повествоательных уровней довольно сложен и подробно мною уже рассматривался отдельно). Эти 55 главок-городов распределены, с одной стороны, по одиннадцати "тематическим группам", названных по какому-то одному преобладающему признаку или свойству описания ("города и память", "города и глаза" и т.д.), а с другой стороны, по девяти главам, по пять описаний в каждом (кроме первой и последней главы, где их по десять). Каждая глава обрамлена интермедиями-диалогами Марко и Кублая. При преобразовании в гипертекст противопоставление "с одной стороны - с другой стороны" получило зримое воплощение: тематическая структура книги отражается в правом фрейме, а поглавная - в левом. Эти фреймы двухуровневые; возврат от низшего уровня (все города одной темы или одной главы) к высшему (перечень всех тем или список всех глав) осуществляется при помощи картинки.
Natalia Fedorova - 27.01.2013 - 02:56
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Discipline
With this curious little poem, Ana María Uribe uses a simple modification of a row of letter H— extending the arms and legs of the letter H into ascenders and descenders (respectively)— to imbue them with life. The music and German-like orders barked at these letters make them seem like soldiers marching, exercising, and performing a drill all over the window space. There is tension between the individuality of each letter color and the sameness of each letter’s shape and motion, which that breaks down in the image above as the voice barking orders becomes increasingly frantic. (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 01.02.2013 - 15:49
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<? echo [THE_SIGNIFIER] ?>
This suite of 20 short pieces, is focused on technologies and codes left behind in the ever accelerating change of computer systems. Thuan describes it as “a requiem without mourning, sorrowing or lamenting since they are always recycled and resurrected, by one way or another, in different signifiers.” And indeed, some of these pieces use codes and HTML functionality already passé and mostly forgotten in 2006, such as pop up windows, link mouseovers to reveal texts through improved color contrast, frames, tables, menu windows, and so on. This isn’t just nostalgia, however, because Thuan is able to shake us up with scans (real or simulated?) of our browser cache or computer’s hard drive to reveal porn, options that may or may not send information about ourselves or our computer system (our digital self) to sources we may not trust, and other procedures that remind us that just because we cannot see the code doesn’t mean it isn’t there, active and readable. He also reminds us of code with texts in a hybrid of natural and computer language reminiscent of Mez Breeze’s mezangelle.
Hannelen Leirvåg - 02.02.2013 - 12:19
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Chronicle of Deaths Forgotten
This piece juxtaposes images of the Statue of Liberty and looped segments of powerful choral music with textual excerpts of small lives lost and forgotten. Their stories are partly hidden by the interface, its size and color contrasts, as different words and the background itself change color over time and as the result of mouseovers. Duc Thuan makes these texts deliberately challenging to read while the Statue of Liberty is foregrounded and shown in great details, perhaps to dare its readers to allow the texts to fade into the background, becoming complicit in the forgetting of these chronicles. After all, who remembers the “poor,” the “huddled masses,” the “homeless” welcomed to the United States by this unforgettable new colossus? (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 02.02.2013 - 12:28
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Enigma n2
In this poem, Andrews returns to the question of what is the meaning of language in digital media (as he posed in “Enigma n” 4 years earlier), this time drawing attention to the materiality of its sound rather than its visual information. When played continuously from start to finish we can hear a slightly manipulated recording of Andrews’ voice saying “meaning” three times with different tone and enunciation. The visual information in this poem is the audio waveform for the recording- an important interface to manipulate audio files in audio editing software, such as Audacity (free, open-source, cross-platform software— I recommend it). The neat thing about this poem is that it randomly selects a starting point in the waveform and a width for a selection area, automatically playing that loop a random number of times before jumping to a new random location and width (or shall I say duration?). The reader can select where to go, but not the other variables, drawing attention to words, letters, spaces between words, and even phonemes. Is there meaning in sub-phonemic pieces?
Hannelen Leirvåg - 02.02.2013 - 13:35
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White Poem
This poem reads like a riddle in the Anglo-Saxon poetic tradition evidenced in Beowulf and the Exeter Book. A common characteristic is for the object to be the speaker describing itself through personification, metaphor, and double entendres (often sexual). (Source: Leonardo Flores, I ♥ E-Poetry)
Hannelen Leirvåg - 08.02.2013 - 19:53
