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Privacy Through Visibility: Disrupting NSA Surveillance With Algorithmically Generated "Scary" Stories
Computational artists engage the politics of networked communication through code. By
creating net art, hacktivist projects, and "tactical media," artists illuminate the dark sides of
networks, challenge the notion of the network as a liberating force, and propose mechanisms
for tweaking the "evil media" these networks facilitate. A primary example of network-based
politics is the US National Security Agency's (NSA) email surveillance efforts recently revealed
by Edward Snowden. Using systems to examine our text-based digital communications, the
NSA algorithimically collects and searches everything we write and send in a futile effort to
predict behaviors based on words in emails. Large collections of words have thus become
codified as something to fear, as an indicator of intent. This presentation will explore the
methods of artists who engage the politics of digital surveillance using algorithmically
generated language, and will explore the question of whether computationally produced text
can combat computational text analysis. A focus will be the author's project ScareMail,Alvaro Seica - 19.06.2014 - 16:35
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Gaming the City: Telephone City and Social Spaces of Transformation
In pervasive gaming, the city is transformed into a platform for public storytelling and play. In this paper I will address the potentialities and challenges inherent in devising a city-specific pervasive narrative. Play is the ultimate learning tool for humans, so much so that researchers see “play as essential not just to individual development, but to humanity’s unusual ability to inhabit, exploit and change the environment” (Dobbs). One of games’ most intoxicating aspects is their pervasive nature.
Alvaro Seica - 19.06.2014 - 16:41
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Learning to Throw Like Olympia: E-Lit and the Art of Failure
Viewed next to print literature, e-lit appears as a poor copy, a replica(nt) lacking both the genius agency of modernism and the abject subjectivity of postmodernism. In this talk, I will use the concepts of re-territorialization (Deleuze and Guattari) and “the open” (Giorgio Agamben) to show how, like Hoffman’s automaton, the “born digital” is powerful precisely because it fails to deceive. Neither preserving nor directly opposing the conventions of print-lit, e-lit functions as a reflecting apparatus that unmasks language and meaning-making as machines through the revelation of its own machine-works. Using multifarious examples from the work of Alan Bigelow, Mez Breeze, Emily Short, Jason Nelson, and others, I will show how these re-inscribe obstruction, glitch, error, randomness and obsolescence as potentiality. In doing so, they repurpose the productive and reproductive functions of writing not for some finite end or product, but for play.
(Source: author's abstract)
Jill Walker Rettberg - 19.06.2014 - 20:09
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A manifesto supporting a creative digital literature
L’école comme l’université ont trop long- temps asservi l’écriture au seul dogme de l’accès aux savoirs et à l’injonction de la communication.
Elles l’ont cantonnée à un rôle instrumental, en marge du sillage du capitalisme cognitif (Yann Moulier Boutang), à travers des modes de production industrielle des connaissances, la vidant peu à peu de ses dimensions artistiques, esthétiques et politiques (Luc Dall’Armellina, a).
La situation est telle aujourd’hui qu’écrire n’est plus pour la plupart des élèves et étudiants qu’un passage obligé, une compétence parmi d’autres, une technique qu’il faut bien manipuler puisqu’elle est nécessaire pour réussir à l’école, quelle que soit sa discipline.
Scott Rettberg - 19.06.2014 - 20:27
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The danger of a simple story
This presentation uses Chimamanda Adichie’s lecture The Danger of Single Story as a starting point to discuss how new media technologies can be used to counteract the simplistic narratives typically assigned to marginalized communities and allow for a more nuanced depiction. By examining two of the presenter’s multiformat, multi-year, transmedia documentary projects: Closer: A Journey with Charles and Punk Rock Mommy: Ephemeral the question of complexity versus economy will be addressed. The discussion will address: creative process, strategies for shared authorship that provide the subject with agency, justification for the technological variety, and respond to the challenges of this approach. With multiple channels containing varied information some viewers/readers/participants become disinterested where others find themselves immersed in the narrative. Mainstream audiences sometimes prefer the minimal investment required by a narrative where the text clearly states how one should feel about a subject.
Scott Rettberg - 19.06.2014 - 20:30
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Visualizing la(e)ng(-u-)age
Electronic literature not only engages “new media” elements (such as links, navigation, structure, animation, color, images, sound, computer programming) but also toys with the very foundation of literature—the language itself. After 20 years, we need to look back to remind people about these en(gag)(-tangl-)ements. As language is rapidly shifting with new te(xt )chnologies, we need to look ahead to see where electronic literature can engage with these emerging forms of language.
First, I will briefly present previous works to provide a history of electronic literature’s engagement with language. I will cover:
Character-augmented languages such as:
· Talan Memmott’s Lexia to Perplexia and Mez’ mezzangle (languages using regular fonts which add or subtract characters to words to create other words, usually employing parentheses)
· My work-in-progress Chronic (a handwritten language which adds or subtracts letters in a similar manner but employing upper characters to add letters and overbars to subtract letters)
Visual languages such as:
Scott Rettberg - 19.06.2014 - 20:31
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Collaborative Creativity in New Media (roundtable)
A presentation of the joint course "Collaborative Creativity in New Media" which took place in 2013 at the University of Bergen. Involving students and faculty from Bergen, the University of Minnesota Duluth, Temple University, and West Virginia University, the course was an experiment in developing a new model for teaching electronic literature and new media arts production as a collaborative process.
Scott Rettberg - 19.06.2014 - 20:41
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Life Poetry Told by Sensors
Life Poetry Told by Sensors
Jill Walker Rettberg - 19.06.2014 - 20:43
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Postcommunist E-lit
Lenin proclaimed that communism is the soviets at power plus electrification of the whole country. Constructivists, starting with A. Gan (1912) were advocating mechanical approach to creation in accordance with the communist ideology of anti-elitist art for people. Velimir Khlebnikov and Roman Jakobson demonstrated the tools for poetic demontage of the language. Later on the years of inventive underground samizdat publishing and circulation practice provided for wider understanding of textual materialities. Despite the rich technological and poetic experimentation history, the emergence of neteratura (net literature), or cyberature (cyberliterature) took place only in the 1990s under the influence from the States. Runet (Russian language segment of the Internet), although its first very few users were singular scientists in the 1980s, started publicly as a literary phenomenon with Dmitry Manin's Bout Rimes (1995) and Roman Leibov's ROMAN (1995), Zhurnal.ru, and Moshkov Library.
(Source: Authors Abstract)
Scott Rettberg - 19.06.2014 - 20:43
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The formation of the field of electronic literature in Poland
Polish electronic literature developed in parallel to similar work in Western Europe and the United States. The difference was context – the first Polish digital literary experiments appeared during the heyday of communism in the 1970s. The Polish author Robert Szczerbowski came up with his untitled hypertext about the same time Michael Joyce wrote afternoon. a story – just a few years after the end of martial law in Poland. As the first literary works on floppy discs appeared at the beginning of the 1990s, Polish society was in the midst of a profound political transformation which began in 1989. These political events coincided with the development of technology, which influenced the fields of literature and art. Because of the Iron Curtain, the country’s isolation and its artists lack of deeper contacts with their Western counterparts, the status of literature was constructed differently, with its impact and obligations defined by ethics rather than aesthetics.
Scott Rettberg - 19.06.2014 - 20:45
