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Modern Moral Fairy Tales
Modern Moral Fairy Tales is a tale told in 18 (chai) nodes. The story has two main lines--an upfront fairy tale dealing with greed, isolation, Nigerian scams, and online learning. The shadow story for this main line concerns a sentient internet cafe and a state run dissemination of information or suppression of information, depending on how you approach it. MaJe thought this was waaaaay too dark, and hid an Official History of Salmon in Clear Water Ravines, which posits a much better society--under the waves. Her shadow story handles the day to day life of salmon, from financial news to recent literary acquisitions.
Deena Larsen - 20.06.2012 - 18:59
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Transient Self-Portrait
Transient self–portrait is an artistic research project with the aim of creating an interactive piece.
I take as the point of departure two pivotal sonnets in Spanish literature that are normally studied
alongside each other, En tanto que de rosa y azucena by Garcilaso de La Vega, a 16th Century
Spanish poet, using Italian Renaissance verse forms and Mientras por competir con tu cabello by
Luís de Gongora, a 17th Century Spanish poet from the Baroque period. Gongora’s sonnet is a
homage to Garcilaso’s and the styles and the cultural aspects that appear on the sonnets are very
different reflecting the attitudes from the Renaissance and the Baroque.Eric Dean Rasmussen - 20.06.2012 - 19:33
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Gesture-Driven Electronic Literature for Mobile Devices: The Gestural Narrative Interaction Engine (GeNIE)
Gesture-Driven Electronic Literature for Mobile Devices: The Gestural Narrative Interaction Engine (GeNIE)
Eric Dean Rasmussen - 20.06.2012 - 19:35
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Prosthesis, or The Forthcoming Public Cloud IaaS Magic Quadrant Tenancy
This new public cloud covers a subset of the market covered by the existing cloud. Please consult cloud market segmentation to understand the segments covered. The existing covers the traditional market (with an emphasis on managed complexity), along with all eight of the cloud market segments. It covers both public and private cloud. This new offering covers multi-tenant clouds. It has a strong emphasis on automated services, with a focus on the scale-out cloud hosting, virtual lab environment, self-managed virtual data center, and turnkey virtual data center segments. The existing weights managed services very highly. By contrast, the new emphasizes automation and self-service. When we say "public cloud", we mean massive multi-tenancy. This means that the service provider operates, in his or her data center, a pool of virtualized capacity in which multiple arbitrary users will have virtual machines on the same physical server. None need have any idea with whom he or she is sharing this pool of capacity. This does not include any of the cloud-enablement vendors nor does it include any of the vendors in the ecosystem.
Eric Dean Rasmussen - 21.06.2012 - 11:33
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Reading Virtual Geographies
In John Muir's first published article, "Yosemite's Glacier," the eminent nature writer compares Yosemite Valley to a worn book, suggesting that to understand the physical geography of the valley a visitor must employ a reading practice similar to the study of literature. Over the century since, nature writers and ecocritics have continued to call for a more critical engagement with our natural world through literature and other media. However, as 21st century readers who are perhaps more likely to experience Yosemite Valley via Google Earth than in Muir's prose--much less as a physical space--we must begin to ask how or in what ways can we continue to "read" natural spaces as that are increasingly mediated through digital tools such as Google Earth and Second Life. To address this question I argue that we must learn to apply the same ecocritical reading practices that give subjectivity to the natural world to the digitally mediated geographies that increasingly define the spaces we inhabit.
Eric Dean Rasmussen - 21.06.2012 - 12:41
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Slow Games, Slow Poems: The Act of Deliberation in "Slow Year"
“Video games are actions,” declared Alexander Galloway in a manifesto that stakes out the
essential differences between videogames and other forms of expressive culture, such as
literature, photography, and cinema. But what about videogames in which action looks like
inaction? What about videogames in which action means sitting still? What about a videogame
that purports to be less a game and more a meditation—a work of literature? In this paper
I explore a prominent yet remarkably understudied example of a slow game—a game that
questions what counts as “action” in videogames. This game is A Slow Year (2010), designed
for the classic Atari 2600 console by Ian Bogost. Comprised of four separate movements
matching the four seasons, A Slow Year challenges the dominant mode of action in videogames,
encouraging what I call “acts of deliberation.” These acts of deliberation transform the core
mechanic of games from “action” (as Galloway would put it) into “experience”—and not just
any experience, but the kind of experience that Walter Benjamin identifies as Erfahrung, anEric Dean Rasmussen - 21.06.2012 - 12:55
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Re:Cycle - A Computationally Generative Ambient Video System
Ambient video art is designed in the spirit of Brian Eno's ambient music - it must never require our attention, but must reward our attention whenever it is bestowed. It comes in many forms, ranging from the kitsch of the Christmas yule log broadcast to more mature moving image art created by a number of contemporary video artists and producers. The author has created a series of award-winning ambient video works. These works are designed to meet Eno's difficult requirements for ambient media - to never require but to always reward viewer attention in any moment. They are also intended to support viewer pleasure over a reasonable amount of repeated play. These works are all "linear" videos - relying on the careful sequencing and meticulous transitioning of images to reach their aesthetic goals. Re:Cycle uses a different approach. It relies on a computationally generative system to select and present shots in an ongoing flow - but with constant variations in both shot sequencing and transition choice. The Re:Cycle system runs indefinitely and avoids any significant repetition of shots and transitions.
Eric Dean Rasmussen - 21.06.2012 - 12:57
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Locating the Literary in Electronic Ludicity: Jason Nelson's Evidence of Everything Exploding
Literary gaming (Ensslin 2014) is situated at the interface between literary computer games and ludic digital literature. The conjunction of literary close-reading and gaming is inherently paradoxical because literature and computer games are two entirely different receptive, productive, aesthetic, phenomenological, social and discursive phenomena. Reading, according to Hayles (2007), requires deep attention, which allows subjects to focus on an artefact such as a print novel or digital fiction for an extended period of time without, however, losing a sense of the actual world surrounding them. Gameplay, on the other hand, typically involves hyperattention, which literally glues players to the screen, thereby creating "artificial" basic needs, such as the urge to finish a level or quest before being able to focus on any other activity. (Literary) art games tend to "détourn" commercial game aesthetics (Dragona 2010, Vaneigem 1967) to evoke a critical meta-stance in players towards the ludic and textual expectations created by mainstream game culture.
Eric Dean Rasmussen - 21.06.2012 - 13:51
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Abandoning Canon: Fluid Texts and Implicit Collaboration in Electronic Narratives
Digital technology enables artists - photographers, musicians, writers, filmmakers, illustrators,
animators, etc. - to place their work not in a strictly definable where, but effectively everywhere
(everywhere, that is, where infrastructure and access are available). Where once the lines between
author, text, and reader could be drawn with linear vectors, digital technology and their increasing
availability and accessibility bring author, text, and reader into a potentially endless cycle of narrative, creation, wherein the roles are fluid and the text may never be fixed. Because of this capability, Astrid Ensslin argues that the idea of literary canon must depart from "its traditional self-contained, closed, and rigidly exclusive connotations. Instead, an inclusive, open concept has to be adopted, which works in terms of a continuous process of integration, modification and discharge" (2006, n.p).(Source: Author's abstract, 2012 ELO Conference site)
Eric Dean Rasmussen - 21.06.2012 - 13:53
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Marking Transition: the Work of Neal von Flue
For any regular Internet user, the hyperlink has become ubiquitous, almost rendered invisible
through the frequency of its use. Trails in hypertext are meticulously laid out through the
seemingly endless streams of data, connected by links imagined as points of intersection in the
web. Links are used for reference, for navigation but also extensively in creative production, to
fashion hypertextual narratives and images. It is in this realm of electronic literature, both visual
and textual, that the function of the link shifts from the commonplace to a carrier of aesthetic
potential.This presentation examines the aesthetic activation of the hyperlink as both an indicator of
transition and site of transformation. It is a brief exploration of the hyperlink as a signifier, a
mark both on and in the 'surface' of the digital text, through a close case study of two works by
hypercomic creator Neal von Flue.Eric Dean Rasmussen - 21.06.2012 - 13:54