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River Writer VR
River Writer is a proof of concept for virtual-reality based interactive poetry-writing application. Set on a virtual levee at golden hour, users fish words out of a literal stream of consciousness-- words put into an array that flow from spawning volumes into an kill volume. This method creates randomization. The user then has the ability to carry and drop these word selections on an environment that essentially acts as a couplet palette in the three cardinal directions opposing the river of words. Over the course of “creative play,” a user has space to create at least 3 couplets or 6 lines of poetry, intentionally placing the randomized, fished diction on the level. The diction utilized for this proof of concept was taken from the digital born text “Diamonds in Dystopia” (written by Vincent A. Cellucci, published in Absence Like Sun" (Lavender Ink. 2019) and anthologized in Best American Experimental Writing, 2018, Wesleyan University Press), but other texts can be substituted in future iterations. This application and level was created by Vincent Cellucci with assistance from Marc Aubanel using Unreal Game Engine 4.
Vian Rasheed - 12.11.2019 - 03:04
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Diamonds in Dystopia: container & tool
What does a cutting-edge collaboration between music, visual, and literary artists look like and how did it evolve? This ongoing, transdisciplinary collaboration between said types of artists evolves a born digital interactive poetry application for every presentation and exhibition opportunity. Our mission as collaborators is to open up creative workflows for interactive technologies and artists interested in using them to benefit the presentation and experience of the visual, musical, or literary arts. We developed an interactive, live-streaming poetry web app that takes audience response to trigger improvisations, sensory experiences, and create an event-specific poem collectively. The user acts as collaborator by sending word selections that resonate with individual users by tapping text from a born-digital “seed poem” on their mobiles to trigger Markov chain reactions, which enables succinct recombination of massive amounts of language as source material.
Vian Rasheed - 12.11.2019 - 03:11
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Sound and queer affirmative space in augmented reality
Despite the burgeoning interest in the creation of imaginative spaces in AR and VR, very little focus has been given to sound. This paper borrows aspects of cinema studies and cultural geography to argue that sound can create a discursive environment and a queer space in Augmented Reality (AR). Referring to Michel Chion’s Audio-vision (1990), and Steven Shaviro’s Post-cinematic affect (2010), I explore how the assemblage of aural, visual and haptic in AR pieces, such as Caitlin Fisher’s ‘Chez moi’ (2014), create what Lev Manovich (2001) calls ‘hybrid spaces’, spaces visually disjointed but semantically connected. In ‘Chez moi’, Fisher invites the viewer to put on their headphones and watch the video on their smartphone while walking down Hayden street in Toronto, where the lesbian bar Chez moi was located when Fisher was a teenager. The audiovisual piece augment the physical reality of the viewer through a montage of various media forms, such as Fisher’s voice over, images of news reports, and fictitious audio and images.
Vian Rasheed - 12.11.2019 - 03:21
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Seedlings_
Seedlings_ is a digital media installation that plants words as seeds and lets them grow using the Datamuse API, a data-driven word-finding engine. It is at once an ambient piece in which words and concepts are dislocated and recontextualized constantly, and a playground for the user to create linguistic immigrants and textual nomads. In Seedlings_, a word can be transplanted into a new context, following pre-coded generative rules that are bundled under the names of plants (ginkgo, dandelion, pine, bamboo, ivy…). These generative rules consist of a series of word-finding queries to the Datamuse API such as: words with a similar meaning, adjectives that are used to describe a noun, words that start and end with specific letters. They are then grouped in modules to represent the visual structure of the corresponding plant and can be constrained with a theme word. A new plant can be grafted on top of the previous plant by switching to a new starting point from the latest generative result.
Vian Rasheed - 12.11.2019 - 03:28
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Electronic Literature, or Whatever It’s Called Now: the Archive and the Field
The umbrella term ‘electronic literature’ arches broadly over a multitude of digital art forms, so long as they satisfy the criteria ‘electronic’, and ‘literature’. However, it is this paper’s primary contention that the extent of the term’s coverage is delimited by whatever has already been archived. Understandings of what constitute ‘literature’ and the ‘literary’ are manifold and include concepts of the letterary (also as in ‘belles lettres’), the poetic, the lyrical – but also, the canonical, and the institutional. This paper will argue that that which can now be pointed to by literary and digital humanities scholars, and called ‘electronic literature’, is in large part only recognisable because archivisation has been used in its regard as an instrument for institutionalisation and canon-creation. This body of work is also only findable because archivisation has preserved it, faced as it is with the constant threats of platform erosion, and obsolescence sooner rather than later. Archivisation is therefore both a problem of media, and a problem of selection.
Vian Rasheed - 12.11.2019 - 03:35
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Polish “aesthetics”: Vaporwave outside the center
Vaporwave is an artistic movement, developed under the conditions of global capitalism, which functions in the space of global Internet. Piotr Płucienniczak – author associated with electronic literature, but also with Polish redefinition of vaporwave aesthetics, emphasizes that vaporwave is, on the one hand, an international cultural code, and on the other hand presents critically and ironically "goods inaccessible to us, poor people". I would like to discuss this paradox in my speech based on the analysis of the Polish postvaporwave projects. The western, American vaporwave is generally described by its critics (also in Poland) by means of hauntology, accelerationism and nostalgia. The Western vaporvawe expresses nostalgia for the 90s – a time of utopian thinking about timeless prosperity and development of technology. I put forward the thesis that these categories (especially nostalgia) do not quite match the Polish varieties of vaporwave aesthetics. The most recognizable, comprehensive and well thought out Polish vaporwave project is Z U S w a v e.
Vian Rasheed - 12.11.2019 - 03:40
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Digital Sound Poetry: Peripheral Platform for Posthuman Performativity
According to Steve McCaffery (1998), sound poetry’s primal goal concerns “the liberation and promotion of phonetic and sub-phonetic features to language to the state of a materia prima for creative, subversive endeavors.” (163). Accordingly, it thrives on an embodied conflict between expectation and interpretation as it allows communicative ‘uptake’ while problematizing the communicative ‘relation.’ Or, as Brandon LaBelle (2010) argued, “sound poetry yearns for language by rupturing the very coherence of it.” The ‘techniques’ thereby employed vary widely: mounting idiosyncratic language and notational systems, performing spontaneous and improvised poetical oralities, fooling with the performer’s body to rupture the ordered movements of vocality, or indeed by appropriating new technologies and digital devices in order to disassemble, reconfigure, and ‘cobble together’ personal or imported sounds and utterances.
Vian Rasheed - 12.11.2019 - 03:47
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Walking Simulator Video Games–A New Digital Storytelling Artefact–Transportation, not flow
In the past decade a new genre of video games has emerged; with little action or traditional gameplay this new form has been described as audiovisual novels, ‘freeform unstructured narrative’ (Heron & Belford, 2015), ‘narrative avant-garde’ (Koenitz, 2017), ‘walkers’ (Muscat et al., 2016), ‘literary games’ (Ensslin, 2014), or ‘Walking Simulators’ which was added to the Urban Dictionary in April 2014 as a pejorative description of games where the main purpose appears to be walking around. This new genre has its antecedents in text adventure games, Point and Click adventure games, digital fiction, and art games, yet defining the Walking Simulator as ‘simply’ a game is an unproductive argument in itself (Fest, 2016). Aims and research questions: How do we categorise Walking Simulators? How should we analyse them? What can we find out from that analysis? Methodology and analytical framework Taking a broadly representative sample of Walking Simulators published in the past ten years (most have received critical acclaim and also won BAFTA and similar awards) some common features were identified.
Vian Rasheed - 12.11.2019 - 21:20
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The Crisis of Representation: Glitch Art and the Rise of Technological Abstraction
Since the emergence of photography in the 19th-century, ‘technical images’—which media philosopher Vilém Flusser defines as images constructed through the use of an ‘apparatus’— have replaced traditional images (sketching, drawing, painting, etc…) as the principal mode of objective documentation for mapping and representing reality. In fact it is this perceived objective character of the medium that has historically problematised its classification as an accepted artform. As a reaction, artists have long explored methods for circumventing the overriding social status of photography, by developing practices that operate to undermine its primary existence as strict documentation. Historical examples of this include, the photomontage of the early 20th-century by Dada artists (eg. Kurt Schwitters, John Heartfield), who spliced together images from mass media in order to construct new aesthetic scenes, and The Pictures Generation of the 1970s and 80s (eg.
Vian Rasheed - 12.11.2019 - 22:08
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Legends of Michigami: Riding the Rust Belt
Riding the Rust Belt is one in a series of (hyper)videos that comprise the Legends of Michigami project. The videos map the routes of trains along the shores of Lake Michigan. These works trace a drama of the western Great Lakes – stories revealed in place and landscape. The persistent motion of the train is metaphoric for time passing whether we want it so or not – for the way human beings (in the name of progress or circumstance) are swept up in inevitable social and economic shifts. Riding the Rust Belt addresses the evolution of industrial cities on the shores of Lake Michigan. It takes place in one day: a ride from Millennium Station in Chicago to Gary, Indiana. 25 miles on the ground and decades back in time.
Author statement:
Vian Rasheed - 12.11.2019 - 22:30
