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1. Hyperrhiz 05: Move

   Hyperrhiz 05: Move

   Helen Burgess - 20.06.2012 - 19:56

2. Software Studies, a Lexicon

   This collection of short expository, critical, and speculative texts offers a field guide to the cultural, political, social, and aesthetic impact of software. Computing and digital media are essential to the way we work and live, and much has been said about their influence. But the very material of software has often been left invisible. In Software Studies, computer scientists, artists, designers, cultural theorists, programmers, and others from a range of disciplines each take on a key topic in the understanding of software and the work that surrounds it. These include algorithms; logical structures; ways of thinking and doing that leak out of the domain of logic and into everyday life; the value and aesthetic judgments built into computing; programming's own subcultures; and the tightly formulated building blocks that work to make, name, multiply, control, and interweave reality. The growing importance of software requires a new kind of cultural theory that can understand the politics of pixels or the poetry of a loop and engage in the microanalysis of everyday digital objects.

   Patricia Tomaszek - 03.09.2012 - 17:47

3. Netzliteratur in der Lehre: Fachliche Kompetenzen vermitteln und erwerben durch kooperatives Blended Learning

   My major investigation in my master’s thesis was based on a class held at the
   University of Siegen in 2007: “Digital Literature and Arts II.” In this course I
   served as academic assistant and developed a teaching model that is now
   applicable in Blended Learning Environments. While in my bachelor thesis I was
   interested in the design of online learning environments, my main focus in the
   completion of the master’s was on the student’s course performance: My
   objective was to find methods to analyze the students learning activity. Therefore,
   I analyzed the teaching and learning interaction based on theories I derived from
   studies on Computer Supported Collaborative Work (CSCW) and Computer
   Supported Collaborative Learning (CSCL).

   Patricia Tomaszek - 09.10.2012 - 15:07

4. Weapons Of The Deconstructive Masses: Whatever the Electronic in Electronic Literature may or may not mean

   This piece is an attempt to hasten the death of the 'electronic' in 'electronic literature' — to re-cognize it as a dead metaphor — as the prelude to an agonistic meditation on my generation's anticipation of the death of literature itself, with 'the literary,' potentially, waiting in the wings (and published elsewhere, elsewhen, elsehow).

   (Source: Author's abstract)

   Respondents at 2008 ELO Conference

   Joe Tabbi
   University of Illinois Chicago, USA 

   Scott Rettberg
   University of Bergen, Norway 

   Stuart Moulthrop
   University of Baltimore, USA

   Jill Walker Rettberg - 09.10.2012 - 21:00

5. The E-ssense of Literature

   Many works of electronic literature use text generation algorithms or interactive interfaces to present the reader with a different text upon each reading. Such variable texts can be difficult to analyze and discuss because it can be prohibitively difficult to take into account all possible permutations. The standard critical methodology for approaching these texts is to discuss excerpts from different readings, perhaps comparing passages that involve alternative renderings of the same textual content. While this approach can convey a general sense of the work and its possibilities for variation, it usually doesn't allow a thorough treatment of a complex work's structural framework. This essay presents a method for analyzing a work's source code to define the most important constant and variable properties of its constituent elements. It then applies the method to a generated electronic poem, "Snaps," by Dirk Hine. The source structure thus defined provides a springboard for critical interpretation of the work.

   Jill Walker Rettberg - 09.10.2012 - 21:12

6. NURBS theory | conceptualizing cultural processes: from discrete categories to continuous curves

   The explosion of new ideas and methods in cultural disciplines from the 1960s did not seem to affect the presentation cultural processes in practice. Books and museums devoted to art, design, media, and other cultural areas continue to arrange their subjects into small numbers of discrete categories: periods, artistic schools, -isms, cultural movements. The chapters in a book and rectangular rooms of most museums act as material dividers between these categories. A continuously evolving cultural "organism" is forced into artificial boxes.

   Luciana Gattass - 24.10.2012 - 12:25

7. Net Literature and Radio: A Work-in-Progress Report

   Published in:
   Heidi Grundmann, Elisabeth Zimmermann, Reinhard Braun, Dieter Daniels, Andreas Hirsch, Anne Thurmann - Jajes (Hg.):
   Re-Inventing Radio: Aspects of Radio as Art, Revolver, Frankfurt am Main 2008, S. 359-374

   Johannes Auer - 05.11.2012 - 13:26

8. POIESIS, p0es1s, p0es1e – e adiante: Uma retroperspectiva

   Being fascinated by the dynamics and the potential which medial technologies offer for the artistic investigation of materiality and the individual and social use of language, the poetological concept of the show formulated a key idea which is still reflected in the subtitle of the recent “poiesis”-exhibition: the difference between program and pixel, or between a perception proposition and the ‘underlying’ code. In his foreword to the small catalogue from 1992, André Vallias describes this crucial distinction from the code perspective: “Data dissolve the borders between bodies, surfaces, sounds, words, dots, tones, letters and numbers”.1 Accordingly, the show’s title “p0es1e” exemplifies the difference by intertwining the sign systems of perceivable writing and the digital code normally used to program in an ‘unobservable’ way what can be perceived. Observing the unobservable in language, is surely one of the core characteristics of experimental poetry. The conceptual fusion of different dimensions and uses of languages is still a prominent procedure of poetic reflexivity. Dick Higgins had formulated his concept of poetic intermedia along these lines, in 1965.

   Luciana Gattass - 09.11.2012 - 10:07

9. POIESIS <POEMA>ENTRE PIXEL E PROGRAMA</>

   Catalog published by Oi Futuro featuring printed stills of installations, projections, and LCD, computer, and electronic panels compiled during the exhibit which took place in Rio de Janeiro in 2007. The catalog also includes critical essays by the three curators, Friedrich Block, André Vallias and Adolfo Montejo, as well as scholarly contributions by Simon Biggs, Augusto de Campos and Florian Cramer.

   Luciana Gattass - 09.11.2012 - 11:28

10. Para uma razao da poiesis: 4 notas/interfaces

    Contrary to Walter Pater’s celebrated maxim that “All art constantly aspires towards the condition of music”, it is claimed here that the real aspiration is towards poetry, above all if we consider it as synonymous to poiesis, to creation in the broad and also extensive sense. Derived from the Greek term meaning ‘to make’ it can be applied to the whole invention of language (construction of forms) and to the reading of things (the cosmo-view of the world, of reality), it is more encompassing and applicable to the plural universe of records and the support of art and poetry. Furthermore, it would be oriented more towards poetry in the sense of reading not alienated from things, as Roland Barthes would say; in short, for a language other than the reified, repressed. This perspective is far from the particularly abstract ambition (almost of another world) that shows off music and sound, and approximates to the solidity and distance of poetry, because in essence it always dissolves between sound and feeling, between the concretion of language and its more distant and abstract materialization. Between the known feeling and that which is created.

    Luciana Gattass - 11.11.2012 - 19:23

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