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Tailspin
An old man’s tinnitus and partial deafness is a source of friction between him, his daughter and grandchildren yet he stubbornly refuses to contemplate treatment or hearing aids. Karen, the daughter, has always been hurt and mystified by his angry reactions, but the key to his behavior lies deep in the past. Tailspin is a multi-layered, animated fiction, created in Flash, about the intergenerational friction between an old man suffering from tinnitus and his daughter, whose children play noisy handheld games consoles. Sound mixes and animations, some programmed to play randomly, reflect the auditory and emotional disturbances of the characters around the family meal table. Broken dreams, spoilt playtimes, dysfunctional behaviour, malfunctioning machines and the sounds of alarm are both puzzling and distressing as the past splinters the present.
(Source: Author's description)Eric Dean Rasmussen - 02.03.2011 - 13:52
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TOC: A New-Media Novel
TOC is a multimedia epic about time: the invention of the second, the beating of a heart, the story of humans connecting through time to each other and to the world. An evocative fairy tale with a steampunk heart, TOC is a breath-taking visual novel, an assemblage of text, film, music, photography, the spoken word, animation, and painting. It is the story of a man who digs a hole so deep he can hear the past, a woman who climbs a ladder so high she can see the future, as well as others trapped in the clockless, timeless time of a surgery waiting room: God's time. Theirs is an imagined history of people who are fixed in the past, those who have no word for the future, and those who live out their days oblivious to both.
(Source: Author's description on TOC website)
Scott Rettberg - 02.03.2011 - 22:07
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Paul A. Green
Paul A. Green
Scott Rettberg - 02.03.2011 - 22:23
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Radial City
Processed video, collaboration between artist and poet.
Scott Rettberg - 02.03.2011 - 22:25
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OBORO
OBORO is an artist centre that favours the development of art practices locally, nationally and internationally. OBORO’s sphere of activity encompasses visual and media arts, performing arts, new technologies and emerging practices. OBORO’s more specific mandate is to support creation in various cultural practices; to encourage innovation, experimentation, the exchange of ideas and the sharing of knowledge; OBORO's objective is to promote awareness and dialog within the art world and society at large and to contribute to a culture of peace.
J. R. Carpenter - 04.03.2011 - 18:55
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In(ter)ventions: Literary practice at the Edge
In(ter)ventions — Literary Practice At The Edge: A Gathering is a conference unlike any held previously in Canada. Over the course of four days, thirty six forward-thinking literary artists will create a context for the demonstration and discussion of cutting-edge literary practice. In a mixture of panels, papers, readings, performances, and more, participants will explore digital literature, interactivity, collaboration, cross-disciplinary work, formal innovation, “uncreative” writing, new modes of dissemination, and literary pedagogy.
Within the rapidly changing landscape of literary practice and dissemination, technology has rocketed forward, putting more power into the hands of writers and other artists. New literary modes have appeared and continue to develop, and the ability to share information rapidly across disciplines has resulted in exciting and challenging cross-pollination. In(ter)ventions will explore the edges of literature, where technology, innovation, and literary practice meet.
J. R. Carpenter - 04.03.2011 - 19:39
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Dare-Dare
DARE-DARE is an artist-run centre which has about 100 members. Since its inception in 1985, the centre presented the work of more than 1000 artists.DARE-DARE supports research and valorises emerging practices. Its members are interested in the context of creation and answer the need of exchange and collaboration. DARE-DARE is a flexible, open space devoted to research, experimentation, risk and critical inquiry. The artist-run center manifests a sustained interest in exploration and in the diversity in the modes of presentation.Therefore, DARE-DARE accepts innovative, original and critical propositions, which invest the gallery’s space, the urban space or any other context. Submit any proposal of exhibition, performance, public intervention, event, etc., may they be specific or of variable duration.(Source: Organization's website.)
J. R. Carpenter - 04.03.2011 - 19:52
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Electronic Poetry Center (EPC)
From the organization´s website:
The EPC was founed in 1995 and serves as a central gateway to resources in electronic poetry and poetics at the University at Buffalo, the University of Pennsylvania's PennSound PennSound, UBU web, and on the Web at large. Our aim is simple: to make available a wide range of resources centered on digital and contemporary formally innovative poetries, new media writing, and literary programming.Patricia Tomaszek - 04.03.2011 - 21:47
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Leonardo L. Flores
Leonardo Flores is an Associate Professor of English at the University of Puerto Rico: Mayagüez Campus and a 2012-2013 Fulbright Scholar in Digital Culture at the University of Bergen. His research areas are electronic literature, poetry, and digital preservation of first generation electronic objects. He is the writer and editor of a scholarly blogging project titled I ♥ E-Poetry (http://iloveepoetry.com) in which he has reviewed over 500 works of electronic literature. For more information on his current work, visit http://leonardoflores.net.
Jill Walker Rettberg - 04.03.2011 - 21:55
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Typing the Dancing Signifier: Jim Andrews' (Vis)Poetics
This study focuses on the work of Jim Andrews, whose electronic poems take advantage of a variety of media, authoring programs, programming languages, and file formats to create poetic experiences worthy of study. Much can be learned about electronic textuality and poetry by following the trajectory of a poet and programmer whose fascination with language in programmable media leads him to distinctive poetic explorations and collaborations. This study offers a detailed exploration of Andrews' poetry, motivations, inspirations, and poetics, while telling a piece of the story of the rise of electronic poetry from the mid 1980s until the present. Electronic poetry can be defined as first generation electronic objects that can only be read with a computer--they cannot be printed out nor read aloud without negating that which makes them "native" to the digital environment in which they were created, exist, and are experienced in. If translated to different media, they would lose the extra-textual elements that I describe in this study as behavior.
Jill Walker Rettberg - 04.03.2011 - 21:58
