Search

Search content of the knowledge base.

The search found 7176 results in 0.09 seconds.

Search results

  1. Intertextuality in Digital Poetry

    Despite postmodern and deconstructivist studies in the field, interxtuality is still often viewed as a process of textual closure: in that vision a text refers to an older text, and once we have found the source, the intertextual interpretation is completed.

    Riffatterre, for example, seems to suggest this in his article ‘Intertextuality vs Hypertextuality’ (1994). Riffaterre stated here that intertextuality and hypertextuality should be distinguished, since the former is finite, while the latter is infinite. He defines hypertextuality as ‘the use of the computer to transcend the linearity of the written text by building an endless series of imagined connections, from verbal associations to possible worlds, extending the glosses or the marginalia from the footnotes of yesteryear to metatexts’ (Riffaterre 1994: 780) Intertextuality, on the other hand, ‘depends on a system of difficulties to be reckoned with, of limitations in our freedom of choice, of exclusions, since it is by renouncing incompatible associations within the text that we come to identify in the intertext their compatible counterparts’ (ibid: 781).

    Eric Dean Rasmussen - 27.01.2011 - 17:01

  2. Hermes Science

    Hermes Science

    Scott Rettberg - 30.01.2011 - 15:01

  3. Evan Raskob

    A University Lecturer and practicing artist whose works span the mediums of moving image, sound, installation, performance, and interactive art. Exhibitions include Waving / Drowning, a gallery show of human movements crystallized into a series of digital prints, sculptures, and interactive software, and Drawn Together, an interactive installation project exploring creative crowd sourcing in hand drawn music videos. He is an active member of both the open source and visual performance communities in London, New York, and world-wide. Evan also organizes Openlap Workshops , a regular series of workshops in free, Open Source creative technologies. Over the past year and a half, Openlab Workshops ran over 14 workshops, including regular workshops at SPACE Studios in London, a “One Button Challenge” workshop in Arduino and Processing at the AND Festival in Manchester, and an Advanced Processing workshop at the Centre for Advanced Spatial Analysis at UCL..

    Scott Rettberg - 30.01.2011 - 17:39

  4. Publications de l'Université de Saint-Étienne

    Publications de l'Université de Saint-Étienne

    Scott Rettberg - 30.01.2011 - 17:50

  5. Cynthia Lawson Jaramillo

    Also known as Cynthia Lawson.
    "Cynthia Lawson Jaramillo is a digital artist, technologist and educator. She is particularly interested in reconfigurations and representations of time and space through media. Her artwork has been internationally exhibited and performed, including at Giacobetti Paul Gallery, Exit Art and HERE Arts (NYC), UCLA Hammer Museum (LA), Point Éphémère (Paris) and the Museums of Modern Art in Bogotá and Medellín (Colombia). She recently self-published “Of and In Cities,” an academically framed art book about five of her photographic projects, and “Cross Urban,” which documents the first two years of an ongoing collaboration with Klaus Fruchtnis. Cynthia has a B.S. in Electrical Engineering from Universidad de los Andes (Bogotá) and a Masters in Interactive Telecommunications (ITP) from New York University. She is currently Assistant Professor of Integrated Design in the School of Design Strategies at Parsons The New School for Design and an active member of Madarts, an arts collective in Brooklyn, NY" (www.cynthia.lawson.com(

    Eric Dean Rasmussen - 31.01.2011 - 13:17

  6. The Role of the Reader in Performative Digital Poetry

    The object of digital poetry has been claimed to be the process initiated by the user and therefore dynamic. What is processed and made visible on screen is what Philippe Bootz (2007) calls the “texte-à-voir”, what we are given to see and what is only a selection of the underlying artwork. For digital poetry the processes executed by a programming language is the material the artist uses. Following Burgaud (2006) the user is “reading a process”. With the focus on the processes instead of the “object” the description and analysis of digital poetry is facing the problem that what the reader can see on the screen is not enough to understand the art work. Especially the change from a conceptual verbal art read in front of a computer screen mostly by an individual reader to installation art, caves to performances on stage including text, music, and dance and to performances in virtual environments such as Second Life ask for descriptions that are able to deal with the dynamics of those processes.

    Eric Dean Rasmussen - 02.02.2011 - 15:09

  7. Mia Consalvo

    Academic who specialises in game studies and fans and fan-created content.

    Jill Walker Rettberg - 02.02.2011 - 21:31

  8. Nancy Baym

    Associate Professor of Communications at the University of Kansas. Research on communications online.

    Jill Walker Rettberg - 02.02.2011 - 21:33

  9. Jeremy Hunsinger

    Jeremy Hunsinger received his Ph.D. in Science and Technology Studies from Virginia Tech. He teaches in the Political Science department and within its related programs. His research agenda analyzes the transformations of knowledge in the modes of production in the information age. His current research project examines innovation, expertise, knowledge production and distributions in hacklabs and hackerspaces.

    Jill Walker Rettberg - 02.02.2011 - 21:34

  10. The 2005 Association of Internet Researchers Annual

    The 2005 Association of Internet Researchers Annual

    Jill Walker Rettberg - 02.02.2011 - 21:52

Pages