Search

The search found 150 results in 0.012 seconds.

Search results

1. E-Poetry 2007 Paris Cellfone Documentary Extravaganza (Grand Text Auto)

   A trip report from E-Poetry 2007, featuring short video clips of performances shot on a cell phone.

   Scott Rettberg - 30.01.2013 - 12:26

2. The Virtualization of Poetry and Self

   As with other world-changing discoveries or events, the use of computers and the Web have contributed to the ‘virtualization’ of ‘the ideas domain’ of poetry. By virtualization it is assumed that something has been made virtual. But not virtual as understood by the scientists or by commerce or by the entertainment industry that see virtualization as the transferring of a function from one physical form to another, like a virtual surgery with patient and doctors in separate physical locations or a virtual on-line marketplace like eBay or a virtual terrain as in virtual reality (VR) games. The virtualization of poetry does not mean taking the function of poetry in print or in performance and transferring it to the web, although this can be and has been a result of the virtualization. The virtualization of poetry has meant that the ideas domain of poetry has been re-thought and new questions and problems posited as a result of the new digital technologies. It has also meant that new actualizations have been realized in media that were not available to the poet in the past.

   (Source: Author's abstract)

   Scott Rettberg - 30.01.2013 - 17:36

3. What Spam Means to Network Situationism

   In this essay we describe and theorize upon a spam data set hidden in the source code of HTML pages at the Bureau of Public Secrets, a website housing English translations of the Situationist manifestos and communiqués.

   We attempt to build upon a fruitful coincidence: what happens when internet interventionists, “code taggers” on a lucrative Spam mission, meet interventionists of the analog era, Situationist "wall taggers”? The textuality of both groups is aimed at reaching efficiency in a networked structure, be it socially or algorithmically coded; both engage a material and performative inscription so as to activate their discourse (i.e. to make it more efficient).

   We witness the action of a mode of writing modeled on graffiti and following the Situationist axiom: “Slogans To Be Spread Now By Every Means.” By focusing on the comparable gesture of verbal propagation (slogans and spam lexicon as social viruses) and the instructional performativity of these texts, we trace a set of theories based on the fiction that Spammers and Situationists have appropriated one another’s tactics.

   (Source: Authors' introduction)

   Scott Rettberg - 30.01.2013 - 21:06

4. Nam Shub – A Text Creation and Performance Environment

   Nam Shub is a tool and software art project for the creation, modification and performance of text oriented electronic art ranging from experimental literature to visual sound poetry performances or interactive art installations. The discussed project is the second version or rather a newly developed and enhanced version of HyperString which was presented at e-poetry 2005. This tool will be made available under an open source license in the future so that everybody can not only use but alter and expand it. 

   (Source: Author's abstract)

   Scott Rettberg - 30.01.2013 - 21:23

5. Writing the World: Toward a Systems Approach to E-Writing

   Code – The Language of Our Time, new media poetics, and p0es1s. The Aesthetics of Digital Poetry, are three widely regarded collections dealing with e-writing and its code from a humanist perspective. As an indication of how emergent this field of study is, in the several essays and papers that treat computer program code in these works, almost no actual code is presented for analysis or as concrete examples of the abstractions that their authors discuss.

   This is altogether understandable. There was no aesthetic arc hovering over and guiding the transition from legacy print writing to e-writing. In fact there was virtually no transition. Ewriting was suddenly there (here). And its foundation, program code, was an immediate fact that few students of literature had been trained to understand. Before they could, a framework had to be built within which this new literature, whose tools of craft are so obscure and esoteric, could be reasoned about and judged. Program code problematizes literary study at its very essence—at the act of creation.

   Scott Rettberg - 30.01.2013 - 21:39

6. Digital Word in a Palm: Digital Poetry between Reading and immersive Bodily Experience

   Poetry’s traditional role as the lyric atmospheres and projective saying provider is fundamentally being challenged by information technologies that are able to create their own particular atmospheres, new ways of user related text organization, and novel generations of hybrid and artificial languages. Novel textual practices are emerging in which presentation, linear way of narrative, depths, and meaning are being replaced with liquid textscape, blog- based remixability, the multi-sensuous textscape experience and special effects (e.g. Amy Alexander’s VJ shows featuring text-based visuals generated live from Internet engines queries). Text is undergoing radical shifts in its nature addressing both the author and the reader; within a new media paradigm we are facing the digital verbal with the new properties, which allow people to write, read, communicate, learn, explore and create in novel ways.

   Scott Rettberg - 30.01.2013 - 21:52

7. Le(s) Mange Texte(s): Creative Cannibalism and Digital Poetry

   Digital poetry always involves mathematical concepts. Fusing together textual elements is an additive process, at very least. Combining files and presenting them via computer screens multiplies possibilities for poetry, and the sum, or sums, of the artistic equation are often worthy of the effort involved. Thus, what we factor into the equation, and how it is factored in, is important. Considering some of the successful works of digital poetry that appeared in the hypermedia journal Alire in France, and in other historical and contemporary works, I see a trait that emerges despite overt aesthetic differences and variant approaches in works produced that I wish to associate with a liberating and useful poetical concept that emerged in South America nearly a century ago.

   Scott Rettberg - 30.01.2013 - 22:08

8. Szellem a gépben. A hypertext

   The subject of the dissertation is the text represented on the World Wide Web, it’s problems, dilemmas, premises and possible ways of development. This text, which is recorded only in binary code, and the questions it rises is in the dissertation called the new literacy. At the end of the 20th century, the literary critic taged all the new phenomenons, forms and medias as postmodern. The aim of my work is to show, the text on the World Wide Web, and eventually the hypertext is not anymore part of postmodern. The World Wide Web, CD-roms, binary recorded text, and the hypertext raised multiple questions: what are the characteristics of new texts, who is the author, what is the purpose of literary critic, how can the documents be catalogised, etc. The materials used in dissertation are mostly written in English and Hungarian. The hypertext provides a connection between visual, oral and written communication, so the World Wide Web is a space where the arts are molded. The literery content on the World Wide Web has serious ties to matematics, filosophy more then anything ever before.

   Patricia Tomaszek - 25.02.2013 - 15:05

9. Feeds and Streams: RSS Poetics

   Feeds and Streams: RSS Poetics

   Jill Walker Rettberg - 09.06.2013 - 23:27

10. Meta/Data: A Digital Poetics

    Blending artist theory, personal memoir, satire, and fictional narratives, a noted net artist constructs a poetics of net art that parallels his practice.

    Jill Walker Rettberg - 28.06.2013 - 10:32

Pages