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Common Spaces
Common Spaces is an experimental performance that translates spatial poetry into a multidisciplinary collaborative environment that gathers the physical and the virtual spaces. This performance mixes in realtime distinct types of media in a sort of multi-modal orchestrate. A multi-sensorial performance based on our hand gestures (Leap Motion), vision (camera) and voice (microphone).
The common-space derives from the notion of common ground as the medium and the process of communication. It can be understood as a mutual understanding among interactors – as the iterative process of conversation for exchanging evidences between communicators – as an interface.(source: http://www.grifu.com/vm/?cat=74)
Malene Fonnes - 25.08.2017 - 12:30
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The Metainterface: The art of platforms, cities and clouds
Metainterface is about interface aesthetics and culture, and as an analytical strategy, it focuses on the tendency in art that reflects the contemporary interface; that is, on readings of artworks. In this sense, it presents contemporary art works, but it also reflects on the current challenges of contemporary interface culture in a situation where the computer’s interface seemingly both becomes omnipresent and invisible; where it at once is embedded in everyday objects and characterised by hidden exchanges of information between objects; or, what it conceptualizes as a metainterface. By bringing the tendency in artworks forward, the book aims to demonstrate how certain critical interfaces have an ability to reflect the deeper fissures within new technologies and the production of the work of art itself; an ability to show us an interface, after the interface has seemingly disappeared into ‘smart’ futures and new promises of anticipation, participation, and emancipation.
Søren Pold - 31.10.2017 - 13:50
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The Poetry Machine
The Poetry Machine was developed in 2012 as a way for libraries to exhibit electronic literature. The installation consists of three sensor-equipped books through which (up to) three simultaneous users can compose poems on a screen, and then get them printed on small receipts and stored on a website. When seizing a book, the user is assigned a sentence from this book out of approximately a hundred different sentences. Each sentence exists in three variations, which the user can choose to drag into the writing space. After a limit (e.g., 350 characters) is reached, by combining the books and sentences, the poem is finished, printed, and stored online.
Søren Pold - 31.10.2017 - 14:21
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Canon Goes Mobile: Ludosemiotics of Remediation
Modern forms of literature frequently question our reading habits, and provoke us to re-define the act of reading and the book form. The “magic” of the book, described by Bezos as its ability to be an invisible device that disappears in the reader’s hands, permitting them to enter a story-world, is nowadays replaced by the “real magic” of non-invisible interfaces. The latest manifestations of these interfaces invite us to do things we usually do not do while reading: to touch, to shout, or to shake the device. In the other words, our reading becomes a very sensual and corporeal action and our “reading behaviour” is important for discovering the meaning of the work. That’s why we need a revision of poetics (Simanowski 2009), like Bouchardon’s theory of gestural manipulation as a literary figure (2014).
Scott Rettberg - 29.08.2018 - 14:56
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The Urban Metainterface
Examples of everyday urban experiences with interfaces are numerous: TripAdvisor provides access restaurants, and other sights that are otherwise not clearly visible in the urban landscape; with Airbnb, any apartment in the city holds the invisible potential of a bed and breakfast, etc. In other words “every street corner and every local pub leads a double life.” (de Waal). The interface is however not just an interface to the city, but is a meta-construction that within itself holds a particular urban gaze (Andersen and Pold). This presentation focuses on the black box of the urban metainterface, and how the city is textualized beyond the street sign and the billboard; and how this produces a particular territoriality and perception of space. The urban metainterface depends on an ability to capture the user’s behaviors: the more the interface opens up the city – to diverse behaviors and signification – the more it needs to monitor the users and their milieu, and process these data. The more we read, the more we are being read. But what are the aesthetic mechanisms of seeing and walking in the city, whilst being seen and being guided?
Jana Jankovska - 05.09.2018 - 16:09
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Born Digital
“E-poetry relies on code for its creation, preservation, and display: there is no way to experience a work of e-literature unless a computer is running it—reading it and perhaps also generating it.” Stephanie Strickland outlines 11 rules of electronic poetry.
Ana Castello - 02.10.2018 - 13:20
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Activist Media Poetics: Electronic Literature Against the Interfacefree
For the last year or two I’ve been focusing most of my research and writing on the notion of ‘interface’ – a technology, whether book or screen, that is the intermediary layer between reader and writing. What I’ve found is that ‘interface’ gives us a wedge to approach the broad and complex question of how the reading and writing of poetry have changed in the digital age and how the digital age has in turn changed the way in which we understand what I call “bookbound” poetry. It seems to me that a discussion of digital poetry in terms of interface – a discussion whose methodology is driven by the field of Media Archaeology – could be a crucial intervention into both poetry/poetics and media studies in that it meshes these fields together to 1) make visible the Human-Computer interfaces we take for granted everyday; and 2) to frame certain works of electronic literature as instances of activist media poetics.
Ana Castello - 02.10.2018 - 18:39
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Manifesto for a Post-Digital Interface Criticism (The New Everyday)
We are living in an interface culture: wherever we are, we find touch screens, microphones, sensors, cameras; and we are constantly reminded of interfaces through their sounds. Whether mobile, networked or embedded in architecture or artefacts, the number of interfaces constantly increases to meet the desires of technologies, users and markets.
Usually, an interface is understood as a technological artefact optimized for seamless interaction and functionality. However, the interface also draws upon cultural and artistic traditions, and plays an important role in our culture as art, entertainment, communication, work and businesses. It is a cultural form with which we understand, act, sense and create our world. In other words, it does not only mediate between man and computer, but also between culture and technological materiality (data, algorithms, and networks). With this, the mediation affects the way cultural activities are perceived and performed.
Ana Castello - 02.10.2018 - 18:44
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Texts, Interfaces, and the Puzzle Element in Her Story
Sam Barlow’s 2015 computer game Her Story is barely a game. The interface is an obsolete police database stocked with seven videotaped interviews of a woman accused of a crime, broken up into clips of between ten and ninety seconds. The game is played by typing in words to search through the clips, and the database returns only the first five videos, chronologically, that contain the query. The player pieces together the mystery at the heart of the game in whatever order they choose – the primary cue that the game provides is an initial search term, “MURDER,” – and the game is ‘over’ only when the player decides they have seen enough. As they play, the game’s interface design, along with its thematic focus on liminal and reflective surfaces, incorporates the player into a system of cognitive apparatuses. Critical responses to Sam Barlow’s 2015 video game Her Story were rapturous.
Vian Rasheed - 11.11.2019 - 22:55
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Reading Digital Poetry. Interface, Interaction, and Interpretation
This study concentrates on reading digital poetry. Reading entails the act of reading, strategies of analysis, and the means of understanding. Specifically, this study constructs a model of reading and interpreting poetry in digital form by close analysis of three complex case studies. Broadly, this study concerns the aesthetic means and meanings of poetry in the contemporary moment, where new and old media are in visible negotiation with each other. In digital poetry artistic expression, digital media, technology and cultural practices clash and combine to produce new poetic forms. With new forms of poetry come new challenges to reading, analysis, and interpretation. Digital poetry presents new material, literary, technical, and rhetorical strategies and techniques that offer novel possibilities – and restrictions – for reading. Thus, my broad question is: How do we read digital poetry? This broad question is broken down to a subset of research questions. These deal with the material medium, readerly action, and the processes of the poem, which are all to be seen as constituent of its effects and meanings.
Jill Walker Rettberg - 22.09.2020 - 12:35
