Rather than being a continuation of print-based literature, e-literature is a novel practice of experimental writing that foregrounds the new media specificity and the new approaches to writing in ...programmable media by demonstrating that the institution of the author and literariness as we know it are at stake. Along with the new media specificity (e-literary text is displayed on the screen, stored in digital storage devices, and controlled by software), the e-literary text is embedded in the social in a way that demonstrates some of the key features of current social paradigms. This article explores the shifts of new social paradigms that have influenced e-literary writing and contributed to the birth of the e-literary world as an institution, which enables new media-shaped e-literary pieces to be recognized as works of e-literary art. In doing so, the concept of e-literary service is introduced to describe the specificity of e-literature in terms of goal-oriented and performative practice that leaves aside the institution of stable e-literary work. This article also places great emphasis on understanding the very specific nature of e-literature through its interactions with the new media art. PUBLICATION ABSTRACT
This essay attempts to assess whether the perceptual issues posed by the contemporary interface culture, and the constant attitude shift demanded by the new media between the "natural" and the "as ...if" modes, might be considered a significant challenge for phenomenological aesthetics as understood in terms of Merleau-Ponty's phenomenology of perception. To demonstrate how the use of a particular interface profoundly shapes the form and structure of an activity as well as enabling perception of a particular kind, the author does not focus directly on the state-of-the-art smart interfaces, but describes the experience of cycling in a large city, with the interface in the form of the bicycle upgraded with an imagined ride simulator. While the former enables a very particular entrance into the world of perception, shaped by its moderate speed and detachment from the ground, the latter enables techno-shaped perception in the "as if" screenic mode. The experience described raises questions concerning the kinaesthetic, proprioceptive and motor features contributing to the cyclist's mobile perception, as well as pointing to issues related to the reading of the city's network as a particular spatial configuration generated by the cyclist's realtime activity. This is the space-time-event-ridescape maintained and modified by the corporeal act of cycling. The spatiality of such a ride does not presume the notion of a space that contains the cyclist, but builds on notions of being-in-the-ridescape (as a kind of cityscape), in terms not only of full corporeal and mental engagement, but also of bodily literacy. The reading of the cityscape enabled by the combination of two interfaces, the bicycle and the ride simulator, is discussed in relation to de Certeau's account of pedestrian (walking) experience in a big city, his distinction between strategies and tactics, and the notion that each cyclist contributes a novel story to ridetext, which is viewed not as an aesthetic object but as the production of puzzles for the rider to solve. The paper concludes by questioning the capacity of phenomenology to accommodate the contemporary phenomenon of a "mixed" or "augmented reality" either in concept or in relation to the demands of the phenomenological reduction and the ends of the epoché.
Today we come across new media art projects as post-industrial art services that occur at the intersection of contemporary art, new economy, post-political politics (activism, hacktivism), ...technosciences and techno lifestyles. The artwork is not a stable object anymore, it is a process,
an artistic software, an experience, a service devoted to solving a particular (cultural and non-cultural) problem, a research, an interface which demands from its user also the ability for associative selection, algorithmic (logical) thinking and for procedures pertaining to DJ and VJ culture,
such as mixing, cutting, sampling and recombination.The art service is not so much the manufacturing of things as it is a process of reshaping the thing, moving it, repurposing it, connecting it and incorporating it into new contexts and relations. The service presupposes a problem, a
challenge or an order to be solved or carried out. The performer of the service is always faced with a certain task, challenged to solve it in a sequence of steps, chosen as economically as possible. The service therefore ends with a solution of the problem (or its removal) and not with the
manufacturing of a finished object. The service always implies an algorithmic procedure that has to be as rational as possible, economical, divided into phases, steps, instructions needed for it to be carried out. By defining the new media art in terms of post-industrial service activity,
the traditional concepts of aesthetic and autonomous art are left behind and replaced with novel theoretical devices, e.g. software, repurposing, remixing, recombination, rewriting and hybridization.
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Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
Drawing particularly on kinetic digital poetry as a kind of software language art, this essay suggests that such a scripting-and-programming-language based textuality is not a continuation of the ...poetry-as-we-know-it by other means, but a new medium with its own specificity set at the intersection of the literary avant garde, net art, software art, browser art and text-based electronic installations. It is of importance that this programmable medium applies an expanded concept of textuality based on the application of netspeak and the symbols of programming languages, meaning also that the language of the code is involved in new poetic dynamic structures with striking visual, animated and tactile features. Kinetic digital poetry runs in loops, the loop being the medium adjusted to the demand of organising text components in time-based sequences, which seems to be the mode best suited to the perception of contemporary individuals and to the demands of mainstream visual culture. One of the crucial tasks of this essay is to demonstrate a shift from traditional hyperfiction and hyperpoetry to more sophisticated forms and to the specificity of software language art devoted to a new audience. The institutions in which such a textual practice exists are the rooms of club-, DJ-, and VJ- culture, mailing lists, newsletters, digital arts conferences and digital art exhibitions, rather than university classrooms and libraries.
Strehovec examines the kinetic and animated web-based poetry pieces that are often developed in distinct time sequences and are usually programmed in java script, Shockwave, or Flash. Among other ...things, she asserts that the changing visuality of animated, online text has altering consequences for reading, writing, and visual poetry.
Celotno besedilo
Dostopno za:
CEKLJ, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
»Digital media« is increasingly finding its way into the discussions of the humanities classroom. But while there is a number of grand theoretical texts about digital literature there as yet is ...little in the way of resources for discussing the down-to-earth practices of research, teaching, and curriculum necessary for this work to mature. This book presents contributions by scholars and teachers from different countries and academic environments who articulate their approach to the study and teaching of digital literature and thus give a broader audience an idea of the state-of-the-art of the subject matter also in international comparison.
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