attention

By Davin Heckman, 1 September, 2015
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Abstract (in English)

In this essay, Davin Heckman argues that works of electronic literature often provide occasions for cultivating attention in a mutable cultural landscape. Through readings of John Cayley, YHCHI, Rob Wittig, and Richard Holeton, Heckman points to a poetics of technical estrangement by which new media is opened up to deliberative reading, and thus presents contemporary readers with the opportunity to develop critical practices appropriate for the conditions of neoliberalism.

By Davin Heckman, 1 September, 2015
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Abstract (in English)

In this essay, Davin Heckman discusses the impact of technical change on the field of criticism in electronic literature and the digital arts. Heckman discusses the challenges speed poses for critical discourse and discusses some of the ways that critical database projects can serve to promote criticism that, in the words of Matthew Arnold, is “sincere, simple, flexible, ardent, ever widening its knowledge.”

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Description (in English)

Re:Cycle III is an extension of my previous generative video art piece Re:Cycle (exhibited at ELO 2012). The current version is part of an ongoing exploration into the combined poetics of image, sequence, motion, computation, and meaning. The Re:Cycle system includes a database of video clips, a second database of video transitions, and a computational engine to select and present the video clips in an unending stream. The computational selection process is driven by a set of metadata tags associated with the content of each video clip. The system can incorporate video clips of any content or visual form. It is currently based on nature scenery: mountains, rivers, ice, snow, waterfalls, trees. (Future versions will incorporate urban and human imagery.) The original version was completely committed to the aesthetic of ambient experience. Like Brian Eno's "ambient music", it was not intended to capture or hold your attention. However, it was required to give visual pleasure whenever you did choose to gaze at it. As the system is evolving, this commitment to ambience is gradually giving way to a more engaged and prolonged experience. The change is driven by the incorporation of increased semantic and visual coherence. The original version relied completely on random shot selection and sequencing. An early modification introduced a low level of semantic coherence based on simple metadata tags. The current version has taken this commitment to semantic coherence further. First, the shots are getting more varied, and the tagging system is getting more complex. This increase in the variety of the metadata textual tags is amplified by the application of more complicated algorithmic sequencing processes. The old system could present a series of short sequences made up of clips with shared visual content (e.g. -­‐ "trees", or "waterfalls"). The new system will incorporate that short-­‐term sequencing logic, but will nest it within a set of larger segments. The larger segments will be based on more sophisticated concepts of progression, arc, time and closure. The system is based on text at its most fundamental level. The decision making relies on the tags -­‐ descriptors of video clip content. The system reads, selects and sequences using these tags. The driver is text, the experience is visual. At a higher level, the work is evolving towards a more complicated sequencing logic that will combine a heightened sense of flow and progression with an increased commitment to meaning. One can see it as a visual poetry machine, one that has advanced from doggerel to a more expressive semantic and visual output. (Source: Author's Abstract)

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Technical notes

Re:Cycle III runs from a Macintosh computer running Max software. It is designed ideally for screen-­‐based display (30-­‐50" screen), but can also be shown using a projection system. There is no audio. The artist will install necessary software, system and video files. If necessary, the artist can supply a computer, but not a screen. (Source: Author's Abstract)

Description (in English)

Sous terre is an order of the RATP for the celebration of the centenary of the Parisian subway in the year 2000. Under ground, the subway, his memory, his internal organization, his/her/its history. His tunnels, of travelers that pass and iron. All one life that we forget under streets. The subway is useful, it serves to go from a point to another, to move without being confronted to the urban chaos. It is another city, but of passages, of flux, of cuts,: a network. Between time, in the displacement, it is necessary to kill the time, not to feel the surrounding intensity, all these people that us meet without recognizing them, the out-flow of the maintaining chanted by the scrolling of stations. To the difference of the other means of transportation the subway doesn't ask for no attention of travelers as for the taken road. One only waits. The subway requires to face the other travelers then, to look at them while waiting to arrive to destination. Travelers are held seated or standing. Some watch on the right, on the left, of others no. A woman reads a book, a man a newspaper, of others merely the emptiness. One hears machines, grindings and rubbings, opening and closing of doors. A teenager rises to let his room with a small smile. And then a pregnant woman or an old man . There is very community, but only of passages, of suspends, of waiting, of a point to another. I imagine that active to his work according to the same journey since ten years someone must cross the same people every day in the underground, and ever to address them the speech. And yet they know themselves, without recognizing themselves. It is this anonymity that is under our feet. It is this anonymity of oddness and the minority that is the memory of the world. The subway is a network, as Internet, as our memory. Near and at a time distant of him. Distance of the subway that is marked by history, the one of the last century and his utopias. Proximity with Internet, relations between beings, there, under ground, here in the binary. Network of a silence and a possibility of meeting between travelers. We are passage on the network, we go from a place to another and we are several, to different places of the planet, to be connected at the same time to the same site. The last subway passed, one closes grids. Another life begins. One cleans, one repairs, one improves, one installs during all night long so that the following day takes place without tear for travelers, that all functions perfectly, that this day, this other is now forgotten and that we can pass a place to another while forgetting the distance that separates us.

(Source: Author's description from the Boston Cyberarts Festival)

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Description (in English)

Still Standing is an interactive installation that invites participants to stay motionless and contemplate its poetic content, a poem titled “seeking sedation.” Nowadays, designs are created to be decrypted and enjoyed at a glance, requiring no attention span. The piece evolved as a response to the "collapse of the interval"; a phenomenon of fast pace culture that rarely allows us a moment to stop and observe; a habit that weakens the fragile approach towards design with dynamic typography. The installation consists of an amalgam of characters projected on the wall as if they were resting on the floor. When a participant walks in front of the projection, the first reaction of the text is to act as if it was being kicked, pushed by the person's feet. When the participant stops for a short moment, the text is attracted towards his position and moves up, like water soaking his body. The participant can then enjoy a motionless moment and contemplate the textual content that becomes more and more legible. When the user is done and decides to start moving again, the text falls back to the floor and wait for a new interaction.

(Source: Authors' description from Electronic Literature Collection, Volume Two)

I ♥ E-Poetry entry
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By Eric Dean Rasmussen, 3 February, 2011
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In an essay that responds to Alice Bell's book The Possible Worlds of Hypertext Fiction (Palgrave Macmillan, 2010), Stuart Moulthrop uses the lessons of hypertext as both an analogy and an explanation for why hypertext and its criticism will stay in a "niche" - and why, despite Bell's concern, that's not such a bad thing. As the response of an author to his critic, addressed to "thee," "implicitly dragging her into the niche with me," this review also dramatizes the very productivity of such specialized, nodal encounters.

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By Eric Dean Rasmussen, 31 January, 2011
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Abstract (in original language)

Raley's essay is a careful and descriptive reading of Hansen and Rubin's interactive installation "Listening Post" paying particular attention to complexities of reading a textual work based on live information feeds contributed by an anonymous crowd, a literary work that is perceived as a live embodied experience in a multisensoral "polyattentive" environment.

Pull Quotes

In that Hansen wrote the set of instructions (algorithms) for the collection and sorting of data, Listening Post can be read in the context of the “aesthetics of administration” particular to the work of artists such as Sol Le Witt and Andy Warhol—except that in this instance, production tasks are delegated to computational machinery rather than to a team of workers, rendering the distinction between manual and intellectual labor as a distinction between machinic and human cognition. We thus need to consider Listening Post as a virtuosic statistical work.

In some sense this is the state of the field: writers and artists want to push eye, ear, and machine to their limits. But this is not to suggest a distinction between contemplative reflection (print) and distraction (new media). Rather, we read, view, and listen to new media works such as these in a state of distraction, whereby cognitive engagement is neither conscious nor apperceptive but based on an interplay between the two.

What Hansen and Rubin have given us in Listening Post is a startling and provocative visualization of a collective, of community, on the one hand, and individual affect on the other. It may intuitively seem to be the case that large-scale, multi-user SMS works evoke or produce the more powerful notion of community (given that they feature active collaboration and participation), but in fact it is the unsolicited messages in Listening Post that give us something larger—more hopeful and possibly more disturbing all at once.