digital installation

Description (in English)

"As soon as they became written down, moveable and transferable words entered the market place, and then necessarily the political sphere. But these words gained an exchange value as integral parts of a text – a story, a poem, a book, for example. Removing or reordering these individual words – or ranking them based on external influences would change the meaning and devalue the text as a whole, in both a literary and monetary way. [...] To explain the logic behind this – the keyword planner is the free tool Google AdWords provides advertisers so they can plan their budgets and decide how much to bid for a particular keyword or key phrase to use in their advert." (artist's website)

Description (in English)

Digital Fiction Curios is a unique digital archive/interactive experience for PC and Virtual Reality.

The project houses works of electronic literature created in Flash nearly two decades ago by artists Andy Campbell and Judi Alston of Dreaming MethodsOne to One Development Trust‘s award-winning in-house studio.

Dreaming Methods is responsible for some of the internet’s earliest media-rich digital fiction. Much of that work was created in Flash, a technology that will be removed from all major web browsers in 2020. Curios archives and re-purposes three of our Flash works originally made as far back as 1999 and makes it uniquely possible to explore them in VR.

From fragments of words held in glass bottles to sprawling apocalyptic dreamscapes, Curios offers an immersive glimpse into Dreaming Methods' signature world of dream-inspired narratives, living texts and lost realities. 

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Description (in English)

USA-based computer engineer and innovator PJ Sanders returns to his remote family home in the UK following the death of his elderly mother. His agenda: to close the place down and sell it. But not before he employs an experimental device he’s been working on, primed to help him uncover the history behind one particular room in the house – a room that has remained locked since his childhood.

(Source: Author)

WALLPAPER is an interactive and immersive piece of digital fiction that has been exhibited in the UK at Bank Street Arts Gallery in Sheffield as a largescale projection and as part of the Being Human Festival of the Humanities 2016 in Virtual Reality. Funded by Arts Council England and the Arts and Humanities Research Council, it forms part of the Reading Digital Fiction research project led by Dr Alice Bell at Sheffield Hallam University. Reading Digital Fiction aims to raise public awareness of and engagement with digital fiction by analysing the way that readers respond, applying empirical methods and cognitive theory. Through its accessible storyline, strong visuals and immersive atmosphere, WALLPAPER has engaged non-academic audiences online, through live events and within gallery settings.

A work of short fiction, it follows the story of PJ Sanders, a USA-based computer engineer and innovator who returns to his remote family home in the UK following the death of his elderly mother. His agenda is to close the house down and sell it. First though, he wants to trial an experimental device he’s been working on to help him uncover the history behind one particular room in the house – a room that has remained locked since his childhood. WALLPAPER can be shown on a modern gaming PC, through large-scale digital projection and in Virtual Reality on the Oculus Rift.

To see a short film of its reception in the UK at the Being Human Festival of the Humanities, please visit http://wallpaper.dreaming-methods.com/being-human/ For more information about the work, the storyline, its development, screenshots, in-project footage and downloads, please visit: http://www.dreamingmethods.com/wallpaper http://wallpaper.dreamingmethods.com http://www.readingdigitalfiction.com

(Source: ELO 2017: Book of Abstracts and Catalogs)

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By Alvaro Seica, 26 September, 2014
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Pages
79-95
Journal volume and issue
7
ISSN
1647-998X
Record Status
Abstract (in English)

In this essay [Digital Art: Pixel, Algorithm, Code, Programming, Data], we reached a theoretical framework that could withstand a hyperdisciplinary analysis and encompass one of the characteristics that both electronic literature and digital art share: the transfer and transformation processes. In order to recognize these processes we used the concept of transduction to perform a theoretical migration capable of supporting these aspects: the transducer function.
Swapping between a critique of textuality and a critique of visuality we analyze two of the most important genres of digital art: net.art and digital installation. Firstly, we investigate the concept of infoduct as a channel of information dissemination in the virtual environment and the characteristics of periphery and discontinuity in digital image, composed by pixels, in opposition to punctum, studium and continuity, key characteristics in analog photographic image, composed by dots, whose concepts were identified and coined by Roland Barthes in La Chambre Claire (1980). Secondly – by focusing on the nomination of the artwork and the relevance of the title in its intelligibility, from the abstract movement until nowadays – we reflect on the use of code as an emerging language, which reveals a new aesthetic sensibility, e.g. the k. series by André Sier. Finally, the third and fourth points develop the analysis of the transducer processes in the works by Pavel Braila, R. Luke DuBois and Sier, considering the aesthetics of data transfer and recreation in mutant works as a common phenomenon to art that uses programmable and networking media. In digital art, the transducer function originates a pictorial, visual and aesthetic transformation, which we observe in SSB, Hard Data, or 32-bit Wind Machine , and erects the artist as a data filter and data miner.
In this investigation, we highlight mechanisms, patterns, languages ​​and common motifs: authorship, user, cybertext, surface, infoduct, interactivity, pixel, algorithm, code, programming, network, software and data.

(Source: Author's Abstract)

Abstract (in original language)

Neste ensaio, chegou-se a um enquadramento teórico que pudesse resistir a uma análise
hiperdisciplinar e englobar uma das características da partilha entre a literatura electrónica e a arte digital: os processos de transferência e transformação. Para reconhecer estes processos recorreu-se ao conceito de transdução para efectuar uma migração teórica capaz de suportar essas valências: a função transdutora.
Transitando entre a crítica à textualidade e a crítica à visualidade, são analisados dois dos géneros mais relevantes da arte digital: a net.art e a instalação digital. No primeiro ponto, investiga-se o conceito de infoduto como canal de difusão de informação no ambiente virtual e as características de periferia e descontinuidade na imagem digital, constituída por pixels, por oposição às características de punctum, studium e continuidade na imagem fotográfica analógica, composta por pontos, cujos conceitos foram cunhados por Roland Barthes em La Chambre Claire (1980). No segundo ponto – através de um foco na nomeação da obra de arte e na relevância do título na sua inteligibilidade, desde o movimento abstracto até ao presente – reflecte-se sobre a utilização do código como linguagem emergente, reveladora de uma nova sensibilidade estética, na série k. de André Sier. O terceiro e quarto pontos continuam a análise dos processos transdutores, nas obras de Pavel Braila, R. Luke DuBois e Sier, inserindo a estética de transferência e recriação de dados nas criações mutantes como um fenómeno comum à arte que utiliza media programáveis e em rede. A função transdutora, na arte digital, origina uma transformação plástica, visual e estética, que observaremos em SSB, em Hard Data, ou em 32-bit Wind Machine, e erige o artista como um filtro de dados e um data miner.
Nesta investigação foram realçados mecanismos, padrões, linguagens e motivos comuns: autoria, utilizador, cibertexto, superfície, infoduto, interactividade, pixel, algoritmo, código, programação, rede, software e dados.

(Fonte: Resumo do Autor)

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Description (in English)

El inventor de historias -The Stories Inventor- is a net that articulates texts, images –reproductions and photography, digital audiovisual installations and diverse conferences and seminars. In the Internet we can see Edgardo’s brain-the inventor-in action. Edgardo, tells stories of every kind. This narrative emerges from the random algorithm that moves through a semantic web, recombining words and keeping correct grammar. This net is represented in 3D using visualization, with this the “brain” of Edgardo can be discovered. The complete installation is composed by the brain –digital algorithm-, the face –video- and the body –photography.

Description (in original language)

En internet puedes ver el cerebro de Edgardo -el inventor- en acción. Edgardo, narra historias de todo tipo. Esta narración emerge de un algoritmo aleatorio que recorre una red semántica, recombinando palabras y manteniendo una gramática correcta. Esta red se representa tridimensionalmente, utilizando una visualización, con lo cual el “cerebro” de Edgrado, queda al descubierto. La instalación completa se compone del cerebro [algoritmo digital], el rostro [vídeo], y el cuerpo [fotografía].

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By Alvaro Seica, 15 August, 2013
Language
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Pages
71-79
Journal volume and issue
4:1
ISSN
1646-9798
License
All Rights reserved
Record Status
Abstract (in English)

In this essay I introduce the notion of transducer function in the fields of electronic literature and digital art. Firstly, I survey the transduction concept throughout its history in such domains as physics, genetics, microbiology, biochemistry, physiology, psychology, philosophy, logic and computer science. Secondly, I discuss the relevance of a transduction theory versus the advantage of a transducer function. I migrate the transduction concept into the fields of electronic literature and digital art, showcasing the contexts of application, and several transfer processes and functions. Finally, I apply the transducer function as a theoretical typology and a recognizable system, highlighting some artworks by R. Luke DuBois, André Sier and Scott Rettberg that can be read within this framework. Thus, it means taking into account a set of transfer and conversion processes: information, patterns and data among mechanisms, technologies, themes, creative and theoretical guidelines. In this sense, I develop a critical framework that operates as a method for analyzing and comprehend further digital artworks.

(Source: Author's Abstract)

Description in original language
Creative Works referenced
By Alvaro Seica, 15 August, 2013
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Language
Year
License
CC Attribution Non-Commercial Share Alike
Record Status
Abstract (in English)

Electronic Literature and Digital Art share many processes, themes, creative and theoretical guidelines. In this sense, I developed a critical framework that could resist to a hyperdisciplinary analysis and include one of the characteristics of this sharing pattern: the transfer and transformation processes. In order to recognize these processes I have done an approach of the transduction concept that could perform a theoretical migration on these aspects: the transducer function. Thus, the transducer function appears in the critical analysis of the works by Mark Z. Danielewski, Stuart Moulthrop, R. Luke DuBois and André Sier. The selected works are representative of the following genres: novel, hyperfiction, net.art and digital installation, drawing on phenomena and concerns resulting from the creative production within the digital culture. In this research I have enhanced mechanisms, patterns, languages and common grounds: authorship, user, cybertext, surface, hypertext, infoduct, interactivity, pixel, algorithm, code, programming, network, software and data. (Source: Author's abstract)

Description in original language
Abstract (in original language)

A literatura electrónica e a arte digital partilham vários processos, temas, linhas criativas e referentes teóricos. Neste sentido, chegou-se a um enquadramento teórico que pudesse resistir a uma análise hiperdisciplinar e englobar uma das características desta partilha: os processos de transferência e transformação. Para reconhecer estes processos recorreu-se ao conceito de transdução para efectuar uma migração teórica capaz de suportar essas valências: a função transdutora. Deste modo, a função transdutora surge na crítica das obras de Mark Z. Danielewski, Stuart Moulthrop, R. Luke DuBois e André Sier. As obras seleccionadas são representativas dos seguintes géneros: romance, hiperficção, net.art e instalação digital, extraindo fenómenos e preocupações resultantes da produção criativa no âmbito da cultura digital. Nesta investigação foram realçados mecanismos, padrões, linguagens e motivos comuns: autoria, utilizador, cibertexto, superfície, hipertexto, infoduto, interactividade, pixel, algoritmo, código, programação, rede, software e dados.

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Description (in English)

A poetry-generating machine that was developed for Roskilde Library. Up to three readers can interact with the machine using leather-bound books turned into controllers that affect the nature of the lines of poetry added to the poem.

Description (in original language)

Installationen består af: en skærm, en computer, en bonprinter og 3 bøger. I hver af bøgerne er der indbygget sensorer, der kan registrere tryk. Ved at trykke på bøgerne, kan man skabe et digt, som automatisk printes ud på en bonprinter, og som man kan tage med sig.

Description in original language
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