digital media

Event type
Date
-
Organization
Individual Organizers
Associated with another event
Email
cortesm@uni-bremen.de
Address

Bremen
Bibliothek Straße 1
28359 Bremen
Germany

Short description

The use of computers as tools of literary and artistic creation has produced further paradigms within literary, language and media studies, but it has also promoted the resurfacing of a series of age-old debates. Digital media and digital technologies have extended the range of multimodal reading experiences, but they have also led us to readdress deep-rooted notions of text or medium. The dynamic network of media, art forms and genres seems to have been once again reconfigured. However, practices and debates that have preceded the emergence of the computer medium have not been discarded. In fact, they have been incorporated into experiences with the medium and have contributed to shaping digital artifacts. The “International Conference on Digital Media and Textuality” aims to examine this process. This conference seeks to move beyond the “old and new” dispute and to help us identify intersections, exchanges, challenges, dead-ends and possibilities. In order to achieve this goal, the panels of this conference are designed to cover multiple topics and fields of research, from media archaeology to teaching in a digital age. This event will be sponsored by the Electronic Literature Organization (ELO, Massachusetts Institute of Technology, USA). For further information, please visit the conference’s website at https://digmediatextuality.wordpress.com/ or contact the conference chair, Daniela Côrtes Maduro at cortesm@uni-bremen.de.

Panel I – ‘Nothing comes of nothing’ – This panel will be comprised of presentations that link electronic literature with literary, communicative or artistic practices which have preceded and influenced digital forms and genres.

Panel II – Introspective Texts – For this panel, we will accept presentations that focus on the way texts can be self-reflexive and mirror the process of their own creation or reading.

Panel III – Where is narrative? – This panel will be dedicated to ways in which digital media can be used to tell a story or to structure a narrative.

Panel IV – Trans-multi-inter-meta: the medium – This panel will focus on the role of the medium in the production, transmission and understanding of text, as well as on the conditions of media interaction, convergence, and divergence.

Panel V – Teaching the digital – This panel is focused on digital literacy and the teaching of electronic literature.

Panel VI – Tracking and visualizing texts – This panel is dedicated to the collection, archive and preservation of literature. It also aims to address ways of analysing and categorizing large amounts of data.

Between the 3rd and the 5th of November 2016, we will welcome six keynote speakers, attend artist talks, performances and visit one exhibition. The International Conference on Digital Media and Textuality will gather artists/ authors/ scholars/ readers at the Universität Bremen. ICDMT will be comprised of the Exhibition “Shapeshifting Texts”, sponsored by the ADEL (Archive of German Electronic Literature), and an evening of performances sponsored by the Literaturhaus Bremen. All the activities mentioned above are sponsored by the Electronic Literature Organization. In order to fulfil this event, we have received the financial support of the M8 Post-Doc Initiative Plus, Excellence Initiative. These events are part of the “Shapeshifting Texts: keeping track of electronic literature” postdoctoral project.

(Source: https://digmediatextuality.wordpress.com/about/

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Event type
Date
-
Address

Vertical Gallery
St. Petersburg
Russia

Curator
Short description

The international mediapoetry festival 101. Memory Formatting will be held for the second time 13 April - 10 May 2016 in Saint-Petersburg. The name of the festival - 101- is a reference to the system of a binary code representing information with two binary digits 0 and 1. The festival investigates new language forms in digital age as well as the synthesis of art, poetry and media.

(Source: http://101english.tumblr.com/)

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Description in Russian:
Международный фестиваль медиапоэзии 101. Форматирование памяти пройдет в Санкт-Петербурге во второй раз c 12 апреля по 7 мая 2016 г.

101 в названии отсылает к системе двоичного кода и представлению информации потоком 1 и 0. Фестиваль исследует новые формы языка в цифровую эпоху, синтез поэзии, искусства и медиа.

В этом году события 101 посвящены теме форматирования памяти.

Теоретические вопросы в когнитивном, социальном и антропологическом аспекте рассмотрит симпозиум «Total recall: память как застывшая информация?» (29-30 апреля, СПбГУ, факультет свободных искусств и наук).

Традиционная образовательная программа фестиваля пройдет в апреле на Новой сцене Александринского театра в рамках Лаборатории новых медиа.

В фестивале примут участие такие ученые, поэты и цифровые художники, как: Евгения Суслова, Павел Арсеньев, Дмитрий Голынко-Вольфсон, Илья Мартынов, Александр Ефремов, Дмитрий Шубин, Наталья Федорова, Иан Хатчер, Оттар Ормстад и многие другие.

Завершит фестиваль 30 апреля открытие выставки медиапоэтических работ «Форматирование памяти» в галерее “Вертикаль”.

(Source: http://101.ru.com/)

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international mediapoetry festival 101
Record Status
Description (in English)

RIMA (twitter stream http://twitter.com/squidsilo) is a performance installation and digital media work that conceptually addresses strategies for survival by way of poetically re-framing the facts behind the effects of solitary confinement and isolation into a fictional present/future. Notions around stimulus and memory are played out through the performers movement within the physical space (proximity, sound, touch) and the data collection of distinct environmental changes (cold, hot, light, dark), which trigger strategically placed sensors collated by a computer program. This in turn dispatches a relational virtual text stream delivered to a live webpage and/or twitter feed (twitter fiction). The overall effect is a mimic of real-time thoughts, responses and actions, which over time slowly build into a fictional narrative somewhere between an indistinct present and a sci-fi future. (source: ELO 2015 catalog)

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Email
drha2015@gmail.com
Short description

DRHA 2015, Digital Research in the Humanities and Arts Dublin Conference is starting on 30 August, 2015 and ending on 02 September, 2015.

The place of the Conference was picked out as Dublin City University.

DRHA 2015 should be an astounding Conference that will cope with the topics of Digital Humanities, Digital Arts, Digital Media and Social Sciences and alot more.

Digital Research in the Humanities and Arts Dublin Conference is organized annually.

(source: http://eventegg.com/drha-2015/)

Record Status
By Alvaro Seica, 6 May, 2015
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Publication Type
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Year
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Journal volume and issue
32.2
Record Status
Abstract (in English)

overboard by John Cayley, with Giles Perring, is an example of literal art in digital media that demonstrates an 'ambient' time-based poetics. There is a stable text underlying its continuously changing display and this text may occasionally rise to the surface of normal legibility in its entirety. However, overboard is installed as a dynamic linguistic 'wall-hanging,' an ever-moving 'language painting.' As time passes, the text drifts continually in and out of familiar legibility - sinking, rising, and sometimes in part, 'going under' or drowning, then rising to the surface once again. It does this by running a program of simple but carefully designed algorithms which allow letters to be replaced by other letters that are in some way similar to the those of the original text. Word shapes, for example, are largely preserved. In fact, except when 'drowning,' the text is always legible to a reader who is prepared to take time and recover its principles. A willing reader is able to preserve or 'save' the text's legibility.

(Source: Author's Abstract)

Creative Works referenced
By Sumeya Hassan, 6 May, 2015
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Year
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Abstract (in English)

The term algorithm , most commonly associated with computer science, may be used for any effective ff procedure that reduces the solution of a problem to a predetermined sequence of actions. In software, algorithms are used for performing calculations, conducting automated reasoning, and processing data (including digital texts)—but algorithms may also be implemented in mathematical models, mechanical devices, biological networks, electrical circuitry, and practices resulting in generative or procedural art (see code, computational linguistics, procedur al). In common usage, algorithm m typically references a deterministic algorithm, formally defi fined as a finite and generalizable sequence of instructions, rules, or linear steps designed to guarantee that the agent performing the sequence will reach a par ticular, predefi fined goal or establish incontrovertibly that the goal is unreachable. The “guarantee” part of this description is important, as it diff fferentiates algorithms from heuristics, which commonly proceed by “rules of thumb.” Like algorithms, heuristic methods can be used iteratively to reach a desired end state and may be responsive to feedback from external sources. However, the heuristic process is fundamentally one of informal trial and error rather than of constrained, formally algorithmic activity according to a set of predefined fi rules. (Nondeterministic algorithms are a class of algorithm that attempts to solve harder problems by finding fi the best solution available with a given set of constraints. They do not guarantee to fi find a single, best solution and may, on repetition, present radically different outcomes.)

(Johns Hopkins University Press)

By Daniela Ørvik, 29 April, 2015
Author
Publication Type
Language
Year
Pages
183-186
Record Status
Abstract (in English)

An overview of digital media ethics (DME), confronting the challenges evoked by digital media. Including privacy issues, research ethics, copyright concerns, violent content in computer-based games, global citizenship, pornography, journalism ethics, and robot ethics.

Pull Quotes

Several factors complicate the question "what is digital media ethics (DME)?" DME confronts the ethical challenges evoked by digital media: the ongoing growth and transformations of these media thus spawn new ethical concerns and dilemmas.

By Anne Karhio, 10 April, 2015
Publication Type
Language
Year
Publisher
ISBN
9780262512503
Pages
357
Record Status
Librarian status
Approved by librarian
Abstract (in English)

"As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices—"windows" full of moving images, texts, and icons—how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen.[...]Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time." http://mitpress.mit.edu/books/virtual-window

By Sumeya Hassan, 19 February, 2015
Author
Language
Record Status
Abstract (in English)

The Electronic University Press (EUP) uses digital media forums, tracking systems and databases through the submission, peer-review, editorial, and distribution/promotion phases of a work. Both its catalog and the portal itself serve as a hub for e-literature, en-visioning how multimodal works may be most effectively reviewed and promoted. The goal is to realize new possibilities for literature and scholarship beyond the traditional monograph by offering more active participation from users and more flexibility and inclusiveness for scholars and reviewers. It also offers a, much needed, legitimacy to new forms of scholarship that use electronic visual and sonic media as the literary meaning, or databases, digital interfaces, and multimedia design as crucial elements of the literary or scholarly content. The rise of electronic publishing options are changing the constraints on writing with digital media. The EUP serves as a response to these difficulties by fostering monograph-equivalent digital works that use new digital formats and by building an infrastructure that aids in the evaluation of such works. EUP: Committed to E-Literature. (Source Author Abstract)

Description (in English)

Abra is an exploration and celebration of the potentials of the book in the 21st century. A collaboration between Amaranth Borsuk, Kate Durbin, Ian Hatcher, and a potentially infinite number of readers, the project merges physical and digital media, integrating a hand-made artist's book with an iPad app to play with the notion of the “illuminated” manuscript and let readers "hold the light" of language. In the artist’s book, the poems grow and mutate as the reader turns the pages, blurring the boundary between text and illumination, marginalia and body. Animating across the surface, the poems coalesce and disperse in an ecstatic helix of words, taking turns "illuminating" one another's margins and interstices.They play with the mutation of language, both by forming new portmanteaus and conjoined phrases, and also through references to fecundity as it manifests in the natural world, the body, human history, popular culture, decorative arts, and architecture, placing the shifting evolution and continuous overlap of all these spheres in dialogue with the ever-changing technology of the book. The iPad version of Abra, which provides a physical backdrop for the artist's book into which it is inserted, extends and revels in this ephemerality, putting special emphasis on interactivity to highlight the role of the reader. The poems spring to life onscreen: not only do they conjoin and separate, with a swipe of his or her finger, readers may join the collaboration and mutate the text further, creating new juxtapositions and surprising turns of phrase. Their texts provide scores for potential performances of the work, making Abra function much like the magic word of its origin–abracadabra–as an unpredictable living text. We are interested in both exhibiting the hybrid artist's book / iPad app and performing from the work. We would also be happy to give a presentation, if that is of interest. While the project is a collaboration between 3 people, only Amaranth and Ian are applying to present it. We both plan to attend the conference and are especially interested in the opportunity to expand the performative possibilities of the text, which to date has been performed by Kate and Amaranth in conjoined costume. Abra is being produced under an Expanded Artists’ Books Grant from the Center for Book and Paper Arts at Columbia College Chicago. The project will launch this spring. For exhibition, our piece requires an iPad running iOS7 and a podium. We can provide the artist's book. For performance, we can provide iPads and adapters. Amaranth Borsuk's books include Between Page and Screen and Handiwork. She teaches at the University of Washington, Bothell. Kate Durbin's books include The Ravenous Audience and E! Entertainment, among others. She teaches at Whitter College. Ian Hatcher is a text/sound artist and programmer living in New York.

(Source: Author's abstract)

This piece won the 2017 Turn on Literature Prize.

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