science

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Vancouver
Canada

Short description

ISEA2015’s theme of DISRUPTION invites a conversation about the aesthetics of change, renewal, and game-changing paradigms. We look to raw bursts of energy, reconciliation, error, and the destructive and creative forces of the new. Disruption contains both blue sky and black smoke. When we speak of radical emergence we must also address things left behind. Disruption is both incremental and monumental.

In practices ranging from hacking and detournement to inversions of place, time, and intention, creative work across disciplines constantly finds ways to rethink or reconsider form, function, context, body, network, and culture. Artists push, shape, break; designers reinvent and overturn; scientists challenge, disprove and re-state; technologists hack and subvert to rebuild.

Disruption and rupture are fundamental to digital aesthetics. Instantiations of the digital realm continue to proliferate in contemporary culture, allowing us to observe ever-broader consequences of these effects and the aesthetic, functional, social and political possibilities that arise from them.

Within this theme, we want to investigate trends in digital and internet aesthetics and revive exchange across disciplines. We hope to broaden the spheres in which disruptive aesthetics can be explored, crossing into the worlds of science, technology, design, visual art, contemporary and media art, innovation, performance, and sound.

(Source: http://isea2015.org/about/theme/)

Record Status
Description (in English)

Quantum Collocation is a work of experimental writing designed as an application for mobile digital devices. An interactive erasure of an excerpted page from a foundational essay by preeminent physicist Niels Bohr, Quantum Collocation applies the laws of quantum mechanics to the user’s experience of the work, allowing her to uncover a range of unique poetic possibilities within Bohr’s original text through her positioning and repositioning of the mobile device in space. The work embodies Bohr’s notion of “complementarity,” in which the way an experimental apparatus designed to measure a particle’s properties is configured is crucial to determining precisely which of those particle’s characteristics become determinate at the moment of observation. In Quantum Collocation, Bohr’s words are the particles under observation, and the mobile device is the experimental apparatus through which those observations are made possible; each of the device’s unique positions in space uncover a unique poetic possibility within Bohr’s original writing. Quantum Collocation deploys probability functions that determine how poems become legible to the user, creating a dynamic, non-linear text distributed across space and time. Yet rather than being algorithmically generated, each poem has been carefully crafted by the author, providing a unique series of literary reflections on the philosophical implications of quantum physics and the indeterminate nature of physical reality. (Source: ELO Conference)

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By Audun Andreassen, 14 March, 2013
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Abstract (in English)

I am interested in the specific nature of POETIC insight and knowledge (Erkenntnis) in relation to other systemic spheres like, e.g., science or religion. As an approach to this subject my paper will discuss how poetic knowledge is addressed by the handling of ‘innovation’. Innovation will be observed as feature between reflexivity and potentiality in poetic experimentation. These poetological categories will be related to both practical and theoretical forms of technology driven language art. As exemplary forms I will focus on the radio play "Die Maschine" (The Machine, 1968) which simulates an Oulipo computer and was written and realized by George Perec and on its poetic comment by Florian Cramer (pleintekst.nl, 2004) as well as on the historical concept of ‘artificial poetry’ by Max Bense (in respect of his 100st anniversary) in the light of recent poetological concepts of innovation.

(Source: Author's abstract)

By Eric Dean Rasmussen, 3 February, 2012
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CC Attribution Non-Commercial Share Alike
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Abstract (in English)

A review of Stephanie Strickland's V: WaveSon.nets/Losing L'una.

Pull Quotes

In this grouping of texts, Strickland continues to show how passionate expression is permitted by print's animated counterpart.

Stephanie Strickland's latest publication is indicative of "bridge" work increasingly apparent in publications by poets who seriously use computer technology to present writing in traditional and experimental formats.

Creative Works referenced
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Abstract (in English)

A collection of interlinked materials for studying digital culture assembled primarily from George P. Landow's courses on Hypertext and Literary Theory and Cyberspace, Virtual Reality, and Critical Theory at Brown University. Course syllabi are available, and because the majority of materials collected there were created students in these courses visitors can glean ideas about how to design and/or participate in long-running courses, led by a permanent faculty member, in which students play an active and essential role in developing effective course materials updated each time the class is offered.