visual art

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Erasure is a powerful technique that allows contemporary creative writers, visual artists, and political activists to reveal underlying patterns within extant narratives. Perhaps because of its imbrication with book arts and other tactile forms, erasure poetry is relatively unexplored in the domain of e-literature. However, educational platforms like Wave Books’ interactive erasure poetry website, as well as recent artistic projects such as Amaranth Borsuk, Jesper Juul, and Nick Montfort’s web browser extension The Deletionist, Jacob Harris’s Times Haiku, and my own participatory platform The Infinite Woman demonstrate some of the possibilities for making and reading erasure poetry in a digital context. In this one-hour hands-on workshop, I’ll briefly introduce the form and technique of erasure in contemporary creative writing, looking at some physical examples (like Lauren Russell’s chalk erasure of Descent) in addition to the digital examples mentioned above.

We’ll discuss the aesthetic and political choices in handcrafted and computationally generated erasure poems; consider erasure’s overlap with and distinction from other approaches like remix, appropriation, and conceptualism; and explore how erasure allows writers and artists to stretch and innovate poetic technique. Then, I’ll introduce a series of hands-on exercises designed to get participants quickly making their own physical and digital erasures. Participants will experiment with user-friendly tools to make their own erasure poems on a variety of platforms. Participants will need to have access to a web browser (Chrome or Firefox) and a word processor, as well as a design program. I’ll be using the free, user-friendly, online platform Canva in lieu of an Adobe product; if participants do not already have a design program, they should sign up for a free Canva account before the workshop (https://www.canva.com/). They will also need paper, scissors, pens or markers, found physical text (like a newspaper or electrical bill), and found digital text (like a speech, blog post, or literary passage).

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Description (in English)

This short video work was filmed in New York in 2000 and involves a plastic owl reading Bill Joy's text Why the future doesn’t need us, published in Wired magazine in 2000. The text outlines a dystopian future where humans a rendered obsolete and are replaced by the sentient beings they created. The plastic owl hose sole purpose is to scare pigeons from the rooftop of the house in the west village spins whilst the words are whispered and the pigeons continue to go about their business paying no regard to it.

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Description (in English)

Voidopolis is a digital performance about loss and memory that is currently unfolding over 40-ish posts on my Instagram feed (@kmustatea). It is a loose retelling of Dante’s Inferno, informed by the grim experience of wandering through NYC during a pandemic. Instead of the poet Virgil, my guide is a caustic hobo named Nikita. Voidopolis makes use of synthetic language, generated in this instance without the letter ‘e’ and the images are created by “wiping” humans from stock photography. The piece is meant to culminate in loss, so will eventually be deleted from my feed once the narrative is completed. By ultimately disappearing, this work makes a case for a collective amnesia that follows cataclysm.

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By Daniele Giampà, 7 April, 2018
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Abstract (in English)

This is the first interview of a series called Electronic Literature Review Promotion. These interviews are published one month before the event takes place.

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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/)

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By Anne Karhio, 10 April, 2015
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9780262512503
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357
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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

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For E-Poetry 2007, i explore the multiple understandings of the PiM's (Personal Investigation Material). The PiM's as Merz-i / Merz-i or as factor i+) is an interactive visual art film, made from "letters & signs",  called i+D/ signs (information + definition / sign). Merz-i or factor i+), associated with a internet engine, allow a  ®≠Make, a re/reading(s) to make in a clash, as a surging opposition ? (http://www.epoetry2007.net/artists/oeuvres/veyrat/merzi.html)

By Eric Dean Rasmussen, 21 June, 2012
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Abstract (in English)

For any regular Internet user, the hyperlink has become ubiquitous, almost rendered invisible
through the frequency of its use. Trails in hypertext are meticulously laid out through the
seemingly endless streams of data, connected by links imagined as points of intersection in the
web. Links are used for reference, for navigation but also extensively in creative production, to
fashion hypertextual narratives and images. It is in this realm of electronic literature, both visual
and textual, that the function of the link shifts from the commonplace to a carrier of aesthetic
potential.

This presentation examines the aesthetic activation of the hyperlink as both an indicator of
transition and site of transformation. It is a brief exploration of the hyperlink as a signifier, a
mark both on and in the 'surface' of the digital text, through a close case study of two works by
hypercomic creator Neal von Flue.

While masked by regular use and innovative design, the hyperlink is by nature not transparent
– for it to function is has to be a self-revealing construct. The hyperlink is imagined to connect
data seamlessly, yet that is exactly what it cannot do; for it to be usable and useful, the
hyperlink needs to highlight transition as well as enable it. The link inhabits the imaginary space
between two points of data, it is positioned to be neither an object nor an action, it signifies
without being fully indexical or fully symbolic.

The discussion is located in a close analysis of von Flue hypercomics Directions – “Left”
and Halcyon Redux – Last Ditch both of which are housed on the artist’s website (http://apelaw.com/hypercomics), in a section titled “hypercomics”. Von Flue therefore specifically sets them up to work within the realm of hypertext as a means of cultural production. Von Flue distinguishes pedantically between ‘webcomic’ and hypercomic’: holding one as a means of distribution, the other as an intrinsically hypertextual experience that can only exist on the internet.

Von Flue uses flash to create the interactive elements in his comics. These are activated by
the reader through a link and the subsequent effect is to bring about a change in panel, view or
text, altering the comic in a way not possible without hypertext. But his use of the link extends
beyond this as well and is closely incorporated into the larger meaning of the piece. Von Flue
also uses several different types of symbols to indicate ‘hyperlink’ - highlighted text, scroll overs,
zone changes, and mouse changes, implying a considered choice of icon. As the comic is an
image and text based narrative the visual representation of the link is crucial to the final reading.

This presentation hopes to offer a point of entry into the complexities of hyperlinks in a textual/
visual art form by considering the circumstances in which they are aestheticized, and to explore
some of the characteristics of this strange liminal little creature that inhabits our screens.

(Source: Author's abstract, 2012 ELO Conference site)