Exhibition

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College of Fine Arts (COFA), University of New South Wales is organising its latest graduation exhibition at Sydney.

The COFA Annual 2010 features a stunning array of animation, ceramics, drawing, digital imaging, environments, graphics, installation, interactive media, jewellery, motion graphics, objects, painting, photography, printmaking, sculpture, sound, textiles and video works by COFA's more than 350 graduating students.

The exhibition is an amazing opportunity to see Australia's next generation of creative talents before they make it big. 

Electronic literature is a translation process. It is rooted in a movement between the expressiveness of converging and diverging languages. A key word in the context of digital processes and practices, translation is an interface between thought and language, self and other, subject and tool, art and technology, humans and machines, or between different cognitive, symbolic, performative and linguistic regimes. Electronic literature may live precisely in this in-between space: the place where the pulse of translation, as a process, lies, celebrating inter-semiosis, transference and transformation.

This exhibit proposes three main nuclei representing three sufficiently comprehensive perspectives of the word “translation”: (1) translating, (2) transducing, and (3) transcoding. naturally, due to their multimodal, intermedial and meta-poetic nature, all of the selected works could be included in any of these three threads. While translating focuses mainly on what is translatable and on conti-nuity, transducing and transcoding focus on what isn’t translatable and on dis-ruption, shedding light on the material specificities of different media, different expressive modalities and different poetics.

(Source: Book of Abstract and Catalogs)

This  exhibit  acknowledges  the  wide  range  of  community  practices  converging  and  sharing  reflections,  tools  and  processes  with  electronic  literature,  as  they challenge  its  ontological  status.  Implying  an  existing  set  of  relationships,  communities, such as those represented in this exhibit - the Artists’ Books, ASCII Art, net  Art,  Hacktivism/Activism,  Performance  Art,  Copy  Art,  Experimental  Poetry,  Electronic Music, Sound Art, Gaming, and Visual Arts communities - share a common aesthetic standpoint and methods; but they are also part of the extremely multiple  and  large  community  of  electronic  literature.  Our  aim  is  to  figure  out  the nature and purposes of this dialogue, apprehending, at the same time, their fundamental contributions to electronic literature itself.

Communities: Signs, Actions, Codes is articulated in three nuclei: Visual and Graphic Communities; Performing Communities; and Coding Communities. Each nucleus is porous, given that some works could be featured in several nuclei. Because it is necessary to negotiate the time-frame, locations, situations and genealogies of electronic literature, this collection of works expands the field’s approaches by proposing a critical use of language and code — either understood as computational codes, bibliographical signs, or performative actions. Therefore, the exhibit adopts both diachronic and synchronic perspectives, presenting works from the 1980s  onwards,  and  showing  the  diversity  of  art  communities  working  in  nearby  fields  which,  at  close-range,  enrich  the  community/ies  of  electronic(s)  literature(s),  either  in  predictable  or  unexpected  ways.  Distributed  authorship  and co-participant audience are key in this exhibit.

(Source: Book of Abstracts and Catalogs)

In  this  exhibit,  sound  is  represented  as  an  overarching  medium  connecting  the  artworks displayed. Visitors of the “Affiliations” exhibit will find poetic works that radically explore language and sound. For the curators, sound is one of the fundamental aspects, if not the core, of experimental and digital poetics. Yet, as some writers  and  critics  have  pointed  out  - especially  Chris  Funkhouser,  Hazel  Smith,  and John Barber - sound has not been sufficiently highlighted as a fundamental trait of electronic literature.

The “Affiliations” exhibit presents works that embrace appropriation and remix of older and contemporary pieces - be they merely formalist or politically engaged - as pervasive creative methods in experimental poetics. Furthermore, it suggests that  electronic  literature  can  be  seen  as  a  heterogeneous  field  of  self-reflexive experimentation with the medium, language, sound, code, and space.

At  the  Palacete  dos  Viscondes  de  Balsemão,   connections  between  several  art  forms and movements, ranging from the baroque period to Dada and experimentalism will be underlined. In so doing, the “Affiliations” exhibit will present works printed on paper, composed of sound or generated by computational media. This exhibit  is  divided  into  nuclei  of  practice,  where  works  can  be  independently  or simultaneously read, played, listened to, watched, and remixed.

(Source: Books of Abstracts and Catalogs)

No Legacy || Literatura electrónica (NL||LE) presents a collection of works of electronic literature in Spanish, Portuguese, Catalan, and English together with print works of the 20th-century avant-garde and contemporary post-digital experimentalism.

No Legacy is a radical critique of the history of literature through a reflection on recursive temporalities. With no linear history, all literature is contemporary in No Legacy’s archaeology. No Legacy questions the languages of literature. Poetics bypass words. In No Legacy ideas take any form or are represented by just the one. In No Legacy, ideas are not means to explain the world around us. Rather, they are the objects that comprise the No Legacy world. In this ecosystem the literary is but an idea enacted across language, media, and time. No Legacy challenges your learned definitions. It proposes a universe of likely knowledge, rather than the absolute.

From January 19, 2016 through April 21, 2016, The Stedman Gallery will host an electronic literature exhibition entitled “Electronic Literature: A Matter of Bits.” The exhibition is sponsored by the Digital Studies Center and was curated by Director Jim Brown and Associate Director Robert Emmons.

Since at least the 1970s, authors, artists, and computer programmers have been exploring the literary potentials of digital computing. The Electronic Literature Organization (ELO) describes electronic literature as having “important literary aspects that take advantage of the capabilities and contexts provided by the stand-alone or networked computer.” Much of this work might strike us as ephemeral or lacking the same physical materiality as print-based literature, but writers, artists, scholars, and critics have continued to question this commonplace. Silicon and bits are no doubt different from print and ink, but the “Matter of Bits” exhibition will demonstrate how electronic literature relies on any number of materialities for its existence. Featuring work from around the world, this exhibition displays works of electronic literature on a range of devices, from a Commodore 64 to a Microsoft Kinect to an Oculus Rift Virtual Reality headset.

In addition to raising these important questions about materiality, this exhibition will also host the launch of the Electronic Literature Collection, Volume 3. Published by the Electronic Literature Organization, this collection gathers together historical and contemporary works of electronic literature from around the world. “A Matter of Bits” will feature a number of works from this brand new collection, works that push us to consider how electronic literature helps us think differently about literature in the digital world.

(Source: https://digitalstudies.camden.rutgers.edu/electronic-literature-a-matte…)