"Código de barras" (Barcodes) was part of a collective exhibition titled "The Only Bush I Trust is my Own". The use of a barcode reader (an iSight) allowed the visitor in the gallery to reveal political and poetic messages against domestic violence, imperialism, consumerism, and informatic control.
"Código de barras" forma parte de una exposición colectiva titulada "The Only Bush I Trust is My Own). La persona visitando la galería donde fue expuesta esta serie de trabajos revelaba mensajes políticos y poéticos mediante un lector de códigos de barras. El trabajo se presenta contra las "barras" del imperialismo, del consumismo, y del control informático, así como denuncia la violencia de género.
Caren Irr on ®TMark.com.
(Source: EBR)
Mosteiro de São Bento da Vitória
Porto
Portugal
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)
Sherwood Rise is the world's first augmented novel. It's an Augmented Reality (AR) transmedia interactive graphic novel/ game, told over 4 days through a range of media and formats: printed newspapers, AR on mobile phones, emails, hacker websites, blogs, sound, music, graphic novels and illustrations.
Inspired by the current financial crisis, and the Occupy movement, the story is based on the traditional Robin Hood tale. The traditional tale of peasant revolt and dissent is brought up to date, and adapted for AR and transmedia. In our adaptation, austerity is imposed on the poor by a privileged elite, but resisted by a gang of hacker outlaw terrorists called the 'Merry Men'.
Each day you receive a newspaper (via email) which you interact with via AR. Your interaction (how much you support the establishment or the Merry Men) updates a database, which then determines the version of newspaper you receive the next day. My intention was to make a physical book interactive, and in this way explore the future of the book.
The project explores the future of the book and transmedia storytelling:
The objectives of the project are:
My research interests for this project included:
Sherwood Rise - the story begins here
Please note that since the AR software "Junaio" is no longer available (since 2015), then the project doesn't run anymore.
This was a research collaboration between Dave Miller (concept, code and drawings) and Dave Moorhead (screenwriter). This was a post-doc research project funded by the University of Bedfordshire, as part of the UNESCO Future of the Book project.
Dietrich Squinkifer’s (aka Squinky) Quing’s Quest VII: The Death of Videogames was created for Ruin Jam 2014, a game jam inspired by tensions over the identity of games and gamers and particularly responding to accusations that feminists and advocates for diversity in games had set out to “ruin” the games industry. Quing’s Quest is built in Twine and takes inspiration from old-school adventure games, including Sierra’s King’s Quest series. The game takes place on a craft called the “Social Justice Warrior” (after a commonly-used pejorative term for those who point out misogyny, racism, transphobia and many other forms of discrimination and hatred online and in gaming culture), and features a character exiled from Videogames after the invasion of the “misogynerds.” This work captures the tension of a historical moment in which only some voices, games and critiques are heard and others are silenced and dismissed. (Source: ELC 3's Editorial Statement)
Web based, uses HTML5 and JavaScript
A performance for the ELO 2013 conference in Paris on UnderAcademy College's "Escuela del Caos" (Madrid, 2013).
One of several early career participants at the Electronic Literature Organization’s Summer 2012 “Futures” panel, Claire Donato comes down on the side of non-commercial, non-entrepreneurial, educational approaches to an emerging digital literary practice.
Special America: The Movie is a film adaptation of the "Poetry Is Special America" iteration of the ongoing project. The movie was filmed at the School of Visual Arts in New York, NY on April 26-27, 2014. Our crew of 14 included Claire Donato & Jeff T. Johnson (Creators & Writers of Special America), Juana Hodari (Director), Amy Bergstein (Producer), Alejandro Veciana (Assistant Director), Alexander Norelli (Art Director), Edward Pages (Director of Photography), plus grips and electricians TBA. As of July 2014, we are in post-production.
"Special America is an upstart, outreach, non-partisan organization located at the intersection of poetry, politics, patriotism, digital history and fate."
Cyberfeminism started in the 90s, a period in which the main feminist issues were globalization, gender violence and the influence of the new technologies and the Internet in our personal relationships, social networks and in our (cyber) bodies. Nowadays, what has remained from cyberfeminism of the 90s? What is the use of cyberfeminist activism?
El ciberfeminismo comenzó en los noventa, un período en el que las inquietudes principales en la teoría feminista eran la globalización, la violencia de género y la influencia de las nuevas tecnologías e Internet en nuestras relaciones personales, redes sociales y en nuestros (ciber) cuerpos. Hoy en día, ¿qué ha quedado del ciberfeminismo de los noventa? ¿para qué sirve el activismo ciberfeminista?
New mobile technologies shape the way, in which people communicate and perceive the reality. Our basic position is the nomadic cockpit (expression coined by the author of this paper) in terms of being armed with many of navigating and controlling mobile screenic devices (from cell phones and tablets to consoles, cameras, and various players). When we move around in our surroundings armed with such devices we perceive the data shown on the screen of such a device, meaning that both the visual and aural interfaces are integrated in our experience of walking or riding environment. Virtual data approaching from the remote context on the screen are related to and coordinated with our basic, non-mediated perception from the physical here and now, meaning that the digital technology, provoking one’s hands on controls activity becomes incorporated in the experience and understanding of our being-on-the-move. This paper aims to explore the way in which the present mobile culture enters some movements in new media art and e-literature that presuppose the interactions between the moving bodies and the words and images on the move. We are witnessing various projects in mobile and locative media that deploy mobile phones in order to broaden the presence of new media textual and non-textual contents and its experience. In this paper we refer to some examples of e-literary projects shaped for mobile screenic devices (e.g. Bauer's and Suter’s AndOrDada) as well as for new media ones, such as EDT’s The Transborder Immigrant Tool. The comparison between the use of mobile and locative media in e-literature and in new media art demonstrates significant differences between them with the regard to their tasks and applications. Rather than foregrounding the pure artistic (aesthetic) features the new media art refers first and foremost to activism, hacktivism, repurposing, tactical media, tactical biopolitics and to the use value of its projects as persuasively demonstrates The Transborder Immigrant Tool, which was created with the task of reappropriating wordily available technology to be used as a form of humanitarian aid. The Virtual Hiker Algorithm installed on the simple mobiles guides border crossers in the hostile desert condition toward the nearest aid sites (e. g. to the water and first aid points). When new media art project is displayed on the screen of one’s nomadic cockpit, we need to look at it not in terms of aesthetic practice but as the production of goals for the nomadic user to solve, puzzles that require it to enact its kinesthetic and proprioceptive features, in unusual conditions. On the contrary, e-literary projects formed in mobile and locative media are often about the demonstrations of technical advances in this field; they revolutionize the means of production, they invent the new genre in which the textual creativity is deployed (e. g. Aya Karpinska’s zoom narrative), they gain the importance in terms of avant-garde of the medium, but their tasks are not so transgressive and radical in terms of the social interventions. Unlike the new media art ones they do not enter the not-just-art (term coined by the author of this paper) in terms of an activity that seeks to change the very condition of life.