flexibility

Jim Andrews is one of the pioneers of digital poetry.Indefatigable contributor to early list-servs, agile practitioner of algorithmic art, instigator of dialogs and diatribes, provocateur and poet of machinic potentials. His web portal vispo.com/ continues to provide a hybrid dose of poetry, visuals and spoken word conjoined by code.Jim is a poet who studied formal programming for 7 years and continues to call for the necessity of programming at the core of digital poetics.His work has been exhibited internationally; he currently resides in Vancouver where (among other gambits) he teaches mobile app development, JavaScript, Phonegap, and HTML. He's also the organizer of The Group of X, a Vancouver-based group of artists and scholars involved in computer art.

Interview 2012-07-08 in Vancouver.

(Source: David Jhave Johnston, Vimeo)

When we are talking about the new media art and e-literature we need to emphasize a crucial shift in
a very nature of today’s work of art; instead of a stable work of art (Ger. Kunstwerk) we are witnessing its transformation to the flexible service of art, to the performance and the event. As such it enters the present society shaped by the shifts from industrial society to postindustrial (and information) one, from material labor to immaterial, from Taylorist mode of production to postindustrial, e. g. a flexible one, from material artifact to its logo, from manufacturing to marketing of brands, from the economy of artifacts to the economy of financial markets and their products.

The flight of capital away from the productive economy (of material goods) into the financial
economy of more abstract instruments and services has caused many significant consequences also in the scope of production and its very phenomenology. Suddenly, by the stock exchange driven financial markets with the novel series of risky financial products (derivates) are becoming the crucial venues of spectacular events in the present society. The question needs to be raised, what are the novel concepts taken from the field of economy that might be applied in the (social) theory of e-literature?In this paper we aim first to explore the shift from industrial production to postindustrial prosumption in terms that the feedback from e-literary world (of readers, scholars, critics) is getting
more and more crucial for the producers of e-literary works. E-literature authors write and program
their pieces for e-literary world, which is not an abstract entity but as a living one consisted from
readers, (other) artists and experts who are able to steady contribute some basic information to the
authors.

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