mapping

By Carlota Salvad…, 24 May, 2021
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Abstract (in English)

What happens at the edges of bordercrossing technologies? Our poster showcases an exploratory, Benjaminian digital experiment that queers the investigation into who and what and how emerging technologies connect with our bodies, lives and desires. This work is part of a larger project investigating tools, platforms and digital strategies that help us to weave together the digital and the analogue, human and machine, and interactivity that moves us beyond linearity to multiplicity, and for ELO we are excited to highlighting our proposed experimental project archive, still in the early stages of development as we are considering multiple platforms and seeking feedback. We’re building a kind of queer digital arcades - both platform and method - weaving together poetry, elit, theory and ephemera to perform an interactive, technoerotic story that troubles the borders between technologies, selves, others and the world. Our goal is to offer de-centred and multiple entry points to explore the increasingly ubiquitous technologies that summon our curiosities, vulnerabilities and penetrability, and implicate our skin, our memories of the basement bar, and our bravery. This multivocal work includes both poetic and analytical texts, electronic literature and theory as we work to visually and associatively map a series of technologies and concepts into constellations and queer formations. We understand and use the term “queer” methodologically – that is, we believe that queerness is a way of doing, whether that doing is in the production, consumption, or circulation of digital forms. The queerness here is in the very structure of the interface, the affordances of the platform, the non-linear, expansive, and associative logics that are revealed through exploration. The result is aspirational as much as, or more than, it is analytic, prompting users to imagine new speculative queer worlds as we all grapple with the ones we currently inhabit. The larger project aims to literalize the circuit formed by the digital and the queer, thus representing an emerging, heterogenous interactivity that produces radical possibilities, possibilities that we call edge effects. Our Benjaminian digital arcade aims both to capture and perform some of these edge effects and will include new electronic writing alongside experiments in spatial theorymaking. We are considering a variety of platforms at this time, including: 1) VR Chat; 2) an emerging beta platform for webvr and 3) Unity. We anticipate having screen captures of prototypes across multiple platforms and perhaps active links to beta worlds to share at the time of the conference.

Multimedia
By Vian Rasheed, 12 November, 2019
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Abstract (in English)

Since the emergence of photography in the 19th-century, ‘technical images’—which media philosopher Vilém Flusser defines as images constructed through the use of an ‘apparatus’— have replaced traditional images (sketching, drawing, painting, etc…) as the principal mode of objective documentation for mapping and representing reality. In fact it is this perceived objective character of the medium that has historically problematised its classification as an accepted artform. As a reaction, artists have long explored methods for circumventing the overriding social status of photography, by developing practices that operate to undermine its primary existence as strict documentation. Historical examples of this include, the photomontage of the early 20th-century by Dada artists (eg. Kurt Schwitters, John Heartfield), who spliced together images from mass media in order to construct new aesthetic scenes, and The Pictures Generation of the 1970s and 80s (eg. Cindy Sherman, Richard Prince), who utilised methods such as staged and found photography in order to question the long embedded interpretation of the medium as that which is simply a transparent window overlaying the world. In more recent years we have seen the appearance of many artists deploying glitch techniques as a means of probing the limits of digital objectivity in contemporary image culture. Technically referring to an unexpected error that occurs within a machinic system, encounters with glitches have become much more prominent due to the increasing prevalence of computerized technologies. Caleb Kelly has argued that artistic practices that explicitly attempt to exploit and utilize glitches for aesthetic purposes, ‘became popular in the late twentieth century’ and are ‘a key marker in the development of digital arts practices.’ This turn towards harnessing the artistic potentiality of the glitch has been described by Kim Cascone as part of the ‘postdigital aesthetic,’ which developed from immersion within ‘environments suffused with digital technology’. Constant envelopment within these spaces has made us more attuned to the ‘“failure” of digital technology’, resulting in a growing awareness of the presence of errors that exist within all computational systems. This paper will explore what happens when technologies of representation break down, through an analysis of the concept of the glitch as utilised within photographic artworks. The central aim is to highlight how the dominant social construction of the technical image—and its historically indelible relationship to the real—is undermined by instances of glitch art, by problematising its claim as objective document of reality, and via an extension of the aesthetic possibilities of machinic agency through its foregrounding of (non-human) noise and error. Through an articulation of the inherent presence of randomness and non-objectivity in the technical image, the indeterminate and speculative dimension of the medium will be discussed as that which is not simply a trait that should be ignored, but instead one which forms a necessary condition of its perceptual existence.

Description (in English)

The Pleasure of the Coast: A Hydro-graphic Novel is a bilingual web-based work in English and French. This work was commissioned by the « Mondes, interfaces et environnements à l’ère du numérique » research group at Université Paris 8 in partnership with the cartographic collections of the Archives nationales. The title and much of the text in the work détourne Roland Barthes’ The Pleasure of the Text (1973), replacing the word ‘text’ with the word ‘coast’. The images are drawn from an archive of coastal elevations made on a voyage for discovery to the South Pacific by the French hydrographer Beautemps-Beaupré (1793). In French, the term ‘bande dessinée’ refers to the drawn strip. What better term to describe the hydrographic practice of charting new territories by drawing views of the coast from the ship? In English, the term for ‘bande dessinée’ is ‘graphic novel’. In this hydro-graphic novel, Barthes’ détourned philosophy inflects the scientific and imperialist aspirations of the voyage with an undercurrent of bodily desire. Excerpts from An Introduction to the Practice of Nautical Surveying and the Construction of Sea-Charts, written by Beautemps-Beaupré intermingle with excerpts from Suzanne and the Pacific (1921), a symbolist novel by Jean Giraudoux written in direct opposition to the mechanistic view of science based on the assumption of an objective reality. This three language system unfolds in long horizontally scrolling web pages, mimicking the coast as it slips past the ship. This is a work of overlapping peripheries. It takes place, as it were during a period of imperialist expansion. These newly discovered coastlines are written over the surface of a topography which had already been inscribed by its inhabitants through thousands of years of use.  The practice of hydrography sits at the peripheries of our contemporary understanding of the technology underpinning the maps of the world we know today.

Pull Quotes

I summon simply a circular memory: the impossibility of living outside the infinite coast.

I left for another world as for a coasting voyage, innocently; trying to see all of France, like an island, as I left it behind. I made a sketch of the land commencing with those parts which, being most remote, were the least liable to change in appearance. I savoured the sway of formulas, the reversal of origins, the ease which brings the anterior coast out of the subsequent coast. At last the sky appeared, the whole sky, so pure, so laden with stars.

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The Pleasure of the Coast || J. R. Carpenter, 2019
Technical notes

this work is not optimised for phones

Type
Language
Year
Record Status
Abstract (in English)

Course introduction

The course focuses on the development of both theoretical and practical skills in digital humanities. Students will learn how digital platforms can be used in research in the humanities. In the theoretical component of the course, students read academic texts on digital humanities research and do practical research on selected projects in the digital humanities. The course focuses on student active research. Students gain practical research experience as digital humanists by developing projects in ELMCIP Electronic Literature Knowledge Base. This knowledge base is a scientific, open access, relational database programmed in Drupal that documents creative work, research, events and actors in the field of electronic literature.

Students in the course will gain practical experience through working with one or more of the following areas:

  • editing: researching, writing, and editing entries about electronic literature in the Knowledge Base
  • web design and user interface development
  • project planning and implementation; team-work and academic collaboration
  • documentation
  • visualization based research methods

This course provides a unique opportunity for students to get real-world experience working with scholars on an international research project in electronic literature and the digital humanities, and to contribute to the state of the art in these fields.

The ELMCIP Knowledge Base is based at the University of Bergen and can be accessed at http://elmcip.net/knowledgebase Contributions to the ELMCIP Knowledge Base are publicly accessible and licenced with a Creative Commons, non-commercial share-alike license (nc-sa).

Teaching Methods

There will be four hours of teaching each week for twelve weeks during the semester, split between one theoretical and one practical seminar each week. Student workload is estimated at 20 hours per week from the beginning of the semester until the exam, including during weeks without classes. This time should be spent attending classes, reading the assigned readings, completing assignments, contributing to the database projects, and gathering relevant material in the library and online (books, articles, videos, etc). If there are fewer than five students enrolled in the course, the institute can chose to reduce the hours of instruction, as per guidelines published on Mitt UiB. If this is the case, students will be able to find information about the revision of course hours at the start of the semester, before the deadline for semester registration (Sep. 1).

Assignments will be posted on Mitt UiB. UIB course page: http://www.uib.no/course/DIKULT207

Platform/Software referenced
Type
Language
Year
Record Status
Abstract (in English)

Course introduction

The course focuses on the development of both theoretical and practical skills in digital humanities. Students will learn how digital platforms can be used in research in the humanities. In the theoretical component of the course, students read academic texts on digital humanities research and do practical research on selected projects in the digital humanities. The course focuses on student active research. Students gain practical research experience as digital humanists by developing projects in ELMCIP Electronic Literature Knowledge Base. This knowledge base is a scientific, open access, relational database programmed in Drupal that documents creative work, research, events and actors in the field of electronic literature.

Students in the course will gain practical experience through working with one or more of the following areas:

  • editing: researching, writing, and editing entries about electronic literature in the Knowledge Base
  • web design and user interface development
  • project planning and implementation; team-work and academic collaboration
  • documentation
  • visualization based research methods

This course provides a unique opportunity for students to get real-world experience working with scholars on an international research project in electronic literature and the digital humanities, and to contribute to the state of the art in these fields.

The ELMCIP Knowledge Base is based at the University of Bergen and can be accessed at http://elmcip.net/knowledgebase Contributions to the ELMCIP Knowledge Base are publicly accessible and licenced with a Creative Commons, non-commercial share-alike license (nc-sa). Teaching Methods There will be four hours of teaching each week for twelve weeks during the semester, split between one theoretical and one practical seminar each week. Student workload is estimated at 20 hours per week from the beginning of the semester until the exam, including during weeks without classes. This time should be spent attending classes, reading the assigned readings, completing assignments, contributing to the database projects, and gathering relevant material in the library and online (books, articles, videos, etc). If there are fewer than five students enrolled in the course, the institute can chose to reduce the hours of instruction, as per guidelines published on Mitt UiB. If this is the case, students will be able to find information about the revision of course hours at the start of the semester, before the deadline for semester registration (Sep. 1). Class meetings are on Tuesdays and Thursdays, from 14.15-16:00 in Sydneshaugen skole, Datalab 124. Assignments will be posted on Mitt UiB. UIB course page: http://www.uib.no/course/DIKULT207

Database or Archive Referenced
Platform/Software referenced
By J. R. Carpenter, 18 May, 2015
Publication Type
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Year
Record Status
Abstract (in English)

An article on the creation and critical context of J. R. Carpenter's web-based work "Walks from City Bus Routes", which uses JavaScript to randomly and endlessly recombine illustrations and portions of text from an Edinburgh City Transport booklet published in the 1950sand bus and tram route icons from a City of Edinburgh Transport Map published in the 1940s, resulting in a new guide ‘book’ which perpetually proposes an infinite number of plausible yet practically impossible walking routes through the city of Edinburgh, and and its book shops, confusing and confounding boundaries between physical and digital, reading and writing, fact and fiction.

Pull Quotes

Questions of place have long-pervaded my fiction writing and maps have figured prominently in many of my web-based works. An outline of a map of Nova Scotia served as the interface for one of my earliest web-based works, Mythologies of Landforms and Little Girls (1996). In The Cape (2005), I used an assortment of maps, charts, and diagrams borrowed from an Environmental Geologic Guide to Cape Cod National Seashore published in 1979 as stand-ins for family photographs. In In Absentia (2008) I used the Google Maps API to haunt the satellite view of the Mile End neighbourhood of Montreal with stories of former tenants forced out by gentrification. My first novel, Words the Dog Knows (2008) included an impossible map of ancient Rome. I’d never set out to map a place I’d never been before, but then sometimes maps seem to call places into being.

Though many of the paths, towpaths, grassy slopes, fields, and roundabouts referenced in the Edinburgh City Transport pamphlet no longer exist, as variables within JavaScript strings these past places are ascribed new locations in computer memory. Called as statements into this new narrative structure, these past places become potential (albeit imaginary) destinations once again (albeit for readers rather than walkers).

Platform referenced
Organization referenced
Type
Language
Year
Record Status
Abstract (in English)

Course introduction

The course focuses on the development of both theoretical and practical skills in digital humanities. Students will learn how digital platforms can be used in research in the humanities. In the theoretical component of the course, students read academic texts on digital humanities research and do practical research on selected projects in the digital humanities. The course focuses on student active research. Students gain practical research experience as digital humanists by developing projects in ELMCIP Electronic Literature Knowledge Base. This knowledge base is a scientific, open access, relational database programmed in Drupal that documents creative work, research, events and actors in the field of electronic literature.

Students in the course will gain practical experience through working with one or more of the following areas:

  • editing: researching, writing, and editing entries about electronic literature in the Knowledge Base
  • web design and user interface development
  • web design and user interface development
  • project planning and implementation; team-work and academic collaboration
  • documentation
  • visualization based research methods

This course provides a unique opportunity for students to get real-world experience working with scholars on an international research project in electronic literature and the digital humanities, and to contribute to the state of the art in these fields.

The ELMCIP Knowledge Base is based at the University of Bergen and can be accessed at http://elmcip.net/knowledgebase

Contributions to the ELMCIP Knowledge Base are publicly accessible and licenced with a Creative Commons, non-commercial share-alike license (nc-sa).

Teaching Methods
There will be four hours of teaching each week for twelve weeks during the semester, split between one theoretical and one practical seminar each week.

Student workload is estimated at 20 hours per week from the beginning of the semester until the exam, including during weeks without classes. This time should be spent attending classes, reading the assigned readings, completing assignments, contributing to the database projects, and gathering relevant material in the library and online (books, articles, videos, etc).

If there are fewer than five students enrolled in the course, the institute can chose to reduce the hours of instruction, as per guidelines published on Mi Side. If this is the case, students will be able to find information about the revision of course hours at the start of the semester, before the deadline for semester registration (Feb. 1).

Class meetings are on Tuesdays and Thursdays, from 14.15-16:00 in HF 265. Assignments will be posted on Mi Side.

UIB course page: http://www.uib.no/course/DIKULT207

Database or Archive Referenced
By J. R. Carpenter, 28 September, 2013
Publication Type
Language
Year
Record Status
Abstract (in English)

An amalgamation of a series of lectures presented at Acadia University, Dalhousie Art Gallery and the Nova Scotia College of Art and Design, tracing the influence and use of maps in the web-based works of J. R. Carpenter.

Pull Quotes

Notions of place pervade my fiction writing and maps have long featured prominently in my web-based electronic literature, operating (often simultaneously) as images, interfaces and metaphors for place. My most recent work involves the mapping my most immediate surroundings, my Montréal neighbourhood, Mile End. Entre Ville [2006] and in absentia [2008].

I moved to Montreal in 1990 and have lived in the Mile End since 1992. I have been using the Internet as a medium for the creation and dissemination of experimental texts since 1993. I made my first web-based writing project in 1995. And I made my first Montreal-based project in 2006. Given my preoccupation with place, why did it take me so long to take up the topic of Montreal in my work?

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Organization referenced
Critical Writing referenced
By J. R. Carpenter, 19 August, 2013
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Pull Quotes

in absentia, a web-based art project presented by Dare-Dare, reads as a cross between a map and a novel. When you have lived in a place for long enough, every street corner is inhabited with memories and meaning, and a tour through in absentia feels like exploring a much-loved place with a long-time local.

Creative Works referenced
Organization referenced
Description (in English)

From Marie-Laure Ryan's article "Cyberspace, Cybertexts, Cybermaps":

The map created by this project, which operates on the word level rather than on the level of lexia, is not only dynamic, but animated and interactive as well. Literalizing the idea of textual architecture, the system asks the user to input words or sentences, and it creates the floor plan of an apartment to accommodate this verbal furniture. Words are assigned to rooms on the basis of semantic content. Twelve types of rooms are paired with twelve semantic categories: living room is themed around the idea of group, dining room needs glamour, kitchen holds food, closet is a place of secrecy, hall suggests motion, foyer stands for change, bedroom means intimacy, bathroom caters to the needs of the body, library is associated with truth, office is where one works, and windows afford vision. (Dillon, Writing with Pictures, ch. 6, p. 9). The various rooms are created as they are needed, and their size and the thickness of their walls increases with every new piece of furniture that needs to be brought in. Different inputs will consequently generate different floor plans. The system ignores the words that it cannot categorize (mostly articles and prepositions), and it tries to pair new words with old ones into meaningful phrases. When the components of the resulting expression come from different rooms, these rooms are made adjacent to each other, the wall between them is taken down, and the group of words floats in the area where the two rooms meet each other. The same rearrangement and tearing down of walls occurs when a word hovers between two categories. Matching the fluidity of the architecture of the floor plan, an architecture undergoing constant transformations, the fluttering of the words and phrases around the rooms suggests the polysemy of language and the impossibility to immobilize its words into rigid semantic categories. We can read the result as a kind of aleatory poetry, or as a story of daily life, with different episodes taking place in different symbolic locations.

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