Between the border of Cerbere and Port Bou there is a cliff, a road that goes up and on the other side eventually winds down the road, past a customhouse, above a rock that slips into the sea. What does it mean to know that border, to recognise it, and to know what you forget?
De grens tussen Cerbère en Port Bou bestaat uit een klif, een weg die omhoogslingert en aan de andere kant langs haarspeldbochten neerdaalt, langs het huis van een verlaten douanepost, boven een rots die haast wegglijdt in de zee.
Wat betekent het om de grens te weten, die te kennen, te weten wat je vergeet?
A blind date between an American epidemiologist and a Norwegian woman takes place on a transatlantic Skype call. In trying to impress his potential paramour, the American steers the conversation terribly wrong, toward a discussion of the Plague and all the devastating historical memories it entails. Rats and Cats :: Katter Og Rotter is a film by Roderick Coover and Scott Rettberg. The film is designed both installation (loop) and single channel screening. It is the second in a series of works about memory, desire, catastrophe, and translation. Rats and Cats :: Katter Og Rotter features the voices of Jill Walker and Rob Wittig. The sound technician was Joseph Kramer. The work was made possible in part with funding from the Philadelphia Independent Film and Video Association.
The sound technician was Joseph Kramer.
Due to the constant threat of technological obsolescence, documentation practices of archiving and database construction are of vital importance, to warrant that artists and scholars can continue developing and understanding this field of practice and study. To this end, multiple e-lit databases are being developed in the context of research projects.Within the field of Digital Humanities, database construction is too often regarded merely as a preparatory task. But from the perspective of its developers, the e-lit database is both a research space, a form of dissemination, and a cultural artefact in itw own right. By no means neutral containers, database carry out diverse processes including storage, distribution, and exposition. Scholarship and artistic practice entangle: scholars attempt to document and research a field. Artists interrogate the database structure in their works, and the production of databases further develops the field, which leads to more (varied) creation and dissemination of electronic literature.This article examines how the database form increasingly in-forms and infiltrates electronic literature and becomes an aesthetic in its own right. We compiled a research collection in the ELMCIP (Electronic Literature as a Model for Creativity in Practice) Knowledge Base, consisting of works that reflect on the fact that they are part of a database, by taking on its formal characteristics. We consider how scholarship and artistic practice entangle: scholars attempt to document and research a field, and artists interrogate the database structure in works and the production of databases develops the field, which leads to more (varied) production of electronic literature.We analyze three works of electronic literature: Identity Swap Database by Olia Lialina and Heath Bunting (1999), Dictionary of the Revolution by Amira Hanafi (2017), and Her Story (2016) by Sam Barlow. Embedded in the database, these works reflect a variety of roles for databases in digital culture. Our analyses will shed light on the multifarious roles that databases play in the field of electronic literature—as storage of information, platforms for dissemination, artistic artefacts, and as a methodological tools for critical thinking about the construction of the field itself. In particular, we focus on three functions of databases that are amplified by electronic literature: reflection on online appropriation of identity and data use; commemoration or preservation; and an exercise in empathy.
Megan Heyward's interactive narrative, I Am a Singer, was created in 1997 with Macromedia Director for the artist's MFA thesis and was exhibited widely after its release. Concerned with memory and identity, I Am a Singer tells the fictional story of Isobel Jones, a famous rock singer who has been in an accident and is suffering amnesia. Although she is still able to access the media traces of her life- songs, articles, newspaper clippings, and various items of personal memorabilia, she cannot draw together these disparate threads into a meaningful sense of self. Structurally, I Am A Singer is a narrative built of fragments, of small, discrete but intersecting sequences, mirroring the fragmented consciousness of the singer. It operates on a number of levels – as a pure tale about an amnesiac singer trying to regain her memory, and as a broader exploration of identity and memory.
I Am A Singer was supported by Interactive Media funding from the Australian Film Commission (now Screen Australia ) of $57,400 and premiered as a finalist in the MILIA New Talent Pavilion in Cannes, France. It was exhibited widely between 1997 and 2000 in Australia, France, Germany, Switzerland, Belgium, Canada, USA, Mexico and Brazil. I am a Singer won several national Australian awards for digital media including Apple Australia Award for Individual Excellence 1998, AIMIA ’98 best title produced by a student, and the US Invision‘98 Awards (US)- Best Digital Storytelling (Bronze), Omni Intermedia‘98 Awards (US)- Experimental (Silver) and Omni Intermedia‘98 Awards (US)- Sound Design (Silver).
Megan undertook multiple creative roles in the development of the work, as writer, artist, graphic/ interface designer, director, sound desiner and programmer. Her AFC funding allowed her to commission singwriter Phil Kakulas of Australian band The Black Eyed Susans to write two original songs for the work:- 'I Am a Singer" and 'Going Down". Black Eyed Susans musicians Phil Kakulas, Kiernan Box, Dan Luscombe and Mark Dawson played on the two tracks and incidental music for the project, which can be heard throughout the work interspersed with Megan's sound design elements. The track I Am a Singer was later recorded in entirety by the band and vocalist Rob Snarksi and released commercially.
Megan built the project in Macromedia Director , and it comprises approximatley 55 Director files and 10 video files and 50 audio files. The project took several years to fully develop.
This multimedia work is a remake of the 1960s collection "El hacedor" by Jorge Luis Borges. Agustín Fernández Mallo maintains the structure and chapter titles, but changes the content to demonstrate how the material gains symbolic significance over time. One paradigmatic example includes the remake of Borges's story "Mutations". Agustín Fernández Mallo's take on it presents a narrator who recreates Robert Smithson's 1967 famous journey through the use of google maps as well as images that compare the journeys. In this regard, the text conveys a comparison between the in-person and the virtual journeys, thereby exploring the temporal difference and the impacts of technology and societal context.
Es una pieza multimedia, categorizado como un remake de la colección "El hacedor" de Jorge Luis Borges publicada en los 1960. Agustín Fernández Mallo mantiene la estructura y los títulos de la capítulos, pero cambia el contenido para demonstrar cómo el material gana significado símbolico al pasar el tiempo. En un capítulo paradigmático, el narrador en la obra de Mallo recrea el célebre viaje de Robert Smithson en 1967 a través de google maps y presenta imágenes que comparan los viajes. Por lo cual se puede demostrar la comparación del viaje en persona y un viaje virtual y también explora la diferencia del tiempo y el impacto de la tecnología y la población.
"A este tipo de cosas me refiero, cosas que no estaban programadas porque parecen no aportar nada significativo, aunque de pronto cambien el curso de una película." (95)
"Pero, de alguna manera, tengo la sensación de que todo sigue igual, como si la personalidad de un lugar la otorgaran las fotografías como si las fotografías valieran no para distinguir y clasificar épocas sino para buscar la constante de una ecuación que involucra al tiempo y al carácter." (69)
Agustín Fernández Mallo's book is currently out of print. It was taken out of circulation due to possible copyright infringement, following the request of Borges's copyright executor María Kodama.
It is recommended to read "El hacedor" by Jorge Luis Borges before reading this text, as it enables maximum comprehension of the novel and the references to the original work.
Crónica de Viaje by Jorge Carrión is a literary work printed in the form of a laptop that uses the Google search engine. Carrión is on a mission to find and learn more about the history of his Andalusian family. He uses Google's features such as images, videos, and maps to discover his identity and history.
Crónica de viaje de Jorge Carrión es un texto literario en la forma impresa de un ordenador que usa el buscador de Google. Carrión esta en una misión para encontrar y aprender más sobre la historia de su familia andaluza que fue perdida durante la guerra civil española. Usa los recursos de Google como las imágenes, los videos y los mapas para descubrir esta parte de su identidad.
"Solo fui una vez, se hacia en el Parque Forestal, me choco ver a una niñá que yo conocia, no me acuerdo si del colegio o del barrio, vestida de sevillana, a mi nunca me disfrazaron, de hecho no recuerdo nada tipicamente andaluz en mi infancia, a parte de los viajes periodicos a Santaella y aquella unica vez que fuimos a La Alpujarra..." (p. 9)
"Si yo te contara... Mi abuelo, el padre de mi madre, se murio sentao, cavando en la viña, cerca del rio, lo encontraron sentao, y muerto." (p. 13)
Text was originally published in 2009. Republished in 2014 to mimic a laptop.
Stiegler considers the exteriorization of memory and describes the potential of digital media to be reciprocal media – anamnetic mnemotechnology. Our abilities to both decode and recode digital media are essential but threatened aspects of the creative potentiality of digital media.
A story revealed by opening a character's eyes, pulling apart his memories and grasping his infinitely scrolling thoughts. Six years ago, James–a demolition expert–returned from the First Gulf War. Explore James' mind as his vision fails and his past collides with his present. This app delivers an iPad-based reading experience in the form of a book to watch and a film to touch. App is co-authored by Danny Cannizzaro and Samantha Gorman.
Source: WorldCat.com
Many people deploy photo media tools to document everyday events and rituals. For generations we have stored memories in albums, diaries, and shoeboxes to retrieve at a later moment in life. Autobiographical memory, its tools, and its objects are pressing concerns in most people’s everyday lives, and recent digital transformation cause many to reflect on the value and meaning of their own “mediated memories.” Digital photo cameras, camcorders, and multimedia computers are rapidly replacing analogue equipment, inevitably changing our everyday routines and conventional forms of recollection. How will digital photographs, lifelogs, photoblogs, webcams, or playlists change our personal remembrance of things past? And how will they affect our cultural memory? The main focus of this study is the ways in which (old and new) media technologies shape acts of memory and individual remembrances. This book spotlights familiar objects but addresses the larger issues of how technology penetrates our intimate routines and emotive processes, how it affects the relationship between private and public, memory and experience, self and others.
(Source: Stanford University Press catalog copy)
Created in Unity using the Vuforia plug-in, 200 Castles is an augmented reality piece for iPad about time, longing, and magical spaces set in both the domestic spaces of a castle across multiple decades and in the spaces of memory. The viewer unlocks the story by using the iPad as a magic looking glass to look at a series of images in a photo album (‘trackables’ – the images contain features that the camera on the iPad is seeking). When the iPad’s camera ‘sees’ the images, the augmented reality technology overlays a small digital scene with accompanying audio.