site specific

By Scott Rettberg, 25 June, 2013
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Abstract (in English)

The broad aim of this paper is to contribute to a discussion on some aspects of the relationship between e-literature, spatiality and site-specificity. The context for this particular investigation is a major initiative for the establishment and development of an Academy of New Media and Digital Arts (see below) on the Italian island of Procida, one of the three islands that sit in the Bay of Naples. Within this initiative, e-literature as both practice and community plays a central role.

One question which inevitable arises from the Procida project concerns the discrepancy between the geographical situatedness of the Academy on the one hand, and the dispersed nature of networked e-lit communities and of e-literature as a practice on the other. How will the relationship between site and network play out?

The paper itself is designed to emphasise the spatiality of e-texts, in contrast to the more temporally structured nature of page-based narrative. It comprises a pattern of “insular” sections that are linked to each other, although this pattern is one among many possible patterns. In other words the “textual islands” are both isolated and inter-located at the same time.

(Source: Authors' abstract)

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Description (in English)

Interactive public artwork shown in Bath Abbey, Feb 2006. Visitors wore "chirpers" to track their location in zones in the church. Characters or "messengers" were "attached" to the visitors, and visitors heard and saw aphoristic messages delivered by those characters.

Technical notes

ultrasound sensors

Short description

New media artist and researcher Michelle Teran will present work-in-progress on her Folgen project

Folgen (2011), draws on the existing narratives of amateur video makers found on YouTube to build a multi-layered media landscape of Berlin.  My subjective approach combines fragments of images and sound from the videos with my own narration, using the traces video makers have left in the public sphere of the internet to follow people throughout the city. A large table, roughly shaped like the city of Berlin is covered with drawings, texts and documentation from videos. It emerges as a temporary tactile media archive and becomes a physical environment for the re-playing of personal histories, which are then performed live. The many protagonists involved in the making of the work create the stories told during the performance.

Michelle Teran (Canada) explores the interaction between media and social networks in urban environments. She develops performances via the staging of urban interventions such as guided tours, walks, open-air projections, participatory installations and happenings. Michelle Teran won the Transmediale Award 2010 for her work Buscando Al Sr. Goodbar, a "bus tour happening" that took place in Murcia, Spain, in 2009. 

Michelle Teran is a Kunstipendiat admitted to the Artistic Research Fellowships Programme at The Bergen National Academy of the Arts in October 2010 with the project Future Guides for Cities. Future Guides for Cities is a research project that proposes alternative ways to navigate through urban space. It investigates the relationship between online video archives and urban space and examines notions of guide, as a person, map or a method.

(Source: Electronic Literature Research Group, University of Bergen website)

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Description (in English)

The project ‘Folgen’ looks at the publication of personal archives and the tension between the public and private experience. This is explored by the personal experience of what it is like to follow somebody, first by monitoring the videos people put online, then following this information to actual physical addresses within the city where these videos were produced. Staged as a performance and installation, Folgen draws on the existing narratives of amateur video makers found on YouTube to build a multi-layered media landscape of Berlin. A subjective approach combines fragments of images and sound from the videos with the artist’s own narration, using the traces video makers have left in the public sphere of the internet to follow people throughout the city. The videos are self-representative acts, performances and depictions of the everyday, which together form a relation with the city spaces where they transpire. The geographic locations encoded in the videos become waypoints for traversing an unofficial, unintentional map of Berlin. Through this process, the city becomes a place to be inhabited and experienced through an other’s narrative — stepping into somebody else’s shoes.