tablet

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Description (in English)

"Some apps claim to increase your reading speed. We propose precisely the opposite:

How about reading Ulysses... with your fingers?

Through 4 episodes of increasing difficulty, your challenge is to wrestle with the text of James Joyce's monumental work, both mentally and physically.

By the end of your odyssey, you will have read up to four pages and 100 sentences chosen from throughout the novel. Your fingers' dexterity will have increased by an exponential factor, and your point of view on Modernist literature and experimental apps will have changed forever.

Note that He Liked Thick Word Soup differs depending whether played on a phone or a tablet. We recommend experiencing both versions!" 

(Description souce: http://chronotext.com/WordSoup/ 20.08.2019)

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Picture of an Iphone or Ipad screen using the app to play the game
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Picture of an Iphone or Ipad screen using the app to play the game
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Picture of an Iphone or Ipad screen using the app to play the game
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Picture of an Iphone or Ipad screen using the app to play the game
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Picture of an Iphone or Ipad screen using the app to play the game
Description (in English)

This cute interactive story offers a reimagining of “Little Red Riding Hood.” Designed to appeal to literate and preliterate audiences (as young as two years old), the game offers twelve exploratory animated scene peppered with hidden mini games. The work uses touch and tilt to allow the interactor to discover the story while engaging the affordances of mobile devices. Interactors are free to explore the tale at their own pace, as the wolf stalks over to granny’s house. However, created for even the youngest of audiences, the wolf merely shoves granny into a closet, rather than eating her. Rendered in white, black, and grey (with a hint of red), this app’s aesthetic draws upon the style of Japanese anime and contemporary animation. Backed by an immersive soundtrack, the piece offers a delightfully modern retelling of this classic tale.

(Source: Description from ELO 2017: Book of Abstracts and Catalogs)

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Description (in English)

“Boum!” is a wordless narrative which uses a very simple horizontal scroll to present the linear story of a man whose routine stroll to work is altered by a snowfall that makes him lose his way and transforms his day into a surreal journey. The story is beautifully rendered in a series of scenes in which the graphic design and the soundtrack become the true protagonists of the tale: an ode to the universal need for friendship and fantasy. “Boum!” combines music, paintings, and interaction to create a delightful experience for all ages. It received a special mention of the Bologna Children’s Book Fair (fiction) in 2016 and was the Editor’s Choice of the Children’s Technology Review supported by CNL, Salon du Livre de Jeunesse de Montreuil.

(Source: Description from ELO 2017: Book of Abstracts and Catalogs)

Description (in original language)

Boum! est un récit horizontal pour grands petits hommes, imaginé et illustré par Mikaël Cixous, mis en son par Jean-Jacques Birgé et propulsé par Mathias Franck.

Première production du genre, Boum! détourne les codes de visualisation classiques et invente une nouvelle façon de s’immerger dans une histoire. Le principe d’une lecture horizontale enrichie par une bande sonore réactive et surprenante, bouscule et enrichi à chaque instant la perception du spectateur.

Boum! dénote par la simplicité du procédé utilisé et la richesse du rendu. Les Inéditeurs marquent ici un retour aux sources quant au travail d’écriture et de mise en scène visuelle et sonore avec un credo simple : privilégier l’histoire et laisser l’imagination galoper.

L’absence de paroles, l’enchainement et la beauté graphique des tableaux, la musicalité, la narration elliptique et simple à la fois, tout cela nous entraine dans une expérience hors du temps et de l’instantané, un moment et un espace pour soi, offrant une grande liberté d’interprétation et de ressenti, chacun à son rythme.

Description in original language
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Boum!
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Boum!
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By Anders Gaard, 25 August, 2016
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2015-01-01
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Abstract (in English)

Anastasia Salter’s “Convergent Devices, Dissonant Genres” assesses the implications of the iPad for the state of literature. Looking at “traditional” approaches that re-mediate print for digital devices, “enhanced” approaches which add “special features” to extant texts and forms, pre-tablet eliterature re-experienced in the new environment, and finally the creation of original apps with literary qualities, Salter’s work is a critical document of the impact a single interface can have on the development of literary culture in the 21st Century. (Source: Author's Abstract)

Description (in English)

Kalfarlien 18, a home on Fløien designed by Einar Oscar Schou in 1909 and now in need of restoration, could have been refurbished into a facelifted historical showpiece: Schou also designed the National Theater, and the Bergen Kommune recognizes the villa’s cultural heritage. But the villa’s owners resist a vision of history that obliterates traces of natural decay. RestOration: Kalfarlien 18 reimagines the decaying villa as an eco-home quietly rebuffing the rigged hunger for new stuff. RestOration: Kalfarlien 18 recreates aspects of the villa even as its purview stretches far beyond the villa. An ambient soundscape creates a “lived in” homey feeling and moves guests through our interactive installation, to be located in UiB’s Humanities Library. At the center is an e-waste sculpture built on the myth of Narcissus and Echo that triggers aleatory poems when guests touch the trash. A tablet game features the villa’s original architectural drawings and decorative design elements. RestOration: Kalfarlien 18 is an e-lit ecopoem. Whether it’s the faint singing of a woman in the shower, or the functional e-waste, or the satisfying click of an actual Kalfarlien 18 doorknob unlocking pieces of the tablet game—RestOration juxtaposes the care economy of a home with the dizzying pace and alarming toxicity of technologic obsolescence. (source: ELO 2015 catalog)

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By Elias Mikkelsen, 12 February, 2015
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Abstract (in English)

Proposal:
V appeared in 2002, distributed across an invertible two-in-one print book from
Penguin, V : WaveSon.nets / Losing L’una, and two online locations: the first, V:
Vniverse, a Director project with Cynthia Lawson published in the Iowa Review Web,
and the second, Errand Upon Which We Came, a Flash piece with M.D. Coverley
published in Cauldron and Net. The print book contained at its center, approached
from either direction, the url for the Vniverse site.

This print book is being re-issued February 2014 in a new edition by SpringGun Press
as V : WaveTercets / Losing L’una. The truncation from Son.nets to Tercets is driven
by limitations and affordances that Hatcher and Strickland encountered as they set
out to modify the Vniverse Director project to run as an app on a tablet.
The original Vniverse was created, not using Director’s timeline, but all in one frame.
This choice took advantage of the speed of imaging Lingo to control both animation
and interaction, permitting swift gestural command of the appearance of language
emerging without lag from “the sky.” Since mobile devices support an entirely
different suite of gestures, we needed to re-implement Vniverse as an app for a
smaller screen and a different gestural repertoire.

The re-education of hand and mind, the gestural translation, that such a project
entails is our focus in this talk which will address the loss of hover as gesture, the
loss of location—a point is no longer a place—and the loss of overview, or revelation,
as sweeping gestures no longer reveal, but re-scale. Emotional coloring is shifted
when exchanging a click for a tap imposes a required time-delay, when an expansive
swing-sweep of mouse is substituted by contractive pinch-zoom, or when legibility
can be gained only through granulation (losing the sense of fades between whole
poems against which active sky stars can be activated), or through text compression
and/or suppression (son.nets to tercets). These losses are in part compensated by
other gains.

(Source: Author's abstract)

Description in original language
Critical Writing referenced
By Scott Rettberg, 22 August, 2014
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Abstract (in English)

Essay describing the conceptualization and development process of the Dynabook, often cited as crucial to development of contemporary laptop computers and tablet devices.

Pull Quotes

What would happen in a world in which everyone had a Dynabook? If such a machine were designed in a way that any owner could mold and channel its power to his own needs, then a new kind of medium would have been created: a metamedium, whose content would be a wide range of already-existing and not-yet-invented media. 

By Jill Walker Rettberg, 29 April, 2014
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Abstract (in English)

In a relatively short time, apps have become highly popular as a platform for children’s fiction. The majority of media attention to these apps has focused on their technical features. There has been less focus on their aesthetic aspects, such as how interactive elements, visual-verbal arrangements and narration are interrelated. This article investigates how a reading of a «picturebook app» may differ from readings of the narratives found in printed books and movies. The discussion will be anchored in an analysis of the iPad app The Fantastic Flying Books of Mr. Morris Lessmore. This app, which is an adaptation of an animated short film, relates the story of a book lover who becomes the proprietor of a magical library.

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Rio de Janeiro-RJ
Brazil

Short description

FILE Tablet exhibits applications that propose new ways of interpreting the real, new reasoning games. What was only a digital book is definitely revolutionizing the mobile technology, and FILE accompanies this revolution.

(Source: FILE website)

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