Language of Love
TEXT: "Romy Achituv and Camille Uterback"
Feature on Romy Achituv and Camille Uterback
provided by newmediaFIX
originally by a minima
Letters are falling down like rain. Try to catch the letters and their meanings. The falling letters are not random, but lines of a poem about bodies and language. Collect enough letters and you can catch a word or even an entire line of the Poem.
The Last Book — Call for a collaborative project by Luis Camnitzer
The Last Book is a project to compile written as well as visual statements in which the authors may leave a legacy for future generations. The premise of the project is that book-based culture is coming to an end.
On one hand, new technologies have introduced cultural mutations by transferring information to television and the Internet. On the other, there has been an increasing deterioration in the educational systems (as much in the First World as on the periphery) and a proliferation of religious and anti-intellectual fundamentalisms. The Last Book will serve as a time-capsule and leave a document and testament of our time, as well as a stimulus for a possible reactivation of culture in case of disappearance by negligence, catastrophe or conflagration.
Contributions to this project will be limited to one page and may be e-mailed to email@example.com or mailed to Luis Camnitzer, 124 Susquehanna Ave., Great Neck NY 11021, USA. In case of submission of originals, these will not be returned. The book will be exhibited as an installation at the entrance of the Museum of the National Library of Spain in Madrid at some point of 2008. Pages will be added during the duration of the project, with the intention of an eventual publication of an abridged version selected by Luis Camnitzer, curator of the project. The tentative deadline is March 31, 2008.
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TEXT: The Effects of Computers on Traditional Writing
The Effects of Computers on Traditional Writing
by SHARMILA PIXY FERR
Computers, and the electronic writing they have enabled, significantly alter traditional conceptions of writing. The effects of electronic writing on traditional text call for a re-examination of the prevailing print metaphor for online writing. A brief historical overview can help us better understand the effects of computers on traditional writing. The three great communication revolutions — symbolic language, writing, and print — have led to the current revolution of computers and electronic technologies.
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Text Rain by Camille Utterback (1999)
Camille Utterback is a pioneering artist and programmer in the field of interactive installation. TextRain is a work from 1999 – for more works see: http://www.camilleutterback.com
Terms & Conditions by Burak Arikan
Terms & Conditions are often written for legal regulations but they are never read by consumers, as a result consumers are often exploited by agreeing on these unreadable terms.
In this piece, terms & conditions of five social web services are re-written using a custom typeface. The resulting images are generated by three processes: me typing the words, the program deciding on the size of each letter each time I hit the key, and the instructions for the fonts. With this piece we both recycle unread terms & conditions text and point to the moment where people give away their rights to the capital.
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bit.fall by Julius Popp
An installation which produces words and text by a water-display — processes.
CONGRATULATIONS: Command Lines Aesthetics and Technique in Interactive Fiction and New Media
Command Lines Aesthetics and Technique in Interactive Fiction and New Media
by Jeremy Douglass
a doctoral dissertation in partial satisfaction of the Ph.D. in English
UC Santa Barbara (2007)
The Interactive Fiction (IF) genre describes text-based narrative experiences in which a person interacts with a computer simulation by typing text phrases (usually commands in the imperative mood) and reading software-generated text responses (usually statements in the second person present tense). Re-examining historical and contemporary IF illuminates the larger fields of electronic literature and game studies. Intertwined aesthetic and technical developments in IF from 1977 to the present are analyzed in terms of language (person, tense, and mood), narrative theory (Iser’s gaps, the fabula / sjuzet distinction), game studies / ludology (player apprehension of rules, evaluation of strategic advancement), and filmic representation (subjective POV, time-loops). Two general methodological concepts for digital humanities analyses are developed in relation to IF: implied code, which facilitates studying the interactor’s mental model of an interactive work; and frustration aesthetics, which facilitates analysis of the constraints that structure interactive experiences. IF works interpreted in extended “close interactions” include Plotkin’s Shade (1999), Barlow’s Aisle (2000), Pontious’s Rematch (2000), Foster and Ravipinto’s Slouching Towards Bedlam (2003), and others. Experiences of these works are mediated by implications, frustrations, and the limiting figures of their protagonists.
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Literature from Page to Interface: The Treatments of Text in Christophe Bruno’s Iterature
Literature from Page to Interface
The Treatments of Text in Christophe Bruno’s Iterature
by Søren Pold
In the late 1980s and early 1990s, digital hypertext literature was broadly considered a reckoning with the book. In continuation of a post-modern and post-structuralist tradition, hypertext was seen as an exhaustion of, and a potential break with, the literary forms of the printed book, a view that was reinforced by hypertext theory. Already before the general appearance of digital hypertext literature, there was a widespread theoretically based understanding of the crisis of the book, the late age of print, the end of the Gutenberg galaxy, and so on.
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