University of Florida Thesis Or Dissertation

Total Page:16

File Type:pdf, Size:1020Kb

University of Florida Thesis Or Dissertation A DIGITAL MEDIA POETICS By MAURO CARASSAI A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2014 1 © 2014 Mauro Carassai 2 To Paola Pizzichini for making me who I am 3 ACKNOWLEDGMENTS I thank my dissertation supervisor Dr. Gregory L. Ulmer, my committee members Dr. Robert B. Ray, Dr. Terry A. Harpold, and Dr. Jack Stenner and all the people who have read sections of this work while in progress and provided invaluable comments, in particular Dr. Adalaide Morris and Dr. N. Katherine Hayles. I also thank my friends and colleagues on both sides of the Atlantic. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF FIGURES .......................................................................................................... 7 LIST OF ABBREVIATIONS ............................................................................................. 8 ABSTRACT ..................................................................................................................... 9 CHAPTER 1 THE POETICS OF ATTENTION: TOWARDS AN ORDINARY DIGITAL PHILOSOPHY ........................................................................................................ 11 The Praxis-Theory Hypothesis of Digitality ............................................................. 11 Mallarmé: Instructions for Use ................................................................................ 19 Ordinary Language Philosophy and Wittgenstein’s Philosophical Writing .............. 31 A Wittgensteinian Poetics for The Digital Age ......................................................... 40 2 CARVING OUT (USES) AS MEANING .................................................................. 55 The Different Language-Games of the Word “Reading” ......................................... 55 What We (But Hardly Our Machines) Mean by “Reading.” ..................................... 61 Reading as Writing as “Reading-as-Writing” ........................................................... 73 Bruno Schulz’s Metaphorical Language-Games ..................................................... 76 Jonathan Safran Foer: a Human-based Quest for Meaningfulness ........................ 81 Re-reading Instructions: John Cage’s Computational Writing ................................. 90 3 PROCEDURAL REMARKS AS “CODE” ............................................................... 101 Understanding Code ............................................................................................. 101 Literary Encounters with Code .............................................................................. 112 Playing Codework as Rules’ Inference ................................................................. 126 Coded Instructions for Assessing “Languagework” ............................................... 146 4 FACING E-LITERATURE AND ITS CONSEQUENCES FOR DH SCHOLARSHIP .................................................................................................... 151 Experiencing E-literary Works as Wholes ............................................................. 151 Reading E-Literature as Aspect-Seeing ................................................................ 155 Facing Electronic Artworks ............................................................................. 162 Facing Twelve Blue and The Jew’s Daughter ................................................ 169 Looking and Seeing Mirroring Tears ..................................................................... 176 Seeing Aspects in DH Discourses: Mark-Up Coding, Machinic/Distant Reading, and the Management of (New) Knowledge........................................................ 185 5 Text Encoding: Seeing Meta-Levels Anew in Markup Encoding .................... 187 The Obsession with Algorithmic-Processed Knowledge ................................ 191 The obsession with “new” knowledge ............................................................. 194 5 CONCLUSION ...................................................................................................... 200 LIST OF REFERENCES ............................................................................................. 203 BIOGRAPHICAL SKETCH .......................................................................................... 212 6 LIST OF FIGURES Figure page 1-1 Screenshot of Mirroring Tears by John Cayley and Penny Florence. ................. 12 2-1 Pictures of Tree of Codes. .................................................................................. 83 4-1 Mirroring Tears with full active Readers ........................................................... 179 4-2 Mirroring Tears: sequential snapshots showing Readers in progress. ............. 181 7 LIST OF ABBREVIATIONS BB The Blue and Brown Books CV Culture and Value DH Digital Humanities HWBP How We Became Posthuman ODP Ordinary Digital Philosophy OLP Ordinary Language Philosophy PI Philosophical Investigations RFM Remarks on the Foundations of Mathematics RPP Remarks on the Philosophy of Psychology 8 Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy A DIGITAL MEDIA POETICS By Mauro Carassai August 2014 Chair: Gregory L. Ulmer Major: English My doctoral dissertation establishes a correlation between the stylistic writing of Ludwig Wittgenstein’s Philosophical Investigations and a selected set of writing practices in the digital age. In Wittgenstein’s late philosophy, language is no longer seen as a formal system but is characterized as a rule-guided activity. Such an activity is made of various linguistic and extra-linguistic phenomena multifariously connected in a texture of family resemblances. My investigation builds on the basic assumption that Wittgenstein as a philosopher of language and digital creators as contemporary producers of language art can be thought of as sharing the awareness that they are in a condition of doing something with a device already functioning according to a set of rules. My study develops a poetics for the digital age by showing how Wittgenstein’s thematic nodes of “meaning as use,” “language game,” “rule-following,” and “aspect seeing” effectively fit the context of authoring practices in digital environments where words are increasingly written to be re-read, re-used, re-purposed, re-processed, and digitally manipulated. I use such thematic nodes to analyze the variegated set of practices encouraged by digital environments as speech acts within a grammar that is yet to describe. The notions of meaning as use and language-game open new 9 perspectives on forms of contemporary American writing such as Jonathan Safran Foer’s Tree of Codes in Chapter 2. Rule-following reconfigures pre-assumptions about code in relation to poetic practices such as Codework in Chapter 3. Finally, aspect- seeing reframes the experience of reading for pieces of electronic literature such as Penny Florence and John Cayley’s Mirroring Tears in Chapter 4. In Chapter 4 I also show how Ordinary Language Philosophy can help in rethinking discourses in the emerging field of Digital Humanities, especially in relation to mark-up languages, distant reading, and data mining. The result is a generative approach to what I call a poetics of attention that, rather than medium-specific, attempts to bridge attitudes in different forms of expression. Such an approach shows some of the ways in which Wittgenstein’s late work can be useful to open a path potentially leading to what I term an Ordinary Digital Philosophy. 10 CHAPTER 1 THE POETICS OF ATTENTION: TOWARDS AN ORDINARY DIGITAL PHILOSOPHY The Praxis-Theory Hypothesis of Digitality On May 19th 2011, during the tenth anniversary edition of the E-Poetry Festival, digital poet and theorist John Cayley and art scholar, curator, and practitioner Penny Florence present Mirroring Tears: Visages (Collaboration on Mallarmé). In the dim light of room 112 at SUNY Buffalo’s Center for the Arts, digital visualizations of words fluidly form, transform, and perform on the screen for a few minutes. Spoken words from the presenters eventually join them in a real-time synchronous visual and verbal commentary. For most of the allotted presentation time, human and machinic words coexist with human and machinic reading(s) in a spectacular instantiation of a texture of language-based practices multifariously connected. Concerned in various respects with an artistic and disciplinary field still in search of its own institutional status and of its own methodologies, participants in the audience soon engage the two presenters in a passionate discussion about meaning making. What follows is a wide-range conversation about an artwork whose sets of textual and contextual collaborations, in the authors’ view, “explore the potential of digital poetry as critique and translation, hypothesising an analogy or stronger between the Mallarméen text and the digital, and, more broadly, the present and early Modernism.”1 In Cayley and Florence’s suggestive and unsystematic account, Mirroring Tears comes into view as a Java applet written in Processing that manipulates progressive textual layers of “Le Pitre châtié” over stanzas 1 The passage is taken from a written description of the artwork provided by the authors on the web
Recommended publications
  • WORDS MADE FLESH Code, Culture, Imagination Florian Cramer
    WORDS MADE FLESH Code, Culture, Imagination Florian Cramer Me dia De s ign Re s e arch Pie t Z w art Ins titute ins titute for pos tgraduate s tudie s and re s e arch W ille m de Kooning Acade m y H oge s ch ool Rotte rdam 3 ABSTRACT: Executable code existed centuries before the invention of the computer in magic, Kabbalah, musical composition and exper- imental poetry. These practices are often neglected as a historical pretext of contemporary software culture and electronic arts. Above all, they link computations to a vast speculative imagination that en- compasses art, language, technology, philosophy and religion. These speculations in turn inscribe themselves into the technology. Since even the most simple formalism requires symbols with which it can be expressed, and symbols have cultural connotations, any code is loaded with meaning. This booklet writes a small cultural history of imaginative computation, reconstructing both the obsessive persis- tence and contradictory mutations of the phantasm that symbols turn physical, and words are made flesh. Media Design Research Piet Zwart Institute institute for postgraduate studies and research Willem de Kooning Academy Hogeschool Rotterdam http://www.pzwart.wdka.hro.nl The author wishes to thank Piet Zwart Institute Media Design Research for the fellowship on which this book was written. Editor: Matthew Fuller, additional corrections: T. Peal Typeset by Florian Cramer with LaTeX using the amsbook document class and the Bitstream Charter typeface. Front illustration: Permutation table for the pronounciation of God’s name, from Abraham Abulafia’s Or HaSeichel (The Light of the Intellect), 13th century c 2005 Florian Cramer, Piet Zwart Institute Permission is granted to copy, distribute and/or modify this document under the terms of any of the following licenses: (1) the GNU General Public License as published by the Free Software Foun- dation; either version 2 of the License, or any later version.
    [Show full text]
  • Human Readable Messages [Mezangelle 2003 - 2011]
    TRAUMA first edition 2011 ISBN: 978-3-9502910-9-4 All rights reserved. This book is only available at the online shop of Trauma Wien. http://traumawien.at – [email protected] This book was set in Computer Modern cover: Luc Gross & Julian Palacz production: Julian Palacz edit: Luc Gross ⠞⠗⠁⠥⠍⠁ ISBN: 123-456789-12-12 Mez Breeze human readable messages [mezangelle 2003 - 2011] TR AU M AWIEN Contents 1 2003 27 1.1June............................... 27 1.1.1 ][frag.ment][ (2003-06-10 09:55) ........... 27 1.1.2 papazine n terview ][1][ (2003-06-10 10:08) ..... 28 1.1.3 papa.mag N terview ][2][ (2003-06-10 10:09) .... 28 1.1.4 zineish bits ][3][ (2003-06-10 10:12) ......... 29 1.1.5 blurb ][4][ (2003-06-10 10:13) ............. 29 1.1.6 horse like driven snow[mobiles] (2003-06-10 22:46) . 30 1.1.7 yos.semi.T yearn ings (2003-06-11 08:39) ...... 30 1.1.8 m[v]elt[vet N doctor]ing lines nuanced code (2003-06-12 08:31) ................... 31 1.1.9 soc[d]ial engine (2003-06-12 09:02) ......... 31 { 1.1.10 – scopi.ca[u]l. (2003-06-13 08:45) .......... 32 1.1.11 Re: [-empyre-] Active Narrative Gathering (2003-06-13 11:05) ................... 32 1.1.12 shift (2003-06-13 16:30) .............. 33 1.1.13 [f]lip fi[l]t[ers] (2003-06-14 14:18) ........... 34 1.1.14 Chrysalis Ontologies Snapped (2003-06-15 12:05) 34 1.1.15 cru.s[ocial]t codas (2003-06-16 08:03) ......
    [Show full text]
  • Genre and Language: Defining Temporal, Physical and Non-Physical Spaces in Speculative Techno-Dystopian Fiction
    University of Huddersfield Repository Packer, Mary GENRE AND LANGUAGE: DEFINING TEMPORAL, PHYSICAL AND NON-PHYSICAL SPACES IN SPECULATIVE TECHNO-DYSTOPIAN FICTION Original Citation Packer, Mary (2019) GENRE AND LANGUAGE: DEFINING TEMPORAL, PHYSICAL AND NON-PHYSICAL SPACES IN SPECULATIVE TECHNO-DYSTOPIAN FICTION. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34910/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ GENRE AND LANGUAGE: DEFINING TEMPORAL, PHYSICAL AND NON- PHYSICAL SPACES IN SPECULATIVE TECHNO-DYSTOPIAN FICTION MARY PACKER Exegesis submitted to the University of Huddersfield in partial fulfilment of the requirements of a PhD. by Publication and accompanied by a hard copy of The Game is Altered (2012) The University of Huddersfield July 2018 Copyright Statement i. The author of this thesis (including any appendices and/ or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes.
    [Show full text]
  • All the Delicate Duplicates: Game Building With[In] Mezangelle
    Breeze All the delicate duplicates Independent scholar Mez Breeze All the Delicate Duplicates: Game building with[In] Mezangelle Abstract: Inspired by the possibilities of fiction, digital poetry and experimental digital art, All the Delicate Duplicates tells a complex psychological story through a combination of digital literature and experimental game formats. Developed by digital artists/writers rather than traditional game developers, All the Delicate Duplicates attempts to expand storytelling within games by including 3D elements spanning multiple time periods and incorporating animated and transitional texts, thus leaving the story wide open to multiple revisits and interpretations. The poetic, digitally born language called ‘Mezangelle’ forms a central part of All the Delicate Duplicates. Mezangelle involves constructing poetic phrases to extend and enhance meaning beyond the expected. As Mezangelle remixes the basic structure of English and code to create language where meanings are nested, players need to read, re-read, then re-read again in order to piece together a narrative. This article traces how All the Delicate Duplicates was initially conceived, the commission parameters of the project, the use of Mezangelle as a project story component, and overall reception. Biographical note: For over two decades, Mez Breeze’s award winning digital fictions have been influential in shaping interactive genres, Extended Reality (Augmented Reality, Virtual Reality, and Mixed Reality), electronic literature, and digital fiction. #PRISOM, her anti–surveillance Augmented Reality game co–created with Andy Campbell is ‘…the digital equivalent of Orwell's 1984’ according to academic James O’Sullivan. Mez’s Mixed Reality projects, games, and code poetry reside in Collections as diverse as The World Bank, Cornell’s Rose Goldsen Archive at Cornell University, and the National Library of Australia.
    [Show full text]
  • Digital Artists' Handbook
    Digital Artists' Handbook By admin Published: 09/26/2007 - 13:35 The Digital Artists Handbook is an accessible source of information that introduces you to different tools, resources and ways of working related to digital art. The goal of the Handbook is to be a signpost, a source of practical information and content that bridges the gap between new users and the platforms and resources that are available, but not always very accessible. The Handbook is filled with articles written by invited artists and specialists, talking about their tools and ways of working. Some articles are introductions to tools, others are descriptions of methodologies, concepts and technologies. All articles were written and published between 2007 and 2009. When discussing software, the focus of this Handbook is on Free/Libre Open Source Software. The Handbook aims to give artists information about the available tools but also about the practicalities related to Free Software and Open Content, such as collaborative development and licenses. All this to facilitate exchange between artists, to take away some of the fears when it comes to open content licenses, sharing code, and to give a perspective on various ways of working and collaborating. - Graphics - Working with sound 1 / 228 - Working with others - Publishing your work - Working with digital video - Software art - Developing your own hardware Graphics › 2 / 228 Graphics By admin Published: 10/04/2007 - 08:26 Jon Phillips , December 2007 Image reigns supreme. From the thousands of films churned out each year from Nollywood, to the persistent recording of images by security cameras in London to the scaling of windows on your desktop computer, you are already a pixel pusher.
    [Show full text]
  • Remediating the Social.Pdf
    Remediating the Social Editor: Simon Biggs University of Edinburgh This Work, Remediating the Social, is licensed as Creative Commons Attribution-ShareAlike 3.0 Unported (CC BY-SA 3.0). Published by Electronic Literature as a Model for Creativity and Innovation in Practice University of Bergen, Department of Linguistic, Literary and Aesthetic Studies PO Box 7805, 5020 Bergen, Norway ISBN: 978-82-999089-0-0 (eBook version 978-82-999089-1-7) The project ELMCIP is financially supported by the HERA Joint Research Programme (www.heranet.info) which is co-funded by AHRC, AKA, DASTI, ETF, FNR, FWF, HAZU, IRCHSS, MHEST, NWO, RANNIS, RCN, VR and The European Community FP7 2007-2013, under the Socio-economic Sciences and Humanities programme. Printed in the United Kingdom on acid free recycled paper by Montgomery Litho Group Edinburgh Cover image credit (in part): permission of Paul De Koninck, Laval University, www.greenspine.ca <http://www.greenspine.ca/> Designed by Dirty White Design, Edinburgh CONTENTS Bootstrapping Electronic Literature Scott Rettberg 9 Artist’s Voices Remediating the Social Simon Biggs 11 Embodied Algorithms Romy Achituv 89 Programming for Fun, Together Nick Montfort 15 Stringing Disturbances in Poetic Array Spaces Loss Pequeño Glazier 93 The Compelling Charm of Numbers Roberto Simanowski 20 Spatial Remediations Roderick Coover 98 Creativity as a Social Relation? James Leach 28 R3M1XW0RX Artists Pages R3M1XW0RX Christine Wilks, Randy Adams, Chris Joseph 102 Huis Clos/No Exit - Beyond Spectacle Annie Abrahams 32 The Garden
    [Show full text]
  • Download PDF Version
    :(){ :|:& }:; [h]earat shulaym 8-9 | poetry [new technologies] [urbanism] [video/poetry] úåéâåìåðëè] äøéù | 9-8 íééìåù úøòä [äøéù/åàéãéå] [úåéðáøåà] [úåùãç ? úò-áúë úåìéòô ìù úåðåùàø íéðù ùåìù úåîééúñî íééìåù úøòä ìù éçëåðä èð- .éã.éå.éã-ïåéìéâ íò éèàåô-éèñéáéè÷àä ãøâðååàä úåøôñ ìà éø÷ ,àöåîä úãå÷ð ìà øæåç åðéðôìù ïåéìéâä .äæ éàîöò øøåùîä ìù åéúåøéöéì ùã÷åäù ïåéìéâ – miiley zxrd ìù ïåùàøä ïåéìéâä ã÷åîá äúéäù .åãâìã åàå'æ éàðéèðâøà-éæâåèøåôä äøéùä ìù åìàå ,éçëåðä ïåéìéâä æëøîá úãîåòä ,1ãå÷ä úøéù ìù íééùòîäå íééèàåôä äéðééôàî ,úéèñéìàéø-èñåôä äìåëñàä ìù íéãñééîä ãçà – åãâìã .íúåäîá íéðåù íðéà úéèñéìàéø-èñåôä íééàáö íéøèùî ãâð úéùòîå úéèàåô íçìéäì çéìöäù ,úéãåçéé ä÷éèàåô ìòá øøåùîë øåëæ (Jaromil) ìéîåø'æ .2éàðéèðâøàä àáöä éàøçà äìù ,1976-á åúåîìòéä ãò ,äðéèðâøàáå ìâåèøåôá ãå÷ä ìù äòåðúá ìéòô ,úùøá íéìòåôä íééæëøîä íéúðëúîä íéðîàä ãçà àåä ,éúåáøú ø÷àä àåä éë íéðòåèä ùé .4íåéä úùøä úåáøúáå ÷åùá úåéèððéîåãä çåëäå òãéä úåëøòî ãâð ìéòôå 3çåúôä ,ïåéìéâä øòùáù 5"ascii-á äööô-ïåùì÷" ÷úøîäå éðøãåîä éúéöîúä ãå÷ä øéù úà áúëù ,ìéîåø'æ .åîöò åãâìã àåä ,6ñåø÷ì áùçîä úëøòîì íåøâì åçåëá ,éúåæçä åéôåéì óñåðá ,øùà ïåéìéâä ìù éøåçàä øòùá íñøôúîä ,úçà äøôñ ìòá øéù 7åôéìåà ìù çåøá áúë ,åãâìã äøåæðöäå úåéðåèåðåîä ãâð úåãâðúä ìù äæò äùåçú àèéá øéùä .11 11 11 11 11 11 :éçëåðä éøéù ìù [ï]áöòîä áö÷ä úà ó÷éùå ,úéàáöä äøåèè÷éãä úôå÷úá äðéèðâøàá äèìùù úéúåáøúä íâ äéä ,êøãä õøåô åùåãéç êëáå ,øéùä êà .éàðéèð[âø]à[ä] åéãøá äìéìå íåé åðâåðù íééàáöä úëìä ùãåçá øùò-ãçàä :êéøàú ìù ïåîéñ :éàáöä øèùîä ãâð úåîîå÷úäì (äöçîì) úéøàðéá äàøåä ,úå÷ã äøùò úçàå äøùò-úçà :úåîîå÷úää úòù
    [Show full text]
  • A Rhizopoetic Analysis of Contemporary Australian Electronic Poetry Sally Clair Evans University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2014 Assemblages of enunciation: a rhizopoetic analysis of contemporary Australian electronic poetry Sally Clair Evans University of Wollongong Recommended Citation Evans, Sally Clair, Assemblages of enunciation: a rhizopoetic analysis of contemporary Australian electronic poetry, Doctor of Philosophy thesis, School of the Arts, English and Media - Faculty of Law, Humanities and the Arts, University of Wollongong, 2014. http://ro.uow.edu.au/theses/4358 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] UNIVERSITY OF WOLLONGONG Assemblages of Enunciation: A Rhizopoetic Analysis of Contemporary Australian Electronic Poetry a thesis submitted in partial fulfilment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY from UNIVERSITY OF WOLLONGONG by SalLy Clair Evans, BCA (Hons.)/BA Faculty of Law, Humanities and the Arts School of The Arts, English and Media October 2014 CERTIFICATION I, SaLLy Clair Evans, declare that this thesis, submitted in partial, fulfilm ent of the requirements for the award of Doctor of Philosophy, in the School of the Arts, English and Media, Faculty of Law, Humanities and the Arts, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution, Sally Clair Evans 24 November 2014 ABSTRACT This thesis provides a model for reading and analysing digital poetry through the application of principles derived from Gilles Deleuze and Felix Guattari's concept of the rhizome.
    [Show full text]
  • Programmed Digital Poetry: a Media Art?
    Programmed digital poetry: A media art? Philippe Bootz Laboratoire Paragraphe, University Paris 8, 2, rue de la liberté, 93526 - SAINT-DENIS cedex 02, France [email protected] This paper examines the poetic modalities that Eduardo Kac considers to constitute media poetry, raising the question of the relevance of the term media. It comes to the conclusion that these poetic modalities can be considered elements of the same class of works, except that this class is more concerned with technotext and procedural work than with media. Keywords: media art / digital literature / electronic poetry / technotext / Kac, Edouardo Note: each concept of the procedural model is defined at its first occur­ rence. All of them are listed in a glossary at the end of this paper. Introduction The special issue of Visible Language that Eduardo Kac published in 1996, and even more so its reissue in 2007, is an invitation to consider digital poetry as a generic class of “media poetry,” which—like holopo­ etry, videopoetry, biopoetry, and, finally, every poetic modality—relies on any technical apparatus but books. Several articles and books have been devoted to media poetry (or new media poetry) since the publication of Visible Language (e.g., Morris & Swiss in 2006, Strehovec in 2010, and Ismailov in 2012). However, the question of the relevance of the term media has never been raised. Kac’s book proposes a large variety of productions falling into the category of “media poetry.” Therefore, I invoke these works to discuss this issue. One can ask whether this conception offers a better understanding of these poetic modalities.
    [Show full text]
  • Anti-Media Studies in Network Cultures
    Anti-Media studies in network cultures Geert Lovink, Series Editor This series of books investigates concepts and practices special to network cultures. Exploring the spectrum of new media and society, we see network cultures as a strategic term to enlist in diagnosing political and aesthetic developments in user-driven communications. Network cultures can be understood as social-technical formations under construction. They rapidly assemble, and can just as quickly disappear, creating a sense of spontaneity, transience and even uncertainty. Yet they are here to stay. However self-evident it is, collaboration is a foundation of network cultures. Working with others frequently brings about tensions that have no recourse to modern protocols of conflict resolution. Networks are not parliaments. How to conduct research within such a shifting environment is a key interest to this series. Studies in Network Cultures is an initiative of the Institute of Network Cultures (INC). The INC was founded in 2004 by its director Geert Lovink and is situated at the Amsterdam Polytechnic (Hogeschool van Amsterdam), as a research programme within the knowledge centre CREATE-IT applied research. Since its inception, the INC has organized international conferences about the history of webdesign, netporn, the critique of ICT for development, new network theory, creative industries rhetoric, online video, search and Wikipedia research. For more information please visit: http://networkcultures.org The series Studies in Network Cultures is published by the Institute
    [Show full text]
  • Talan Memmott Digital Rhetoric and Poetics
    talan Dissertation: Digital Rhetoric and Poetics explores computational and media-based signifying strategies in electronic literature from the point of view of M talan Me MMott e reading, writing, programming and design. MMott With the introduction of images, animations, audio, and the pro- DiGital rhetoric n cedural into the area of literary practice it is perhaps no longer suffi- Me ew cient to consider electronic literature within the domain of traditional anD Poetics D concepts of rhetoric or poetics. Signification in media-rich electronic an sPheres, Public ia, literary work occurs across semantic and semiological systems, and Signifying Strategies in Electronic Literature D i G technological paradigms. As such, it is important that both practi- ital tioner and scholar understand how these attributes of digital media operate poetically and rhetorically, how they facilitate and sometimes rhetoric undermine meaning-making in electronic literature. Throughout the text many of the complex issues around electronic D an For literature are exposed, and through this reading strategies and poten- D P oetics: tial avenues for new or alternative critical methods are offered. In M s o its breadth of considerations, this dissertation provides a substantial F e x P overview of the field of electronic literature, tracing the evolution and s ignifying emergence of different manifestations of digital rhetoric and poetics. ression s trategies in trategies e lectronic lectronic l iterature isbn 978-91-7104-419-8 M al M ö u niversity2011 MalMö university
    [Show full text]
  • The Convergence of Digital Literature and Net Art: Networked Creation
    THE CONVERGENCE OF DIGITAL LITERATURE AND NET ART: NETWORKED CREATION, DISTRIBUTION, AND OPERATION BY KYLE JON BICKOFF B.A. UNIVERSITY OF FLORIDA, 2011 SUMMA CUM LAUDE A THESIS SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF COLORADO IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF ENGLISH 2014 This thesis entitled: The Convergence of Digital Literature and Net Art: Networked Creation, Distribution, and Operation written by Kyle Jon Bickoff has been approved for the Department of English Professor Lori Emerson Professor Mark Amerika Date The final copy of this thesis has been examined by the signatories, and we Find that both the content and the form meet acceptable presentation standards Of scholarly work in the above mentioned discipline. Page iii Bickoff, Kyle Jon (M.A English) The Convergence of Digital Literature and Net Art: Networked Creation, Distribution, and Operation Thesis directed by Assistant Professor Lori Emerson This thesis draws upon established network theory in order to understand digital literature and net art through their creation, distribution, and operation on the network. Although the advent of the web is often considered the defining point of transformation in both genres, the thesis indicates that the network language at the foundation of these genres existed notably earlier than has previously been indicated—before the advent of the web. These two genres (digital literature and net art) are described as convergent forms, merging with each other around networked language—the author takes a digital media studies approach to engage with the investigation. The thesis identifies multiple instances of networked language in textually rich pre-web works of literature and art to indicate that this genre convergence precedes current assessments regarding network influenced creation, distribution, and operation of these works.
    [Show full text]