“Towards Digital Art in Information Society”

Since the eighteenth century the West constructed the myth that an increase in scientific knowledge and the emancipation of humanity go hand in hand. In the twenty-first century—while we do not believe in this “enlightened” concept any more—the explosion of digital technology results in both positive and negative developments including new forms of creativity such as net art and electronic poetry. The application of digital technology and resources for the artist implies a questioning of structural relationships on which the art world has been based.

Digitality changes how we create, it changes the solitary artist into a collaborative nomad belonging to multidisciplinary, transnational groups, it changes the materials used, the concept of the unique work and its inherent rights, its exhibition, and the function of the general public.

Consequently, the roles of museums and art centers, gallery owners, curators, public and private institutions, media etc., also change.”

This fascinating essay, which can be downloaded from the link below, suggests that we are in a period of transition between cultural forms and that the emerging one, complete with its blurring of conventional boundaries, offers, perhaps even demands, new forms of  global collaboration.

Arbelo, Montse; and Franco, Joseba. “Towards Digital Art in Information Society.” CLCWeb: Comparative Literature and Culture 16.5 (2014): <http://dx.doi.org/10.7771/1481-4374.2501>

Sailing to the Isle of Gometra by Seth Crook

Nice example piece to introduce this new eZine.

Three Drops from a Cauldron

Sailing to the Isle of Gometra

4 knots to 4.5.
With the fourth sail, 5.
Shearwaters almost slide
across the surface,
polishing their way through air.

Gannets climb,
gannets dive.
Sea birds seem like minor gods
summoning the gusts
to flex and ride.

And swimming by:
a water horse,
whose gentle wake’s
a giant wave
crashing through our minds.

Seth Crook taught philosophy at various universities before deciding to move to the Hebrides. His poems appear in recent editions of Envoi, Magma, Gutter, The Moth, Southlight, The Journal, Poetry Bus, Prole, New Writing Scotland, and on-line in such fine e-zines as Antiphon, Snakeskin, and Ink, Sweat and Tears.

View original post

Dene Grigar: Pathfinders

Archiving eLit presents its own particular challenges.
Fortunately there are people who are rising to meet them…

WSU Vancouver ResearchNow!

What happens when the medium on which a work of art was meant to be experienced no longer exists? That’s the question that absorbs Dene Grigar, director and associate professor of the Creative Media & Digital Culture Program at WSU Vancouver. In her Electronic Literature Lab in the Multimedia Classroom Building, she keeps 35 vintage computers dating back to 1983. These computers enable anyone to experience literature produced by and for a computing device as the artist intended—even if that particular computing device is no longer around.

“I collect computers to be able to access this work that is now obsolete,” she said. “The problem is, if you use a new computer to access an old program, it will make it look like a new program, and that’s not right. The work is defined not only by its content but also by the context around it.” That includes the computer…

View original post 330 more words

Caring for Electronic Literature

Materialidades da Literatura

Text by Daniela Côrtes Maduro

ChristineWilks_OutofTouch Christine Wilks, Out of Touch (2011).

Words were once untraceable. Before the invention of writing, they would disappear as soon as they were shared. Writing turned words into discernible shapes. Print, in turn, allowed a precise control over the surface of inscription and, by extension, over language. Books are often related to fixity and durability and they are seen as stable and self-contained objects built to last. However, Dene Grigar believes that all texts, regardless of the format being used, are prone to obsolescence or deterioration. Like words in oral tradition, texts can fall into oblivion if they are not preserved or remembered.

During her presentation, Dene Grigar drew the attention to the etymology of the word “curate”. To Dene Grigar, curating Electronic Literature means caring for electronic literature. Thus, preserving and curating are activities that decisively contribute to rescue works from oblivion. Electronic literature…

View original post 275 more words

Go Back to the EPUB and Check Who’s There

Total ToC for eBooks…

The Yellow Buick Review

(Continued from earlier post)

4. Create a table of contents, again.

Wait, didn’t we already do that? Yes, but that was a HUMAN table of contents. We made it “by hand” and it both looks good and works well. However, most E-readers won’t specifically recognize that ToC as a ToC. So now, we need to make what’s called a “logical” ToC.

Aesthetic disclaimer: This technique kind of sucks. It comes into play because there are three (3!) different kinds of Tables of Contents for E-books.

  • Traditional Table of Contents: The thing you think we’re talking about? That’s what we’re talking about. This is a list of sections, or chapters, or poem titles, typed up by a human and positioned in the first few pages of a book (let’s not argue, now) so that people browsing the book can find out where to go.
  • A Logical or Metadata…

View original post 1,072 more words

‘. . . a refreshing antidote to the usual ‘classical music’ concert’.

Not poetry, but I thought it might be of interest 🙂

Sonic Coast 1

The first in our series of Contemporary Classical Music Concerts in West Dorset – Sonic Coast [1] – took place at the end of July. It was a beautiful summer evening and those who attended enjoyed classical music on their doorstep in a unique setting.

Sonic Coast [2] will take place in The Hub, Lyme Regis on 30th August.
Tickets booked in advance are just £5, with students and Under 16s free.
Places are limited so book now.

Review of Sonic Coast [1] by Mark Hewitt

DIVAContemporary’s opening concert in their ‘Sonic Coast’ contemporary music series proved to be a refreshing antidote to the usual ‘classical music’ concert. The series, curated by composer Marc Yeats, is bringing contemporary music to new audiences in Dorset and this first concert, given in the unusual venue of ‘The Big Shed’, Hooke Park Wood, featured Stephen Upshaw (viola) and Calie Hough (percussion).

The well-balanced programme…

View original post 220 more words