One classic downfall deserves another: Hitler reacting to the cancellation of Google Reader.
I was at a workshop in Bergen on Tuesday and a conference in Edinburgh Thursday through Saturday. There were many interesting things to report or at least mention, and I’ve only managed to note two of them on the blog so far. I’ll also mention that in Bergen, I did the first transverse reading of the full ppg256 series, reading through the seven generators’ output four times. I was very pleased with the art gallery setting, the other readings and screenings, and the way my reading went.
Fortunately there is good documentation of both events in the ELMCIP Knowledge Base, a resource that lists critical work, events, and presentations about electronic literature as well as works of e-lit themselves. For these two events, abstracts and (in the case of the “Remediating the Social” ELMCIP conference in Edinburgh) full papers are included in the Knowledge Base as well.
For instance, my presentation in Bergen, represented by an abstract in the Knowledge Base, was “The ELO and Two E-Lit Exhibits.”
And, my keynote address at the beginning of the ELMCIP conference in Edinburgh was “Programming for Fun, Together,” for which a corresponding paper is available. I covered the main topics of the paper in about the first half of the talk and spent the second half trying to explain how to program in Commodore 64 BASIC, using concrete-poem-generating programs (including 10 PRINT CHR$(205.5+RND(1)); : GOTO 10) as my examples. I began by developing a program that prints “H” or “I” at random, using bpNichol’ favorite letter (“H”) and an adjacent letter that can be seen as either a rotation of “H” or a component of it. A one-line program was developed to printing either one uniformly at random. In part, this was my response to the less interesting but certainly more conventional “HELLO WORLD” program. I continued to show how a program that printed “x” or “y” could be quickly developed by modifying this one, after using Commodore BASIC itself, via the ASC function, to determine the appropriate new ASCII code. Then, I converted that program to “our” 10 PRINT (that is, the program I and nine co-authors have written a book about) and showed how the distribution and pair of characters could be changed.
In presenting these various 10 PRINT programs and developing new ones through modification, I wanted to show that BASIC programming can truly be undertaken in an exploratory way without a great deal of background. I also wanted to share with the group some of the amazing facility for poetic experimentation that is provided by a 30-year-old computer, inexpensive even at the time, that allows you to program immediately after being turned on.
My only regret related to the talk was that Rita Raley, who was scheduled to be the respondent for my talk, was unable to make it to the conference due to the storm damage and flooding in New York City. Scott Rettberg filled in and made a worthwhile connection from collaborative, social programming activity to collaborative writing, also questioning my four points about programming socially for fun.
The Edinburgh conference, which featured an exhibit at the Inspace gallery and performances throughout, resulted in a book that includes not only academic papers but also “artist’s pages” documenting the artistic works. I hope you’ll be interested in taking a look at the good supply of online “Remediating the Social” material.
Two quick interruptions to our unscheduled blog hiatus:
Francisco J. Ricardo of RISD’s Digital+Media Department has written a deep and detailed blog post, “From Objecthood to Processhood.” In it, he defends artists, their work, and their discourse about the digital, responding to Henry Jenkins’s 2000 article “Games, the New Lively Art,” which celebrates video games but isn’t as keen on the work of artists. He also describes the transition from a focus on the artwork, an object, to consideration of art as process, concluding with reference to my ppg256 series.
Also, a rather innovative defense of BASIC is advanced in “Where Dijkstra went wrong: the value of BASIC as a first programming language,” a post by Mike Taylor, who, by the way, has a totally sweet banner at the top of his blog. Edsger W. Dijkstra, who was my teacher at the University of Texas, is known for his work on structured programming and just about as well known for his quick denunciations of COBOL and BASIC. The post argues that BASIC is useful to programmers and allows them to discipline their thinking about programs. I would defend BASIC for a different, although not inconsistent, reason: The huge outpouring of innovative, diverse, creative programs – often very short ones – that were written in the 1970s and 1980s, making programming a widespread activity and showing people the potential of the computer for (among other things) amusement, simulation, play with language, and production of visual art. Noah Wardrip-Fruin and I wrote a bit more on this back in 2003 in our introduction to two BASIC programs on The New Media Reader CD-ROM.
Actually I haven’t had the energy to keep mining each of the presentations at The Network as a Space and Medium for Collaborative Interdisciplinary Art Practice, but they were rich in provocation and new ideas, and now I have to post something to follow “part 1.” The workshop went very well; particularly good were two long evenings of electronic literature, digital poetry, and readable digital art that were done by individuals but showcased collaboration. These two readings stood out because so much of the workshop time (which usually would have gone to very full days of panels) was dedicated to the presentation of creative work, and because the variety and quality of work was stellar.
You can check the twitsphere to see what was twot about the workshop.
A big thanks to Scott Rettberg for putting on this event and for inviting us Americans to join this international discussion.
I’m at a fine gathering, The Network as a Space and Medium for Collaborative Interdisciplinary Art Practice. This is a workshop Scott Rettberg organized here in Bergen, Norway. Here’s a tiny glimpse of it.
First, Daniel Apollon has very deftly provided us with a video of last night’s electronic literature readings / presentations by nine readers: Jörg Piringer. Roderick Coover, J. R. Carpenter, John Cayley, Renée Turner, Serge Bouchardon, Chris Funkhouser, Talan Memmott, and Michelle Teran. It was remarkable for being an extremely long e-lit reading that was also very compelling throughout and offered a wide range of work, never lagging at any point during the three hours. The video is just over 11 minutes.
Regarding the panel presentations today so far, I have no summary – see the abstracts for that. Instead, a handful of analects, transcribed ineptly:
“If there were going to be a great novel or a great poem in new media by now, we’d have it. There are major works in digital media, but they aren’t continuations of the novel or the poem.” -Joseph Tabbi
“That’s the real promise of peer-to-peer review – you can follow the debates that make claims and that become knowledge.” -Eric Dean Rasmussen
“… calculation being a material process … authors, who work on the technical dimension and on the medium, may allow a new aesthetic to emerge.” -Serge Bouchardon
“For a long time I advocated that we have two classes of electronic literature – Class A which represents that work which is truly programmatic, and the other which is traditional writing. Increasingly, I don’t see this distinction as important.” -Raine Koskimaa
“I don’t actually mind cookie cutters – I make a lot of cookies, and I use proprietary cookie cutters.” -Jill Walker Rettberg [Jill's slides and a preprint of her related paper are online.]
“Already the manifesto is the exquisite corpse.” -Renée Turner (regarding discussion on the NetBehavior list)
[Please let me know if I've seriously misquoted you, fellow workshop attendees.]
GeoCities, founded in 1995, grew to become the third most visited site on the Web in 1999, when it was bought by Yahoo! for more than $3.5 billion. It offered free Web hosting in directories themed as different cities. Many people published their first page and first site on GeoCities. The Archiveteam has been working to save as much of it as possible; this wildly individual Web work won’t be completely lost to us as much of the pre-Wayback Web is. But at midnight Pacific Time, the plug will be pulled on this significant and populist piece of the Web. Here is, not an archive, but at least a peek at some of what will go dark.
People I know have been up to many things lately, and many of these surely deserve a full, thoughtful blog post. I won’t manage that, so the least I can do is mention that …
Jason Nelson presented his new, uncanny, crapcredible game, Evidence of Everything Exploding.
Jason McIntosh has a great video about a non-digital game, Diplomacy, that he and friends did during a day-long session, wearing more-ot-less nationally appropriate hats.
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Jill Walker Rettberg has a short and insightful video about blogging as a way of learning.
Robert Pinsky’s libretto was sung in a musical reading of Tod Machover’s opera Death and the Powers at Cambridge’s A.R.T. on September 17. The workshop presentation (check out the photos) was a major milestone toward a full production of the digitally augmented “robot pageant,” which I found zestfully written and very cleverly framed.
Literactiva is a new blog, in Spanish, about interactive narratives and literature of several types – interactive fiction, games, and digital poetry. Users can rate the different items that authors Grendel Khan and Depresiv have reviewed. Recent reviews brought to my attention a Lovecraftian, epistolary, online game called De Profundis (English page) and the IF Ofrenda a la Pincoya (which you can play online).