Not literally on stickers, no. This technical report from the Trope Tank is “Stickers as a Literature-Distribution Platform,” and is by Piotr Marecki. It’s just been released as TROPE-14-02 and is very likely to be the last report of 2014. Here’s the abstract:
Contemporary experimental writing often directs its attention to its writing space, its
medium, the material on which it is presented. Very often this medium is meaningful
and becomes part of the work – the printed text transfered to another media context
(for instance, into a traditional book) would become incomprehensible. Literature
distributed on stickers is a form of writing that is divided into small fragments of texts
(a type of constrained writing), physically scattered in different locations. One of the
newest challenges in literature are books with augmented reality, AR, which examine
the relation between the physical (the medium) and the virtual interaction. Sticker
literature is a rather simple analog form of augmented reality literature. The stickers
have QR codes or web addresses printed on them, so the viewer who reads/sees a
random sticker in the public space can further explore the text online. The viewer can
read other parts of the text on photographs (the photograph being another medium) of
other stickers placed in different locations. The author will discuss the use of stickers
throughout literary history, beginning with 20th century French Situationists, through
different textual strategies applied by visual artists and ending with literary forms such
as the sticker novel Implementation (2004) by Nick Montfort and Scott Rettberg or
Stoberskiade (2013). The author shall try to explain why writers decide to use this form,
how the text is distributed and received and how the city space is used in such projects.
My most unconventional lab is documented in a new zine by Sherri Wasserman, one available for download and screen-viewing now; it will be available in DIY print-and-bind-your-own format soon.
The publication is Restore [Return] Shift, and it’s the second in a series of zines documenting spaces that preserve and offer access to creative computing.
A rare color photo can be seen on the Instragram announcement.
Thanks to RA Erik Stayton, we now have a formidable catalog of hardware and software in The Trope Tank, my lab at MIT.
There are pages on each of the systems (or in one case a group of switched systems) that are regularly hooked up and ready to use:
Also, information is recorded about each display and about all the other working computers that are kept in the lab.
And while every last disk in the lab has not been cataloged, the VCS, Commodore 64, NES, Intellivision, and Odyssey cartridges and all packaged retail software on disk or CD-ROM are now listed in the extensive software catalog. For now, this catalog is presented as a simple, long Web page.
In other Trope Tank news, thanks to Jason Scott I’ve replaced a part in the Asteroids machine and the display no longer oscillates – the machine works perfectly.
The Trope Tank welcomes small classes, researchers, and artists and writers who are looking into the material properties of digital media. Please contact me if the lab’s resources can be of help to you. This Friday, while I will be out of town, Erik and Piotr Marecki (and a Commodore 64 system they are bringing) will be representing the lab at the MIT Museum and offering the public a view of how accessible and creative programming was in the early 1980s.
The Trope Tank has just issued a new technical report:
Creative Material Computing in a Laboratory Context
Nick Montfort and Natalia Fedorova
Download the full report
Principles for organizing a laboratory with material computing resources are articulated. This laboratory, the Trope Tank, is a facility for teaching, research, and creative collaboration and offers hardware (in working condition and set up for use) from the 1970s, 1980s, and 1990s, including videogame systems, home computers, an arcade cabinet, and a workstation. Other resources include controllers, peripherals, manuals, books, and software on physical media. In reorganizing the space, we considered its primary purpose as a laboratory (rather than as a library or studio), organized materials by platform and intended use, and provided additional cues and textual information about the historical contexts of the available systems.