Exhibition: Isidore Isou: Hypergraphic Novels, 1950–1984; curated by Frédéric Acquaviva :: until April 13, 2012 :: Book Release: April 12 :: The Romanian Cultural Institute of Stockholm, Skeppsbron 20, Stockholm, Sweden.

Lorsqu’on rompt, on n’a pas de public, on forme un public future.
(When you break away, you don’t have an audience, you are creating a future audience.)
– Isidore Isou, Les Journaux des Dieux (1950, “The Gods’ Diaries”)

The Romanian Cultural Institute of Stockholm is proud to present an exhibition and an accompanying catalogue focusing on one unique but essential aspect of Isidore Isou’s work: his innovative and ultra-contemporary contribution to the novel, especially what he called the hypergraphic novel. Continue reading

CIAC Magazine #39 — Chance: An Imaginary Tool For e-Arts featuring original artworks from five net artists: Gregory Chatonsky: My Voice and Phenomena; Mouchette aka Martine Neddam: Turkmenbashi, Mon Amour; Jhave: Give Me Your Light; Mark Amerika: Immobilité (Extraterrestrial Glitch Remix); Thomson & Craighead: Template Cinema.

“Video is the new net art” writes Mark Amerika on Twitter! Given that video art is considered to be one of net art’s original sources, this statement may appear somewhat contradictory. Yet it mirrors the works brought together for this exhibition as well as some art forms emerging on the Internet. Standing at the crossroads of video, cinema and hypermedia, such mixed experiences are revamped via current technological tools such as Video Jockey and animation softwares, webcams, YouTube, Flickr, streaming, cell phone. Continue reading

Posted by Henry Jenkins on Confessions of an Aca-Fan (also see Part 2 and Part 3): “This week, I am sharing an extended conversation with Richard Grusin, co-author of Remediation and author of Premediation:Affect and Mediality After 9/11 about the relationship between our work…

Getting Started

HJ: Richard, you wrote to me a few weeks ago responding to the interview I did with Frank Rose about his new book, The Art of Immersion. That interview tried to clarify the relationship between Rose’s concept of “deep media” and my concept of “transmedia entertainment.” Continue reading

Remediating the Social :: Conference: November 1-3, 2012, Edinburgh College of Art, Edinburgh, UK :: Exhibition Opening: November 1, @ Inspace, University of Edinburgh :: Call for Artworks - Deadline: March 31, 2011.

The Electronic Literature as a Model of Creativity and Innovation in Practice (ELMCIP) project invites submissions for an electronic literature and digital arts commissioning programme. Selected works will be presented in an exhibition and performance event as part of the final ELMCIP project conference Remediating the Social in Edinburgh, November 2012. Continue reading

GLI.TC/H — an international gathering of noise & new media practitioners :: September 29 - October 3, 2010 :: Chicago :: Call for Entries — Deadline: August 20, 2010.

GLI.TC/H is a physical and virtual assembly of artists, hackers, moshers, dirty mediators, noise makers, circuit benders, p/h/i/l/o/s/o/p/h/e/r/s, and those who find wonder in that which others call broken. GLI.TC/H seeks: Realtime + time-based performances (audio/video), utilizing broken/bent technologies/strategies. Workshops, sharing knowledge of hardware/software hacking, cracking, breaking, kludging, piracy, & tool building. Artworks and Projects, artware, videos, games, films, tapes, code, interventions, screen-captures, systems, websites & installations. Texts, lectures, essays, code, articles, & hypermedia. Continue reading

A Special Issue of New Review of Hypermedia and Multimedia: Exploring Produsage :: Call for Papers — Deadline: July 16, 2010.

The concept of produsage points to the shift away from conventional producer/consumer relationships, and highlights the more fluid roles of users and contributors within social media environments. Participants in open source projects, in Wikipedia, in YouTube and Second Life are no longer merely consuming or using preproduced material, but neither are they at all times acting as fully self-determined producers of fully formed new works; rather, they occupy a hybrid position as produsers of content.

Produsage processes are now evident across a wide range of activities — mainly online, but increasingly also extending to the offline world — from citizen journalism and communal knowledge management through to collaborative artistic activities, from learner-led education models to citizen engagement in political processes. Continue reading

The 3rd International Conference on Interactive Digital Storytelling: Language in Digital Performance: Inspace: nobody can hear you scream … :: Performances: October 31, 2010 :: Inspace, University of Edinburgh, UK :: Conference: November 1-3, 2010 :: The Hub, Edinburgh, UK Call for Submissions — Deadline: July 31, 2010.

The 3rd International Conference on Interactive Digital Storytelling, in conjunction with New Media Scotland, welcomes proposals for performance and short duration installation art works that employ digital text and interactivity as their primary artistic components. Submitted works should engage computational techniques as essential in their ontology. This includes works that employ generative, interactive, networked and/or hypermedia techniques. It does not include works which could exist without the computer being involved in their production and diffusion. Continue reading

HT2010 Workshop: Rhetorical and Semantic Possibilities of Links: Cultural and Literary Applications of Links :: June 13, 2010 :: Toronto Canada (as part of the 4 day HT2010 conference) :: Call for Papers — Deadline: April 30, 2010: email to deenalarsen [at] yahoo.com.

Mark Bernstein has written that the link is “the most important new punctuation mark since the comma.” More than that, the link actually conveys meaning. But how do people use links to communicate ideas? This workshop is designed to uncover the semantic value of the link and its potential rhetorical effects. We want to know what has been the cultural, literary, rhetorical, and semantic impact of the link to date, and what future effects can we anticipate and bring about. Continue reading

Residency Program for Web Art Production :: CALL FOR PROJECTS - SUBMISSION DEADLINE : JANUARY 15, 2010.

For over 10 years Agence TOPO has created and produced web art works with artists from diverse horizons whose practices and contents lend themselves to multimedia writing. Over the course of the year 2010, Agence TOPO will produce a set of web projects that incorporate a performative aspect and which explore the links between the screen and the off-screen: poetry readings and interpretations, participative performances, interactive arrangements/devices, etc. These projects are a follow-up in the series Sortir de l’écran/Spoken Screen, begun in 2007 with Laboratoire NT2 of the Université du Québec à Montréal. Continue reading

The Readies by Bob Brown, Edited and with an Afterword by Craig Saper:

Writing in 1930, the avant-garde author Bob Brown predicted that the printed book was bound for obsolescence. The time has come, he insisted, to “rid” the reader “at last of the cumbersome book, the inconvenience of holding its bulk, turning its pages, keeping them clean.” His proposed replacement, a reading machine, would serve as a first step in a burgeoning technological revolution. His “machine” would print type “microscopically by the new photographic process on a transparent tough tissue roll… no bigger than a typewriter ribbon” that would unroll “beneath a narrow strip of strong magnifying glass.”

Eventually, due to the breakneck speed of progress, one would be able to “radio” readies (Brown’s term for prose and poetry delivered by his machine) as easily “as it is today to [produce] newsies on shipboard and words perhaps eventually will be recorded directly on the palpitating ether.” Brown printed only 150 copies of his manifesto, entitled The Readies, along with a sample story for his machine. Continue reading