> The practice of reading is more present & prevalent in a world where mobile devices, internet etc. are the means of through which we are receiving reading & interacting with creating texts. Has the increase in speed and change in method of information transfer in the past decade impacted our ways of memorizing it? Are we reading differently? I believe we are not only reading differently but also writing differently. Therefore we need to arrive to new formats of publishing, we need to imagine something more appropriate than simply imitating books in the post-digital.
> archive / journal documenting my research
> conversations with poets and performers that work with text
> process / observations / feedback from my prototype test sessions
> how vision works
1. Reading on the web
> eye-tracking studies tell us a lot about how people read on the web.
> is "reading on the web" reading ?
> how our cognitive skills are effected by reading content online, specifically memory?
2. Post-digital books & non-books
> Post-digital print
Ludovico, A. (2013). Post-Digital Print: The mutation of publishing since 1894. Onomatopee.
> Electronic Literature
Nancy Katherine Hayles. Electronic Literature : New Horizons for the Literary. Notre Dame, Ind, University Of Notre Dame, 2010.
> Ergodic Literature
Aarseth, E. J. (1997). Cybertext: Perspectives on Ergodic Literature. Baltimore, MD: Johns Hopkins University Press.
> other / to be researched
3. A text on my project
> process/ observations/ feedback
not decided completely, just more what i read/ looked into so far
> Erkki Kurenniemi / Computer eats Art (1972 - 1982) / Writing and Unwriting (Media) Art History_ Erkki Kurenniemi in 2048
“Writing a novel has been a process of spinning a single thread. Writing an interactive novel is weaving fabric.” In this text Erkki Kurenniemi shares his predictions for the future of art & media. He talks about the effects that the future of a computer will have on the future of an artwork. In the first paragraph he makes it clear by stating - “ Its major effects on art will be the separation of art from material and separation of art from man.” He then backs up his statement by breaking down the future scenario into three stages: 1. a computer becomes a tool for experimentation in the creative process 2. new art forms evolve from stage 1 3. “ pure computer art” is born as a result of multidisciplinary art He then elaborates on each of these phases. He explains how in the future we will leave the story writing to a computer even if it will be “random nonsense poetry and tales” at first. Also the editing of a story will be non-linear and automated. The stories will be completely individual for each reader as the content ( or individual results) will be pulled out from a database. Erkki then continues to describe how computation will change the shape and composition of music (algorithms) as well as the visual arts (merge of 2D and 3D). To me this chapter of the text is best summarized by this sentence : “The computer is a tool that doesn’t displace or replace any previous medium yet transforms everything.” While describing the second stage Erkki focuses a lot on an interactive element of a future artwork. Specifically the interaction between a work and an audience. The public is no longer only a passive listener but has a possibility to have and active dialogue with the work. He also introduces another concept - “art made by computers for other computers”, which will eliminate the dependence between an artist and an audience. The third stage happens as an aftermath, when “Many things have been permanently displaced.” In this chapter Erkki introduces a concept of a potential peer-to-peer artwork. In the final paragraphs of the text he expresses a strong belief in the agency of a future art recipient.
> Medium is a message - Marshall Mcluhan (or the Gutenberg Galaxy?)
to read means to guess
> Mark Fisher : The Slow Cancellation Of The Future
“we are not bored , everything is boring “
> McKenzie Wark/ Class / A Hacker Manifesto
In the chapter “ Class” , McKenzie Wark gradually introduces two new & arising concepts of class. Two opposing classes: hackers and vectors. Hackers , alongside the workers and farmers, belong to the all-time exploited working class. Vectors on the other hand represent a rise of a new player among the ruling class. What the hackers produce and the vectors commodify and monetize is information, that Wark also calls an “abstract” in this book. They bring the issue of hackers being stripped off their rights to their public property - the information they produce - and “must buy their own culture back from its owners, the vectoralist class.” They also introduce an interesting dynamics within the ruling class itself. “Capitalists try to break the pastoral monopoly…Vectoralists try to break capital’s monopoly…” I believe that Wark tries to show the importance the power and control that the hacker class could potentially have if it understood the value of its labour (information = property). “The hacker class is not what it is; the hacker class is what it is not - but can become.”
Alessandro Ludovico / Post-Digital Print
Alessandro Ludovico: The Mimeograph and Post-Digital Print
“screen based publishing is intimate in my opinion, as it reaches the space of personal screens often in intimate spaces, but it establishes a remote intimacy, as the publisher is not necessarily meant to be present on the other side and his or her body is certainly distant and invisible”
John Cayley: The future of language
Flusser talks about images, the technical image, he thinks that everything is an image, we perceive the world as an image Jacques Lacan - imaginary, symbolic and the real Flusser says everything is an image imaginary - images symbolic - language symbolic process real - fundamentally inaccessible process we live in an imaginary, we use symbolic to tell stories about the imaginary. Our relationship with language is changed not only by photography and film (as stated by Flusser) but also by computation. the relationship of language and symbolic practice to images has changed now our apparatuses are all software, which are composed of linear processes and formal language. doesn’t care about book culture feels excited about the possibility to do his reading in orality(again) in the future ontology of language, what language is, includes looking at it in evolutionary terms. orality , evocalization, voice - because language has evolved in that way. that faculty is ontologically and philosophically not media specific. proven by deaf community. there is always a relationship with orality for humans as you read. the type of experiences you can have from books, do not have to be delivered by books. memory is non linear i read a book all i have are memories of the book. computation is linear
N. Katherine Hayles / Electronic Literature: New Horizons for the Literary
Technological Sovereignty vol.2 / link:
> 'A seed sprouts when it is sown in fertile soil'
We need to continue weaving knowledge among hackers and peoples in order to decolonise the idea of technological sovereignty and exercise it from a position of autonomy.
> 'Digital governance'
Such trails become like paved roads in our brains, and it takes truckloads of dopamine to feel pleasure. At each step, the necessary dose has to be increased. This explains why drill is so effective, and why it generates addiction. The desire for pleasure related to an automatism, which amounts to compulsive behaviour, makes us enter into a repetitive loop getting out of which becomes increasingly difficult because the neural pathways that are always excited, will not be able to do anything else but get more and more powerful with the passage of time: beat-rhythm-repetition.
Erich Fromm - Escape from freedom
Espen Aarseth - Cybertext, perspectives on Ergodic Literature http://oook.info/sabb/aarseth.html
previous draft / link