letteratura elettronica in lingua inglese 2014-15
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Physio-narrative
Kyron Kruger, Videoplace
http://www.youtube.com/watch?v=dmmxVA5xhuo
https://www.youtube.com/watch?v=UcKqyn-gUbY
Jeff Han presents a futuristic multi-touch interface (TED2006)
Opera: Macchiavelli http://artcom.de/en/project/virtual-set-design/The project was commissioned by the Opera Biennale Munich in 1999 and premiered in 2002. Composer: André Werner, libretto based on the novel by Christopher Marlowe. The project is a co-production between ART+COM and bureau+staubach, supported by ZKM Karlsruhe. Co-authors and developers: Nils Krueger, Bernd Lintermann, Andre Bernhardt, Jan Schroeder, Andeas Kratky.
http://artcom.de/en/department/art-en/
ART+COM Art's media sculptures and installations
Balletto: Apparition, by Klaus Obermaier & Ars Electronica Futurelab
http://www.exile.at/apparition/project.html
Johannes Deutsch + Ars Electronica Futurblab, Rheingold, Brucknerhous Linz (2004)
Le Sacre du Printemps (2006)
http://www.youtube.com/watch?v=btyUsWozcPEhttp://www.youtube.com/watch?v=ZQ2Vnv1Fm_o
The Peony Pavilion -- Interrupted Dream (2007)
http://www.youtube.com/watch?v=Sl65-q4bES8
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text rain: camille utterback and romy achituv installation
http://www.youtube.com/watch?v=toWFvXHghDk
http://www.youtube.com/watch?NR=1&v=_24diCvtAPM
http://www.youtube.com/watch?v=m79bKS8SX6M&feature=related reazioni del pubblico
Filippo Tommaso Marinetti,
In the Evening, Lying on Her Bed, She Reread the Letter from Her Artilleryman at the Front, 1919,
2009 Artists Rights Society (ARS), New York / SIAE, Rome
The Museum of Modern Art, New York.
I like talking with you,
simply that: conversing,
a turning-with or –around,
as in your turning around
to face me suddenly ...At your turning, each part
of my body turns to verb.
We are the opposite
of tongue-tied, if there
were such an antonym;We are synonyms
for limbs' loosening
of syntax,
and yet turn to nothing: It's just talk.
***
Camille Utterback, Written Forms ( 2000)
http://camilleutterback.com/projects/written-forms/Talking Cure (2002) Camille Utterback, Clilly Castiglia, and Nathan Wardrip
http://www.noahwf.com/talkingcure/
http://www.studiocleo.com/cauldron/volume4/confluence/wardrip-fruin/
Camille Utterback & Adam Chapman, Gathering (2004) http://camilleutterback.com/projects/gathering/
Messa di Voce (Performance version, 2003)
http://www.youtube.com/watch?v=STRMcmj-gHc&feature=related
Bruno Nadeau & Jason E. Lewis, Still Standing (2005) http://collection.eliterature.org/2/works/nadeau_stillstanding.html
David Small and Tom White, Stream of Consciousness (SIGGRAPH Gallery, 1998)
http://acg.media.mit.edu/projects/stream/
Round two long tables were gathered two serried crowds of human beings, all save one having their faces and attention bent on the tables. (…) Deronda (…) was (…) arrested by a young lady who, (…) showed the full height of a graceful figure, with a face which might possibly be looked at without admiration, but could hardly be passed with indifference. (…) But in the course of that survey her eyes met Deronda's (…) The darting sense that he was measuring her and looking down on her as an inferior, that he was of different quality from the human dross around her, that he felt himself in a region outside and above her, and was examining her as a specimen of a lower order, roused a tingling resentment which stretched the moment with conflict. It did not bring the blood to her cheeks, but it sent it away from her lips. She controlled herself by the help of an inward defiance, and without other sign of emotion than this lip-paleness turned to her play. (…) she felt the orbits of her eyes getting hot, and the certainty she had (without looking) of that man still watching her was something like a pressure which begins to be torturing. (George Eliot, Daniel Deronda, pp. 35-39)
According to Henry James:
Experience is never limited and it is never complete; it is an immense sensibility, a kind of huge spider-web of the finest silken threads suspended in the chamber of consciousness, catching every air-borne particle in its tissue. (Henry James, (1884) 1948)
Virginia Woolf:
Examine for a moment an ordinary mind on an ordinary day. The mind receives a myriad impressions — trivial, fantastic, evanescent, or engraved with the sharpness of steel. From all sides they come, an incessant shower of innumerable atoms; (…) so that, if a writer were a free man and not a slave, (…) there would be no plot, no comedy, no tragedy, no love interest or catastrophe in the accepted style, and perhaps not a single button sewn on as the Bond Street tailors would have it. Life (…) is a luminous halo, a semi-transparent envelope surrounding us from the beginning of consciousness to the end. Is it not the task of the novelist to convey this varying, this unknown and uncircumscribed spirit, whatever aberration or complexity it may display, with as little mixture of the alien and external as possible? We are not pleading merely for courage and sincerity; we are suggesting that the proper stuff of fiction is a little other than custom would have us believe it. (Virginia Woolf, (1925) 2002, pp. 146-154)
Heaven has mercifully decreed that the secrets of all hearts are hidden so that we are lured on for ever to suspect something, perhaps, that does not exist; still through our cigarette smoke, we see blaze up and salute the splendid fulfillment of natural desires for a hat, for a boat, for a rat in a ditch; (…)Hail! natural desire! Hail! happiness! divine happiness! and pleasure of all sorts, (…) For dark flows the stream — would it were true, as the rhyme hints ‘like a dream’— but duller and worser than that is our usual lot; without dreams, but alive, smug, fluent, habitual, under trees (…); but sleep, sleep, so deep that all shapes are ground to dust of infinite softness, water of dimness inscrutable, and there, folded, shrouded, like a mummy, like a moth, prone let us lie on the sand at the bottom of sleep. (V. Woolf, Orlando, pp. 207-8)
The world makes itself available to the perceiver through physical movement and interaction (...) [P]erceptual experience acquires content thanks to our possession of bodily skills. What we perceive is determined by what we do (or what we know how to do); it is determined by what we are ready to do. (...) [W]e enact our perceptual experience; we act it out. (Alva Nöe, 2004, p.1)
