Cruising Right Along….

Meditating on Moving

Ingrid Ankerson and Megan Sapnar’s Cruising is a compelling work of kinetic poetry that explores themes of love and youth and whose actual design reinforces its exploration of “temporal and spatial themes”. This work is made using Flash and it combines still images with linear, moving text. The speed of the text, and thus the speed of navigating this piece, is determined by the user’s cursor placement and movement. Users are tasked with finding a “balance” that allows them to read and engage with the work in the same way that the characters of the story must learn to find a balance between their needs and emerging desires. In this way, users are learning to almost “drive” the narrative, making them actively aware of the place of the reader in interpretation of a text and the process of meaning-making. This level of interactivity, though slight in comparison to some recent works of Elit, achieves much in how it mirrors the struggles for control and to find direction that are expressed in the textual aspect of the work. More, the balance or “flow” that users must find between the textual and visual components of the work allows users to actively participate in the same struggles as the characters as well as be aware of their participation a readers in the processes of meaning-making.

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Though at first deceived by this work’s simple interface, I found myself highly engaged with the content. I love how the design of the work reinforces the narrative aspect of the piece. I found myself becoming absorbed with the process of regulating the “flow” of text and images until I could create a sensible, narrative “film” of sorts. Every time I thought I found a careful balance, the work would zoom out or zoom in because of a careless twitch. It seems impossible to find peace for more than a few moments–which, I think emphasizes the narrative component of the work. The characters within this story are exploring love and, seemingly, newfound freedom as represented by driving and the ability to “cruise” around town and through life. It’s difficult to find a balance between what is needed and what is wanted. I want to read this work at my usual pace but I need to slow down in order to read the work at all.

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It’s quite frustrating to realize what you want and what you need are not always aligned. (In fact, they may be in direct opposition to each other.) This concept is also interesting to consider in the context of reader vs. author. What the reader wants to interpret may differ greatly from what the author intended. The place of the reader in deciding meaning is not only emphasized in this work but seems to be a core theme. The reader literally must set the pace of the work, through cursor placement, in order to “read” the piece. To me, this seems to pose questions about traditional reading habits and conceptions of reading as well as conceptions of literary and rhetorical analyses. How much of our interpretations are just that–interpretations? Are not all analyses impressions recorded? These questions all seem to be posed by this work.

In addition to the design elements and conceptual components of this piece, I also found that actual text of it to be moving get it????? and quite poetic. I loved the spoken-word aspect paired with the “boppy” music; It really put me in the space of the work and creating this real sense of time and place. Without reading the introduction to the work, I believe readers would still be delivered to the early 2000’s, when cruising around town was hip and fashionable and, ultimately, the way teenagers met each other. It moved that fast and that slow at the same time, if that makes sense.

Overall, I found this work to be engaging in its own way and I thought the design of the work paired with the content in a way we’ve yet to see from the works we have explored. I’m fascinated by how works like this one, and Jason Nelson’s cyclical, slot-machine work This is How You Will Die, make use of an interface that reinforces the overarching themes of the work itself. I feel like digital works and born-digital material is uniquely suited, in this respect. Ankerson and Sapnar’s Crusing is not just a compelling work of Elit but also a literally moving work of poetry that asks readers to not only meditate on but actively participate in the not-so-easy process of finding a balance between what is wanted and what is needed in life.

Sources

-“Cruising” by Ingrid Ankerson and Megan Sapnar

-Letters That Matter: The Electronic Literature Collection Volume 1

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Project Update

So, since our last meeting, I have begun more actively working on creating my Elit piece. I have a pretty involved idea of what kind of work I want to make and what I want it to accomplish so most of my work thus far has revolved around managing expectations and figuring out what I can do with the tools that I have in the time that I have. Thus far, I have found some success using Thinglink. While it does not necessarily provide me with the functionality I’m looking for, it does provide a lot of room to play around with hyperlinks. Also, I can use an image of my own design as the background for the work (without having to entirely code a background). A photo-editing tool I have, also, found that I like is PicMonkey. It’s like Photoshop but simpler and, you know, free.

DG Project Links

Sneak peak shhhh……

For anyone struggling with designing their own work, I would definitely recommend checking out these sources as well as the other sources provided in the shared class doc ^.^

~Till next time~

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Piecing Myself Together

Am I in pieces?

“This was the hardest thing to internalize; that something permanent but invisible had happened.” The Raven Boys – Maggie Stiefvater

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In Juliet Davis’ Pieces of Herself, the embodiment and construction of feminine identity as well as the relationship of the female self to public and private space is explored. This work of Elit operates through a drag-and-drop interface which allows readers to comb through different environments of the work for icons that can be “dragged” and “dropped” on the female, paper-doll-like motif adjacent to her environment. In this way, readers are able to see how a woman’s environment inscribes itself upon her. More, readers are able to explore how different contexts, such as home, community, and work, affect construction of identity and perception of the self. “Dropping” an icon on the paper doll triggers an audio clip that typically reveals something about how the space being explored imprints itself emotionally or physically on the woman. The icons themselves, paired with the nearly 400 pictures used to create this piece, seem to denote more than their mere connotation would suggest as well (i.e. blood drop icons in the shower room, diary entries and hidden keys in the bedroom, a fetus en-wombed by a church, a sex toy behind a discreet couch cushion etc.). The mere act of uncovering these icons seems reflective of the many layers of feminine identity and the further act of layering these icons atop the paper doll motif seems to suggest the multiplicity, the mutability, and precarious balancing of feminine embodiment. How each sound is layered atop another until there is a steady cacophony of steadily increasing headache-fuel seems to only further illustrate how jarring and overwhelming a task it is to be all these women–at once. Though seemingly simple in design, operation, and presentation of its ideas, Davis’ work is quite a compelling and profound exploration of the intricacies at work in constructing feminine identity as well as a frightening one in how accurately and heartbreakingly it articulates how social and cultural contexts can be all-consuming.

Perhaps it is because of my own context–my gender identity, my age, my education–but I found this work to be particularly poignant. Especially as I combed through the unspecified, female narrator’s private spaces–their bedroom, their bathroom, their kitchen, their living room–I felt this growing lump in my throat, this increasing ache in my chest. The diary entry in the hamper–“In my dreams, I’m home but it’s not really home. And I don’t recognize the town but I know where everything is. So why do I keep running into things…”–reminded me of my own journal, sitting beside me as I write this post, and all of the secret parts of me inside its pages no one will ever know. The rain cloud in the bedroom reminded me of the nights no one will ever see. The narrator recalling how hard they tried to but never could quite recreate their own mother’s passed-down recipes–“In the kitchen, where she was forever looking for the right ingredients”that hurt. It hurt me but also made me ache for all the girls and women I know who–secretly–try so hard to be half as good as their moms. Who are are always almost but neverI wonder if my own mom aches like this too? The mask at the front door in the living room and the narrator’s recollection of the monetary worth of what they’re wearing–of who gave it to them— made me remember a time when I was showered with all the gifts babe’s money could buy. I remember finding out the return on that investment did not equal love. Maybe it never could have.

 

 

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Who I became~

To me, this work, in its content, purpose, and design, is one of the most powerful and compelling pieces of Elit I’ve come across. There’s something so inherently moving about making an unseen, hidden process–such as social inscription; more, construction of feminine identity–visible. Maybe that’s the voyeur in me but I’d also argue that Davis is placing us purposefully in the role of voyeur. But, it’s like we’re spying on ourselvesIs that really spying???? Questions of ownership of the self are raised in this piece and authenticity as a construct seems to be challenged here. Rather than constructing who we are from navigating our environments, Davis’ work seems to posit that our environments navigate us, that our navigation of our environments is decided long before the question can be posed. According to Davis’ work, we are not imprinting ourselves on our environments. No, our environments are imprinting upon us until we are, essentially, composed entirely of pieces of our environments. This work seems to ask readers to really consider the nature of feminine agency and autonomy in a culture that poses so many, often conflicting, restrictions upon women.

Maybe my reading of this work is singular, a response to the many interactions of my life that brought me to experiencing it. But, if anything, I believe Pieces of Herself is trying to communicate the significance of lived experience. Of all women’s lived experiences.  Of my lived experience. I think that’s an incredibly profound message. More, I think it should not be as revolutionary as it is and yet…. How ’bout that Kavanaugh hearing, right??

Ultimately, Davis’ Pieces of Herself operates on many levels but, perhaps most importantly, it seems to read as almost autobiographic, allowing the reader to assume the unspecified narrator’s identity as they simultaneously engage in the process, navigation,  and negotiation of constructing that identity. Davis achieves this level of engagement through the drag-and-drop interface of the work, the use of audio and commentary, and the visual/design aspects working in tandem in this piece to create an inviting and immersive experience. This work left me feeling overwhelmed and naked(?) as well as left me with many questions about the complex nature of the self and its complicated presentation and representations. How much of me is me? How much is what others want me to be? How do I tell the pieces apart? And, am I broken into pieces? Scattered? Shattered?

Mostly, though, I was left wondering this:

Can I be a mosaic?

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References

“Pieces of Herself” – ELMCIP

“Bookish Electronic Literature: Remediating the Paper Arts through a Feminist Perspective” – Jessica Pressman, ELMCIP

“‘Pieces of Herself'” by Juliet Davis – Cynthia Roman, I ❤ E-Poetry

Fun Fact

I actually wrote about this piece a while back, during my first Elit “rodeo”. I decided to read what I had previously written after I finished this post. Let me tell ya, it is wild. Like, reading something you wrote when you know you were an entirely different person than you are now is wildSlightly cringe-worthy. Anyway, I figured I’d provide you with a link to that initial post for your own entertainment. Also, I think it’s interesting, in the context of reading Pieces of Herself, to compare and contrast who I am and who I was in writing. It was fun revisiting her. I miss her, who I was. I wonder if she sees who I am now and wishes she could’ve done more.

Anyway….

BTW

So, this work reminded me of a couple songs I thought I’d share with the class~ I couldn’t help singing them in my head as I was reading this piece and so I thought I’d share that particular level of my experience as well….

Pretty Little Head – Eliza Rickman

Francis Forever – Mitski

Copycat – Billie Eilish

Gasoline – Halsey

~Till next time~

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Re-imagining Assemblage in the Taroko Gorge Remix Collection~

Some Reassembly Required…

Taroko Gorge (2009) is a work of generative poetry created by Nick Monfort and inspired by a body of poetry written about the Taiwanese national park of the same name. Lines of poetry are generated via a JavaScript program, designed to format each line of the work in a specific way. Monfort states, “…this generator forms strophes that begin and end with a “path” line and may have one or more more static “site” lines in between. Between each pair of such strophes is a “cave” line that trails off, as if into darkness, like the tunnels in the park that were carved by Chiang Kai-shek‘s Nationalist army.” Essentially, the work is designed to generate a pattern that alternates between providing a pairing or grouping of lines and a singular line. That singular line always ends with an em-dash, inviting readers into the void beyond the text. Inviting readers to walk beyond where the sidewalk ends. This text is produced limitlessly, the poem without an end until the reader decides to stop reading and exit the screen.  The work’s generative programming challenges traditional notions of authorship and of agency in navigating a text (how do I know when to stop reading?), has inspired multiple creative and compelling remixes (which I’ll get to), and was not very interesting to me at first (tbh).

See, I’m all about challenging the academy/the establishment/whoever the authority is but, in the case of Taroko Gorge and its remixes, I was a little underwhelmed by the gauntlet being thrown down. I guess, in comparison to other works of Elit I’ve encountered, this body of work just seemed so much less??? That was until I came across an article by our friend Katherine Hayles in which she described the design of Taroko Gorge and its subsequent remixes as a kind of digital assemblage. That’s some art shit. My kind of art shitHeck yeah. Once I donned those art lenses, I was able to see past the work’s seemingly simple interface and really take a gander and what I was looking at: neo-assemblage. Double heck yeah.

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First page of Taroko Gorge for me~

So, assemblage has existed in many forms over the years. Most notably by Picasso and good ol’ Duchamp but also by artist such as Dubuffet (real cool guy with a real cool body of work) and Tatlin. Many Dadaists preferred “photomontage“, a cousin to assemblage and a precursor to Photoshop, while Neo-Dada artists, like Rauschenberg and Jasper Johns, preferred to call their process of making works of art from composing found objects into different arrangements “combines“. Assemblage also brings to mind bricolage, which is a kind of “do-it-yourself” combining of seemingly disparate found objects into a whole work (a topic I’m researching for my thesis).

Anyway, art history lesson over, viewing Taroko Gorge and its subsequent remixes such as Along the Briny Beach (2012) by J.R. Carpenter and Tokyo Garage (2009) by Scott Rettberg, as contemporary assemblage, I think, generates some interesting questions about the composing process and its performance–how much of what we write is simply found language, pasted together and given meaning because we decide it has meaning? All of it. But, also, I think viewing these works as digital assemblages helps re-conceptualize the seeming nonsense of their decontextualization.

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Self portrait made out of butterfly wings by Dubuffet

Assemblage was a way to help expand the mind beyond the constricting constraints of traditionalism by pairing non-like objects together and asking viewers to read them as related, as a new whole. Taroko Gorge and, especially, Along the Briny Beach, seem to do something similar in the ways both works make use of their lexia and display. Taroko Gorge places absurdly paired wording in a traditional strophic form while Along the Briny Beach does the same, even using quotes about beaches and the sea from traditional literature, but adds further complexity to the canvas, so to speak, by having 3 additional strings of lexia run horizontally across the screen, one string invisible until an image of a beach slides behind the otherwise background-colored text, revealing it. Kind of overwhelming at first, tbh. Both pose unique challenges to readers and their processes of reading and processing information. But, they also offer so many fascinating possibilities in regards to both. Like with Michael Joyce’s Twelve Blue, there are no clear answers and there is certainly no easy sense of closure. Only limitless possibility. A large expanse of blank space open to interpretation.

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My first page of Along the Briny Beach~

I’m reminded of what Hayles said in an earlier article of her’s we read–that there is no story; only readings. I think this concept applies to Taroko Gorge and its many remixes (and also too many works of assemblage). The traditional notion of authorship is blown out of the water by pieces like these. The program combines the text into stanzas. And, I would argue, the traditional notion of reading is also obliterated by the infinite scroll. I can’t go back. I can only watch. Watch and remember. In this way, the poem becomes a little bit mine–for as long as I can remember it. This work and its design places readers in this odd space, somewhere half-between passive observer and cognitively engaged participant. Along the Briny Beach and Tokyo Garage similarly place readers in this limbo.

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My first page of my fave Tokyo Garage~

The text that slowly inches up the screen is often intellectually or aesthetically or poetically stimulating but, at the same time, its steady and unending ascent can make the text become this endless stream of nonsense, without clear purpose or intent to guide reading. In some ways, these works read as a kind of counter-to, anti-poetry. There is no inherent meaning. No specific place to start nor any closure. At the same time, though, there seems to be this invitation to meditate on the use of language to convey poetic thought and aesthetic appeal and just beauty. What does any of this language really capture? It’s all words. What is beautiful about their repetitive recombinations? Anything? What is the function of poetry and language, especially in this digital age where forms of aesthetic representation are vast and varied and so easily accessible but so rarely able to be appreciated?

Ultimately, I think Taroko Gorge and its remixes provide a way for readers to explore their own preconceptions about language, semiotics, authorship, authorial intent, and reader expectations. The works certainly challenge many traditional conceptions of these topics. But, I think viewing these works as both digital and cognitive kinds of assemblages allows these works to become a question about the overall nature of composing, creating, and interpreting meaning and signification in online spaces as well. At the very least, doing so engaged me with the work in a new–and interesting–way and provided me with a way to develop insight I might not have otherwise.

Sources

Taroko Gorge collection

“Literary Texts as Cognitive Assemblages: The Case of Electronic Literature”

 

~Till next time~

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I Can’t Believe It’s Not Journalism!

“It’s like journalism–only better.” (pg. 6, slide 3)

This is bad

My Second Rodeo

So….that Hobo Lobo of Hamelin is some story, right? Some great work of far-off, far-fetched fiction, right? Like, could you even imagine living in a world like that???? Wild, right?

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I’m dying

WildHelp.

Alright, alright. Enough thinly veiled references to the blazing “hugest” dumpster fire politics in the greatest country in the world have become. However cathartic it may be…. 

I’m ready for Ashton Kutcher to pop out and reveal America’s been punked.

I remember when I first read Stevan Živadinovic’s Hobo Lobo a few years back, during election year, I believe. I was blown away, then, by how poignant the piece seemed. The allusions to socio-political points of contention such as xenophobia, nationalism, and big news media corporations (like Fox News) seemed so clear and so powerful, especially when paired with the invocations of Big Brother and the Fourth Estate. These complex, complicate, and, often, dark concepts seemed such a contrast, too, to the storybook, Dr-Seuss-esque elements used to convey them. It was shocking to see these elements so overtly packaged for consumption by the youth. Indoctrination is supposed to be subtle, you know?

Hobo Lobo seemed to be as much a modern reimagining of The Pied Piper medieval folktale as it was scathing commentary on contemporary politics, the 24/7 news cycle, and the effects of late-capitalism on the US.

Now, the work is f*cking horrifying.

the horror

If Hobo Lobo was too close for comfort before, now it’s a living nightmare.

I mean, look at this face:

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Could use more orange….

Nightmare fuel.

And, that’s just the imagery. When paired with the actual language used in this work, Hobo Lobo becomes highly unsettling. In fact, despite this work being ELit, I found it very difficult not to read it as I would a traditional narrative. The work, though, I think lends itself to that kind of reading–being modeled after a hybrid of the standard design of a pop-up storybook and the typical design of comic books. Unlike comic books proper, though, pages shift fluidly into each other, elements of both language and imagery flowing from one “panel” to the next, creating a “poly-linear timeline” and a kind of “infinite canvas”. Time seems to progress as the work “flows” from one event into the next. Persistence of narrative occurs in that the imagery of each page coincides with the lexia beneath it, nothing de-contextualized about it. In fact, everything seems embedded in a thinly-veiled context–i.e a not veiled at all one #didn’teventry~ The pieces of propaganda strewn purposefully in the background of most panels seem to reinforce a socio-political reading.

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I mean, you can’t reference Big Brother and not expect the ghost of Orwell to ruin the party. That’s his thing.

Hobo Lobo is a work that is meant to be read. Even the pages that do not make use of lexia, use images and sound–like pipe music and the laughter of children, the resolute thud of stone against earth–to convey not-totally-illusive narrative.

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I mean, these images are narrative. Even if I did not have the accompanying limerick to direct my interpretation, I think I could figure out the story. 

Anyway, regardless of what contemporary parallels I draw from the content, I believe  Živadinovic’s Hobo Lobo is a compelling work of Elit, whose language, design, and aesthetic all work in tandem to immerse readers in this upside-down, surreal-but-hyper-real, topsy-turvy caricature world.  It’s combination of whimsical, folktale, Dr. Seuss-esque with snarky, political satire is both charming and revealing of the dark truth of indoctrination: that it’s all child’s play until the stone bites the dust and you’re swallowed whole.

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References How I know my sh*t:

Elmcip “Hobo Lobo of Hamelin”

I ❤ E-Poetry “Hobo Lobo of Hamelin”

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~Till next time~

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Viva La…Russian Revolution???: Analyzing Neo-Futurism & The Mutability of Reality and Story in Illya Szilak’s Reconstructing Mayakovsky

Здравствуйте~

Reality remains fatal, a bullet in the brain ~

In the names of progress and peace, what would you sacrifice? Some of your freedoms? Most of your voice? All of your body? Replace your autonomy with technology, swap democracy for technocracy? These questions seem to be at the narrative heart of Illya Szilak’s Reconstructing Mayakovsky (2008), a work of Eliterature (ELit) heavily inspired by the rise of both terrorist activity and technological advancement in the early 21st century as well as by the life and literature of early 20th century Russian Futurist writer and revolutionary Vladimir Mayakovsky. Szilak’s work seems to ask readers to not only immerse themselves in its rich narrative aspects but to consider, conceptually, the nature of reality and the complex relationships of story to reality, of self to machine, and of machine to nature. The work accomplishes this feat through a combination of textual, historical, navigational, and aesthetic “mechanisms” all working in tandem alongside reimagined, Neo-Futurist ideology to construct an experience that “promotes an idiosyncratic reading” (Gauthier) of the piece and reveals the mutability of meaning (story) and of humanity (the self).

OnewOrld, the world of Reconstructing Mayakovsky, is one in which humanity, and its propensity towards violence and chaos, has been abandoned for the seeming safety of virtual reality. “Inhabitants who survived a major cataclysm…live in hibernation units immersed in a virtual world” (Gauthier). The program and its safety are guaranteed by the Monad Global Attention Group, the financial investors behind the OnewOrld project. According to the short video clip–that ostensibly adopts the traditional style of a financial investment PowerPoint– found when one clicks on the “Movies” mechanism–hovering in the starry pocket of an otherwise infinitely dark and empty universe main interface screen–“real bodies cost money” and “the end of profitability is near”.

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Physical reality has become unstable and so must be converted to a virtual system. This story, the overt one, plays out in 46 chapters whose text can be accessed via clicking on the “Mechanism B” mechanism floating in the aforementioned abysmal/primordial miasma (Gauthier).

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Example of the Chapters + Some background info on OnewOrld~

Audio versions of the chapters can be found by clicking on the “Audio Podcasts” mechanism. The OnewOrld language is English that has been translated into French and then back into English using the Babelfish program–literally removing it that much further from ourselves. This makes the language read/sound quite mechanical, adding additional complexity as well as a sense of eeriness to readings. These chapters float chaotically in no specific order in their own, bright red or solid black pocket universes of the site. Readers are given no directions on how to navigate the narrative nor interpret the mechanical language within. Instead, readers seem asked to construct meaning on their own as though the work were one large, deconstructed poem, whose inherent order matters less than a reading’s interpretation.

This format lends itself to the idea that navigating an ELit piece is also, “an act of producing a work’s signifying properties in the moment of engagement with them” (Pressman). Meaning cannot be interpreted in this work until a node–a hyperlink, in this case–is clicked and its encoded lexia accessed. Even then, though, there is no promise of revelation. What do 46 chapters mean when, “We reject the absolute truth of the number”? Or, when “The difference between a lie and the truth rests in its utility”? This lack of inherent meaning seems to both be at odds and celebrate the work’s Neo-Futurist undertones. Futurism was an early 20th century art movement that rejected the past and the mere idea of the past influencing the future and instead celebrated the future, the youth, speed, dynamism, violence, and, above all else, the machine. Marinetti’s Manifesto of Futurism calls for the abolishment of libraries and museums and, most famously, compares the automobile to the splendor of “the Victory of Samothrace”. Bold. But, also an ideology that seems promoted in Reconstructing Mayakovsky.

That said, while attributing meaning of this otherwise seemingly disjointed work through a kind of Neo-Futurism reading would be easy, it seems not to suffice. Contradicting elements appear throughout the piece, promoting violence but also a way for “non-violently defining, creating, and animating the world”. Pieces irreverently discard the human and its agency but also claim, “In so far as we are bodies and minds We are the embodiment of nature In so far as we use technology as an extension of our bodies and minds there are choices we can make [sic]”. These contradictions complicate any simple understanding or navigation of Reconstructing Mayakovsky.

Most of these contradictions can be seen when the overt narrative of the work is compared to its accompanying manifesto, which can be found by clicking on the “Manifesto” mechanism. A condensed version of the manifesto titled “a petit Manifesto: or how I learned to stop worrying and love the movies” can be read on the screen that first appears or a longer version of the manifesto, “Do You Think Malaria Makes Me Delirious?”, can be accessed by clicking “download print version”. The condensed version hits some of the manifesto’s highlights such as, “All realities are virtual, but few of us can live here”, “Art is to life as Kitsch is to death” and “EVERYTHING HAS BECOME US, But we are nowhere in the world” while the longer version elaborates on these subjects and many more–such as poetry, language, memory, religion, humor (“We believe that all humans can laugh but most jokes don’t translate well”), etc.–eventually concluding that, “Our future demands a feminine art that knows and appreciates the body and its ornaments” (Szilak). Not very Futurist proper and, in comparison to the narrative aspect of Reconstructing Mayakovsky, this manifesto seems to contrast greatly. In fact, it seems to be a rebuke.

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The manifesto reads as quite a scathing critique of the virtual, technocratic world of Reconstructing Mayakovsky but also of some of the key tenets of Futurism, adding an element of self-awareness the Futurists themselves seemed to lack to the work itself if not the narrative within. Additionally, the manifesto seems to challenge notions of reality and perception, stating, as mentioned earlier, “When the wor(l)d has any meaning The difference between a lie and the truth rests in its utility [sic]”. Reconstructing Mayakovsky, then, becomes a mirror for readers, inviting them to explore the relationship between truth and perception of truth via its decontextualized, free-associative interface and its Neo-Futurist framework which invites a kind of contradictory, Orwellian “doublethink”.

Perhaps, though, some of these contradictions can be reconciled in Mayakovsky himself, who is a main character introduced into the world of the narrative aspect of this piece but who is also the author of much of the conceptual underpinnings of Reconstructing Mayakovsky. More, perhaps taking a closer look at Russian Futurism specifically and its conceptual underpinnings can bring a degree of understanding to an otherwise nebulous and mercurial work.

Vladimir Mayakovsky was born in the Russian Empire, pre-revolutions, in what is now  the country of Georgia. He came of age and became a writer and artist during a time of ideological upheaval as well as national and cultural revolution. In the early 20th century, Mayakovsky joined the Russian Futurist movement, an art movement that was influenced by Italian Futurism’s ideology which promoted/idealized modernization but that also, almost antithetically, appreciated traditional Russian folk art and life. Many members of this movement, like Mayakovsky, sought to dismantle the Tsarist autocracy that had been governing Russian for hundreds of years and replace it with some form of socialism–communism most commonly. Many artists from the movement participated in the generation and proliferation of Bolshevik propaganda.

Most members of the movement rejected the work of the so-called, “Great Masters”. One of the most famous Russian Futurist manifestos Mayakovsky contributed to, “A Slap in The Face of Public Taste”, proclaims, “The past constricts us. Academia and Pushkin make less sense than hieroglyphics. [burn] Dump Pushkin, Dostoevsky, Tolstoy, etc., etc. overboard the ship of Modernity” (Burliuk et al. as quoted in Lawton). Essentially, the Old Masters are dead and should stay dead.

Many Futurists also came to reject the title of Futurism itself, Mayakovsky stating in a short essay titled “We, Too, Want Meat!” (1914), “What’s a Futurist? I don’t know. I never heard of such a thing. There have never been any”. Perhaps this rejection is what led to the eventual dissolution of the movement. Perhaps is was the fall of the Russian empire. Perhaps it was always just disillusionment in need of voice and performance….

Regardless, the movement essentially dissolved in Europe with the onset of World War I and dissolved in Russia after the Russian Revolution of 1917, the assassinations of the last of the Romanov family, and the rise of Stalin and the Soviet Union. Mayakovsky continued writing in the “Futurist spirit” though, penning multiple books of surreal, decontextualized, or otherwise counter to poetry and becoming an outspoken spokesman for the Communist party until his suicide in 1930. A bullet in the brain heart.

In many ways, Mayakovsky embodies the ideals Reconstructing Mayakovsky espouses–which makes sense. (The work is literally titled Reconstructing Mayakovsky and, in the piece, Mayakovsky’s character is resurrected.) Evoking Mayakovsky is evoking the complex, often contradictory nature of Russian Futurism–its promotion of both the machine and traditional folk art–but also of that time period of upheaval and revolution in which the movement and Mayakovsky existed. “We believe that art is the memory of the future and memory is the art of the past”, the manifesto states. Mayakovsky is both the art and the memory. Reality is what exists in between, is what exists in the vast blackness surrounding “Manifesto” and “Movies”.

The “Archive” mechanism seems to also enhance the idea of reality being made mostly of what is remembered and created. This mechanism consists of images, documents, and articles related to events referenced in the narrative aspect of the work. In this way, the reader and the reader’s reality are being tied to the reality of Reconstructing Mayakovsky as all of the events referenced in the narrative aspect of the work have a basis in our reality (i.e. the bombing of Nagasaki, the existence of complexity theory, etc), making questions about the reality of Reconstructing Mayakovsky also questions about our reality.

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Some examples of the Archives referencing Mechanism B~

And, again, readers are given no directions for how to navigate this space of stacked images. The onus of coherence and persistence of narrative falls on the reader. This decontextualization seems another callback to Futurism while the compilation of meaningful subject matter seems to be what connects the overall concept back to Russian Futurism (which still values the traditional or “sentimental”) specifically.

Ultimately, the decontextualization of this piece allows for multiple readings of this work and, so, multiple constructions of reality, something that becomes apparent to readers as they attempt to, almost like “astronauts”, forge connections in that amorphous, black space between content and meaning. Additionally, the resurrection of Mayakovsky in this work resurrects and brings into question the ideals and contradictions of Russian Futurism, further complicating the understanding of thi piece and ensuring that no easy answers bring reconciliation. Through concept, design, and aesthetic, Reconstructing Mayakovsky seems programmed to function as an exploration of the contradictory nature of reality, perception, and the relationship of the self to both. Or, perhaps, it is meant to be a joke and its meaning just “does not translate well”.

Works Cited

Gauthier, Joelle . July 25, 2011. ”  Reconstructing Mayakovsky  “. Sheet in the NT2 Laboratory Directory of Hypermedia Arts and Literatures. Online on the NT2 Laboratory website. <http://nt2.uqam.ca/en/repertoire/reconstructing-mayakovsky >. Accessed September 23, 2018

Lawton, Anna M. Russian futurism through its manifestoes, 1912-1928. Cornell Univ Pr, 1988.

Marinetti, Filippo Tommaso. “The futurist manifesto.” Le Figaro 20 (1909): 39-44.

Pressman, Jessica, and N. Katherine Hayles. “Navigating Electronic Literature.” Electronic Literature: New Horizons for the Literary (ebsite)(2008).

Szilak, Illya. Reconstructing Mayakovsky. June 2008. Web Design and Development: Cloudred. Art for animation and graphic design for manifesto: Pelin Kirca. Original music for animation: Itir Saran.

Further References:

http://pelinkirca.com/reconstructed/

http://cellproject.net/creative-work/reconstructing-mayakovsky-2

https://www.theartstory.org/movement-russian-futurism.htm

https://helenbledsoe.com/?p=238https://helenbledsoe.com/?p=238

https://www.estorickcollection.com/exhibitions/a-slap-in-the-face-futurists-in-russia

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До свидания!

~Till next time~

hannibalwinkingsexilygif

It’s Been Real (Or Has It…???) ^.^~

Farewell GIF - Find & Share on GIPHY

(Just kidding This simulation’s graphic’s are super real >.<)

So, it’s the end of another semester spent traversing the weird, wild web, huh? Time definitely flew by this semester! It feels like just yesterday we were talking about the terrors of online data tracking… or maybe I’m just having flashbacks of Zuckerberg testifying before Congress >.>

zuckerberg-data-01

Anyway…

This semester was definitely wild. I can honestly say I was not expecting to do as much work as I managed to pull off this semester. Check it:

Weekly Blog Posts (I did all 14! Really, wild~)

Daily Digital Alchemies (Somehow did all of these too??? And only came in at 5th place…)

Makes (And I did all these??? And only made it to 4th place -_-…sensing a pattern)

That is a lot of work. Time-consuming work. I don’t know about everyone else this semester, but it takes me a minimum of one day to write up a blog post and another to edit. That’s not to mention how long it takes to complete the week’s actual digital activities. For example, my Audacity post, my Audacity Interview post, and my posts on both Neo-Dadaism and Selfies took significantly longer time to complete. This is because 1) I am still very unfamiliar with working with audio and 2) some subjects require much more research in order to write a thoughtful/insightful post about them. The post on selfies was, after all, done in conjunction with a Twitter chat I ran on selfies as art as well (which I reflected about in another post). All this is to say that I did put a lot of effort and time and thought into my work every week. Nothing was ever hastily thrown together and I always tried to be thoughtful in my reflections.

On Twitter, too, I tried to participate regularly throughout the semester. I tweeted out @netnarr every time I posted on my blog and used #netnarr as well. I always did at least 2 DDAs a week, as well. (And, I think I tried to approach both creatively–using imaginative titles and images.) More towards the beginning of the semester, I also used the #netnarrlinks to share some interesting articles/videos I found on topics I thought relevant to the course. (Or, just interesting to me ^.^) While I’m not sure if all this activity counts as “robust use” of the platform, I would definitely say it demonstrates diligence.

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Activity on my account from 1/23/18

2018-05-05 (5)

Compared to activity on my account from 5/5/18

2018-01-23 (1)

1/23/18

2018-05-05 (7)

5/5/18

(Check your own Twitter activity)

As you can see, I definitely increased my activity on the platform and began posting more regularly to Twitter. More, my posting seems to have become more organized–I have more regular times of activity as well as more regular usage of hashtags and links. Retweets are still my most popular form of Twitter usage but I have certainly upped my game overall on the platform this semester.

2018-03-02 (1)_LI

1/23/18

2018-03-02 (2)_LI

1/23/18

2018-05-05 (2)

5/5/18

2018-05-05 (4)_LI

5/5/18

More than all that, though, I’ve become a part of a community on Twitter. Not just my activity itself on the platform increased but my level of engagement with the platform. Before getting involved with this course and the digital humanities, I never thought of Twitter has a place capable of fostering community. But, it really is. I learned so many tips and tricks from fellow users online.

Which brings me to another point: collaboration. Twitter makes collaborating with other people so very easy. For example, one of the extra projects I participated in this semester was largely facilitated through Twitter. The NetNarr Alchemy Lab is a collaborative work, put together by so many very talented digital alchemists. Essentially, it’s an online interactive storytelling project in which I was invited to participate. You can read all about my own contribution here and the ins n’ outs of working on it but I just want to say that this was one of my most favourite activities I participated in this semester (though it wasn’t part of the course proper). Also, I want to thank everyone who reached out to me on Twitter and helped me with this project. Again, without the online community, I’m not sure how any of this would have been accomplished. Not easily, for sure.

Additionally, I did try to use my Hypothes.is as well towards the start of the semester. We kind of bailed on it as a class, though, so I hope my lack of “robust” usage of the tool will not count against me. Interestingly enough, though, I did end up using the annotating tool for another course this semester–a course on research and theory (I made 96 annotations for just that course). So, though I did not get to use my Hypothes.is know-how in this course, know it did still come in handy elsewhere~

Honestly, I’m fairly proud of all the work I accomplished in this course. My favourite assignments have to be the ones related to selfies, to memes, and to gifs. I think my Make on the #SelfieUnselfie project is one of my most meaningful, digital works to date. And, my Make on “Gifing” digital life still makes me actually laugh out loud. More, discussing memes as art objects inspired me focus my thesis on researching Neo-Dadaism in new digital media (specifically on researching the emergence of the Internet meme as a resurgence of Dada idealism). So, our discussions on these topics in class, specifically on digital art, definitely inspired me to think more deeply about the content.

That isn’t too say there weren’t subjects I found uninteresting. As mentioned before, I don’t enjoy working in audio. It’s more difficult than other mediums, yes, that’s part of why I don’t like working with audio but, also, there’s just my personal preferences. I’m a more visual person. I like art on canvas, words on the page. I like having something for my eyes to swallow, devour. Of course, I’m pleased enough with how my audio interview project turned out but, if given the choice, I would not want to repeat the project. Even having two weeks to do it, I found it to be just very complicated. More than endearing the medium to me, the project kind of turned me further off. Sorry. (I really wish my feelings were different but when I think of that project, I just remember frustration.)

Another aspect of the course I found it bit dull was the online gaming section of the course. Again, this might come down to an issue of personal preference. I just didn’t find the content to be too engaging or interesting. Also, I didn’t necessarily like looking at digital redlining as a kind of game because it’s really not. For future courses, I would like to suggest moving the issue into the area of Digital Life. (I did like my Make for this subject, though. The activity for the subject is very apt, I think. It conveys exactly what it is designed to. Also, I found the H5P tool to be fun to use. I would definitely recommend teaching future students how to use it.)

Enough with the critique!

Overall, I found this course to be fun and engaging. This semester has certainly had its ups and downs. While some activities in class came easier than others due to past experiences working with the medium, there were plenty of challenges presented by this course. This semester, I certainly had to learn how to use new tools as well as how to make peace with old rivals here’s looking at you Audacity >.>. For the most part, I think I made out pretty well. Not all of my work came out as polished as I would have liked but I still tried to do all of the work asked of me and I tried to do it well within the time constraints I had upon me. More, I tried to be creative with my work wherever I could–whether through word-play, memes, or some other insertion of my own personal panache, if you will.

Above all, I hope it comes through that I am proud of what I accomplished and of what I learned. This semester was tough but I’m tougher! I think I came out on top. But, what do you think?

Thanks for another amazing semester!

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Links

Twitter

Poeticize the Poem (DDA Topic I submitted)

ELit Concept + Moon Girl Bot

Digital Art Referencium (Curated by me and Hailey)

Giphy

Killing It

Peace Out Goodbye GIF by GIPHY Studios Originals - Find & Share on GIPHY

 

Gaming the System

*Much less fun than it sounds~

Painting the Town Red

This week, we talked about redlining–basically denying services either directly or indirectly to residents in certain areas of a city or town based upon the ethnic makeup of the residents. More specifically, we talked about the idea of digital redlining and how online algorithms can play a part in the contemporary implementation of redlining practices.

In order to learn more about digital redlining and how it works, we watched a fascinating talk led by Chris Gilliard:

Aside from this talk, Chris also contributed to this article about how digital redlining operates at the university level. Essentially, the appropriate use policies (AUPs) can become knowledge-blocks for many students at community institutions. Being that community colleges are typically populated by working-class individuals, many of whom come from a more ethnically diverse background, this problem becomes one of digital redlining.

Because online spaces are where an increasing number of people primarily get their information from, restrictions such as these become not just issues of inequality and accessibility but of ethics as well. If the flow of information is restricted, then people simply cannot make informed decisions about things that can greatly affect the quality of their lives. More, by restricting access of certain knowledge, power is given to those who are not restricted. A game in which certain players are given all the knowledge and all the power while others are left totally unawares is not much of a game. At least, it’s not a very fun game, to say the least.

What I find particularly awful about the whole issue is that those who are being most affected by digital redlining are the ones who would have no idea, who are not informed and have no means of becoming informed. That is the game. This is especially sickening considering how often technology and the Internet are lauded as being “great equalizers”. The truth that so few have access those is that both could not be any farther from. You might even consider digital redlining the 2.0 version of the original–now new and improved.

Painting Newark, NJ Red

In order to learn just how close to home the issue of redlining is, this week in class we investigated possible instances of it occurring in nearby Newark, NJ. The activity asked us first to review this map charting inequality in the city and then to choose from a variety of other services to see if the locations of those services were possibly affected by the inequality of wealth revealed in the initial map.

I chose to see if there was any correlation between the historical redlining of Newark and the location of license plate reader (LPR) cameras. This is what I found:

https://h5p.org/h5p/embed/215322

In researching whether or not a kind of redlining is still present in Essex County, specifically in Newark, NJ, I noticed a possible correlation between LPR camera locations and the location of Newark’s poorer areas.

According to the LPR map, there is a cluster of LPR cameras located in the center of Newark, sandwiched between 2 areas (Third Ward and the Ironbound) identified by the inequality tracking map as “hazardous” zones. Now, this cluster could be related to the close proximity of Newark Penn Station–a major travel hub–but upon inspection of other large, travel hubs in the area, like the nearby Paterson rail station, that doesn’t seem to be the case. At least, there’s only 1 LPR location remotely near the Paterson rail station compared to the 5 LPR locations within a few blocks of each other near Newark Penn Station.

So, perhaps the cluster of LPR locations in Newark relates more to the “hazardous” designation of the overall area? What do you think?

My Make

Personally, I was quite surprised to notice a possible correlation even though I, myself, having grown up nearby, know there areas of Newark I want to avoid, especially at certain times. Driving into Newark this weekend, actually, for a concert, I found myself thinking more deeply about the issue of potholes on 21–the main drag through the city. 21 stretches across Essex county and into Bergen county–where I now reside. There is a clear distinction between the amount of potholes encountered, though, between the two counties. More specifically, between the city limits of Newark and the surrounding areas. Seems potholes on 21 are more worth filling outside of the city >.>

Returning to Sound

In contrast to the rather depressing topic of redlining and its digital counterpart, this week also had us finishing up our work on interacting with empathy games. (I think an empathy game about digital redlining could be pretty good, yeah?)

Anyway, this other activity had us recording questions about empathy games designed by students in Prof. Maha Bali’s class in Cairo, Egypt. Prof. Bali’s students would then record and upload their responses to the shared padlet. Once all the audio components were available, we had to download them and use them to create a new, cohesive whole–an “interview” of sorts in Audacity.

Now, I don’t really like working with audio myself but I think my project turned out pretty well. There are some rough patches in it and, of course, there’s how awful I think I sound recorded but, other than those *minor* issues, I am pleasantly surprised with how my interview turned out. But, don’t take my word for it.

Have a listen yourself:

Mainly, I think my intonation is off in some places and conflicts with prior recordings which makes it obvious that this was not recorded all at once. Also, for some reason, I think I sound more condescending in places where I didn’t intend to and I don’t know why???? Audio is weird.

But, again, what do you think?

I was going for this being like a podcast of sorts–hence the jazzy intro and outro~ Does that vibe come through or nah? What’s your impression of this work?

Jazzy Intro & Outro

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Links

Daily Digital Alchemies

~Till next time~

Working with Audio???

I think I’m funny~

Anyway, this week we covered an almost confusing number of different subjects. So, please bear with me as I try to get wandering, wondering thoughts together ^.^

Empathy or Lack Thereof

One of this week’s topics was that of “empathy games”. According to this article by Eric Bartelson, empathy games are ones that confront players with “real human issues…things like depression, bullying, terminal illness, or suicide”. Through playing these games and “experiencing” these issues “first-hand”, players, ideally, develop a more complex understanding of the issue and so are able thereto forth to empathize better with people going though similar issues IRL.

At least, that’s theory.

Many game designers themselves are skeptical/critical of the idea that empathy can be developed to such an extent via game-play. More, many game designers seem that empathy is a skill every game should be striving to develop and so labeling any specific set of games as “empathy games” is redundant. In this way, and as Bartelson states, the divide seems to be over whether or not empathy is “a genre or a game mechanic”. Which, to me, is an interesting division and, to be honest, since I’m not someone who plays very many games, I’m not sure what side of the divide I fall on.

Certainly, I believe that a game alone cannot develop or refine one’s own empathy. That’s the reverse of the “video games incite violence” argument–spoiler they don’t and a government bogging down discussions about any particular reforms to even entertain the notion is grossly irresponsible and tbfh stalling but I digress…>.>. Like I mentioned in our Twitter chat on Tuesday night, you can have the best message in the world in your game but if players can’t connect that message to something on the outside, if there’s no transfer then I’m not sure how it helps facilitate genuine empathy.

See, I believe designers can direct their messages so that they are received within IRL context. But, I also believe:

My line of thinking seems to fall in line with Simon Parkin’s thoughts in this article in which the disconnect between creator intent and game design is discussed. Basically, Parkin reiterates what I just said: a game with a good idea but a bad follow-through is kind of a problem. More, that equation can create a problem. Parkin references a study in which the game Spent–an online game about surviving poverty–and its effects are researched. What the study found was that it actually made people, even those who sympathized with the poor prior to playing the game, empathize less with poor people. Essentially, the game made people believe poof people had more choices than they actually do in reality. Colleen Macklin, a game designer cited in this article, summarizes the phenomenon, “In a game you have complete agency, but in some life situations, people have no choice. If a game is trying to create empathy in this way, it can back-fire spectacularly.”

When creating a game you hope will instill a deeper sense of empathy, intent doesn’t seem to be enough. More, you have to be careful you’re not “game-ifying” a real situation too much or else you may alter the reality of it and so muddle/not accurately portray your message.

That said, a game I think “game-ified” an IRL situation just right is Bad News. I freakin’ loved this game.

In Bad News, players become the propagators and perpetuators of “fake news” online. “Drop all pretense of ethics and choose the path that builds your persona as an unscrupulous media magnate” the game encourages. The goal of this game is to gain as main “followers” as you can through establishing fake credibility online (mostly via Twitter). The other goal, in my opinion, is to be as obnoxious as you possibly can i.e channel Trump >.>..

I had a blast:

2018-03-20

I’ll admit, at first I was trying to be a good person and pick the “ethical” choices but once I realized that was losing me followers (and not the object of the game) I just went full on obnoxious. Spread an anti-vaxxer conspiracy theory??? Sure. Smear a legit news agency cause they had the audacity to report on something bad I actually did??? Why the hell not??

What can I say?

I got into it.

Anyway, fun aside, I do think this game illustrates the point it’s trying to make pretty clearly. Though, if you don’t have the cultural context–say you live in a 1-party state or your country doesn’t have access to much technology or internet–I don’t know how well the message would stick because it’s social commentary, in a way, right? I get that this game is trying to make a point of how fake news is made and propagated but I also think it’s trying to show just how easy it is to slip into that mindset/head-space where you’re more interested in sensationalizing issues, “making headlines”, and in gaining followers than in making ethical or responsible decisions. Even if that wasn’t an objective by design, this game did a damn fine job of bringing it to attention.

But, what do you think? More, after playing a so-called “empathy game”,  how do you feel?

Amping Things Up

Switching gears this week, we also began discussing sound as a means for storytelling.

Now, I have to admit I’m not super enthused for this shift in focus. Sound is not really my medium. Don’t get me wrong, I love my podcasts–listening to them while I’m doing my make-up in the morning–and I’d probably kill someone if I couldn’t listen to my music in the car but I’m not really into or interested in playing around with sound myself. The thought just doesn’t inspire the same excitement as talking about art or Elit.

That said, I’m open to learning more about how to use sound to tell a good story. I’m so used to it being background noise, I think it’ll be cool to explore it as its own kind of art and story.

For this week’s Make, I did attempt to explore sound as a means for telling a story. Check it:

 https://soundcloud.com/kelli-hayes-365566554/frustration-1

It’s not my best work but I’m happy enough with how it turned out. I’m a lot more rusty with Audacity than I thought I’d be but this video helped me out a lot. (I also totally forgot how to upload from Audacity to Soundcloud.)

Anyway, technical issues aside, the idea behind my little story here was inspired by the incessant clacking of my own keyboard. Once I decided I wanted that to be my background sound, I was able to establish the rest of the story.

IMG_6163

I added some notes in the margins once I found the sounds I wanted on freesound~

Really, my story is just a snippet of what it’s like to live online–closing yourself away to open up elsewhere, the incessant typing that gets increasing more frustrated as your message notifications keeps pinging, and the frustrated sigh that another annoying ping swallows up. Don’t get me wrong, I love the life digital means affords me but it can be freakin’ annoying sometimes~

2018-03-23

My view while workin’ on those bars~

My Make

Did you get that message??? Or, could it use some work?? Let me know and maybe you’ll get a ping-back 😉

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Links

Daily Digital Alchemies

This Week’s Spells:

*I love this throwback DDA ^.^ The book spine poetry was one of my face DDAs from the first time around. I enjoy combining my love of books with my burgeoning love of new new digital media. This DDA also gets me to “remix” real life, removing the context from my books and placing them in a new one. I love it~

*As for this DDA, I decided to take a close-up shot of my fave pinky highlighter (J. Cat Beauty’s You Glow Girl highlighter in the shade Bella Rose for any fellow make-up junkies ^.^). It looks like a cotton-candy floss universe, doesn’t it? ❤

Twit 1 & Twit 2

Goodies

*I chose to look at the game our friends in Egypt, Ayah and Manar, are currently in the process of developing. Their game is designed to teach/inform players about illiteracy and how it affects the everyday lives of people and the choices they are able to make. Ayah and Manar talk about their game here and have a prototype you can play here. So far, I really like the project and thinks it’s shaping up to be a real learning tool. I talk more about what I think is effective so far in my comments on the posts so I highly recommend you check those out and, of course, the good work Ayah and Manar are doing!!

What Does It All Meme????

Tbh, I’m going to miss our discussions on digital art~

Arrested Development Crying GIF by HULU - Find & Share on GIPHY

Sad Will Ferrell GIF - Find & Share on GIPHY

Kim Kardashian Crying GIF - Find & Share on GIPHY

The Gif that Just Keeps on Giving

Before I get into my reflection on digital art, I want to talk about our last hurrah for the Make Bank.

This week, we used what we learned from last week’s experimentation with Giphy to make two different kinds of gifs which I pronounce with a soft like in graphic image format fight me.

The first make asked us to gif a process. Of course, I chose to make a gif illustrating one of the many metalworking processes familiar to me. (For anyone who’s come to know me, I doubt that’s shocking~)

Anyway, here’s my gif-take on soldering:

Art Soldering GIF - Find & Share on GIPHY

***Please do not attempt at home or in any other place not properly ventilated***

So, soldering is the process by which pieces/sheets of metal can be joined. In order to solder, you must first have *drum roll* solder (of which there are 3 kinds–hard, medium, & soft). Typically, start with hard solder and work your way down (the designations don’t refer to the composition or sturdiness of the solder but the temperature at which it melts, hard solder taking the longest to melt and soft the least; so, you want to start with hard solder and work your way down because you don’t want your solder to re-melt and flow every time you attach a new piece of metal to your project–it’d be constantly falling apart, yeah?) Anyway, my gif starts with me placing my chips of hard solder down (technically I should have sweat soldered this but tbh I couldn’t be bothered~)

From there, I torch the piece (soldering temperature is around 850 degrees Fahrenheit). Then, once you see the solder flow and melt, you have to quick quench the piece in water and then in the Pickle–which is a cleaning solution. Metal gets very dirty once heated–it’s a chemical reaction. After letting your piece sit in the Pickle for a few minutes, you can take it out–with copper (absolutely no steel in the Pickle) tongs!!! Don’t touch a piece of metal with Pickle on it!! It can cause your skin to peel–and run it under some water and clean it with a brass-bristled brush.

Ta-dah~ My last image shows a (relatively) cleaned and soldered piece.

I found this activity to be rather fun and engaging, kind of like the Most Fascinating Subject in The World make. Perhaps that’s because both projects ask us to remix and create digital work (memes and gifs) of subject matter from our own lives. To me, projects like these illustrate how memes and gifs, while ubiquitous and rather universal, start off in the personal and individual. It takes one person to notice something or tilt their perspective just so to create them. More, these projects provide opportunities for participation in remix culture in ways we can relate to on a personal level. I mean, we’re remixing parts of our lives, right? Adjusting the lights and the angles and making magic~

My Make

The other make we did this week asked us to reflect back on digital life or on digital art in gif form. How could we imagine one in gif form? What would that look like?

I chose to gif my experience/thoughts on digital art. Again, for those of you who know me, I doubt you’re shocked~

Anyway, check it:

Digital Art GIF - Find & Share on GIPHY

I’ve noticed that a lot of our discussion in class and in our blog posts has revolved around whether or not digital art is “Art.” Pointless conversation to tbh but I digress~ So, I made a gif to represent my feelings on the matter–Art is what you make of itIt’s what I make of it. It’s what we make of it. Just the ideal that real art has to be on a pedestal and labelled probably has every artist from Van Gogh to Duchamp to Rauschenberg to Roth and then some rolling in their graves.

Honestly, get out of here with that elitist nonsense. Art is what you make of it but it’s also historically been about challenging preconceived notion and the status quo and about calling bullsh*t on bullsh*t. If selfies, memes, and, of course, gifs aren’t doing at least one of those things, then idk what is???

Gotta stay hip with the trends, yeah???

My Make

Missed any of my other Makes? Don’t fret! You can catch up here. Currently holding steady at 3rd~ Started from the bottom….xD

Reflecting on the Gif of Digital Art

On that note, I think it’s time to get into that reflection on digital art…

But first *ahem*

Logic GIF - Find & Share on GIPHY

(Had to get that out of my system~ Moving on….)

If you’ve been keeping up with my posts on digital art, I’m pretty sure you know my stance on it by now:

I dig it.

In my first post exploring digital art, I compared it to a kind of neo-Dadaism, calling it Degenerate Art 2.0. In the rise of this new medium, I see traces of a desire to respond to the growing absurdity of the world and the action’s of world leaders >.> with absurdity and nonsense which is something Dada itself sought to do. In many ways, Dada the 1st was a response to the absurdity of WWI, to all of these countries typically regarded as pinnacles of culture and of society fighting over 50 feet of mud. How do you create art after that? Dada showed us how.

From there, I explored the place of the selfie in digital art. In my post breaking down the history of the selfie, I talk about whether or not the selfie even constitutes as work of art. Survey said: not only yes, but that it constitutes a whole new genre of art. For the first time in a long while, new digital media has lowered the boundary for entry into the art sphere as well as created a whole new genre for it. The selfie is the art of the people, created for us by us. More, it has created a whole new kind of communication between us as well as a new way to be introspective. For those of you who have reservations about that claim, I highly suggest you check out my post on the matter as well as check out the Selfie section of the Digital Art Referencium~

If you still have doubts, I suggest you explore the #SelfieUnselfie make. To me, this is one of the most meaningful projects I’ve participated in. I explain why in more detail in my post reflecting specifically on the project but, in short, I think this project captures the essence of what selfies could be while also emphasizing their limitations. If there’s one thing our segment on Digital Life revealed, it’s that’s it is very easy to get caught up in the innovation and the glitz and the glamour of new online spaces and forget that we’re all still people behind our screens with insecurities and agendas and flaws and faults and so many other aspects of ourselves that would look damning under a microscope. More, there are parts of ourselves to appreciate and that can be appreciated without the easy outside validation digital platforms can so easily provide. The internet allows us to be so much more than ourselves but that doesn’t mean who we are offline matters any less.

After discussing the seflie, came good ol’ memes and gifs or, as I like to refer to them, the sprinkles of the internet~

I discuss my thoughts more in depth about memes in this post and about gifs in this post but ultimately I believe that gifs and memes truly embody that neo-Dada essence I mentioned earlier. They tap into that seemingly universal acknowledgement that the world is a pretty absurd place and turn it into art. And though many corporations are beginning to use memes and gifs for advertising purposes (as mentioned by Amy whose style I love ❤ and Michael in our studio visit this week), they are fairly democratic medium, another form of art that is made by the people for the people. A culture of remix and reciprocity has really risen up around these mediums as well, memeing the meme a fun make but also popular practice these days.

Tide Ad GIF - Find & Share on GIPHY

Tide Pods, anyone??? Stranger things, huh??

Overall, I find digital art to be an emergent and exploratory new medium for creation and reimagining and remixing. There has been and will continue to be a lot of trial and error but I think it is coming into it’s own. I mean, look at how many gif artists there are now? You or I could be the next big thing~

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Links

Daily Digital Alchemies

DDAs this Week:

*(This might be my fave DDA I’ve done in a while~) I made this one using the linked program to reflect how I feel a semester and a half into grad school~ #haven’tsleptin3days #ihatemyself~ #aesthetic

*For those who don’t know, I also write poetry. This semester, I’m actually taking a course on poetry. In this image, you can see some of the poems I’m working on for my collection. For me, every poem is both a beginning and an ending–I live my poem, yes, but it’s also where my feelings end up. More than that, though, poetry is what life sounds like, yeah?

*So… dis my cat~ Her name’s Dove and she’s kind of dopey and likes to chew on plastic. #imhallingherout #sorrynotsorry (On a serious note, what’s Felix got against cats????!! Lol for real this time, I took a photo of Dove with my phone, uploaded it to my computer, and then edited it in Paint, of all things. It wasn’t very difficult at all. The shapes are pre-made and the text is easy to overlay. 10/10 would recommend~)

Twit 1 & Twit 2

*Check out the twitter-chatter activity so far Spoiler I’ve got a big mouth:

2018-03-02 (1)_LI

In the thick of it per usual lol~

2018-03-02 (2)_LI

Queen of my own universe~

*Played the Garfield roulette and this is the comic I came up with. Funny? Savage? Thought-provoking??? None of the above?

*Found this gem in the Garfield as Garfield archive and had to share it~ (Also, relatable to the grad school experience)

Giphy

Goodies

*I made a thing! For anyone who doesn’t know, the open participants of NetNarr have started a project we are all welcome to participate in as well. It’s a great opportunity to practice some digital alchemy~ I remixed an old story of dark, ravenous magic. Hope you enjoy ^.^

*CrashCourse on Youtube (an educational channel run in large part by John and Hank Green) has just started a new course on Media Literacy. I think it’s pretty relevant to our course and worth a watch. Maybe an episode or two will be good to watch for class?

*Artsy Gifs is really cool to follow on Twitter. They share art-inspired gifs that I think are beautiful editions to any feed~

*I’ve almost finished reading The Hate U Give by Angie Thomas and I can’t believe it’s taken me so long to read. I highly recommend you check out this book. It’s so relevant to the reality of racism and police brutality in America right now and it’s told through the lens of a 16-year-old, Black girl. These kinds of books that explore this kind of subject matter areso important.

My Gifs to You~

Netnarr GIF - Find & Share on GIPHY

Despite this week’s many technical difficulties on campus, this is not what actually happened though I thought about it…. Myself along with the rest of the goody-2-shoes class that showed up this week did stay for a crash course in gifs and their creation~

The Gif of Gifs

(Okay, I’m done)

This week we explored the animated gif. Though we didn’t spend much time discussing the creative form in the classroom, we did watch a short clip of a movie that is entirely made of gifs(?) It was pretty trippy to watch. Marissa and I likened the experience of watching the video to that of having a fever dream or going on a bad acid trip. Check it out:

twohundredfiftysixcolors (preface) 2013 from eric fleischauer on Vimeo.

(How long did it take you to realize the start of the vid was a montage of loading screens/ modules???)

Many of the gif forms shown are definitely unfamiliar to me and, I think, not as popular online. According to this article though, many of the animations popularity attributed as gifs are not actually gifs. They’re short video clips played on a loop which is, come to find, out, not what a gif is. Mind-blowing, right? I don’t want to butcher the actual def of a gif so I highly recommend checking out the article linked on it~

Anyway, aside from that fever dream of an induction to gifs, we checked out The Digital Materiality of Gifs–prepare for a MySpace flashback. If the Popular Mechanics article on the history of gifs gets too overwhelming and techy, I think this project does a fairly well job of explaining the history of the gif in laymen’s terms.

What I find most meaningful about the project’s breakdown is it’s final thought: “Gifs are a dumb, limited file format, and in the end this why they are important: They do not belong to anyone. Because of their constraints, they become a design material, to be played with, challenged, and explored. To try and domesticate them would be missing the point.” This, I believe, articulates the idea that gifs (along with memes and other new digital media created for and in online spaces) are the people’s art, their creation and burgeoning language. When you try to commercialize the medium and remove it from that kind of freedom and remix-ability, you remove the essence of the medium that allows it to function and to have power, to have agency.

Essentially, part of the gif’s power is that anyone can make one and use one. When you begin to chip away at that, you chip away at the ideology, at least, that makes a gif a gif.

Interesting, yeah?

Same as for memes, it’s difficult for me to imagine the internet without gifs. More, without the free and ubiquitous use of gifs. I may not understand every iteration or evolution of the form but I still believe their home is online and freely accessible. Like I said, gifs are a new facet of our language. They are tools for communication and they, in many cases, allow for smoother communication than could occur without them. Like memes, they are complex cultural and social messages in compact form. They streamline communication, especially in online spaces where space can be at a premium (think Twitter’s character limit >.>).

What do you think the internet and communicating online would be like without the gif?

Making & Wrapping Those Gifs

(I lied ^.^)

In addition to discussing the gif and its function, particularly in online spaces, this week, we were also tasked with creating and exploring the power of the form for ourselves. In the Make Bank, we had two activities we could do to practice our prowess at creating gifs. Both activities asked us to familiarize ourselves with Giphy. (An old friend of mine~) For those of you who don’t know, Giphy is a simple and easy way to create gifs from snippets of video or whatnot which are apparently not technically gifs but whatver.

Best Gif Wtf GIF - Find & Share on GIPHY

Anyway, the first activity allowed us to practice making both a gif with text overlaid and a gif without text by providing a short clip from a western film and asking us what verbal and non-verbal message we could communicate by giffing it.

Here’s what I came up with:

Netnarr GIF - Find & Share on GIPHY

My first gif is meant to be a reaction to the situation captioned. Meaning, when the wifi is down, I’m out–a sentiment I imagine many of agree with. If there’ not wifi, don’t invite me, right??? What am I supposed to do??? Talk to other people and not play on my phone???

(This gif was inspired by the aforementioned technical difficulties occurring on campus this week. First, there was no wifi and then the power went out on half of campus *sigh* I felt like I was living in a commune >.>)

Netnarr GIF - Find & Share on GIPHY

My second gif connects to my first gif. The first guy is the one who left when the wifi first went down and the guy gaining on him is joining him on his search for wifi. Though, I imagine this gif could be used as a reaction to any initial action that spurs a second agreeable action.

My Make

The second activity this week asked us to gif our own content. The only catch was that we had to find a way to make it relate to a topic we’ve discussed thus far about digital life and digital art. Not too much of a catch.

I definitely had some fun with this one 😉

Netnarr GIF - Find & Share on GIPHY

Big Brother’s got to know my angles, right???

My gif here plays off the idea that out online activity is always being monitored. Specifically, I’m referencing the ongoing joke online (since the Snowden thing???) that not only are all American citizens being constantly monitored, but they have an NSA/FBI agent assigned to watch them. (Few cultural/social levels you’re going to need for context, huh?)

I used a clip from the mockumentary What We Do in the Shadows (which is great if you haven’t seen it yourself~ Amazon Prime recently added it I think?) in which one of the human characters is trying to teach 3 ancient vampires how to use modern tech and social media. Thought it was pretty relevant~

(I was also kind of inspired, aesthetically and stylistically, by a digital gif artist mentioned in this Buzzfeed article–Dain Fagerholm. He combines his ink drawings with the digital medium, creating these really trippy works. Here’s one:

Dain Fagerholm GIF - Find & Share on GIPHY

Pretty cool, huh? I highly recommend checking out Fagerholm’s website and his work on Giphy~

Netnarr GIF - Find & Share on GIPHY

As for my other gif, I continued to play off the idea of the selfie.

This time, I used another clip (titled “Dead but Delicious”–please check it out) from the same mockumentary to create a gif that somewhat shows the history/evolution of the selfie??? In a way, I also think it shows how much work our phones actually save us from having to do. (Of course, since the main characters are vampires, they don’t have reflections so this is their only option…. till they find out about contemporary tech and have a field day~)

My Make

Overall, I think gifs, like memes, are the sprinkles of the internet. They don’t always need to be there but they certainly add colour and vibrancy and life when they are.

More, I think that gifs are fast becoming a means of communication. They aren’t just accessories anymore. They convey meaning and can be used as reactions to situations which can streamline communication for all familiar or fluent in the gifs being used.

Which is absolutely fascinating, don’t you think?

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Links

Daily Digital Alchemies

My fave DDA this week:

*Clash allows you to input a phrase and then it finds the words it can in different songs and plays you back your phrase with the snippets of song it found–which is really f*cking cool, in my opinion. I’ve never heard of something like this before and I think it would be really interesting to find out how to do something like this. (I might actually enjoy this kind of audio work ha-ha)

Twit 1 & Twit 2

My Giphy

Goodies

*If you’re reading this on February 24th (or even after), be sure to wish one very fabulously stressed and hard-working grad student a happy 23 years and counting on this earth~

*I will have the photos for the Photograph a Process Make by Tuesday and no sooner because I won’t be able to get to the Metals studio until then and I would like to show off the soldering process~

*How to Insert gifs in WordPress if you are struggling (like I was)

*hateplow is another really cool and creative digital gif artist I recommend checking out. Their work is a new twist on magical realism.

Art Stone GIF by hateplow - Find & Share on GIPHY

 

Trippy, huh? ^.^

~Till Next Time~