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42. Her and Me becoming Three : Simultaneous global Live Art event 'Be-coming Tree'Peter Purg, O. Pen Be, Danielle Imara, Jatun Risba, other performed works Abstract: The Live Art event that happened world-wide and was live streamed, on Saturday 31st of October 2020 between 10-11 am GMT. Artists in different countries communed simultaneously with a local tree or woodland and stream their action to audiences via a shared Zoom conference.
Presenting work by and from:
O. Pen Be (UK), Danielle Imara (UK), Jatun Risba (SLO), Anne Murray (HUN), Surya Tüchler (DE), Phil Barton (UK), Annette Arlander (FIN), Izabela Waszak (SCT), Lucy Stockton-Smith (UK), Agathe Gizard (FR), Lea Jazbec (SLO), Franco G. Livera (ITA), Adam Engler(PT), Myriam Aitelhara (ALG), Emi Bici (DE), Peter Purg (SLO), Dimple B Shah (IND), Deej Fabyc & MJ Forde (IRL), Christine Fentz (FR), Sally Annett (FR).
Keywords: live art, performance, ecology, media, stream
Published in RUNG: 19.11.2020; Views: 3505; Downloads: 0
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45. Mapping the Local: Budapest, Belgrade, Nova Gorica.Allan Siegel, Batajić Olivera Sretenović, Peter Purg, Szabolcs Kisspal, Eszter Lazar, Elżbieta Wysakowska-Walters, 2019, professional monograph Keywords: mapping, methodology, city, urban, drift, flaneur, contemporary art, new media
Published in RUNG: 29.10.2019; Views: 3913; Downloads: 0
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46. A novel functionalization strategy for the dispersion of permanently magnetic barium-hexaferrite nanoplatelets in biological mediaTanja Goršak, Darko Makovec, Uroš Javornik, Blaž Belec, Slavko Kralj, Darja Lisjak, 2019, published scientific conference contribution abstract Keywords: colloidal stability, magnetic, nanoplatelet, biological media, dextran
Published in RUNG: 30.09.2019; Views: 4738; Downloads: 0
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48. Transmedia Adaptation : A Dialogue of Genres and Communication MediaNarvika Bovcon, Aleš Vaupotič, 2018, independent scientific component part or a chapter in a monograph Abstract: This essay is composed of two parts. The first chapter reflects on the genesis of film language, and in this context, considers the reception of Dickens’ works. Next the text turns to borderline cases of adaptation: genre/media hybrid, deep remixability, and allusion. The notions of genre and media are considered as only quantitatively different, not qualitatively, both instances of discourses and apparatuses considered by the theory of discourse (Bakhtin, Foucault etc.). The second part of the text presents an artistic inquiry—concepts and ideas used in production of artworks by the authors of this essay—that sheds light on the possible methods of studying adaptations. Two aspects are foregrounded: the ideas of the transformation of the source text into an archive of fragments that are subsequently put in new meaningful constellations, and the use of Shakespeare’s works in the role of a mediator in the understanding of the language of new media art.
Keywords: adaptation, intermedia, new media, post-media condition, deep remixability, artistic inquiry
Published in RUNG: 15.04.2019; Views: 4282; Downloads: 39
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50. Condensations and Extensions : A Responsive Text between Artefact, Experience and ContexAleš Vaupotič, Narvika Bovcon, 2017, published scientific conference contribution abstract Abstract: Every reading of a text follows a complex mechanism, which is outlined in phenomenological terms in Roman Ingarden's Das literarische Kunstwerk (1930) and later in reader-response criticism. Also Roland Barthes's explorations of intertextuality point in a similar direction of the text as heterogeneous and open texture. The complex mechanisms that allow the reader to gain meanings and construct represented objects etc. are scrutinized to emphasize the importance of the reader's collaboration in the readerly act and the transformations to the textual experience that depend on historical circumstances, on cultural and personal experience of the reader. Considering these critical traditions, any text is always interactive, an ad hoc construct, it comes to life only in contact with alien contexts whereby it virtually looses its supposed lasting identity. In Theorising the Digital Scholarly Edition (Literature Compass 7.2, 2010) Hans Walter Gabler attempts to provide a conceptual framework for a critical scholarly edition, a text genre which is supposed to preserve the original documents and the texts and/or works. However, Gabler rejects the ideology of preservation of memory in the »pure« form and argues for a relational and contextual idea of edition as a »knowledge site«. In addition, he states that the digital medium and the print medium can coexist since they serve different purposes, the printed edition is used for reading and the digital one for »use« and study purposes. The so-called old scholarly editions (pre-positivist) had a strong emphasis on the commentary, which added to the authorial function of the editor as the mediator between the vast textual archive and the receptive abilities of the addressee.
Text-edition as a dynamic and collaborative »knowledge site« is sometimes introduced by the characteristics of a particular text. Dora García's art project and video installation The Joycean Society (2013) documents with a video (53 min.) and by exhibiting artefacts the reading process of the mysterious Finnegan's Wake (1939) by James Joyce, the multiple readings within a single heterogeneous reading group of the same book for 30 years.
The second case study is the artist's book by a Slovenian net.artist Teo Spiller Znakovnost novih medijev (Semiotics of New Media, 2011). The printed illustrated pages are intended to be read in parallel with browsing the online versions of the art projects presented. Another key dimension of such book-projects is the swift change and disappearance of the on-line part of this plural reading-interface.
The third example considered are the projects by Jaka Želaznikar, a Slovene digital poet, that relate to the works of one of the main Slovenian poets Tomaž Šalamun (1941-2014). Among them Železnikar's on-line project Izbris Šalamun (Deletion Šalamun, 2015), which is an on-line edition of two poetry books by Šalamun, Letni čas (Season, 2010) and Ta, ki dviga tačko, spi (The one, who rises the paw, sleeps, 2015), enables the reader to selectively delete the words from poems. The text will examine the reader's reception of the poems in the printed version and in the on-line interface. In this case, too, the context of the edition will be considered (the link with the publishing house and the printed edition, the role in promotion activities of the on-line edition in respect to the printed one).
Keywords: cybertext, digital media, electronic edition
Published in RUNG: 30.08.2017; Views: 4281; Downloads: 0
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