среда, 18 сентября 2024 г.

Seminar # 2. Digital environment properties &Electronic literary text features

Using the qrmania service make an audio qrcode with your short description of one elit preservation strategy.

What are the main digital environment properties?  What types of dysfunctionality in digital art do you know? Explain each of them by listing its specific features.

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  1. The main digital environment properties are: e-mail, twitter, blogs, and web sites, interactivity, code-driven operation, multi-media capabilities, and volatile inscription.
    4 types of dysfunctionality in digital art: Politically motivated dysfunctionality, Ludic dysfunctionality, Experimental dysfunctionality, Inadvertent dysfunctionality
    Features:
    Politically motivated
    - asks: how can I subvert this technology to encourage critical thinking?
    - involve the sabotage of external objects
    - the dominant purpose of Image Fugurator
    - the sabotage of computer systems associated with oppressive forms of power.
    - uses the computer to undermine the infrastructure of the social and economic system that was build in a large part through digital technology.
    Ludic:
    - lacks the seriousness of the political brand.
    - grows out of the question: what can I do with this technology, other than what it was meant for?
    - it rejects the subordination of technology to material pursuits.
    - is individualistic and humorous.
    - lets its creations speak for themselves
    Experimental:
    - systematic and programmatic.
    - tends to wrap its projects in elaborate theoretical statements that tell the user what they are supposed to mean
    - states that digital media will promote posthuman forms of subjectivity and new ways of thinking: rhizomatic, networked, viral and, paradoxically, non-binary
    Inadvertent:
    - The result of inadequate coding. It is most commonly found in those systems that attempt to emulate the creativity of the human mind through artificial intelligence techniques, such as dialogue systems or automated story generation
    - failure is due to the designer or to the system and not to the user's incompetence.
    - can be the result of an experiment gone wrong - or wrongly conceived at the start.
    Extending:
    What are the main strategies for the electronic literature preservation?
    • Emulation: creating facsimile versions of the original software that run on new hardware.
    • Porting: transfer of electronic literary texts to a new hardware and software base.
    • Pathfinders project: archiving and cataloging of electronic literary texts.

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  2. 1. What are the main digital environment properties?
    1. Encyclopedic affordances - the vast number of bits of information including text, moving images, photographs, drawings, animations, musical recordings, audio recordings, live image and sound, three-dimensional models, databases, search engines, videogames; and etc.
    2. Procedural Affordance - allows to specify conditional, executable instruction.
    3. Participatory Affordance - allows an interactor to manipulate, contribute to, and have an effect upon digital content and computer processing;
    4. Spatial Affordance - digital environments can represent space using all the strategies of traditional media, such as maps, images, video tracking, and three-dimensional models.
    2. What types of dysfunctionality in digital art do you know?
    1. Political dysfunctionality.
    2. Ludic dysfunctionality.
    3. Programmic (experimental) dysfunctionality.
    4. Inadvertent dysfunctionality.
    3. Explain each of them by listing its specific features.
    1. Political motivated dysfunctionality – disruptive tactics are put in the service of political action.
    2. Ludic dysfunctionality – answers the question “What can I do with this technology, other than that it was meant for. It lets its creations speak for themselves, unserious, individualistic and humorous.
    3. Programmic (experimental) dysfunctionality – systematic and programmatic Experimental art which is notorious for sacrificing pleasure to critical thinking. It is systematic and programmatic, tends to wrap its projects in elaborate theoretical statements that tell the user what they are supposed to mean, states that digital media will promote posthuman forms of subjectivity and new ways of thinking: rhizomatic, networked, viral and, paradoxically, non-binary.
    4. Inadvertent dysfunctionality – happens in situations where the text does not seem to work properly.

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  3. Main Digital Environment Properties

    Interactivity: Digital environments allow users to actively engage with content rather than simply consuming it. This interaction can take many forms, such as clicking buttons, dragging objects, or filling out forms. The level of interactivity can significantly enhance user engagement and satisfaction. For instance, interactive art installations might require users to manipulate elements to reveal deeper meanings. This property encourages exploration and personal connection to the artwork.
    Multimedia Integration: Digital environments often combine various media types, including text, images, audio, and video. This integration creates a richer, more immersive experience for the user. For example, an art piece might include background music that complements the visual elements. By engaging multiple senses, multimedia can evoke stronger emotional responses. This property also allows for innovative storytelling techniques that might not be possible in traditional art forms.
    Accessibility: A crucial property of digital environments is their ability to cater to diverse audiences, including those with disabilities. Features like screen readers, keyboard navigation, and adjustable text sizes enhance usability for all users. Accessible design ensures that everyone can engage with the content meaningfully.
    Networked: Digital environments are often connected to the internet, allowing for real-time updates and interactions. This connectivity enables users to share experiences and collaborate with others across geographic boundaries. For example, online exhibitions can feature contributions from artists worldwide, enriching the collective experience. Being networked also facilitates social sharing, where users can easily disseminate content through social media platforms. This property enhances the visibility of digital art and encourages dialogue among audiences.
    Dynamic Content: Unlike static mediums, digital environments can feature content that changes in response to user interactions or external factors. For instance, an art piece might evolve based on user choices or real-time data inputs like weather conditions. This dynamism keeps the experience fresh and engaging for returning users. Users are more likely to explore and interact with content that offers variability and surprises. Dynamic content also allows for personalized experiences tailored to individual preferences or behaviors. This adaptability can deepen emotional connections between users and the artwork. Ultimately, dynamic content enhances the overall impact of digital art

    Types of Dysfunctionality in Digital Art
    1. Technical issues like bugs and crashes can severely disrupt the user experience in digital art environments. Specific features may include distorted graphics, unresponsive elements, or slow loading times that frustrate users. These glitches can prevent users from fully engaging with the artwork or lead them to abandon the experience altogether. For instance, an interactive installation may fail to register user inputs due to software errors. Such dysfunctionality not only diminishes the aesthetic value but also undermines the creator's intent. Frequent technical problems can damage an artist's reputation and credibility in the digital space. Ultimately, addressing these issues is essential for maintaining user trust and satisfaction.
    2. A confusing or cluttered UI can detract from the overall experience of digital art. Specific features may include inconsistent layouts, unclear navigation paths, and overly complex controls that frustrate users. When users struggle to find essential functions or understand how to interact with content, they may disengage entirely. For example, if buttons are poorly labeled or hidden in obscure locations, users may feel lost or overwhelmed. Poor UI design can lead to misunderstandings about the artwork's message or purpose.
    3. When digital art fails to accommodate individuals with disabilities, it limits audience reach and inclusivity. Specific features may include mi

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  4. https://drive.google.com/drive/folders/1PQUokOsl14j-GuED33N5cIJse8i7WeKm?usp=drive_link

    We have analysed five important features of digital environment. First, user engagement, because digital literature provides unique ways for readers to actively participate with the content. Second, media fusion which blends various digital formats, including sound, visuals, and moving images. Third, branching narratives. Through the use of hyperlinks, digital literature can create stories that don't follow a single, linear path. Fifth, evolving content. Some digital literary works have the capacity to change or refresh their content over time. The last but not least is algorithmic creativity or programmability.

    Speaking about dysfunctionality, it is necessary to say, while common in contemporary art, takes unique forms in digital media. Marie-Laure Ryan identifies four types: political, ludic, programmatic, and inadvertent. The political type of dysfunctionality aims to challenge and critique existing power structures by subverting the tools and technologies that often support them. Extreme Form involves sabotaging computer systems associated with oppressive power structures. The ludic type aims to explore the creative potential of technology beyond its intended use, often resulting in playful, absurd outcomes. Using computer languages for aesthetic purposes is a primary area of ludic dysfunctionality. Programmatic dysfunctionality is deliberate and methodical in its approach. It can promote rhizomatic, networked and non-binary ways of thinking. The last type is inadvertent, which refers to unintended failures or errors in digital media art that are not caused by user incompetence, but rather by design system errors.
    The last question is connected with the future of the electronic literature. What are the main strategies for the electronic literature preservation? Open Source Interpreters for Electronic Literature Preservation as Preservation Method. Developing open source interpreters for obsolete or near-obsolete electronic literature systems is an effective preservation approach. This method aims to make classic works of electronic literature accessible to a wider audience. At the end of our presentation we will mention key Benefits of this method: increased accessibility, wider readership, future-Proofing, sustainability, portability and community involvement.

    Maria Shtraukh (Milekhina) POm-31

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  5. Digital environment properties:
    1) Interactivity - Users can actively engage with digital content, making choices that affect outcomes, contrary to traditional media, where the audience is rather passive.
    2) Multimedia - Digital environments can combine text, images, audio, and video, creating richer experiences that appeal to multiple senses.
    3) Networked Connection - Digital works can be connected to the internet, allowing for real-time updates, collaboration, and sharing across platforms.
    4) Dynamic Content - Digital content can change and adapt based on user interactions or external data, creating a different experience for each user.
    5) Non-linearity - Users can navigate through content in various ways, rather than following a predetermined path.
    6) Briefness - Digital works can be temporary or fleeting, often changing or disappearing quickly, which can affect how they are perceived and experienced.

    Types of Dysfunctionality in Digital Art
    #1. Political
    Purpose: to challenge or critique political systems
    1. Uses disruptive tactics to convey political messages;
    2. Often involves sabotaging technology to raise awareness (e.g., protest art);
    3. Can be appropriated by various interest groups for different agendas.

    #2. Ludic
    Purpose: playfulness and experimentation with technology
    1. Explores what can be done with technology beyond its intended use;
    2. Encourages creativity and humor, often resulting in absurd or unexpected outcomes;
    3. Examples include playful coding and interactive art that defies conventional logic.

    #3. Experimental
    Purpose: innovate and challenge traditional artistic forms
    1. Often involves complex theories and systematic approaches;
    2. Seeks to create new ways of thinking and experiencing art;
    3. May sacrifice user enjoyment for critical engagement and conceptual depth.

    #4. Inadvertent
    Purpose: results from unintentional failures in design or execution
    1. Can emerge from coding errors, poor AI responses, or compatibility issues;
    2. Users may feel confused or frustrated, unsure if the dysfunction is intentional;
    3. Highlights the limitations of technology and the unpredictability of digital systems.

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  6. QR code: https://ru.docworkspace.com/d/sIC-uvYfcAZadvbgG

    1.What are the main digital environment properties?
    Interactivity: One of the defining properties of electronic literature is its interactivity. Unlike traditional print literature, electronic literature allows readers to engage with the text in various ways. This can include making choices that affect the narrative outcome, clicking on hyperlinks to explore additional content, or even manipulating elements within the text itself. Interactivity enhances reader engagement and creates a more immersive experience, allowing for multiple interpretations and pathways through the work.
    Non-linearity: Electronic literature often employs non-linear structures, which means that narratives do not follow a straightforward beginning-to-end format. Instead, they may branch out into multiple directions based on user interactions or present information in a fragmented manner. This property challenges traditional storytelling conventions and encourages readers to explore different sequences and connections between narrative elements.
    Multimedia Integration: The digital environment enables the integration of various media forms—such as text, audio, video, and images—into a single literary work. This multimedia aspect enriches the storytelling experience by providing sensory stimuli that can enhance emotional responses and thematic depth. For instance, an electronic poem might combine visual art with soundscapes to create a holistic artistic expression that transcends what is possible in print.
    Hypertextuality: Hypertextuality refers to the use of hyperlinks within electronic literature that connect different texts or sections of a work. This property allows for an expansive exploration of themes and ideas by linking related content together, creating a web-like structure rather than a linear progression. Readers can navigate through these links at their own pace, discovering new layers of meaning as they go.
    Temporal Dynamics: In electronic literature, time can be manipulated in unique ways compared to traditional forms. Works may incorporate real-time elements where events unfold based on actual time or user actions (e.g., live performances or interactive installations). Additionally, temporal dynamics can allow for asynchronous experiences where readers engage with content at their convenience, leading to varied interpretations based on when and how they interact with it.
    2.Types of dysfunctionality in digital Art
    Technical Dysfunctionality: encompasses issues related to software, hardware, and user interaction. These problems can arise from:
    - Software Bugs: Errors in coding can lead to unexpected behaviors or crashes. For instance, an interactive narrative may fail to load properly or respond to user inputs.
    - Compatibility Issues: Digital artworks may not function across all devices or platforms due to differences in operating systems or browser capabilities. This limits accessibility and audience engagement.
    - User Interface Design Flaws: Poorly designed interfaces can hinder user experience, making it difficult for users to navigate through a digital literary work effectively.

    Aesthetic Dysfunctionality: pertains to how visual elements are presented and perceived within digital art:
    - Disruption of Visual Cohesion: In some cases, the visual components may clash with the narrative content, leading to confusion rather than clarity. For example, a text-heavy piece might be overwhelmed by distracting animations.
    - Overuse of Multimedia Elements: While multimedia can enhance storytelling, excessive use can detract from the core narrative. This includes sound effects that overshadow text or visuals that distract from reading.
    - Inconsistent Artistic Styles: When different styles are employed without a coherent rationale, it can create a disjointed experience for the audience.

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  7. Main Digital Environment Properties
    Digital environments possess several unique properties that distinguish them from traditional media. Here are some of the main properties:

    Interactivity:

    Users can actively engage with content rather than passively consuming it.
    Interaction can take various forms, including clicking, dragging, scrolling, and making choices that influence outcomes.
    This property allows for personalized experiences and user-driven narratives.
    Multimedia Integration:

    Digital environments can incorporate various media types, such as text, images, audio, video, and animation.
    This integration can create richer, more immersive experiences that appeal to multiple senses.
    The combination of media can enhance storytelling and artistic expression.
    Non-linearity:

    Unlike traditional linear narratives, digital environments often allow for non-linear exploration.
    Users can navigate through content in various directions, choosing their paths and experiences.
    This property encourages exploration and discovery, offering multiple narrative threads.
    Hypertextuality:

    Digital content can include hyperlinks that connect to other texts, images, or media.
    This allows for a web of interconnected information, enabling users to delve deeper into topics.
    Hypertextuality can create a more complex understanding of narratives and themes.
    Ephemerality:

    Digital works can be transient, subject to changes, updates, or even deletion.
    The nature of digital storage means that works can evolve over time or become inaccessible.
    This property raises questions about preservation and the longevity of digital art.
    Generativity:

    Some digital environments can produce new content algorithmically or through user input.
    This can lead to unique experiences each time a work is accessed, as the output may vary based on parameters or interactions.
    Generativity challenges traditional notions of authorship and originality.
    Accessibility:

    Digital environments can be accessed from various devices, making them widely available.
    They can also be designed to accommodate diverse audiences, including those with disabilities.
    This property allows for broader participation in artistic and literary experiences.
    Types of Dysfunctionality in Digital Art
    Dysfunctionality in digital art refers to instances where the intended experience or functionality is disrupted, leading to unexpected outcomes. Here are some common types of dysfunctionality, along with their specific features:

    Technical Glitches:

    Features: Bugs, errors, or malfunctions in software or hardware that disrupt the intended experience.
    Examples: Images failing to load, audio not playing, or interactive elements not responding.
    Impact: Can create a sense of frustration or confusion for users, but may also be embraced as part of the artwork.
    User Interface (UI) Issues:

    Features: Poor design choices that hinder user navigation or interaction.
    Examples: Confusing layouts, unclear instructions, or unintuitive controls.
    Impact: Users may struggle to engage with the work, leading to a diminished experience or abandonment of the piece.
    Content Overload:

    Features: Excessive information, media, or interactive elements that overwhelm the user.
    Examples: Cluttered screens, too many choices, or excessive animations.
    Impact: Users may feel lost or unable to focus, leading to cognitive overload and disengagement.
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