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.
The main digital environment properties are: e-mail, twitter, blogs, and web sites, interactivity, code-driven operation, multi-media capabilities, and volatile inscription.
ОтветитьУдалить4 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.
1. What are the main digital environment properties?
ОтветитьУдалить1. 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.
Anastasiya, thank you for sharing your thoughts.
УдалитьMain properties of digital environments:
ОтветитьУдалить-Digital environments operate based on a set of rules or algorithms. Computers follow commands based on code, which makes them great at carrying out tasks. This allows programs like Eliza and Siri to mimic human speech and responses by following the programmed rules.
-Users can actively interact with digital environments and influence what happens. For example, in virtual reality (VR) games like Second Life, players can create and control objects and characters. This interaction is what makes digital spaces so engaging and personal for users.
-Digital environments allow users to navigate through virtual spaces. Unlike traditional media, like movies, where the viewer can only see what's shown, in video games or hypertext systems like Wikipedia, users can explore and move around freely, choosing where to go next.
-Digital environments can store and provide access to vast amounts of information. Examples like Wikipedia or Google Books give users the ability to search for specific content, link to other information, and access large databases, making digital spaces highly informative and resourceful.
Types of dysfunctionality in digital Art
-These are errors or malfunctions that occur in digital systems, often leading to unexpected visuals or sounds in digital art.
-When the user interface (UI) of a digital artwork doesn’t function as intended, it can frustrate the viewer. However, some artists deliberately design broken interfaces to challenge how we interact with technology, making the experience less straightforward and more thought-provoking.
-In interactive or online digital art, connectivity problems can interrupt or distort the intended experience. This can disrupt the flow of the artwork, but some creators use these interruptions to reflect on the fragility of our dependence on digital networks.
-This refers to the delay between a user’s action and the system’s response. In digital art, this can be intentional or unintentional, and when it's too long, it can create a sense of disconnect between the user and the artwork, altering the engagement.
Thank you, Kate!
УдалитьMain Digital Environment Properties
ОтветитьУдалитьInteractivity: 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
Digital environments possess several key properties that are essential for understanding and preserving digital art. One of the primary characteristics is hardware dependency, where a work relies on specific physical devices to function properly. Software and platform dependency is another critical property, as many digital artworks require particular software environments, such as Flash or Java, to run. Interactivity also plays a crucial role, as many digital art pieces involve user engagement through clicks, typing, or navigating a virtual space. Additionally, multimedia integration is common, blending text, sound, images, and video to create a cohesive experience. Finally, many digital works are networked, relying on the internet to update or pull real-time data, which can add layers of complexity.
ОтветитьУдалитьHowever, digital art can experience dysfunctionality due to various issues over time. One type of dysfunction is hardware obsolescence, where the original devices necessary to display or interact with the art are no longer available. Software incompatibility is another challenge, as older programs may not be supported on modern systems, leading to the work becoming unplayable. Broken interactivity occurs when the interactive features fail, making it impossible for users to engage with the piece as originally intended. Missing multimedia components, such as images or audio files, can significantly alter the artwork, reducing its impact. Similarly, loss of network connectivity can remove dynamic elements, like live data or real-time social media integration.
Other forms of dysfunction include file format obsolescence, where older files are no longer supported, and temporal dysfunctionality, where works tied to real-time events lose relevance. These issues highlight the fragile nature of digital art, as it depends heavily on specific technologies. Preservation efforts must address these dysfunctions, often using strategies like emulation or reinterpretation to recreate the original experience. Despite these challenges, digital preservation is essential for maintaining access to significant cultural and artistic works. Without these efforts, many important pieces of digital art risk becoming inaccessible or distorted. Thus, understanding the properties of digital environments and the types of dysfunction they face is crucial for long-term preservation strategies.
Main Digital Environment Properties:
ОтветитьУдалить1.Interactivity: Digital environments often allow user interaction, where the user can influence the content, format, or direction of the experience.
2.Multimodality: The use of various modes of communication, such as text, image, video, sound, and animation, to create a rich, multisensory experience.
3.Non-linearity: The structure of digital environments is often non-linear, allowing users to navigate the content in multiple directions, rather than following a fixed sequence.
4.Connectivity: Digital environments are networked, enabling connections between different pieces of content, users, or devices. This can include hyperlinks and shared data across platforms.
5.Dynamic and Real-time Processing: Digital environments are capable of changing and evolving based on real-time data, user input, or algorithmic processes.
6.Temporal and Spatial Flexibility: Digital environments can be accessed and interacted with from anywhere and at any time, breaking the constraints of physical location and temporal limits.
Types of Dysfunctionality in Digital Art:
1.Glitches:
Features: Glitches are errors or malfunctions in digital systems that can occur unintentionally or be intentionally used in digital art. They often result in distorted visuals, broken code, or unexpected outcomes.
2.Data Corruption:
Features: Data corruption happens when digital information is damaged, leading to incomplete or distorted outputs. This can manifest as missing pieces, altered colors, or unreadable text.
3.Software Obsolescence:
Features: Obsolescence occurs when digital art becomes incompatible with modern software or operating systems, rendering it inaccessible or dysfunctional.
What are the main strategies for the electronic literature preservation?
1.Emulation:
Emulation involves creating software that mimics older computer systems, enabling digital works to run on modern hardware. This approach helps preserve electronic literature that depends on obsolete technologies.
2.Migration:
Migration refers to transferring digital works to newer formats or platforms over time. This process involves converting files into current standards to keep them compatible with the latest technologies.
3.Web Archiving:
Web archiving involves capturing and storing the content of websites, preserving digital literature that exists primarily online. Projects like the Internet Archive aim to save snapshots of web-based literature for future access.
https://drive.google.com/drive/folders/1PQUokOsl14j-GuED33N5cIJse8i7WeKm?usp=drive_link
ОтветитьУдалитьWe 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
Digital environments, particularly in the context of electronic literature, are complex systems that engage users through various interactive elements. Understanding the fundamental properties of these environments is essential for grasping how they function and how they create unique user experiences. The main properties include data, process, surface, and interaction, each playing a critical role in shaping the digital landscape.
ОтветитьУдалитьThe first property, data, encompasses the various media elements that constitute a digital work. This includes text, images, audio, video, and other structured information, all of which serve as the foundational components of the digital experience. Data can be stored in different formats, such as databases or spreadsheets, allowing for a wide range of multimedia presentations. In electronic literature, the careful selection and organization of data are crucial, as they directly impact how users engage with the content and how the narrative unfolds.
The second property, process, refers to the computational actions and operations that manipulate and interact with the data. Processes can vary in complexity, from simple tasks like displaying images on a screen to more intricate interactions involving user inputs, such as choices made in a hypertext narrative. These processes are responsible for transforming raw data into meaningful experiences, enabling the dynamic features that characterize electronic literature. The interplay between data and process is vital, as it determines how information is presented and how users navigate through the digital work.
The third property, surface, is the aspect of the digital environment that users engage with directly. It encompasses all visual displays, auditory outputs, and physical interfaces, such as screens and controllers, that present the work to the audience. The surface acts as a bridge between the user and the underlying data and processes, allowing for interaction and immersion. The design and aesthetics of the surface are essential in creating an engaging experience, as they influence how users perceive and interact with the digital content.
Dysfunctionality in digital art can manifest in various forms, each impacting the experience and interaction with the artwork in unique ways. The main types of dysfunctionality include glitch dysfunctionality, information data dysfunctionality, activation method dysfunctionality, interaction dysfunctionality, and interface dysfunctionality. Below is a detailed explanation of each type along with its specific features.
1. Glitch Dysfunctionality
- These are unintended errors that disrupt the normal functioning of the artwork, such as broken code, file corruption, or hardware failures that lead to distorted visuals or sounds.
- Artists may purposefully introduce glitches to create an aesthetic effect or to provoke thought about the relationship between technology and art. This could include visual distortions, unexpected color changes, or asynchronous audio-visual components.
2. Information Data Dysfunctionality
- When the underlying media elements (such as text, images, or audio) become corrupted, they may not display or play correctly, leading to incomplete or unintelligible outputs.
- If certain data components are missing, it can result in significant gaps in the narrative or interactive experience, leaving users confused about the intended message or interaction.
- The digital work may produce outputs that do not align with the expected or intended message, creating confusion for the audience.
3. Activation Method Dysfunctionality
- If the activation methods (e.g., buttons, links, or triggers) do not respond as intended, users may find it difficult or impossible to engage with the work.
- If the process to activate the work is convoluted or requires extensive technical knowledge, it can alienate potential users and hinder engagement.
Rotova Kira POm-31
Main Digital Environment Properties
ОтветитьУдалитьInteractivity:
Engagement: Users can interact with the content, influencing the outcome or experience.
Exploration: Readers can navigate through non-linear narratives or choose different pathways.
Multimedia Integration:
Combined Formats: Incorporation of text, images, audio, video, and animations.
Augmented Experience: Multimedia elements enhance the storytelling or artistic experience, creating a more immersive environment.
Networked Connectivity:
Social Sharing: Ability to share content easily across social media and other platforms.
Community Interaction: Opportunities for collaboration, discussion, and feedback from other users.
Dynamic Content:
Real-Time Updates: Content can change or evolve, responding to user input or external factors.
Algorithmic Generation: Some works may use algorithms to create or modify content based on specific parameters.
Global Accessibility:
Cross-Platform Availability: Works can be accessed across different devices, platforms, and browsers.
Multilingual Options: Digital literature can reach a global audience, transcending language barriers with multilingual content.
Fluidity:
Ephemeral Nature: Digital works can be temporary or ever-changing, with versions that fade or transform over time.
Physical Limitlessness: Unlike traditional art, digital art does not have a confined physical space.
Types of Dysfunctionality in Digital Art
Technical Malfunctions:
Features: Bugs or errors in code that prevent the artwork from functioning as intended.
Examples: Videos that fail to play, images that do not load, or interactive elements that are unresponsive.
User Interface (UI) Issues:
Features: Poor design elements that confuse users or hinder interaction.
Examples: Complicated navigation, unclear instructions, or buttons that are difficult to locate or understand.
Space and Frame Limitations:
Features: The constraints of the platform or medium may inhibit the full expression of the art.
Examples: Artwork that is cropped or distorted due to screen size or resolution issues.
Cultural Misinterpretation:
Features: Digital art may not translate well across cultures or languages, leading to misunderstanding.
Examples: Artistic references that are lost on different audiences or cultural symbols misinterpreted.
Temporal Obsolescence:
Features: Elements of the digital work may become outdated due to changes in technology or software.
Examples: Flash-based animations that no longer work as Flash is phased out or outdated file formats that cannot be opened by modern devices.
Over-Saturation:
Features: The abundance of digital art can dilute its impact or meaning, leading to viewer disengagement.
Examples: A flood of similar content on social media platforms can lead to cognitive overload.
Artifacting:
Features: Visual errors that occur due to encoding issues, compression artifacts, or transmission errors.
Examples: Low-resolution images that appear pixelated or glitchy when expanded.
Digital Decay:
Features: Loss of data or deterioration over time due to technological or storage failures.
Examples: Corrupted files that cannot be repaired or media that requires specific hardware/software to access.
Dependence on Technology:
Features: The need for specific devices or settings to experience the artwork can limit accessibility.
Examples: VR art requiring specific headsets or installations that are not widely available to the public.
1. What are the main digital environment properties?
ОтветитьУдалитьA digital environment is an integrated communications environment where digital devices communicate and manage the content and activities within it. The concept is based on digital electronics systems which are integrated and implemented for a global community. Major components of a digital environment generally include websites, cloud servers, search engines, social media outlets, mobile apps, audio and video, and other web-based resources.
Properties:
1. Interactivity (user can choose the content, format)
2. Engagement (user usually interacts with the content, influencing the outcome)
3. Connectivity (digital environments enable connections between different pieces of content, users, or devices)
4. Availability (it can be accessed across different devices, platforms, and browsers)
5. Dynamic processing (it's capable of changing and evolving based on real-time data, user input)
2. What types of dysfunctionality in digital art do you know? Explain each of them by listing its specific features.
- Ludic dysfunctionality
• The spirit of play is pretty close to the spirit of art.
• Both play and art are activities that we involve in for the sake of pleasure.
• Art has the unique power to transport people into imaginary world.
• Play is well known for transforming functional objects of everyday life into something else.
• In the same spirit, technologies can be deprived of their primary function and сhanged into art toys.
• Ludic dysfunctionality is individualistic and humorous.
- Experimental dysfunctionality
• It tends to wrap its projects in elaborate theoretical statements that tell the user what they are supposed to mean.
• Systematic and programmatic.
• It states that digital media will promote posthuman forms of subjectivity and new ways of thinking: rhizomatic, networked, viral and, paradoxically, non-binary.
- Inadvertent dysfunctionality
• It is the result of 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.
- Politically motivated dysfunctionality
• It involves the sabotage of external objects.
• It’s the dominant purpose of Image Fugurator.
• The sabotage of computer systems is associated with oppressive forms of power.
• It uses the computer to undermine the infrastructure of the social and economic system.
Digital environment properties:
ОтветитьУдалить1) 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.
QR code: https://clck.ru/3Duie3
QR code:
ОтветитьУдалитьhttps://postimg.cc/Mn7sytJj
What are the main digital environment properties?
- Digital art gives us an opportunity to plunge yourself into the world of engagement. We receive experience of the artwork through our actions. Digital environment is INTERACTIVE.
- Our experience is complex thanks to the range of digital platforms with a mixture of media forms, such as images, videos, texts, etc. Digital environment possess MULTIMEDIA CAPABILITIES.
- Digital Art makes it possible to create a kind of NETWORK between its users. A web connects people with the help of collaborative projects.
- Digital Art has the ALGORITHMIC NATURE. It generates and manipulate content with the help of specific algorithms.
What types of dysfunctionality in digital art do you know? Explain each of them by listing its specific features.
1) Political Dysfunctionality
• Examples include artworks that critique societal norms or governmental policies.
• Aims to provoke thought and encourage critical engagement with political issues.
2) Ludic Dysfunctionality
• Emphasizes playfulness and experimentation with technology.
• Challenges the primary function of digital tools, transforming them into art toys.
• Examples include works that use code in unconventional ways or create absurd tasks.
3) Experimental Dysfunctionality
• Puts an accent on challenge of established norms and conventions in art.
• Aims to move from habitual thinking to new ways of understanding.
4) Inadvertent Dysfunctionality
• Results from errors in design or coding, leading to unexpected outcomes.
• Often leaves users uncertain about whether issues are bugs or intentional features.
• Highlights the fragility of digital works, as they depend on multiple layers of software and hardware.
https://ru.docworkspace.com/d/sIAGuvYfcAZuPs7gG
ОтветитьУдалить1.What are the main digital environment properties?
Multimedia Integration: Digital environments blend various media types such as text, images, audio, and video to enhance user experience. This combination fosters a more immersive environment, exemplified by an art piece that may feature background music to enrich its visual components. Engaging multiple senses through multimedia can lead to heightened emotional responses and enables innovative storytelling methods that are not feasible in traditional art forms.
Dynamic Content: Unlike traditional static mediums, digital platforms can incorporate content that adapts based on user interactions or external influences. For example, a digital artwork may transform according to user decisions or real-time data inputs such as weather conditions. This inherent dynamism ensures that the experience remains novel and captivating for users who return. Users are more inclined to engage with and explore content that presents variability and unexpected elements. The presence of dynamic content fosters an environment where exploration is encouraged, as users anticipate new experiences each time they interact with the medium.
Interactivity: Digital environments facilitate active user engagement with content, moving beyond mere consumption. This interaction manifests through various actions like clicking buttons, dragging objects, or completing forms. The degree of interactivity plays a crucial role in enhancing user engagement and satisfaction. For example, interactive art installations often require users to manipulate elements, which can lead to a deeper understanding and personal connection to the artwork. Such interactive features promote exploration and foster a more meaningful relationship between users and the content they engage with.
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.
2.Types of Dysfunctionality in Digital Art
Programmatic Dysfunctionality: Programmatic dysfunctionality takes a more intentional and systematic approach. It encourages alternative modes of thinking that are interconnected, decentralized, and non-binary.
Political Dysfunctionality in Technology: The political aspect of dysfunctionality seeks to confront and analyze the current power dynamics by undermining the mechanisms and technologies that typically uphold them.
Inadvertent Dysfunctionality: The final category is inadvertent dysfunctionality, which pertains to unintentional mistakes or glitches in digital media art. These errors arise not from user error but from flaws inherent in the design of the systems themselves.
Ludic Dysfunctionality: The ludic type focuses on investigating the innovative possibilities of technology beyond its conventional applications, often leading to whimsical or nonsensical results. A significant area within ludic dysfunctionality is the use of programming languages for artistic expression.
3.What are the main strategies for the electronic literature preservation?
- Emulation: Creating software that replicates older systems for access.
- Web Archiving: Using tools to capture and store online content.
- Documentation: Keeping detailed records of works' technical and contextual information.
- Collaborative Efforts: Partnering with libraries and institutions for shared preservation resources.
- Standardization: Adopting common digital format standards for longevity.
QR code: https://disk.yandex.ru/i/4RTwpTC1v7oIfQ
ОтветитьУдалитьAnastasia, unfortunately I cannot open your qr code in this format.
УдалитьQR code: https://ru.docworkspace.com/d/sIC-uvYfcAZadvbgG
ОтветитьУдалить1.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.
Great! Thank you, Damilola)
ОтветитьУдалитьWhat are the main digital environment properties?
ОтветитьУдалитьIn "Between Play and Politics: Dysfunctionality in Digital Art," Marie-Laure Ryan explores the characteristics of digital environments, emphasizing how these spaces can subvert user expectations and conventional narratives. According to her, the primary characteristics of digital environments are:
1. Interactivity: Users can engage in and influence the experience because digital environments are by nature interactive. Because of its interactive nature, digital art differs from traditional media in that the user's actions are an essential part of how the artwork develops.
2. Immersion: Ryan points out that the goal of many digital settings is to make the user feel as though they are physically there in the virtual world.
3. Multimodality: Text, image, video, and sound are all combined in digital settings to create a more sophisticated and rich experience.
4. Non-linearity: Digital environments frequently offer non-linear experiences, where users can explore in numerous directions and in a different order than traditional narratives, which have a linear framework.
5. Procedurality: Because digital environments are dynamic and rule-based, they can produce experiences or results based on user input or algorithms, which can make the experience extremely unpredictable or highly customized.
6. Disruption and Dysfunctionality: According to Ryan, some digital art subverts user expectations and highlights the limitations of technology by purposefully incorporating elements of dysfunctionality or breakdown. Dysfunction can be a deliberate choice to critique or comment on digital culture and its impact on society.
What types of dysfunctionality in digital art do you know?
Marie-Laure Ryan argues that dysfunctionality in new media art is “not limited to play with inherently digital phenomena such as code and programs,” and provides a number of alternative art examples, while also arguing that dysfunctionality “could promote a better understanding of the cognitive activity of reading, or of the significance of the book as a support of writing.”
The following are a few typical forms of dysfunctionality in digital art:
1. Glitch Art
Uses distorted visuals, corrupted files, or broken interfaces to produce artistic effects—visual or audio.
2. Interactive Disfunction
When consumers interact with the work, their inputs could result in unclear or unexpected results (such as hitting a button that doesn't perform as planned). The usual interaction between the user and the artwork may break down if users lose their sense of agency.
3. Data dysfunction:
Information is given erroneously or in an unexpected way, which causes misunderstandings or inferences to be drawn that aren't accurate.
4. Narrative Dysfunction
The narrative may jump randomly between unrelated scenes or concepts, making it impossible for users to follow a traditional plot.
5. Spatial Dysfunction
Digital spaces may warp or shift unexpectedly, making navigation confusing or impossible. Objects or environments might not obey the normal rules of perspective, distance, or scale.
Thank you, Mirvari!
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