My opening keynote for ELO2014, the annual conference of the Electronic Literature Organization, held in Milwaukee this year. The presentation connects my current work on quantitative self-representations and surveillance to my earlier work on feral hypertext and other disruptive forms of electronic literature.
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ELO 2014 Keynote: Life Poetry Told by Sensors
1. Life poetry
told by
sensors
Opening keynote // ELO2014: Hold the light // Milwaukee, June 18, 2014
Jill Walker Rettberg!
Professor of Digital Culture, University of Bergen
Image by stAllio! (http://stallio.tumblr.com/image/87127357349)
2. Life poetry
told by
sensors
Opening keynote // ELO2014: Hold the light // Milwaukee, June 18, 2014
Jill Walker Rettberg!
Professor of Digital Culture, University of Bergen
Image by stAllio! (http://stallio.tumblr.com/image/87127357349)
25. Sunday at home with the kids.
Monday at work.
Tuesday - walked to work, used
standing desk, more aware of not
just sitting still.
Fitbit
as
diary
26. The Shine Misfit
uses badges to
represent your
activity through the
day.
(the moment the
Shine first
detected
movement - i.e.
was picked up -
becomes read as
my wakeup time)
27. Chronos: Find your
time. See how you are
spending your time
without lifting a
finger. chronos runs in
the background on
your phone and
automatically captures
every moment.
34. There are no digital natives but the
devices themselves; no digital
immigrants but the devices too. They
are a diaspora, tentatively reaching out
into the world to understand it and
themselves, and across the network to
find and touch one another. This
mapping is a byproduct, part of the
process by which any of us, separate
and indistinct so long, find a place in
the world.
http://booktwo.org/notebook/where-the-f-k-was-i/
James Bridle
Machine vision - new aesthetics
35. And of course, often we can’t see the data
about us. But others can.
36. Action Figures
Animated Films
Arts & Entertainment
Autos & Vehicles
Babies & Toddlers
Banking
Bicycles & Accessories
Billiards
Building Toys
Business & Industrial
Cats
Celebrities & Entertainment News
Computer & Video Games
Computers & Electronics
Consumer Electronics
Consumer Resources
Custom & Performance Vehicles
Die-cast & Toy Vehicles
Dodge
Interest
Apartments & Residential Rentals
Baby Care & Hygiene
Baby Food & Formula
Chicago
Clip Art & Animated GIFs
Computers & Electronics
Dictionaries & Encyclopedias
Education
Fitness
Games
Mobile Phones
Movies
Music & Audio
News
Office Supplies
Online Video
Parenting
Photo & Image Sharing
based on my searches
My interests according to Google,
based on websites I visit
40. 709. Hard winter. Duke Gottfried died.
710. Hard winter and deficient in crops.
711.
712. Flood everywhere.
713.
714. Pippin, mayor of the palace, died.
715.
716.
717.
718. Charles devestated the Saxons with great destruction.
719.
720. Charles fought against the Saxons.
721. Theudo drove the Saracens out of Aquitaine.
722. Great crops.
723.
724.
The Annals of St Gall
44. Feral Hypertext Hypertext
Jill Walker, Dept of Humanistic Informatics, University of Bergen
ACM Hypertext 2005
Salzburg, 6-9 September
escapes
When
Literature
Control
45. Feral (a): Of an animal: Wild,
untamed. Of a plant, also (rarely),
of ground: Uncultivated. Now
often applied to animals or plants
that have lapsed into a wild from
a domesticated condition.
(Oxford English Dictionary)
52. Michel Foucault, 1969
“How can one reduce
the great peril, the
great danger with
which fiction threatens
our world?”
53. Michel Foucault, 1969
“The author allows a
limitation of the cancerous
and dangerous
proliferation of
significations within a world
where one is thrifty not only
with one’s resources and
riches, but also with one’s
discourses and their
significations. The author is
the principle of thrift in the
proliferation of meaning.”
54.
55. it seems evident that various web/net/code
artists are more likely to be accepted into an
academic reification circuit/traditional art
market if they produce works that reflect a
traditional craft-worker positioning.This
"craft" orientation [producing skilled/
practically inclined output, rather than
placing adequate emphasis on the conceptual
or ephemeral aspects of a networked, or
code/software-based, medium] is embraced
and replicated by artists who create finished,
marketable, tangible objects; read: work that
slots nicely into a capitalistic framework
where products/objects are commodified
and hence equated with substantiated worth.
(Breeze 2003)
68. Three modes of self-representation:
Written
Diary: (CC) Ellen Thompson http://www.flickr.com/photos/eethompson/2142754337
Selfie: (CC) TempusVolut http://www.flickr.com/photos/mrmorodo/11230014075
Nicholas Fultron:The Fultron Annual Report, 2007. http://feltron.com/ar07_01.html
Visual
Quantitative
69. To photograph is to appropriate
the thing photographed. It means
putting oneself into a certain
relation to the world that feels like
knowledge—and, therefore, like
power.
Susan Sontag: On Photography (1977)
Image (c) Chris Felver http://www.chrisfelver.com/portraits/writers2.html
71. Look at the
intimacy of the
selfie; the
outstretched
arm embracing
the viewer.
(http://www.makingselfiesmakingself.com)
Katie Warfield
72. What is a work of art if not
the gaze of another person?
Not directed above us, nor
beneath us, but at the same
height as our gaze.
Karl Ove Knausgård, My Struggle
73. Text
jilltxt
on Twitter
jilltxt.net Blogging
(Polity Press, 2013)
Read more:
Rettberg, Jill Walker. Seeing Ourselves Through
Technology: How We Use Selfies, Blogs and Wearable
Devices to See and Shape Ourselves. Forthcoming,
Palgrave, October 2014.
AND CHECK OUT MY BOOK! (IT’S OPEN ACCESS)