By Mark Amerika
This wealthy number of writings by means of pioneering electronic artist Mark Amerika mixes (and remixes) own memoir, web paintings conception, fictional narrative, satirical reportage, scholarly historical past, and network-infused language artwork. META/DATA is a playful, improvisatory, multitrack "digital sampling" of Amerika's writing from 1993 to 2005 that tells the early heritage of a internet paintings global "gone wild" whereas at the same time developing a parallel poetics of internet artwork that enhances Amerika's personal inventive practice.Unlike different new media artists who could create paintings to justify their theories, Amerika records the emergence of recent media artwork varieties whereas he creates them. featuring a multifaceted view of the electronic paintings scene on topics starting from interactive storytelling to internet artwork, reside VJing, on-line curating, and net publishing, Amerika provides us "Spontaneous Theories," "Distributed Fictions" (including his groundbreaking GRAMMATRON, the invaluable "Insider's advisor to Avant-Garde Capitalism," and others), the extra scholarly "Academic Remixes," "Net Dialogues" (peer-to-peer theoretical explorations with different artists and writers), and the electronic salvos of "Amerika on-line" (among them, "Surf-Sample-Manipulate: Playgiarism at the Net," "The inner most lifetime of a community Publisher," and satirical suggestions on "Writing As Hactivism"). META/DATA additionally encompasses a component of full-color photos, together with a few of Amerika's such a lot recognized and influential works.Provocative, digressive, nomadic, and enjoyable to learn, Amerika's texts name to brain the cadences of Gertrude Stein, the Beats, cyberpunk fiction, or even The day-by-day express greater than they do the standard new media theorizing. META/DATA maps the global of internet tradition with Amerika as consultant and resident artist.
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Extra info for META DATA: A Digital Poetics (Leonardo Books)
I want to know where it went. Where is that space of time? What is it? How does this time shifting relate to my thinking about cyberspace—about writing cyberspace, navigating cyberspace, imagining or even imaging cyberspace? How does it affect the way I might think about writing, navigating, or imaging a new kind of language—cyberpsychogeographical, in nature, architectonic in its technoetic emergence? How does this potentially fertile field of poetic composition (which simultaneously exists but does not exist within any standard time) relate to that nonplace place that the French poet Ste´phane Mallarme´ speaks of when he says ‘‘Nothing will have taken place but the place’’?
Note to the field of experimental neuroscience: You can’t scan my radical subjectivity. ) Given the above, what does it take to create a moving image of what it means to dream or have an active memory so that it doesn’t look like the obvious—a video situation made out of live-action footage? How do these VJ mixes create an active fictional memory for this digital flux persona who is always processing images? Is it true that this fictional memory always takes place in the present and not as a record or reflection—that is, can a hyperimprovisationally constructed fictional memory take place in realtime?
The idea is to avoid getting tackled or brought down by the defensive posturing of the mundane consumer culture. As Steven Best and Douglas Kellner write in their essay ‘‘Debord and the Postmodern Turn,’’ In contrast to the stupor of consumption, Debord and the Situationists champion active, creative, and imaginative practice, in which individuals create their own ‘‘situations,’’ their own passionate existential events, fully participating in the production of everyday life, their own individuality, and, ultimately, a new society.