By Elizabeth Swanstrom
In Animal, Vegetable, Digital, Elizabeth Swanstrom makes a convinced and lively argument for using electronic artwork in aid of ameliorating human engagement with the surroundings and indicates a four-part framework for studying and discussing such applications.
via shut readings of a panoply of texts, artistic endeavors, and cultural artifacts, Swanstrom demonstrates that the department pop culture has for many years saw among nature and expertise is synthetic. not just is electronic expertise no longer unavoidably a brick within the street to a dystopian way forward for environmental catastrophe, yet electronic artwork varieties could be a revivifying bridge that returns humans to a extra fast dating to nature in addition to their very own embodied selves.
to investigate and comprehend the intersection of electronic paintings and nature, Animal, Vegetable, Digital explores 4 aesthetic strategies: coding, collapsing, corresponding, and keeping. “Coding” denotes the best way artists use operational machine code to blur differences among the reader and textual content, and, consequently, the area. Inviting a fluid perception of the boundary among human and expertise, “collapsing” voids simplistic assumptions in regards to the human body’s innate perimeter. the method of translation among usual and human-readable indicators that permits verbal exchange is defined as “corresponding.” “Conserving” is the applying of electronic paintings by means of artists to democratize huge- and small-scale renovation efforts.
a desirable synthesis of literary feedback, communications and journalism, technology and expertise, and rhetoric that attracts on such disparate phenomena as simulated environments, games, and pop culture, Animal, Vegetable, Digital posits that partnerships among electronic aesthetics and environmental feedback are attainable that reconnect humankind to nature and reaffirm its kinship with different dwelling and nonliving things.
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Additional resources for Animal, vegetable, digital : experiments in new media aesthetics and environmental poetics
She swims within it, just as she does in real life. She cannot objectively read her position within a system of coordinates that enfolds her. Instead, she becomes part of the abstraction, part of the coded organizing structure. This does not negate her agency. Instead, it offers her an opportunity to explore her contingency with the world she inhabits. ” A river filled with glowing creatures flows across it, and soft points of lights come into view. At its center, a translucent yet highly textured tree spreads its bare, reddish branches toward a dark sky.
Kirschenbaum’s reading highlights code’s peculiar and resilient materiality as electric event and textual trace, and uses Agrippa to demonstrate that in spite of anxieties about the fragile and ephemeral nature of digitally encrypted information, such information has longevity. These critics have read Agrippa carefully and thoroughly. I share with them an interest in the way moments of revelation—in the poem, in particular— speak to a larger system of (dis)organization at work in the entire piece.
Mark Hurst, Bit Literacy (2007) What Is Code? All things that can be read, watched, and listened to online are readable, watchable, and audible because of computer code. Code manages the fuel efficiency of the cars we drive and the energy consumption of our home appliances; it animates and controls the dendrites of network communication as we know it. Yet as crucial as computer code is, we seldom see it. Unlike Neo in the Matrix, code remains hidden to most of us, obscured by its output or masked by its interface.