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  • 1. Bolter, Jay David
    et al.
    Engberg, Maria
    Blekinge Institute of Technology, School of Planning and Media Design.
    MacIntyre, Blair
    Media studies, mobile augmented reality, and interaction design2013In: interactions, ISSN 1072-5520, E-ISSN 1558-3449, Vol. 20, no 1, p. 36-45Article in journal (Other academic)
    Abstract [en]

    You are walking in the Sweetwater Creek State Park near Atlanta and using the Augmented Reality (AR) Trail Guide, a mobile application designed by Isaac Kulka for the Argon Browser (Figure 1). The application offers two views: a now familiar Google-style map, with points of interest marked on its surface, and an AR view, which shows these points located in space. You see the map view when you hold the screen parallel to the ground; when you turn the phone up to look at the world, you get the AR view with the points of interest floating in space in front of you. This simple gesture of raising the phone changes your relationship to the information. You pass from a fully symbolic form of representation to a form of perceiving symbolic information as part of your visual environment. The AR Trail Guide, developed in the Augmented Environments Lab at Georgia Tech [1], illustrates a new realm in AR design that goes beyond current commercial applications. In this article, we discuss some of these new areas, such as designing for experiences in cultural heritage, personal expression, and entertainment. At the same time, we want to address a larger issue. ACM interactions has often been a place for exploring new paradigms and the relevance for interaction design of unusual approaches from other disciplines. In that spirit, we pose the question: Can the humanistic discipline of media studies play a useful role in interaction design? Media studies looks at the history of media and their relationship to culture, and we will focus here on digital media and their relationship to other media, both present and past. Looking at digital media in a historical context is relevant because of the dynamic relationship between "traditional" media (film, television, radio, print) and their digital remediations. How can media studies be made to contribute to the productive work of interaction design? We believe one answer lies in using the historical understanding gained through media studies to develop a kind of media aesthetics that can guide designers as they explore new forms of digital media such as the mobile augmented reality application described above.

  • 2.
    Engberg, Maria
    Blekinge Institute of Technology, School of Planning and Media Design.
    Aesthetics of Noise in Digital Poetry2010In: Cybertext Yearbook, ISSN 1457-6899Article in journal (Refereed)
    Abstract [en]

    In this essay, I analyze the phenomenon of digital poems represen-tative of the use of a visually “busy” and typographically dense aesthetic.1 As my primary examples I investigate three poetic works: Spawn by Andy Campbell, Diagram Series 6 by Jim Rosenberg, and Leaved Life by Anne Frances Wysocki. I argue that a dominant aesthetic technique of these works, which I propose to call “visual noise,” is generated by a tactilely responsive surface in combination with visual excess which requires an embodied engagement from the reader/user in order for a reading to take place.2 I focus on visual noise, excluding for the moment the common and widespread practice of sonic noise. Analyses of sound and practices of sonic noise in literary practice are an important twin to the analyses I offer here.

  • 3.
    Engberg, Maria
    Blekinge Institute of Technology, School of Technoculture, Humanities and Planning.
    Born Digital: Writing Poetry in the Age of Digital Media2007Book (Other academic)
    Abstract [en]

    This study investigates Anglophone digital poems, created with and disseminated through digital computer media, for their visual, kinetic, and textual practices. I seek to articulate an analytic method grounded in close readings of selected poems. I have chosen to focus on poetic practices that raise questions about spatiality, temporality, kineticism, and word-and-image construction. My chief interest lies in how poetic form is orchestrated and what forms of engagement these digital constructions present the reader with. Underlying the main arguments of this study is an understanding of literary works in general as materially, culturally, and historically situated entities. Such “attention to material” is brought to bear on the digital poems that I analyze. Building upon N. Katherine Hayles’s notion of a “media-specific analysis,” I propose a materially specific analysis. In line with this proposition, I investigate particular properties of three clusters of poems. I propose terms such poemevents, cinematographic poems, and visual noise poems. A common feature of digital poems is the multisensory experience created through visual, auditive, tactile, kinetic, and textual artifice. The reader’s level of interaction is often of utmost importance. To articulate the different roles that the reader has to take on, I use two compound terms: reader/user and reader/viewer/listener. I argue that the active embodied engagement that is required of the reader/user in some digital poems and the denial of an active participation in others is part of the works’ materiality. Digital poetry as a field is expanding; it would not be too daring to claim that the exploration of the writing of poetry in the age of new media has only begun. I conclude the thesis by looking forward to what might lay ahead, how literary scholarship can be inspired by digital poetic work, and the questions about literary materiality that it poses.

  • 4.
    Engberg, Maria
    Blekinge Institute of Technology, School of Technoculture, Humanities and Planning.
    Born Digital-en avhandling om digital poesi2008In: Autonomi och egenart: konstnärlig forskning söker identitet. Årsbok KFoU 2008 Vetenskapsrådet / [ed] Lind, Törbjörn, Stockholm: Vetenskapsrådet , 2008, p. 69-81Chapter in book (Refereed)
    Abstract [sv]

    The article presents in brief the author’s doctoral thesis on Anglo-American digital poetry and poetics. Within the heterogeneous field of digital poetry, the author focused on three aesthetic and poetic practices which she names poemevents, cinematographic poetry and visual noise poetry. The article deals with the latter two. Digital literary materiality is discussed following N. Katherine Hayles’s articulation: “the materiality of an embodied text is the interaction of its physical characteristics with its signifying strategies” and cinematographic poetry and visual noise poetry can both be seen as engaging different aspects of digital physical properties with different signifying strategies (influenced by popular cultural forms as well as historical art and literary genres). Cinematographic poems rely on montages of word, image, and sound to generate poems, which triggers a cinematic sense of poetry reading and writing in movement. “Visual noise” is what the author calls a phenomenon of creating visually and typographically dense poems in digital form. Their dominant aesthetic technique is generated by a tactilely responsive surface in combination with visual excess which requires an embodied engagement from the reader/user in order for a reading to take place. In relation to Mark Hansen’s understanding of digitally mediated artworks as based in “a haptic aesthetic rooted in embodied affectivity,” the author argues that digital poetic works, too, should be viewed as based in an embodied experience that requires more than ocular attention from their audience. Finally, since digital poetic works combine texts, images, sounds and movement, and engage meta-critical questions about materiality and media, the author posits that the study of these works help us understand socio-economic, technical and cultural implications for creative cultural practice in the digital age.

  • 5.
    Engberg, Maria
    et al.
    Blekinge Institute of Technology, School of Planning and Media Design.
    Bolter, Jay
    Cultural expression in augmented and mixed reality2014In: Convergence. The International Journal of Research into New Media Technologies, ISSN 1354-8565, E-ISSN 1748-7382, Vol. 20, no 1, p. 3-9Article, review/survey (Refereed)
  • 6.
    Engberg, Maria
    et al.
    Blekinge Institute of Technology, School of Planning and Media Design.
    Bolter, Jay
    Blekinge Institute of Technology, School of Planning and Media Design.
    Digital Literature and the Modernist Problem2010Conference paper (Refereed)
    Abstract [en]

    What is the status of digital literature in contemporary culture? After more than 20 years of production, the audience for digital literature remains small in comparison with the audience for “serious” or popular fiction. Many scholars and practitioners assume that digital literature constitutes a contemporary avant-garde, which does its work of experimentation outside or in opposition to the mainstream. Recent comparisons of digital poetics and early modernist art practices (e.g. by Scott Rettberg and Jessica Pressman) indicate continued interest in this issue. The notion of the avant-garde might seem thoroughly out of date in a consideration of the digital future. Important theorists (e.g. Huyssen, Drucker) have argued that the avant-garde is no longer viable even for traditional media and art practices. On the other hand, the avant-gardes of twentieth-century modernism made claims about the function of art that remain surprisingly influential today–within the art community and within popular culture. As Peter Bürger and others have discussed, an important division grew up in modernism on the question of whether art should strive for formal innovation or for sociopolitical change. Avant-gardes of the twentieth century took up positions along a spectrum from pure formalism (e.g. the Abstract Expressionists) to overt political action (e.g. the Situationists). This modernist problem is still apparent in the practices of digital art and digital literature today. While the digital literature community is in general committed to formal innovation, some are critical of this commitment, in part on the political grounds that (technological) innovation has become a byword for the digital culture industry. We propose to read examples of contemporary digital literature in terms of this modernist problem. Our reading is meant to contribute to the larger question: do digital art practices in the twenty-first century constitute a turning away from the aesthetics of the avant-gardes of the twentieth?

  • 7.
    Engberg, Maria
    et al.
    Blekinge Institute of Technology, School of Planning and Media Design.
    Bolter, Jay
    Blekinge Institute of Technology, School of Planning and Media Design.
    Digital Literature and the Modernist Problem2011In: Digital Humanities Quarterly, ISSN 1938-4122, E-ISSN 1938-4122, Vol. 5, no 3Article in journal (Refereed)
  • 8.
    Engberg, Maria
    et al.
    Blekinge Institute of Technology, School of Technoculture, Humanities and Planning.
    Bolter, Jay
    Blekinge Institute of Technology, School of Technoculture, Humanities and Planning.
    How Is Digital Poetry Avant-Garde?2008Conference paper (Refereed)
    Abstract [en]

    In this paper, we discuss the opportunities and the difficulties of applying the concept of the avant-garde to digital poetry and poetics. We examine the question with reference to a body of critical and poetic works and performances from the recent E-poetry 2007 symposium in Paris. These works suggest that digital poetry treats the historical avant-garde as a tradition to draw on, rather than a model to emulate through truly disruptive practice.

  • 9.
    Fjellestad, Danuta
    et al.
    Blekinge Institute of Technology, School of Planning and Media Design.
    Engberg, Maria
    Blekinge Institute of Technology, School of Planning and Media Design.
    Toward a Concept of Post-Postmodernism or Lady Gaga’s Reconfigurations of Madonna2013In: Reconstruction: Studies in Contemporary Culture, ISSN 1547-4348, E-ISSN 1547-4348, Vol. 12, no 4Article in journal (Refereed)
    Abstract [en]

    How can we describe the landscape of what is increasingly referred to as post-postmodernism? Is post-postmodernism but a revision (however significant) of postmodernism or is it a new, perhaps even original, episteme? As must be clear from the title, the article takes Ihab Hassan‘s much discussed essay “Toward a Concept of Postmodernism” as its point of departure, but proposes a double revision of his chart. First, it supplements the chart with a set of concepts used to designate post-postmodernism. Second, it provides a re-vision of the very layout of the chart, arguing with Johanna Drucker that form is constitutive of information rather than its transparent presentation. The reference to the Madonna - Lady Gaga relationship in the essay‘s subtitle signals that the seismic shift—if that is what it is—that we endeavor to map is palpable in popular culture as much as in critical and theoretical discourses. Whether we find ourselves at the point of unfolding or at the peak of this new épistémè, it is indisputable that the broad cultural and societal changes of the past two decades are related to digital media. Taking our cue from Lady Gaga‘s performances, we suggest that two distinct features of contemporary culture, access and excess, be seen as interlinked characteristics of the post-postmodern.

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