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![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)](https://image.slidesharecdn.com/elo2014-keynote-life-poetry-told-by-sensors-140619133753-phpapp02/75/ELO-2014-Keynote-Life-Poetry-Told-by-Sensors-55-2048.jpg)
Uploaded byJill Walker Rettberg
ELO 2014 Keynote: Life Poetry Told by Sensors
Jill Walker Rettberg's keynote presentation at ELO 2014 explores how technology, particularly wearable devices and social media, shapes our self-representation and understanding of life through data and narrative. She discusses the implications of tracking and recording our daily activities, leading to a mapping of personal experiences that blend art and information. Rettberg emphasizes the intersection of digital culture and the human experience in the context of electronic literature and self-expression.
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ELO 2014 Keynote: Life Poetry Told by Sensors
- 1. Life poetry told by sensors Openingkeynote // 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 Openingkeynote // 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)
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- 25. Sunday at homewith 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 usesbadges 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.
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- 33. Our technologies trackus in many ways we don’t even consider.
- 34. There are nodigital 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
- 37. “Numerical narratives” — RobertoSimanowski in his keynote to Remediating the Social, Edinburgh 2012.
- 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
- 41. 1976-2001 2003-2007 2008-2013 Ourideas of electronic literature change
- 44. Feral Hypertext Hypertext JillWalker, Dept of Humanistic Informatics, University of Bergen ACM Hypertext 2005 Salzburg, 6-9 September escapes When Literature Control
- 45. Feral (a): Ofan 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)
- 46. “Author announces mortalwork of art.” Shelley Jackson: Skin
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- 52. Michel Foucault, 1969 “Howcan one reduce the great peril, the great danger with which fiction threatens our world?”
- 53. Michel Foucault, 1969 “Theauthor 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.”
- 55. it seems evidentthat 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)
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- 67. Seeing Ourselves Through Technology How WeUse Selfies, Blogs and Wearable Devices to See and Shape Ourselves Parmigianino: Self-Portrait in a Convex Mirror (1524)
- 68. Three modes ofself-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 isto 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
- 70. Germaine Krull: Self-Portrait with Cigarette andCamera (1925)
- 71. Look at the intimacyof the selfie; the outstretched arm embracing the viewer. (http://www.makingselfiesmakingself.com) Katie Warfield
- 72. What is awork 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)