Voici quelques-uns des nouveaux titres disponibles pour la consultation et l'emprunt au Laboratoire NT2.
La littérature numérique : le récit interactif. Paris : Hermès Lavoisier, 264 p.(2009)
L'expression "récit interactif" est utilisée dans différents domaines tels que les jeux vidéo, les logiciels ludo-éducatifs, le cinéma interactif, les sites d'écriture collective, les fictions hypertextuelles, etc. Dans tous ces secteurs, quelles que soient les formes de récits interactifs, les auteurs sont confrontés à la même difficulté : comment concilier narrativité et interactivité ou plutôt comment les faire advenir en même temps ?
La narrativité consistant à prendre le lecteur par la main pour lui raconter une histoire, du début à la fin. L'interactivité, quant à elle, consistant à donner la main au lecteur pour intervenir au cours du récit, et ceci à différents niveaux (dispositif de lecture, histoire, structure, narration). Le récit interactif permet ainsi d'analyser comment un récit négocie avec les contraintes du support numérique mais aussi quelles solutions peuvent être avancées pour faire sens sur un tel support.
Parmi les récits interactifs, les récits littéraires semblent être caractérisés avant tout par une dimension réflexive . Ils permettent d'interroger le récit, le dispositif interactif mais aussi la littérature elle-même.
Entangled: Technology and the Transformation of Performance. Cambridge : MIT Press, 480 p.(2010)
This ambitious and comprehensive book explores technology’s influence on artistic performance practices in the twentieth and twenty-first centuries. In Entangled, Chris Salter shows that technologies, from the mechanical to the computational—from a "ballet of objects and lights" staged by Diaghilev's Ballets Russes in 1917 to contemporary technologically enabled "responsive environments"—have been entangled with performance across a wide range of disciplines. Salter examines the rich and extensive history of performance experimentation in theater, music, dance, the visual and media arts, architecture, and other fields; explores the political, social, and economic context for the adoption of technological practices in art; and shows that these practices have a set of common histories despite their disciplinary borders.
Optical Media. New York : Polity Press, 332 p.(2009)
This major new book provides a concise history of optical media from Renaissance linear perspective to late twentieth-century computer graphics. Kittler begins by looking at European painting since the Renaissance in order to discern the principles according to which modern optical perception was organized. He also discusses the development of various mechanical devices, such as the camera obscura and the laterna magica, which were closely connected to the printing press and which played a pivotal role in the media war between the Reformation and the Counter-Reformation.
After examining this history, Kittler then addresses the ways in which images were first stored and made to move, through the development of photography and film. He discusses the competitive relationship between photography and painting as well as between film and theater, as innovations like the Baroque proscenium or "picture-frame" stage evolved from elements that would later constitute cinema. The central question, however, is the impact of film on the ancient monopoly of writing, as it not only provoked new forms of competition for novelists but also fundamentally altered the status of books. In the final section, Kittler examines the development of electrical telecommunications and electronic image processing from television to computer simulations.
In short, this book provides a comprehensive introduction to the history of image production that is indispensable for anyone wishing to understand the prevailing audiovisual conditions of contemporary culture.
Delete: The Virtue of Forgetting in the Digital Age. Princeton : Princeton University Press, 256 p.(2009)
Delete looks at the surprising phenomenon of perfect remembering in the digital age, and reveals why we must reintroduce our capacity to forget. Digital technology empowers us as never before, yet it has unforeseen consequences as well. Potentially humiliating content on Facebook is enshrined in cyberspace for future employers to see. Google remembers everything we've searched for and when. The digital realm remembers what is sometimes better forgotten, and this has profound implications for us all.
In Delete, Viktor Mayer-Schönberger traces the important role that forgetting has played throughout human history, from the ability to make sound decisions unencumbered by the past to the possibility of second chances. The written word made it possible for humans to remember across generations and time, yet now digital technology and global networks are overriding our natural ability to forget--the past is ever present, ready to be called up at the click of a mouse. Mayer-Schönberger examines the technology that's facilitating the end of forgetting--digitization, cheap storage and easy retrieval, global access, and increasingly powerful software--and describes the dangers of everlasting digital memory, whether it's outdated information taken out of context or compromising photos the Web won't let us forget. He explains why information privacy rights and other fixes can't help us, and proposes an ingeniously simple solution--expiration dates on information--that may.
Artists Re:Thinking Games. Liverpool : Liverpool Univeristy Press, 87 p.(2009)
Digital games are important not only because of their cultural ubiquity or their sales figures but for what they can offer as a space for creative practice. Games are significant for what they embody; human computer interface, notions of agency, sociality, visualisation, cybernetics, representation, embodiment, activism, narrative and play. These and a whole host of other issues are significant not only to the game designer but also present in the work of the artist that thinks and rethinks games. Re-appropriated for activism, activation, commentary and critique within games and culture, artists have responded vigorously.
Over the last decade artists have taken the engines and culture of digital games as their tools and materials. In doing so their work has connected with hacker mentalities and a culture of critical mash-up, recalling Situationist practices of the 1950s and 60s and challenging and overturning expected practice.
Hypertext and the Female Imaginary. Chicago : Univeristy of Minnesota Press, 176 p.(2010)
In Hypertext and the Female Imaginary, Jaishree K. Odin reveals how media that use hypertextual strategies of narrative fragmentation provocatively engage questions of gender or cultural difference. Odin addresses hypertext on two levels: as an artistic technique in electronic or film narratives and as a metaphor for describing the complexity of postmodernism in which different cultures, discourses, and media are in continual interaction with one another.
Investigating the work of Trinh T. Minh-ha, Judy Malloy, Shelley Jackson, Stephanie Strickland, and M. D. Coverly, Odin demonstrates how these writers apply hypertextual strategies to subversively convey difference. Through her readings of various transformative hypertext narratives by women writers/artists, she pursues the question of what constitutes empowering descriptions of the world in a technology-mediated culture where the dominant discourse is turning everything into the same.
Using feminist as well as postcolonial perspectives, she explores the embodied state of the human as reflected in critically aware contemporary narratives and examines how these works consider what it means to be human in the twenty-first century.
Web Aesthetics: How Digital Media Affect Culture and Society. Amsterdam : NAi Publishers, 276 p.(2010)
We live in a world of rapidly evolving digital networks, but within the domain of media theory, which studies the influence of these cultural forms, the implications of aesthetical philosophy have been sorely neglected. Vito Campanelli explores network forms through the prism of aesthetics and thus presents an open invitation to transcend the inherent limitations of the current debate about digital culture.
The web is the medium that stands between the new media and society and, more than any other, is stimulating the worldwide dissemination of ideas and behaviour, framing aesthetic forms and moulding contemporary culture and society.
Campanelli observes a few important phenomena of today, such as social networks, peer-to-peer networks and 'remix culture', and reduces them to their historical premises, thus laying the foundations for an organic aesthetic theory of digital media.
Source : http://www.webaesthetics.info/