desire lines: literal

info:eu-repo/semantics/publishedVersio

History of Computer Art

A large text presents the history of Computer Art. The history of the artistic uses of computers and computing processes is reconstructed from its beginnings in the fifties to its present state. It points out hypertextual, modular and generative modes to use computing processes in Computer Art and features examples of early developments in media like cybernetic sculptures, video tools, computer graphics and animation (including music videos and demos), video and computer games, pervasive games, reactive installations, virtual reality, evolutionary art and net art. The functions of relevant art works are explained more detailed than is usual in such histories. From October 2011 to December 2012 the chapters have been published successively in German (The English translation started in August 2013 and was completed in June 2014)

The Mockingbird

William Abbott [Another Resurrection; I Was Crawlin\u27 through the underground]; Jennifer Anderson [Untitled Drawing]; William Arwood [The Daydream Soldier]; Brandon Bragg [A Cat\u27s Hide]; Scott Braswell, Brad Owens [Interview with Dr. Perez Firmat]; Deborah Bryan [Domestic Pattern #4; Interior #2]; Cameron Byrd [Pale Rider\u27s Mount]; Emily Carmichael [VI.; Untitled Drawing]; Margarita Casanova [el Paquette; el Nopal]; Meg Day [Wolf]; Deborah S. Deloach [Hospital Survival for the Emotionally Challenged]; Tonya Elswick [Ghostly Sentinels of Mt. Leconte]; Russell R. Forsyth [The Cherry]; Missy Gathright [Bones]; Dennis Greenwell [Untitled Print]; Joshua Hathaway [Untitled Drawing]; Jeanette Henry [Untitled Photograph]; Elizabeth Hickman [Untitled Photograph]; John W. Hilton [So Shall You Become]; Nicole Elizabeth Hunt [Dancing Fruits]; Nicolas Jimenez [The Village Fool]; Miwako Kato [Two Untitled Photographs]; Katherine Kopp [Here\u27s Looking at Ewe]; Karen E. Phelps [Attachments-2; Ice]; Alison Reed [Dave]; Pamela Sue Tabor [Dorothy, Go Home; My Black Heritage]; Joe Temple [Stress #2]; Isaac Whadistone [ToasterChick; Lithadeliga]; Laura Williams [Survival of the Sink]https://dc.etsu.edu/mockingbird/1018/thumbnail.jp

CASEBOOKS

This catalogue examines and presents the exhibition CASEBOOKS which was developed through a series of discussions between the Casebooks Project and Ambika P3. The project was keen to engage a broad audience in their research in ways that reimagined the material’s complexities through alternative vocabularies. In particular the highly developed tradition in the visual arts of reflection on the archive, inscription, accumulation and non-human agency seemed to offer a way of opening the project’s work up to a broader constituency whilst exploring and provoking historical traditions around these themes. Ambika P3’s mission as an art and architecture laboratory in an academic context, above all, made it the ideal collaborator for this genuinely experimental project

The Mockingbird

William Abbott [Another Resurrection; I Was Crawlin\u27 through the underground]; Jennifer Anderson [Untitled Drawing]; William Arwood [The Daydream Soldier]; Brandon Bragg [A Cat\u27s Hide]; Scott Braswell, Brad Owens [Interview with Dr. Perez Firmat]; Deborah Bryan [Domestic Pattern #4; Interior #2]; Cameron Byrd [Pale Rider\u27s Mount]; Emily Carmichael [VI.; Untitled Drawing]; Margarita Casanova [el Paquette; el Nopal]; Meg Day [Wolf]; Deborah S. Deloach [Hospital Survival for the Emotionally Challenged]; Tonya Elswick [Ghostly Sentinels of Mt. Leconte]; Russell R. Forsyth [The Cherry]; Missy Gathright [Bones]; Dennis Greenwell [Untitled Print]; Joshua Hathaway [Untitled Drawing]; Jeanette Henry [Untitled Photograph]; Elizabeth Hickman [Untitled Photograph]; John W. Hilton [So Shall You Become]; Nicole Elizabeth Hunt [Dancing Fruits]; Nicolas Jimenez [The Village Fool]; Miwako Kato [Two Untitled Photographs]; Katherine Kopp [Here\u27s Looking at Ewe]; Karen E. Phelps [Attachments-2; Ice]; Alison Reed [Dave]; Pamela Sue Tabor [Dorothy, Go Home; My Black Heritage]; Joe Temple [Stress #2]; Isaac Whadistone [ToasterChick; Lithadeliga]; Laura Williams [Survival of the Sink]https://dc.etsu.edu/mockingbird/1018/thumbnail.jp

The literary works' adaptation into video games

The problem proposed by this Final Degree Project will be the process of adapting a literary work to a video game. The main objective is to address the issue of adaptation in depth, for that reason, different games that are adaptations of books will be analyzed. After these analyses, a formal document will be developed describing the steps to carry out an adaptation in an orderly and coherent manner. To finish, a practical example of an adaptation process from the book to a video game using the rubric created previously will be redacted. The main objective is to have as many references as possible about these types of adaptations to approach them from any point of view and regardless of the type of adaptation that the reader wants to do, the template is going to be generic and flexible enough for any type of methodology. Secondary objectives will be to deeply break down concepts that have high importance in the process of adaptation and know exactly how to approach them when the reader finds it in the position of having to implement the concept. The methodology used consists of three parts. Firstly, research, where books and articles about any topic that has importance within this adaptation process will be ana,yzed. Second of all, the analysis process, where all the information researched and synthesized will be put into practice when analyzing these games. Finally, in the results part, where a document will be presented with a proposal of an own adaptation from a video game, this document based on a rubric previously crafted, will be original and own final exemplification

Rough Beginnings: Imagining the Origins of Agriculture in Late Medieval and Early Modern Britain

The Renaissance had both apocalyptic and hopeful visions of the future, but both were tied into the idea of the Golden Age, a past age that could be described as perfectly fertile or hopelessly barren, as a time of plenty or of hunger. The idea of a time before agriculture was approached with ambivalence: it was at once the innocent, ideal beginning and the feared end. I argue in my dissertation, “Rough Beginnings: Imagining the Origins of Agriculture in Late Medieval and Early Modern Britain,” that stories about the invention of agriculture allowed writers of poetry, drama, history, and husbandry manuals to think through the question of what humans owed to the Earth and its peoples