Artequakt: Generating tailored biographies from automatically annotated fragments from the web

The Artequakt project seeks to automatically generate narrativebiographies of artists from knowledge that has been extracted from the Web and maintained in a knowledge base. An overview of the system architecture is presented here and the three key components of that architecture are explained in detail, namely knowledge extraction, information management and biography construction. Conclusions are drawn from the initial experiences of the project and future progress is detailed

Digital narratives: a study of the Arcade Fire interactive music videos

Initially seen as an audiovisual product made mainly for television, the music video, in recent years, has been expanding itself and gaining strength in the virtual environment. The possibility of easy and quick access through websites such as Vimeo and YouTube, besides the greater freedom these sites offer in comparison to the schedules of television channels, was only the beginning of the process of this format’s creative development. Its embracing of the technological changes culminates with the appearance of interactive music videos that strengthen investments made in experiences of digital narratives. In this context, one of the bands that stands out is Arcade Fire, whose trajectory already counts with four interactive audiovisual projects, namely Neon Bible (Vincent Morisset, 2007), Sprawl II (Vincent Morisset, 2010), The Wilderness Dowtown (Chris Milk, 2010) and Just a Reflektor (Vincent Morisset, 2013)

The interactive potential of post-modern film narrative: frequency, order and simultaneity

A considerable number of contemporary films are now using narrative models that allow several adaptations on digital and interactive operating systems. This trend is seen in films such as Memento by Christopher Nolan (2000), Irréversible by Gaspar Noé (2002) and Smoking / No Smoking by Alain Resnais (1993), concerning the chronological organization of their narrative parts – here it is a question of order. Or in films such as Elephant by Gus Van Sant (2003), Groundhog Day by Harold Ramis, 1993 and Rashômon by Akira Kurosawa (1950), for the diegetic repetition – a question of frequency. Or even, in films such as Magnolia by Paul Thomas Anderson (1999) and Short Cuts by Robert Altman, 1993 which use the idea of expansion or compression of the narrative – a question of simultaneity. To change the accessibility of the cinematographic experience and to constantly re-evaluate the way in which the narrative tool is used, is from now on considered the interactive potential of the contemporary film narrative

The interactive potential of post-modern film narrative. Frequency, Order and Simultaneity.

A considerable number of contemporary films are now using narrative models that allow several adaptations on digital and interactive operating systems. This trend is seen in films such as Memento by Christopher Nolan (2000), Irréversible by Gaspar Noé (2002) and Smoking / No Smoking by Alain Resnais (1993), concerning the chronological organization of their narrative parts – here it is a question of order. Or in films such as Elephant by Gus Van Sant (2003), Groundhog Day by Harold Ramis, 1993 and Rashômon by Akira Kurosawa (1950), for the diegetic repetition – a question of frequency. Or even, in films such as Magnolia by Paul Thomas Anderson (1999) and Short Cuts by Robert Altman, 1993 which use the idea of expansion or compression of the narrative – a question of simultaneity. To change the accessibility of the cinematographic experience and to constantly re-evaluate the way in which the narrative tool is used, is from now on considered the interactive potential of the contemporary film narrative

iTEXTS: TECHXTUAL POETICS, AUTHORSHIP AND RE-WREADERS IN 21\u3csup\u3eST\u3c/sup\u3e-CENTURY SPANISH LITERATURE

In 2007, Nuria Azancot published an article in the magazine El Cultural in which she identified a burgeoning group of Spanish writers that she referred to as the “Nocilla Generation.” The catalyst behind the article was a literary reunion that took place weeks before in Seville and brought together authors from all parts of Spain to talk about the status and future of writing. She described them as “transgressors” and “bloggers” who hybridized literary genres and held a revolutionary approach to the literary that was clearly marked by the Internet. Numerous articles and dissertations have since highlighted the impact that technology has had on the literature of this generation and how the Internet has allowed these authors a very active presence on social media. Few of these critical examinations have engaged in close textual analyses of the works of this so-called “Nocilla Generation” of writers. This dissertation engages with these issues for the purpose of exploring three main points. First, it seeks to identify and examine the role of the Internet on the literary production of Agustín Fernández Mallo, Alberto Olmos and Vicente Luis Mora. Second, it looks at the way that the internetization of literature implicitly undermines the traditional understanding of authorship. Third, the project suggests that the concept of an author as the source of an original creation should be replaced with a “re-wreader” (a blend of reader and writer infused with the repetitive nature of the prefix “re.”). The main thesis of this dissertation is that the interneticized text gives rise to a new understanding of authorship that is best captured in the figure of a re-wreader writing re-wreaderly texts that echo the ideas of the readerly and writerly from Barthes. The result: a textual space at once strange yet familiar in which a search for meaning, textual stability or origins gives itself over to the pleasure of the search, a search for something or nothing, a search for the search, a search in which all the material of the world (printed and digital) is there to be used and repackaged into a new literary creation

Denotative and connotative semantics in hypermedia: proposal for a semiotic-aware architecture

In this article we claim that the linguistic-centred view within hypermediasystems needs refinement through a semiotic-based approach before real interoperation between media can be achieved. We discuss the problems of visual signification for images and video in dynamic systems, in which users can access visual material in a non-linear fashion. We describe how semiotics can help overcome such problems, by allowing descriptions of the material on both denotative and connotative levels. Finally we propose an architecture for a dynamic semiotic-aware hypermedia system

Cognitive Schemata and Meaningful Strategies in Adapting Ian McEwan’s Novel, Atonement

Adapting literary works for cinematography has not been of much interest until two-three decades ago, mainly because of numerous aporias and biases having to face across time. This paper is considering looking into this subject through the dynamics of the workflow of creation and receiving the product deriving from it with whatever mental activity it involves in order to be meaningful. “Atonement“ based on Ian McEwan’s novel and directed by Joe Wright, offers a good example concerning the filmmaker’s double orientation in the process of artistic production: on the one hand, towards the literary text, attempting to respond to the indications offered by it, on the other hand focused on the audience, attempting to create a similar impact, to guide his way of perceiving the story, to anticipate the viewer’s emotions and the cognitive ways through which he could access a meaning. Throughout its entire unfolding, the film is playing with the spectator, activating a series of cognitive schemata which will subsequently be subject to correction, guiding the activity of imagination in a manner that is analogous with the one operated by the strategies of the literary text

Denotative and Connotative Semantics in Hypermedia: Proposal for a Semiotic-Aware Architecture

In this article we claim that the linguistic-centered view within hypermedia systems needs refinement through a semiotic-based approach before real interoperation between media can be achieved. We discuss the problems of visual signification for images and video in dynamic systems, in which users can access visual material in a non-linear fashion. We describe how semiotics can help overcome such problems, by allowing descriptions of the material on both denotative and connotative levels. Finally we propose an architecture for a dynamic semiotic-aware hypermedia system

It's online, it's news: appropriation of viral narratives by the digital press

At the crossway between information and entertainment, memes and newsgames are some of the news formats which, made viral in social networks, complement the informational experience and compete with the traditional news media in constructing alternative readings of the real. If in the light of Bakhtin (2002), journalism can be understood as a secondary discursive genre that feeds on primary genres (pp. 61-62), how is one to understand the circulation of these discourses produced from journalistic events in social networks? On the other hand, how are these narratives appropriated by the media? What functions do they play in media discourse? In this article we present some examples of products created from events of political impact. Thereafter, we discuss, by the analysis of a set of news stories, how the digital press, in the Iberian context, makes use of them. The purpose of this article is to contribute to the reflection on how the news media relate to these new narratives.info:eu-repo/semantics/publishedVersio