Class #4

Chapter 12

Intro

• The Oulipo, founded in the 60s in France by Francois Le Lionnais, produced potential literature-- potential literature is "the search for new forms and structures athat may be used by writers in any way they see fit."
• techniques of "constrained writing"-- or writing that is bound by certain conditions-- in potential literature include:
• lipogram- a certain letter of the alphabet may not be used
• palindrome- word that can be read in either direction
• Cent Mille Millards de poemes is the founding text of the group
• In A Hundred Thousand Billion Poems, the lines are interchangeable.
• The system produces custom poems that give the reader an enhanced role in the process of literary creation.
• The Burning of the Abominable House, Calvino's computer narrows a large space of possible stories and narrows it to one.
• But he says the "clinamen" or the error in the system, is the only entity responsible for creating literature.

Brief History of the Oulipo by Jean Lescure

• Like mathematics, literature can be explored
• Two Lipos:
• 1. Analytic lipo- seeks possibilities existing in the work of certain authors unbeknownst to them.
• 2. Synthetic lip- opening new possibilities previously unknown to authors.

Prose and Anticombinatorics by Italo Calvino

• The story appears as an outline of a story that does not exist yet, and uses science/math to explore potential outcomes
• It introduces a story about a house burning down, and presents us with a notebook outside the house filled with "horrible acts" that occurred inside. The possibilities are then mixed and matched and weighed according to math.
• The conclusion of this story tell us why this technique of storytelling permits an artist to be more creative and discover the "clinamen," causing a great work of art to be born.

3 Class Demos

1. http://vimeo.com/18888136

I decided to find out how video projection mapping actually works.

Here is what I found. First, from this Tumblr:

"Video Projection Mapping is an exciting new projection technique that can turn almost any surface into a dynamic video display. Specialized software is used to warp and mask the projected image to make it fit perfectly on irregularly shaped screens. "

I found further info here:

The principal behind video mapping is fairly simple. A number of computer controlled video projector effects are used to project an image on to a desired surface. The projection surface is then mapped into the computer. We can then define various points from the surface and store these into the computer, giving us a selection of ‘maps’. These maps can then be layered with video content, still images, live video feeds, logos, branding etc, to create an ‘interactive’ surface.

Any surface can be mapped and projected on, bringing it to life. The flexibility of the projectors means that any size object or surface can be used.

While I still feel like I am in the dark about the specifics, I think I have a better understanding of the underlying concept behind video projection mapping. I think what it boils down to is a projector guided by computers to have a more intimate understanding of the surface upon which the images are being projected. This is a more precise projection and allows for more creative opportunities.

2. http://www.psfk.com/2011/05/how-the-web-allows-stories-to-be-spun-in-new-ways.html

As an aspiring multimedia journalist I found this article fascinating. First of all, the statistics provided about the increase in literacy and the booming book business came as a shock. It's almost counterintuitive to think that an age defined by a surge in visual media could also be known as a "golden age of reading and writing."

I was also encouraged by reports that the art of narrative is helped, not hindered, by the Internet. Indeed, the Internet is "the first medium that can act like all media," making it the ultimate storytelling device. "Deep media" is a new term for me but it seems apt for a methodology that is immersive, participatory, and non-linear, as the article describes it. I know this article refers mostly to fiction, but there has also been a great deal of success in multimedia journalism. However, it is important to be wary of what David Shields proposes as a by-product of deep media: "“a blurring to the point of invisibility of any distinction between fiction and nonfiction: the lure and blur of the real." Of course, there can be no "blurring" of truth in journalism. Or at least there shouldn't be any.

3. http://www.esquire.com/the-side/augmented-reality

I understand and appreciate what Esquire is trying to do with its augmented reality issue. I say any innovation that brings readers to the information they need is positive.

Is this really augmented reality, though? I thought we defined augmented reality as a view of physical world altered by computer imagery.

Here, it seems, the opposite is happening-- computer imagery is being altered by the physical world (i.e. holding the magazine up to the computer causes the computer image to change). Does augmented reality, then, work both ways?