Dear Canada Council

Transcription

Dear Canada Council

Digital Writing and the Canada Council
A proposal/petition from Canada's digital writers to the Canada Council
May 2006
The Canada Council
350 Albert Street,
P.O. Box 1047,
Ottawa, Ontario
K1P 5V8
Jim Andrews
2313 Esther Pl
Victoria BC
V9B 2E5
[email protected]
(250) 478-7514
Dear Karen Kain, Melanie Rutledge, David Poole, Carole Boucher, and Paul
Seesequasis:
Here is a proposal/petition signed by 101 Canadian writers, publishers, artistprogrammers, and others involved in digital writing in Canada. The proposal/petition is
for the Canada Council to fund digital writing.
It has been very rewarding to work with Lionel Kearns in Vancouver and Chris Joseph
and Michel Lefebvre in Montréal, who created a French summary to help with alerting
Quebec artists to the proposal/petition.
The document before you contains perhaps the most extensive list of contacts yet
assembled concerning Canadians involved in digital writing. Also, the 'Works' section of
the document is quite an impressive assemblage of Canadian works in digital writing.
The 'Site Statistics' section indicates that many people working seriously in digital
writing in Canada do indeed have significant audiences. The section entitled 'The Letter',
which is what was circulated across Canada, along with the French summary, is what
people signed their names in agreement with. We feel it makes a strong case for the
Council to fund artists producing digital writing in Canada.
Of course, this is not without precedent at the Council. From 1999 to 2002 the 'Electronic
Word' program was lumped in with 'Spoken Word'. Since 2002, it has been difficult for
digital writers to obtain funding for their work in Canada.
We look forward to your response to the proposal/petition, and hope that you see fit to
help us with our work.
Sincerely,
Jim Andrews (Victoria, [email protected])
Michel Lefebvre (Montréal, [email protected])
Lionel Kearns (Vancouver, [email protected])
Chris Joseph (Montréal, [email protected])
Table of Contents
The Letter............................................................................................................................ 4
L’écriture numérique et le Conseil des Arts du Canada ..................................................... 9
Signatories to the Proposal................................................................................................ 13
Canadian Digital Writing Projects, Journals, etc. ............................................................. 21
Audience Statistics............................................................................................................ 27
The Letter
Canada Council
350 Albert Street,
P.O. Box 1047,
Ottawa, Ontario
K1P 5V8
To: Karen Kain (Chair), David Poole (Head, Media Arts), Melanie Rutledge (Head,
Writing and Publishing), Carole Bouche (Program Officer), Paul Seesequasis (Program
Officer)
Dear Canada Council:
We propose that the Canada Council begin a program to fund artistic works of digital
writing or reinstate the 'Electronic' portion of the 'Electronic and Spoken Word' program.
The sort of art we create consists of digital works of art that engage intensely with
language, and sometimes include visual, sonic, moving image, and/or programmed
dimensions within the work; these works are typically published in digital form, whether
on the Web, CD, DVD, or as installations. Sometimes poems generated by programming
are published in print. Sometimes the work simply cannot be published in print.
We also feel that 'Digital Writing' should be separate from 'Spoken Word'. Different
juries are required for these two things. They are very different types of enterprises.
As you know, the 'Electronic' portion of the 'Electronic and Spoken Word' program was
added in 1999 and cancelled in 2002. It was part of the 'Writing and Publishing' section.
Since then, Canadian artists creating digital writing have had to apply to the Media Arts
section. If you examine what has been funded in Media Arts, we expect you will find a
very low proportion of funding to such work: it has been extremely difficult to obtain
support in any form for our work from the Canada Council since the cancellation of the
'Electronic word' program.
We understand the rationale for the program's termination was as follows. There was a
decrease in 2002 in the number of proposals received. There were 33 proposals received
in 2002, down from 59 in 2001. We suspect that this decrease was anomalous; what
happens in one year does not necessarily indicate what will happen in the next few years.
At the same time, there was an increase in the number of proposals to the Spoken Word
section and also to Festivals. It was also thought that the Media Arts section could
accommodate 'Electronic Word' proposals. However, as noted, very few of us have been
funded in Media Arts.
The Media Arts section is already broad in scope without the digital writers. Media Arts
typically attracts people working in film/video, visual art, audio art, programming, and
other fields. In works of digital writing, the word has many manifestations, and the
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subordination of language to other media may vary even during the course of a work, but
language typically is somehow central to the artistic approach of the work. It isn't simply
treated as image or sound, as often happens in Media Arts. It is the intensity of
concentration on language and digital writing's relation with the forms of literature that
distinguishes digital writing from much work produced within Media Arts.
Also, although there are digital writers who are highly skilled in technology and/or
programming, digital writing often relies less on cutting-edge use of technology than
digital Media Arts tend to. An interesting project in digital writing can sometimes be
undistinguished in its use of digital technology but consequential in its degree of
thoughtfulness and impact on how we think about technology and ourselves, for instance.
The relative lack of technical sophistication makes it hard for digital writers to compete
in Media Arts. What you find among digital writers, more often than technical virtuosity
with media, is conceptual strength. For instance, they might create a project in which
email correspondence between n people is coordinated or structured in some way so that
it might as well be considered a literary machine or even a game. Also, they tend to be
aware of why William Carlos Williams said (in the fifties) "A poem is a machine made
out of words." That awareness informs the work of many.
Additionally, the focus of writers is on publishing, and this is true of both print-based and
digital writers. This contrasts with Media Arts, where the focus is typically on
performance or gallery exhibition. Artists of digital writing tend to concentrate on
publication either on the Web or on CD or DVD, though they usually also publish some
work in print. The Web tends not to be taken very seriously as artistic media in Media
Arts, being for the small screen and apart from performance or galleries, typically.
Similarly, digital publication often doesn't 'count' in literary print matters. However, in
digital writing, the Web is taken very seriously as a form of publication. Why?
In Canada, when you publish a book of poetry, if 1000 copies are printed, that's excellent,
and it doesn't get much distribution outside of Canada. Moreover, most Canadian
publishers cannot handle things like visual poetry in which color and custom book design
are often crucial. This isn't true only in Canada. The problems for poets and other writers
concerning publishing and dissemination are more or less global. However, when you
publish on the Net, the audience can be international (if the artist's involvement and
interests in the Net are international) and the production values as high as you desire and
have wit to create.
Also, the audience is different from many print audiences. It's a wired audience of
practitioners, critics, poetasters, teachers, and students around the world. The work tends
to be disseminated through online publications such as Canada's CIAC,
Doppelgangermagazine.com and Coach House Books, USAmerican publications such as
Drunkenboat.com, Turbulence.org, Wordforword.info, Computerfinearts.com,
Poemsthatgo.com, Iowa Review Web, Brazil's Arteonline.arq.br 1 , the artists' sites, the
lists—such as Rhizome, Empyre, Nettime, Fibreculture, Syndicate, Netbehavior,
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Many online publications have already come and gone such as BeeHive, Cauldron & Net, frAme, and
Canada's Horizonzero.
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Webartery, Eu-gene and others—and blogs. It is also viewed frequently by general
audiences via Googling 'digital literature', 'ergodic literature', 'visual poetry', 'net art',
'animated poetry', 'hypertext', 'hyperfiction', 'kinetic poetry', 'code poetry', 'interactive
poetry', 'digital poetry', 'kinetic literature', or any number of other such terms that
describe the types of 'digital writing'.
The relations of digital writing with traditional literature may be strained by its relations
with media arts and also, sometimes, programming, mathematics, and other fields in
which language is currently a subject of study. But the digital is significant as literary
media and this will increase over time as written communications continue to move into
the digital and notions of what it means to publish change as publication continues to
move into the digital. And as print and the digital work out a relationship where each is
acknowledged by the other for its strengths and capacities.
The place of text in artistic digital media is different from the place of text in film/video,
visual art, and audio art. Also, the place of text in digital media is different from the place
of text in print media. Works of digital art have more room, as it were, for text than does
film/video but less than the space afforded text in books. Text exists beside other media,
in digital writing, or is nested within other media, and has to negotiate meaning and
signal among other media and arts. The distinction between multimedia and intermedia is
useful at this point. The term 'intermedia' calls attention to relations between media,
whereas 'multimedia' simply denotes plurality of media. The term 'intermedia' posits an
art in which the experience and meaning proceed, at least in part, through relation
between media. Digital writing can exist in various degrees of isolation from or
involvement with other media and arts but, even in email clients and word processors,
language is subject to the flux of change, the now-you-see-it-now-you-don't associated
with electric media, and is framed within applications that offer interactive visual
controls that contextualize the writing within a multimedia environment. Digital writing
can hardly avoid coming to grips with the way these factors change language and
literature. There is no 'pure text' digital writing.
What separates digital writing from traditional print-based literature and writing is not
simply the audience and the media in which digital writing is published but different
approaches to language and writing. Print stays put. Digital language is in flux like
electricity. Digital writing often resorts to the kinetic (the text moves); or the generative
(where the work is at least partially generated as the reader reads); or the interactive
(which can involve the mouse and keyboard or other I/O devices—or communication
with other people); or to Web services (where the content and/or behaviour is at least
partially a result of run-time database queries); and any of the other options of digital
Media Arts. Digital writing is also separated from traditional literature by an often
intermedial approach in which text, sound, image, video and programming intermingle as
in Media Arts.
There exists a wide range of approaches to digital writing. There are artist-programmers
who use tools such as Director, C++, Java, and PHP, AI guys and gals bringing
Computational Linguistics to the literary, visual poets who operate primarily on the Net,
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code poets who publish largely on the lists and on their sites and use things like Perl
scripts to gather and arrange materials, writers of hypertext who publish largely on the
Web and operate mainly with links, and installation-oriented writers.
The importance of digital writing in society can be glimpsed by considering the place of
the computer and computer networks in our reading and writing. We do more and more
of our reading and writing via computers. But how much reading/viewing/writing do we
do of work that takes a creative approach to the relation of writing and computing?
Society and individuals need to come to grips with the computer as a creative language
machine. Computers are feared for what will happen to us if we do not understand how to
use them, and feared for what they will do to us if we use them too much. They are feared
as agents of identity and credit card theft, as pornographic corrupters of youth, as
purveyors of sleazebag spam scams, as destroyers of learning via search-copy-paste
homework routines, and so on.
Yet we have to use them. We do a lot of our thinking in front of them. We do a lot of our
living in front of them, or lack of living. Mostly what we do in front of them is read and
write. That is one of the main spaces of digital writing. Part of the idea of digital writing
is to transform that space from spreadsheets to the life of the mind, the imagination, and
the society of shared thought, experience, and vision.
Computers are language machines. Some of the most intense engagement with language
since the thirties has been carried out by people such as Gödel and Turing,
logician/mathematicians who have created a situation where the mathematical properties
of language are every bit as much a subject of study now within mathematics as particles
are in physics. Computer science undergraduates routinely study the early linguistic work
of Noam Chomsky because of its importance to how computers parse grammar—each
programming language has a grammar. There has been a revolution in our approach to
language via the language machine. Digital writers tend to be aware of the central
importance of language to computing, and to explore it as programmers and artists who
synthesize literature with other arts. Digital culture is crucial to the contemporary forces
shaping language. The digital writers are the thinkers and the poets who creatively probe
relations between language and computers, and how those change us.
The young people studying computing need to be able to find their country's digital
writers in what they do. They shouldn't simply be studying to make widgets and weapons
and business, but studying toward making a better world in which the poetry of their
vision can be communicated via the integrated art of digital writing. The young people
studying literature need to be able to find their country's writers of digital literature. That
is where the best minds will go, to art that challenges in its synthesis of arts and areas
such as mathematics and computer science. That is where the digital writers are.
It is likely that within our lifetime, we will come to understand how the brain codes and
stores information. That will be a breakthrough on a par with the discovery of DNA and
Darwin's theory. It will have profound implications for medicine, computer science, and
how we think of ourselves in many another field. It will also have profound implications
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concerning art and language. There is an understanding of language that is on the tip of
our tongue that will change the world. Literature must go there also. Part of what digital
writing is about is expanding the dimensions of what it means to be human, and
discovering/creating the human dimensions of the language machine, the soft machine.
And we are all soft machines. Our humanity is quite literally at stake in our conception of
ourselves in relation to the machine. Digital writing is about us being the masters of our
own destinies as creative individuals writing with machines.
The Canada Council needs to fund digital writing to let us keep pace with electrified
language, make it human. Serious literary media is not limited to print or the spoken
word, as the Council acknowleged in 1999 with the creation of the 'Electronic Word'
program. Some of Canada's digital writers are recognized around the world as being
leaders in their field, yet their main opportunities originate elsewhere than Canada. Please
help us in our work.
Sincerely,
Canada's digital writers
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L’écriture numérique et le Conseil des Arts du
Canada
(Digital Writing and the Canada Council)
Une pétition des auteurs de littérature numérique destinée au Conseil des Arts du
Canada.
NOTE À PROPOS DE CE RÉSUMÉ EN FRANÇAIS
Ce texte est la version résumée d’une pétition rédigée principalement par Jim Andrews, Chris
Joseph et Lionel Kearns. Il a été traduit sommairement par Michel Lefebvre afin d’en favoriser la
diffusion au Québec. Tout commentaire doit référer au texte principal de la pétition, en anglais, et
être destiné en premier lieu à ses initiateurs, à moins que le commentaire ne concerne la nature
même du texte traduit. L’ensemble du texte ne correspond pas nécessairement aux opinions de son
traducteur, qui en appuie toutefois entièrement la diffusion. L’expression « littérature
électronique » réfère au nom même du programme de « Littérature orale et électronique du
Conseil des Arts du Canada », mais ce texte lui préfère la désignation de « littérature numérique ».
Pétition adressée au Conseil des Arts du Canada
Karen Kain, présidente
David Poole, chef de direction - arts médiatiques
Melanie Rutledge, chef de direction - lettres et édition
Carole Boucher, ex-responsable du programme de Littérature orale et électronique
Nous proposons que le Conseil des Arts du Canada (CAC) rétablisse le volet spécifique à
l’écriture numérique qui était jusqu’à 2002 intégré au programme de « Littérature orale et
électronique ». Le type d'art que nous pratiquons fait intensément appel au langage et
peut faire appel à l'image, au son, à la fluidité et à la programmation. Ces travaux sont
édités sous une forme numérique, sur CD, DVD, à l’Internet, intégrés dans une
installation ou autrement.
Le programme de Littérature orale et électronique du CAC fut introduit en 1999 et fermé
en 2002. Ce programme faisait partie de la section Lettres et édition du CAC. Depuis
lors, les auteurs canadiens doivent appliquer au programme des arts médiatiques. Si l’on
examine les projets soutenus en arts médiatiques depuis l’abolition du programme, peu
relèvent de la littérature numérique.
Le manque de projets soumis avait justifié l’annulation du programme. On en comptait
59 en 2001 et 39 en 2002. Nous croyons que cette chute est circonstantielle et ne traduit
pas nécessairement la situation qui prévaudrait dans les années à venir. À la même
époque, on assistait à une augmentation du nombre de propositions en littérature orale et
au programme de festivals. On a pensé que le secteur des arts médiatiques pourrait
englober le domaine de la littérature électronique.
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Cependant, peu d’auteurs ont pu trouver place parmi les arts médiatiques, un secteur déjà
vaste englobant des personnes travaillant en film/vidéo, arts visuels, nouveaux médias,
programmation, art audio, etc. Dans les projets de littérature numérique, le texte peut être
soumis à de multiples transformations et cohabiter de façon variable avec les autres
médias, mais en tout temps il y occupe un espace primordial. L’importance et l’utilisation
de la langue, du langage, de la linguistique, distinguent la littérature numérique des autres
formes de création en arts médiatiques.
En outre, bien qu'il y ait des auteurs habiles en technologie et/ou programmation, la
littérature numérique se fonde souvent moins sur l'utilisation de technologies de pointe
que d’autres projets d’arts médiatiques, même si la référence aux médias et à leur impact
est importante. Par exemple, un projet intéressant de littérature numérique peut sembler
anodin dans son utilisation des technologies même si la réflexion qu’il sous-tend à propos
des technologies, et de nous-mêmes, demeure pertinente.
Le degré réduit de sophistication technologique peut rendre difficile aux auteur(e)s de
concurrencer avec d’autres projets en arts médiatiques. Plutôt que la virtuosité technique
avec les médias, les auteurs peuvent introduire une force conceptuelle. Il pourrait s’agir
d’un projet d’échange de courriels où le résultat s’apparenterait à un jeu ou à un
générateur de texte. Aussi, les auteurs de littérature numérique comprennent ces mots de
l’auteur William Carlos Williams, qui dans les années 1950 disait qu’ « un poème est une
machine faite avec des mots ». Ce constat correspond au travail de plusieurs auteur(e)s .
Aussi, l’objectif des auteur(e)s demeure l'édition, autant pour les auteur(e)s de médias
imprimés que numériques. De leur côté, les artistes en arts médiatiques ont plus souvent
pour objectif une diffusion sous forme de performance ou d’installation en gallerie. Les
auteur(e)s privilégient la publication, sur CD, DVD ou l’Internet et parfois aussi
l’imprimé. Une publication sur Internet ne semble pas être considérée sérieusement en
arts médiatiques, le support étant le petit écran plutôt que la performance ou l’espace
d’expositon. Pourtant, dans le domaine de l’écriture numérique, Internet est reconnu en
tant qu’espace de publication. Pourquoi ?
Au Canada, lorsqu’on publie un livre de poésie, par exemple, un tirage de 1000 copies est
excellent, mais sa diffusion hors du pays demeure limitée. […] La plupart des éditeurs
canadiens n’ont pas non plus la capacité de publier des livres dont la facture graphique
est plus élaborée, où une certaine poésie visuelle peut s’exprimer. Cette situation n’est
pas unique au Canada. Les problèmes liés à l’édition et à la diffusion pour les auteur(e)s
sont plus ou moins les mêmes ailleurs.
Lorsqu’on publie à l’Internet, le public est international et diversifié […] . Les œuvres de
littérature numérique sont diffusées et commentées dans une multitude de sites […].
On y accède aisément en recherchant les mots clés de la littérature numérique tels que :
littérature ergotique, visuelle, interactive ; poésie cinétique, interactive, visuelle ; art web,
net art ; hypertexte, hyperfiction, etc.
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L’écriture numérique demeure certainement liée à la littérature traditionnelle ainsi qu’aux
arts médiatiques, mais elle relève aussi, parfois, de la programmation, des mathématiques
ou de tout autre domaine où le langage importe. L’écriture numérique est signifiante en
tant que genre littéraire et son importance est appelée à croître dans un contexte où les
publications investissent la diffusion numérique. Une nouvelle relation s’établit entre la
littérature traditionnelle et la littérature numérique, chacune avec ses forces et ses
capacités.
Le rôle du texte dans les œuvres numériques artistiques s’inscrit différemment qu’avec le
film ou la vidéo, les arts visuels et l’art audio, ou les médias imprimés. Les travaux en
arts numériques laissent plus d’espace au texte que le film ou la vidéo, mais moins que le
livre. Le texte co-existe en relation avec un autre média et son espace fluctue. […] Il peut
être plus ou moins isolé, contextualisé, généré, balisé par un flux tel l’électricité, intégré
dans une interface multimédia où il apparaît et disparaît […]
Ce qui différencie l’écriture numérique de la littérature imprimée n’est pas qu’une
question de diffusion, il s’agit aussi d’une nouvelle approche du langage et de l’écriture.
Le texte imprimé demeure ce qu’il est, fixe, alors que le texte numérique est en
mouvement, il peut être aléatoire, interactif, lié à un apport de données capturées par
l’Internet ou autrement, intégré dans le contexte d’un système de communication, en
relation ou non avec le son, l’image, la vidéo, les routines de programmation, etc., qui
composent les arts médiatiques.
Les approches sont nombreuses. Les auteur(e)s comptent des artistes programmeurs, des
spécialistes en intelligence artificielle, des poètes visuels, des poètes du code, des
auteur(e)s qui utilisent l’hypertexte, qui forment des réseaux de liens, d’autres qui
utilisent l’installation, etc.
De plus en plus nous utilisons les ordinateurs pour nos activités d’écriture et de lecture.
Nous passons beaucoup de temps à réfléchir devant eux, à vivre (ou non vivre) devant
eux, mais surtout nous écrivons et nous lisons. L’un des défis de l’écriture numérique
consiste justement à transformer cet espace, à donner vie à nos pensées, à notre
imagination au-delà de la feuille de calcul, à investir une société du savoir, du partage de
connaissances, d’expériences, de visions.
[…] Les auteur(e)s numériques sont conscients de l’importance du langage dans cette
relation à la machine et ils l’explorent en tant que programmeurs et artistes intégrant la
littérature à d’autres formes d’art.
Les jeunes qui étudient l’informatique ont besoin de retrouver les auteur(e)s de leur pays
qui investissent cet espace avec leurs créations. Ils ont besoin d’y voir s’exprimer leurs
visions, leurs pensées, leurs désirs, dans cette forme d’art multimédia qu’est la littérature
numérique.
[…] Le Conseil des Arts du Canada doit appuyer la littérature numérique […]. Les
publications sérieuses ne sont pas limitées à l’imprimé ou à la littérature orale, comme le
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Conseil l’a reconnu en 1999 en créant le programme de « littérature orale et électronique
». Certains auteur(e)s canadiens figurent comme leader de cette discipline à travers le
monde, mais leurs canaux de diffusion sont ailleurs qu’au Canada.
S.V.P. Aidez-nous dans notre travail.
Cordialement,
Les auteurs numériques du Canada
Les initiateurs de la pétition
Jim Andrews - vispo.com - [email protected]
Chris Joseph - babel.ca
Lionel Kearns - lionelkearns.com
15 avril 2006 - Sommaire traduit par Michel Lefebvre [email protected]
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Signatories to the Proposal
Below are the names and contact info of all the artists who are signing this document. All
are Canadians, have been sent the document, and have had a chance to edit it.
Deanne Achong
Site:
archivenotes.net
Randy Adams
CV: runran.net/cv_runran.html
Sites: trAce Online Studio, runran.net
Michael Alstad
CV:
Site:
year01.com/alstad
year01.com
Jim Andrews
CV:
Site:
vispo.com/JimAndrews.htm
vispo.com
Kate Armstrong
CV:
Site:
katearmstrong.com/bio.html
katearmstrong.com
René Audet
CV: crilcq.org/membres/reguliers/audet-rene.asp
Sites: contemporain.info carnets.contemporain.info/audet
David Ayre
CV:
Site:
ayre.ca/?page_id=15
ayre.ca
Don Austin
Site:
nedaftersnowslides.com
Gary Barwin
CV:
Site:
hsclink.hillstrath.on.ca/~barwinga/bio1.htm
garybarwin.com
Marie Bélisle
Site:
scripturae.com
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Don Bergland
Site:
donbergland.com
Gregory Betts
Site:
funnomad.blogspot.com
Anne-Marie Boisvert
Site:
ciac.ca
Chloë Brushwood Rose
Daniel Canty
Peter Courtemanche
CV:
Site:
absolutevalueofnoise.ca/about.html
absolutevalueofnoise.ca
Marcia Crosby
Pierre Coupey
Exhibition: TangleCatalogue1.pdf
Site: coupey.ca
Lise Creurer
Dave Cull
Simon Dardick
Site:
vehiculepress.com
Frank Davey
CV:
Site:
publish.uwo.ca/~fdavey/c/CVartspubl.pdf
publish.uwo.ca/~fdavey/homenew.html
Jeff Derksen
Jonathan Dore
CV:
Site:
jonathandore.com.hosting.domaindirect.com/writing.html
jonathandore.com
Judith Doyle
CV:
Site:
readingpictures.com/htmlindex.html
readingpictures.com
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Mac Dunlop
CV:
Site:
Mac_Dunlop_bio.doc participation_ideas3.php
sparror.cubecinema.com/macdunlop
Eric Dymond
Site:
edymond.com
Amanda Earl
Site:
Bywords.ca
Lori Emerson
Essays: electronicbookreview.com, epc.buffalo.edu, virginia.edu/pmc
Matt Fair
Site:
theworldowesyoualiving.org
Raymond Filip
Elizabeth Fischer
Site:
fishbreath.net
Caitlin Fisher
Site: yorku.ca/caitlin
Editor: The Journal of Social and Political Thought
Bertrand Gervais
CV:
Site:
http://www.litterature.uqam.ca/pages/fiche_professeur.asp?mat=GERB5
labo-nt2.uqam.ca
Nadia Ghalem
Carol Gigliotti
Site:
CV:
www.carolgigliotti.net
eciad.bc.ca/~gigliott/CGnet/teaching.html
Carolyn Guertin
CV:
Site:
guertin_cv.pdf
mcluhan.utoronto.ca/academy/carolynguertin
Gita Hashemi
Site:
strictlypersonal.net
Sharon Harris
Site:
iloveyougalleries.com
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Adam Harrison
Site:
doppelgangermagazine.com
Flick Harrison
CV:
Site:
flickharrison.com/bio.htm
flickharrison.com
Heather Haley
CV:
Site:
hshaley.com/bio.html
heatherhaley.com
Kevin Hehir
Susan Ioannou
CV:
www3.sympatico.ca/susanio
Kedrick James
Site:
kedrickjames.net
David Jhave Johnston
CV:
Site:
glia.ca/resume/jhave_cv.html
glia.ca
Karl Jirgens
Chris Joseph
CV:
Site:
babel.ca/cv.htm
babel.ca
Shie Kasai
Sites: trotch.com/muku, ekidangirl.exblog.jp
Robert Kasher
Site:
databasedirectory.com
Lionel Kearns
CV:
Site:
vispo.com/kearns/bibliography.htm
lionelkearns.com
D. Kimm
CV:
Site:
fva.ca/bio.e/kimm_d.html
fva.ca
16
Andrew Klobucar
Site:
kswnet.org
Tom Konyves
Bio:
PoetryPerformance.html
Maya Koizumi
Amy Lam
CV:
Site:
wearepeopletoo.org/action.html
wearepeopletoo.org
Claudia Lapp
Valerie Leblanc
Sites: purplefireworks.com, timetravelinthismoment.com, On Archiving
Michel Lefebvre
Site:
souslemanteau.ca, agencetopo.qc.ca
Matthew Levenson
Jason Lewis
CV:
Site:
thethoughtshop.com/about/Jason_Lewis_CV.pdf
obxlabs.net
Damian Lopes
CV:
Site:
damianlopes.com/cv.html
damianlopes.com
Camille Martin
Noni Mate
Ashok Mathur
Site:
amathur.ca
John McAuley
Fabrice Montal
Stephen Morrissey
Site and CV: stephenmorrissey.ca
17
Chantal Neveu
Sites: andsuch.name, oboro.net/activities, fva.ca/fva.f/2006/series.shift.php
Katharine Norman
CV:
Site:
novamara.com/cv.html
novamara.com
Ken Norris
Claude Paré
Site : artpaysage.com
Sylvie Parent
Tristan Parish
Site:
pbfb.ca
Aaron Peck
Sites: doppelgangermagazine.com , greenboathouse.com
Scott Pound
CV: ScottPoundCV.doc
Research Summary: ScottPoundResearchSummary.doc
Kate Pullinger
CV:
Site:
katepullinger.com/biography.html
katepullinger.com
Ross Priddle
Site:
http://bentspoon.blogspot.com
Angela Rawlings
Site:
commutiny.net
Dylan Robinson
Geoffrey Rockwell
Site:
geoffreyrockwell.com
Blair Allan Rosser
Site:
7thfloormedia.com/sasq/sasqhome.htm
18
Bill Schermbrucker
Evann Siebens
Site:
turbulence.org/Works/yael
R.G. Siemens
Site:
web.uvic.ca/~siemens
Gerri Sinclair
Stéfan Sinclair
Site:
stefansinclair.name
Sonja A. Skarstedt
Site : www.skarwood.com
Marshall Soules
CV:
Site:
mala.bc.ca/~soules/cv.htm
mala.bc.ca/~soules
Sid Tafler
Email: [email protected]
CV: islandnet.com/pwacvic/tafler00.html
Marie-Chantale Turgeon
Sites: mcturgeon.com, mcturgeon.com/blog
Jeremy Turner
CV:
Site:
Turner_cv_2005.doc
The Making of Avatara Greatestbits.com
Michael Tweed
Bio:
Site:
artist_bio.asp
frail.ca
Christian Vandendorpe
CV:
Site:
lettres.uottawa.ca/vanden.html
reves.ca
Fred Wah
Kristen Warder
Ted Warnell
CV:
warnell.com new media network
19
Site:
warnell.com new media network
Lori Weidenhammer
Work: brain dress
Jeremy Wexler
Site:
jeremywexler.com
Rod Zimmerman
Carolyn Zonailo
Site and CV: carolynzonailo.com
20
Canadian Digital Writing Projects, Journals, etc.
Deanne Achong
ArchiveNotes.net presents several web projects loosely based upon the notion of digital
archives. Several of the works have been presented in international festivals.
Flight Path is the newest work. A Flash piece based upon collecting stories about birds.
These are compiled into an xml database, which Flash then presents at random.
Randy Adams
Online Studio (1999 - 2005) – Photography & digital imagery, selected writings,
hypertext/hypermedia, a net journal, and spoken word.
Contact (2004) – A collaborative event with live electronic music by Steve Gibson,
images by Randy Adams, and interactive programming by Gibson and Jim Andrews.
trAce article list (2002 - 2006) – Associate Editor of the trAce Online Writing Centre,
(Nottingham Trent U, England), commissioning and editing reviews of digital writing
and new media. Index of articles published at trAce since August 2002.
Jim Andrews
On Lionel Kearns (2004) – Binary meditation on the work of Vancouver's Lionel Kearns.
Published by Turbulence.org (NY), Computerfinearts.com (NY), Wordforword.info
(Virginia) & the Electronic Lit. Org. (USA). Presented at Western Front (Van.).
Arteroids (2001-2005) – A literary shoot-em-up for the Web. Funded by the Electronic
and Spoken Word program. Published on 8 sites on the Web. Shown at Machine Gallery
in L.A. (2004), the Microwave Festival in Hong Kong (2005), and FILE in Brazil (2005).
Nio (2000) – Interactive audio in sound/visual poetry. Commissioned by Turbulence.org
(NY). Forthcoming in an exhibit at the Department of Art History and Theory, U of
Essex concerning digital literature, and from the Electronic Literature Org (USA).
Kate Armstrong
Grafik Dynamo (2004) – commission for Turbulence.org.
Catalogue:Nothingness (2003) – Funded by the Canada Council through the Production
Grants to New Media Artists category and supported by a residency at Techlab at the
Surrey Art Gallery.
Gary Barwin
garybarwin.com: Website including recordings, sound/text/visual works, text, and digital
visual poetry.
serifofnottingham.blogspot.com: Blog featuring text and visual poetry, sound/text works
and commentary.
chbooks.com: two online books, incorporating visual and musical elements: Outside the
Hat and Raising Eybrows.
21
Marie Bélisle
Scripturae.com – Some works are based on mathematical structure. Pythagore theorema
for Versants: each text has a rectangle/triangle structure and can be read from top to
bottom and vice versa; Fibonacci suite and golden division rule for Figures: each text
"unfolds" itself according to the helical movement of the golden division rule. Others are
essentially concrete illustrations of polysemy, using flash animations. In Alter ego, each
word hides another and verses change simply by mouseover; In Lames, verse are cut by a
blade and a nem poem is generated from parts of the original text.
Gregory Betts
When She is With I – Published in Born Magazine (Seattle).
North American Centre for Interdisciplinary Poetics – Former Assistant Director and first
Webmaster.
Anne-Marie Boisvert
Le Magazine électronique du CIAC est une publication en ligne et bilingue (français et
anglais), fondée en 1997 et qui couvre tous les aspects de la cyberculture, de l'art et de la
littérature dans leur relation à la technologie. Il traite des artistes qui créent des œuvres
pour ce nouveau médium, des organismes qui font la promotion de cet art, des tendances
importantes dans ce domaine de la création et des événements marquants dans cette
sphère d’activités. Le Magazine aborde dans chaque numéro un nouveau thème et
s’associe à des collaborateurs reconnus pour la justesse de leurs analyses et de leurs
interprétations. Au cours des ans, Magazine électronique du CIAC a publié plusieurs
numéros spécialement consacrés à la littérature électronique : numéro 9 (1999), numéro
13 (2001), numéro 17 (2003). En plus de notre dernier numéro paru :
Numéro 24 – Hyperlittérature IV : contraintes (hiver 2006)
Ce numéro qui vient tout juste de paraître est le quatrième numéro de notre magazine
consacré à la littérature électronique, un champ très vaste et en perpétuelle évolution, qui
est devenu au fil des années une des spécialités du Magazine du CIAC. Le numéro 24
porte sur la littérature électronique à contraintes, dans la tradition de l’Oulipo, une école
littéraire française majeure au XXème et au XXIème siècles, un domaine qui comprend
aussi la littérature générée par des programmes informatiques.
Daniel Canty
Directed the Web adaptation of Alan Lightman's Einstein's Dreams
(http://www.redknot.ca/flash/edreams/index.htm) and launched the Horizon Zero website
(www.horizonzero.ca) for the Banff New Media Institute, amongst other projects. He is a
programmer at the Festival du nouveau cinema in Montreal (www.nouveaucinema.ca)
and a writer, "on paper."
Judith Doyle
Urban Fox Project – My parents bought their house in Toronto's beaches area 43 years
ago. It has a steep backyard with an undeveloped wooded zone across the top and
neighbouring properties, connected to a network of ravines in the area. Urban foxes,
being nocturnal, seek safe resting places for the day, often in the sheltered yards of
22
elderly people. Between 1999 and 2001, my parents' trimmed shrubs became a locus for
them. As many as nine appeared in the yard at one time, and I videotaped them. Many
have since succumbed to the disease called sarcoptic mange. Last fall, foxes were sighted
only rarely in the area. The Urban Fox Project is a continuing exploration of their
presence and issues. It takes the form of both art and academic research, investigating
technology and human/animal embodiment.
Eric Dymond
edymond.com (2000 – present) – Web site
The Doorway (1996) – Web project
Elizabeth Fischer
Grandfather Gets a House (2001) – Hypermedia for the Internet. The Web site houses a
diary containing a series of texts written to the email list of a small group of Net-active
writers and artists. The emails were written over a year, starting in August, 2000, and
chronicle a Canadian artist's travels to Transylvania, the Hungarian region of Romania
and the subsequent efforts of the group to help an impoverished Gypsy family. The
viewer then navigates to a level of stories, poetry and other content informed by the
experiences described in the emails. At a third level of information, the reder may access
a complete and searchable archive of all the unedited communications of the mailing list.
Caitlin Fisher
These Waves of Girls (2001) – Winner of the 2001 Electronic Literature Organization
award for fiction.
The Coffin Factory (on cd-rom)
The Beating Heart (dvd)
Carolyn Guertin
Works
Queen Bees and the Hum of the Hive – An Overview of Feminist Hypertext's
Subversive Honeycombings
Incarnation: Heart of the Maze
Skeleton Sky
Attributes of Heartbreak
Curatorial Projects
The New Incunabula
Assemblage
Adam Harrison, Aaron Peck
Doppelgangermagazine.com – Is an exclusively online journal based in Vancouver, BC.
We are devoted to publishing lively, intelligent, and critical writing on visual art and
literature. Specifically,we are interested in boundaries. What defines one thing in relation
to another? From this question, we hope to explore a series of other questions. For
example, what defines “good work”? What possible futures can criticism have? Then we
hope to complicate these questions, however tacitly, by asking: how do two seemingly
23
different practices—visual art and writing—correspond? As we imply in our tag line, it’s
difficult to tell where one ends and the other begins.
Karl Jirgens
Karl Jirgens is an Associate professor and Head of English at the University of Windsor
(Canada). He has taught at the Universities of Toronto, York, Guelph and Laurentian.
Since 1979, he has served as the editor-in-chief of Rampike,a critically acclaimed
international journal of art and literature. Jirgens is the author of numerous internationally
published articles, and two academic monographs on contemporary literature. He has
frequently published digital writing and is currently writing a scholarly book on chaos
and fractal theory in application to digital writing, and electronic media in theatre and
performance. He has published two books of fiction and two scholarly books. His writing
appears in print and digital form around the world. He lives in Windsor, Canada.
David Jhave Johnston
Maerd (2005-6) – work-in-progress
Sooth (2005) – Completed as artist-in-residence at Le Chambre Blanche weblab
Interface (2003) – commission for Turbulence.org
Chris Joseph (aka Babel)
Inanimate Alice (2005-2006) – Funded privately. Episodic multimedia stories. Won the
Premio per l'arte digitale in 2006 from the Italian Ministry of Culture, Department for
Cultural & Environmental Heritage, DARC (General Directorate for Contemporary
Architecture and Art), MAXXI (Nat. Museum for 21st Century Arts) and the Fondazione
Rosselli; ‘Hall of Fame’ finalist at the Digital Media Awards in Ireland (2006).
Zinhar (2005) – Digital poetry collaboration with 6 Turkish visual poets. Shown in
2005 at International Festival of Electronic Art 404, Argentina; VAD Video & Digital
Arts International Festival, Spain; Electrofringe, Australia; International Media Art
Festival, Armenia; Festival of Electronic Media of Rio de Janeiro, Brazil.
Animalamina (2003) – Funded via the Electronic and Spoken Word program.
Collection of digital poetry for children. Jury Recommended Work at the Japan Media
Arts Festival (2004); shown at FILE, Brazil (2004), VI Salon Internacional de Arte
Digital, Cuba (2004); Thailand New Media Art Festival (2004).
Bob Kasher
Founder with Lesley Classic of Database Directories a digital publishing company
producing both artistic and reference works. Currently involved with ICC (Inter-Active
Composition Corporation) a company producing hard copy and digital content including
works in XML and other electronic formats.
Andrew Klobucar and David Ayre
Banff Centre BNMI Coproduction: Global Telelanguage Resources Workbench (200406) Digital writing processing software containing a variety of “tools” to produce poetry
and experimental texts for electronic/digital reproduction. At Banff, we worked on a
specific application entitled “The Dictionary Project:” an ontologically driven text
generation system for the construction of new domain-specific terminology. Such a tool
24
experiments with the wider cultural history of dictionaries and lexicons in the English
language, exploring specific semantic processes in the digital age.
Examples of some of the new terminology created by the software were presented at the
Banff New Media Institute in summer 2004, where the project was completed as part of a
self-directed residency.
Vancouver Art Gallery: Music and Digital Text Performance for FUSE: Conflict
Diamonds. Improvisation using text generation software, cello/electronic music sampler
played by composer, Stefan Smulovitz, and vocals performed by Vancouver singer,
Vivien Houle.
Valerie Leblanc
Purplefireworks.com -- ‘Working’ wordsite launched in late 2001: various essays, poetry,
online animation launch based upon text. The site was originally intended as a kind of
ad-on blog of writing. Since that time, LeBlanc began using purplefireworks as a main
site to place references to new projects in a variety of genre.
Timetravelinthismoment.com -- Funded through the Spoken and Electronic Word section
of the Canada Council in 2002. Based upon poetry and essays on mediation, the site was
launched in February 2004. A DVD of the poetry videos and a booklet containing all of
the writing on the site were also distributed by Valerie LeBlanc. (ISBN 0-973506-1-2)
Facts and Artifacts in the Collective Matrix -- An interview based online essay on the
subject of archiving. Valerie LeBlanc was invited by Melinda Rackham to take part in the
online discussion International preservation projects dealing with online art in The essay
is noted on Empyre - February 2005 - To Save or Not to Save? La fondation Daniel
Langlois pour l'art, la science et la technologie links to the essay.
Michel Lefebvre
LIQUIDATION - un photoroman (1998) This photonovel, first developed with
photographer Eva Quintas to be a book in 1994-1995, was produced as a web-radio
fiction in collaboration with Radio-Canada French FM network in 1998. The photonovel
was further produced on a CD-ROM as a random fiction using a generative engine
developed by Produits logiques LopLop. -- Michel Lefebvre is currently General Director
of Agence TOPO, an art center dedicated to creation, production and dissemination of
new media projects related to digital narrativity. He also works at developing web sites
for cultural organisations. Current personal project, funded by the Littérature orale et
électronique program in 2002 and still under development, is PAX-le monde en
évolution, a system based fiction calling for the participation of visitors to add content.
Jason Lewis
Active Text (2000 – present)
I Know What You're Thinking (2001)
Intralocutor
Stephen Morrissey
coraclepress.com – Publish online poetry/prose chapbooks
25
Claude Paré
Writer, poet, multidisciplinary artist and garden designer, Claude Paré published his first
texts of fiction in reviews. His first collection of poetry entitled La seconde tour was
published in 1987. In collaboration with the artist Gisele Poupart, he programmed and
wrote one of the first electronic books of Quebec, Tu ne seras plus qu'une image (1995).
He won the Émile-Nelligan award for Chemins des sel in 1991 and was a finalist for the
Governor General of Canada award in 2000 for Exécuté en chambre. Pick-Up Sticks, his
web project, obtained the Prix fonds-Bell of FCMM in 2001. Pick Up Sticks (2006) is a
web site of poetry inspired by the landscape of the railroad which crosses Montreal from
east to west. The reader travels the railroad, discovers and hears the landscape, and enters
a poetic fiction of people who criss-crossing the railroad.
Kate Pullinger
Inanimate Alice – Multimedia online novel by Kate Pullinger and Chris Joseph.
The Breathing Wall – New media fiction
Branded – A collaboration with Talan Memmot
Angela Rawlings
Logyology – Funded by the Electronic and Spoken Word program.
Marshall Soules
The Cyborg Instructor
Reading the Signs on the Wall: Improvised Images in the Public Sphere
The Juxtaposition Engine
Michael Tweed
Pensum.ca
michaeltweed.coffeehouse.ca
Ted Warnell
warnell.com (1995 – present) – New media network.
Lori Weidenhammer
Brain Dress
Diva – open the bag
Postcards
Jeremy Wexler
NO DAMN GOOD, ART MUSIC AND TOMFOOLERY FROM NDG (ongoing): A
neighbourhood-based magazine in CD-extra format. It contains writing, visual arts and
music by people who live or work in Montreal's NDG neighbourhood. It is sold by local
merchants and over the internet. We have sold 250 copies after two issues. We have
published the work of Genie award winner Peter Madden and Quebec Writer's Federation
Short Story Contest winner Alex Haber, bluesman Rob Lutes, festival regulars The Wells
and Jesse Chase, Angela Russell, Terry Joe Banjo, Jono Aitchison and Roxanne Ross.
26
Audience Statistics
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27

Dear Canada Council

Transcription

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