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Ahoy! Remaking Moby-Dick is now in print!

Book cover

The Book Cover: itself a remaking submission

After our screening of the video submissions for the Remaking Moby-Dick project, Trish Harris (project curator) and I continued to accept more literary submissions from which we made a selection and collected together in a print volume, with QR-code links to other video and audio remakings. We even included contributions from more playful non-human poetry generators. It’s a truly inspiring collection of reflections with Melville’s Moby-Dick as an inspirational muse, and the breadth and talent of the contributors is astounding; from authors with multiple books of poetry and fiction, to academics with a love of media and literature, to musicians, photographers and fine artists, they all came aboard and made our project an enormous success. You can view the remaking blog for a list of contributors and links to find the full text, available online via Lulu and Amazon. Remaking Moby-Dick was published jointly by Art Line and the Pea River Journal.


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Remaking Moby-Dick: A multimodal storytelling adventure that needs you!

In the spirit of all things Moby, I am working on yet another Moby-themed project. This is the Remaking Moby-Dick Project, an International multimodal digital storytelling event that will be screened at the Mixing Realities Digital Performance Festival in May 2013 in Kalrkskrona, Sweden, but also published and recirculated in other forms. I am working with curator Trish Bodiford Harris to coordinate this project, and we are currently seeking submissions and participants. You can read more about the project on our Remaking Moby-Dick blog. Come aboard and join the fun. We need you. Moby needs you.

*Update: In May 2013, the Remaking Moby-Dick Project YouTube version was screened at the “Mixing Realities Digital Performance Festival” in Karlksrona at the Blekinge Museum and in late 2013, the print version of Remaking Moby-Dick was published. Wahoo! It’s a wonderful collection of more print-centric creative reflections on the text, but also includes QR code links to select video components. (A more current blog post about the publication is also available with links to access the texts.)

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Moby Marathon Remixing

The late spring and summer were packed full with exciting trips and research, and sometimes a combo of both, but I haven’t really updated my activities for a while–a little longer than intended. I guess that’s a sign of being busy…

This fall too has immersed me in teaching, including a new course called Digital Bodies in Literature, which I am offering as an exclusive undergraduate seminar elective (3 students only!) in The Digital Culture and Communication Program. More on that in a later post and the ways it has engaged me in thinking again about those-oh-so-troublesome non-human bodies

Whaling Captian reads Moby-Dick

A “real” 19th C whaling ship Captain begins the reading at the Mystic Museum outdoor stage.

I do want to highlight, however,  a trip from this past August which I am “revisiting “a lot lately in light of developments in an on-going “marathon” project (a literal and figurative description).

This summer while in the US, I went to Mystic, Connecticut and to the Mystic Seaport Museum for the annual  “Moby-Dick Marathon”–a non-stop 24 hour reading of the complete text of Melville’s Moby-Dick. And, yes, it was almost exactly 24 hours, although unlike a few Moby die-hards, I wasn’t present for the whole time. I did get to read some key chapters, and favorites of mine, though– Chapters 10 and 133–for example. It was thrilling and a little surreal, particularly as I read the Chapter 133, “The Chase: First Day” aboard the Charles W. Morgan, an original 19th century whaler being restored at the museum and currently in dry-dock. Reading aloud to the crowd, some of whom who had spent the night on the ship, and from noon the day before at other museum locations, and then finally speaking the lines “There she blows! – there she blows! A hump like a snow-hill! It is Moby Dick!” which signals the first sighting of the whale itself in the entire novel, actually gave me goose bumps. I definitely got my Melville geek on, just a little bit. It was the 27th annual reading in Mystic, but the first for me. What an out-of-body (and yet embodied) experience!

everyone reads Moby

Mo’ Moby reading aboard ship

Besides getting to hang out with true Melville fans (as you’d have to be to participate in a reading of this type), I was also there to do some research on how to stage such a marathon reading, as I am hoping to  create my own “(Re-)Mixed-up & (Re-)Mediated Moby-Dick Marathon”  in May 2013 (or possibly September 2013, if I need/am allowed extra time). This will be a cornerstone event in the launch of the first iteration of the “(Re-) Mapping Moby Project.”  (A video outlining this project in more detail is also available online and I’ve blogged about it as well.) My conversations with organizers and museum staff, who were very generous to share ideas and methods, were very helpful and key to helping me think through the organization of my own event.

reading Moby-Dick

All manner of devices were used during the marathon to read the text, smart phones to paperback.

The event will be included as part of Art Line sponsored Digital Performance Festival I’m coordinating to further my research in, and efforts to help create, a sustainable Digital Art Platform.  As part of Art Line, many of the International partners are working to create a “platform” for knowledge exchange in the southern Baltic region for exploring art innovation in public, physical and virtual spaces. This means both making a literal platform, included as part of the Art Line website in the form of commissioned art works, contests, and dissemination of events, but also sharing best.practices, artifacts, and experiences working in these arenas. My plan for the festival is to invite artists from the Southern Baltic region, and beyond, to participate in the festival with works that foreground performance in physical and virtual space. I hope to represent a variety of performance practices and media, including sound artists, dancers, visual media, musicians, and mixed-media theater.

large fisherman statue

Moby-sized fisherman statue at Blekinge Museum archives in Rosenholm, along with Telling the Baltic artists and story-collectors

At the core of the festival will be the “(Re-)Mixed-up & (Re-)Mediated Moby-Dick Marathon Reading.”  Similar to, and yet significantly different from, a traditional marathon reading, we will include a non-stop live reading of the novel from key sites in Karlskrona inspired by “Moby” settings.

ship hanging in Admirality Church, Kalrksrona

Ships hang from the ceiling in the old wooden Admirality Church (Amiralitetskyrkan) in Karlskrona

(As a town situated on the sea with a long-naval history, this is not so difficult really. We don’t have whales, but we have old wooden churches with ships inside, giant Moby-sized fishermen, and lots of water and shore line to inspire pantheistic musings. )

twitter team

Twitter Team onboard the Charles W. Morgan sends updates and pop culture references.

But our marathon also will be punctuated with skype-readings from participants in global locations, social media reflections, artistic media “renderings” of content, and other public interventions and performances that accompany the reading. In Mystic,  there was a twitter team on hand to “tweet” updates and references, but we hope to extend substantially  the use of social and other media at our event.

Melville “himself” showed up to read the epilogue

The reading is intended as an extension of many of the goals articulated in the “(Re-) Mapping Moby Project.” My research there is focused on exploring textual innovation, new interpretive strategies, and media production through a critical awareness of embodied performance. By “staging” the novel in our mediated marathon, I hope to draw attention to the ways in which mixed media practices can offer methods for knowing-differently, for coming to a deeper onto-epistemological understanding of “texts” and media  (to borrow  a term from Karen Barad and her reflections on posthumanist performativity) . As impacted as I was by the purity, density, and sheer volume of Melville’s words when I listened to them read aloud during the marathon in Mystic, I felt too there was another dimension of connectedness that might be offered to the “reader” if she were to become even more fully immersed in the text through a variety of other creative renderings.

After all, the body of the whale, in all its fleshy layered-ness, in all its blank-page whiteness, offers multitudinous possibilities for representation…

Is it that by its indefiniteness it shadows forth the heartless voids and immensities of the universe, and thus stabs us from behind with the thought of annihilation, when beholding the white depths of the milky way? Or is it, that as in essence whiteness is not so much a color as the visible absence of color; and at the same time the concrete of all colors; is it for these reasons that there is such a dumb blankness, full of meaning, in a wide landscape of snows- a colorless, all-color of atheism from which we shrink? (–“The Whiteness of the Whale,” Moby-Dick)

papier mache whale

Marathon readers and museum visitors help construct a papier mache Moby in the shipyard throughout the reading: an other kind of material remix

Other organic bodies too (human, cellular, textual, and tactile), in tandem with their  motile and sensory properties, can be foregrounded in the mixed media experiences we create. In my current Moby-work, I draw historical parallels to Melville’s radical review of 19th century techno-culture and the methods he uses to deliberately rework the nature of textuality and the body (of the whale) in his Romantic quest narrative. The white whale, an elusive and yet enormous un-presence in the aesthetics of Melville’s work is an earlier example of material augmentation referenced in the contemporary digital work we are creating. The use of augmented reality, social media, and live-action in combination with other media interventions in the text, is key to investigating how mixed media

papier mache Moby

all whales, eventually, are white….

experiences can revolutionize material methods for (re-) experiencing traditional literary narratives. Moby-Dick as an inspirational base text is already radical and materially eccentric, begging the reader to take narrative risks, and so I am heeding the call, and into the swirling center I go, round and round, “slowly, drawn towards the closing vortex.” Send me a life-buoy coffin. Or maybe just a Rachel-like rescue vessel. Or maybe just some cake…

The “Great White Cake,” served at the end of the marathon reading in Mystic to celebrate Melville’s Birthday

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new materialism spring

This spring for me  is filled with reflections on “new materialism,” and I’ve got the conference schedule to prove it. I will be presenting work at three conferences in April and May exploring the ways in which new materialist practices can engage important issues of embodiment in my research. And I’m using (you guessed it), Moby-Dick, as a core site of investigation. Each of the presentations offers a different angle on the issue, but collectively I’m hoping to probe more deeply ways in which I can think through (think with) materiality within emergent digital media space and develop my (re-)Mapping Moby framework. My three upcoming  “talks” are:

  • “Mapping Moby: digital cartography, affective bodies, and a whale of a text Gender, Bodies, and Technology International Conference. Virginia Tech, Roanoke VA (April 26-28 2011)
  •  “’Call me Ishmael’ and other (new) material performa(c)tivities and ontological entanglements.” The Non-Human Turn in 21st Century Studies, University of Wisconsin-Milwaukee, Milwaukee WI (May 3-5 2011)
  • “(F)lensing and Reading the Whale  with New Spectacles” (working title). Entanglements of New Materialisms. Linköping University, Linköping, Sweden (May 25-26 2011)

I say “talks” because I’m not entirely sure the format they will take. I’m trying to incorporate at least some more performative elements in my presentations, reflective of the issues I’m dealing with, so we’ll see how that goes. I haven’t actually confirmed the format of my Linköping presentation either, so I think I may be able to be especially “loose” with this one. When I was in Linköping for a  research residency in the fall, I discussed with the organizers a kind of (re-)Mapping Moby demo for the conference, but since I am quite behind in technical development, I will have to figure out a way to 1) develop technology more quickly, or 2) demo in a way that bypasses some of the technical constraints in development. Hmmmm,  we’ll see.

I must say, as much as we academics all try to veer away from the conference format, it does create a familiar (if often dull) mechanism for succinctly presenting ideas. Dusting off the Powerpoint and propping oneself on the podium for 20 minutes is unimaginative, but safe. The irony, though, of working through such complex “new-material” theoretical patterns, those that evoke non-representational models and onto-epistemological perspectives, while clicking through ppt. slides, or worse, shuffling papers, is rich. The philosophical dilemma from theory to discursive practice is not new, of course, but it is really resonating with me these days. Creative critical practice is a bitch. As much as I long for the camaraderie necessary to think with the ideas at appropriately-themed conferences, I balk at the idea of another conference listening to academics read theory at me. And by balk, I mean I have  a strong visceral affective reaction that propels me to the hotel bar, rather than to that exceedingly ugly little conference presentation room, badly lit by ppt. and its Microsoft kryptonite properties that weaken even superhero academics. Ahh, Lex Luthor, you are powerful.

Anyway, I’ll share more of my new materialist dilemmas in more detail  as I’m working through each of this conference talks. Stay tuned.

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