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Newsletter July '01 |
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Newsletter July '01 Photo
Fragments. Frank Richter's "I concrete
myself in a oscillating world"
[German] Caitlin
Fishers "These Waves of Girls".
Prizewinner of the ELO Award 2001
[German] From
Surfiction to Hypertext. Interview with
Raymond Federman
[English] Literature
Events and Net-Discourse. The
Internationales Literaturfestival and
Hypertext [German] I
am surfing therefore I am. The Net-Book
"Pixel-Ich"
[German] Russian
Hypertext. Olia Lialina's "My boyfriend
came back from the war"
[German] Newsletter
2000: Newsletter
1999:
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4/2001 (3.Jg. / Nr.
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earlier
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Is
there such a thing as Netart? If so, is
theater part of it? Gisela Müller
has some general thoughts, proposes six
genre categories and introduces the
prizewinners of "webscene". Her
conclusion: the new is where VR merges
with RL and the net is once more
understood as a medium of
distribution.
http://www.dichtung-digital.com/2001/07/18-Mueller
While
in the literature the end of the
apolitical and self-centered pop
culture has been declared, on the net a
kind of polit-pop has been developing,
which does good things with bad means:
faked websites, where disinformation is
spread, and artists pretend to be
representatives of important political
institutions. Roberto Simanowski sees
swindle for the sake of enlightenment,
media competence, and teaching people
to be suspicious. It all starts by
ordering the right URL.
http://www.dichtung-digital.de/2001/07/17-Simanowski
The
reader as object to object oriented
programming, which reads her reading.
Old techniques in commercial websites
can be used in digital narration as
well. Søren Pold talks about a
poetics of objects and their
interaction, and about the things
behind links and interface (Etoy's
Hijacking, Jodi's deconstructive
browser). His conclusion: digital
literature aims at interpretation and
revealing of the code, as "a critical
investigation into the
computer".
http://www.dichtung-digital.com/2001/07/15-Pold
Reinhard
Döhl recalls the tradition of
current net experiments, and Johannes
Auer reveals the deconstructionism of
text source fetishists (Jodi & Co)
as "binary idealism". Further issues:
aleatoric, terminology, visualization,
collaborative authorship, the
programmer's superiority to the
conceptualizing artist.
http://www.dichtung-digital.com/2001/07/4-Auer-Doehl
Richter's
answer to the question "Who am I today?
What will we do tomorrow?" is a self
portrait manipulated by Flash,
JavaScripts and dynamic layers. This
leads to interesting effects in
deconstructive photo-philosophy. If she
could program, Cindy Sherman would have
done things like this. However, she
would have avoided the repetitions and
would have better merged photography
and text, argues Roberto
Simanowski.
http://www.dichtung-digital.com/2001/06/25-Simanowski
"Who
am I today? What will we do tomorrow?"
was the question to be answered by
means of the Internet. The jury,
however, complained the lack of "net
specific interaction" and gave the
prize to two totally different
contributions. Roberto Simanowski
considers both problems.
http://www.dichtung-digital.com/2001/06/22-Simanowski
The
ELO Award 2001 goes to Caitlin Fisher's
hyperfiction These Waves of Girls. Why
did the jury give the award to this
brave narrative project instead of
other contributions set up much more
radically within the means of digital
media? Was it the multimedial packing?
Was it the suit of memorizing
appropriate to hyperstructure? Was it
the sexy topic of lesbian identity?
Roberto Simanowski introduces the piece
and adds some general thoughts on the
semantics of linkage,
text-image-relation, and aspects of
design.
http://www.dichtung-digital.de/2001/06/20-Simanowski
He
wrote - along with numerous
experimental novels - the 1996
manifesto "The Real Begins Where the
Spectacle Ends", he invented the new
Oxford English Dictionary terms
surfiction and critifiction, he is
considered a precursor of
hyperfictional writing, and now he
states: "The problem with hyperfiction:
it takes itself too seriously, it
whines, it's sad, it's not funny, and
worse it does not know how to be
self-reflexive." Roberto Simanowski
talked to Raymond Federman about
contemporary aesthetics of spectacle,
the concept of surfiction and
critifiction, its relation to
hyperfiction and realfiction, and about
pla(y)garism.
http://www.dichtung-digital.de/2001/06/09-Federman
Most
festivals for literature have there own
netliterature section nowadays. For
example, the first Internationales
Literaturfestival June 14.-24. in
Berlin. Is there such a strong faith in
the book's future that the media
competition isn't afraid anymore? Or is
the faith too weak to ignore the
challenger any longer? Roberto
Simanowski believes that the book
industry has just learnt from Foucault
and is trying to keep control by
staging a limited discourse about the
perennially unpopular subject.
http://www.dichtung-digital.de/2001/06/19-Simanowski
A
book about the impact of Internet on
everyday life - street media
historiography. This is how Christiane
Heibach reads the book that caused a
huge debate in Literaturcafe.de.
Heibach had fun reading it and does not
share the objections against publishing
this collaborative online writing
project in print.
http://www.dichtung-digital.de/2001/06/18-Heibach
Olia
Lialina's "My boyfriend came back from
the war" (1996) is a piece of digital
literature that has enjoyed remarkable
success. In contrast to other
hyperfictions this example works in a
way one never would have expected from
links. Is that because the story is so
short? Or because of the links set in
vertical and horizontal way? Or because
Lialina's English is simply
narrated?
http://www.dichtung-digital.de/2001/06/10-Simanowski