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Hypertext/Hyperpoesis/Hyperpoetics
[English]
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Electronic
writing is not simply the e-equivalent of paper
writing because writing that is electronic has
different properties than writing that is on
paper. The difference is in physical and
material properties. The most interesting of
these are not static properties (i.e., how many
lines there are in the text or how many bytes it
occupies) but properties that relate to the
malleability of the electronic text. These are
properties that inject the unpredictable into
the work, always spinning away from its viewers
and creators the way a listserv by nature
spirals off-topic uncontrollably or the way
that, since a page doesn't seem to display the
way you intended, you just live with it. Loss
Pequeño Glazier is looking for a better
understanding of the dynamics of web-based
hypertext and asks whether a sense of hypertext
can be garnered from the people who seem to be
prominent in the field.
http://www.dichtung-digital.com/2002/05-31-Glazier.htm
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Railway,
Ocean and Book. Harold A. Innis' "Kreuzwege der
Kommunikation" [German]
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It all
started with books about the history of the
Canadian Pacific Railway, the Canadian fur
trade, and cod fishing. Out of this a special
critique of the media evolved whose analysis was
not driven by moral conviction. This analysis
included the notion of transport media into
communication technology. The author of these
books is Harold A. Innis (1894-1952), professor
at the University of Toronto and teacher of
Marshall McLuhan .
http://www.dichtung-digital.com/2002/05-29-Simanowski.htm
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Explorations
of Ergodic Literature
[English]
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The
transformation of interface from a merely
indicative tool of navigation to a suggestive
element infused with metaphorical power in
text-based hypertext literature, and the
incorporation of hypermedia and modes of play
and games into the hypertext scenario--both
strains are gradually winning attention in
electronic writing. Topics such as the
clarification of paidia (play) and ludus (game)
constituents, their formal impact on literature,
and the comprehension of the aesthetic matrices
projected by the symbiotic infusion of
literature, play and games, have been posited,
creating a new node in the network of literary
studies. Shuen-shing Lee's paper explores these
fertile new fields and aims to bring more
poetical recognition to digital
textualities.
http://www.dichtung-digital.com/2002/05-26-Lee.htm
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French
e-poetry. A short/long story
[English]
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"1964 the
first electronic poems were written by the
French Canadian engineer Jean Baudot ... 1975
the first exhibition of automatically produced
poems took place during the "Europalia " event
in Brussels. ... In 1985, during the exhibition
"Immatériaux" in the Georges Pompidou
Centre, the audience was invited to create and
print computer generated poems. ... We met some
members of the ALAMO group during the first
Conference for e-literatures in Paris in 1994. I
have been surprised by their aggressivity
against the emerging computer based poetry. For
them, nothing new could be done out of the paper
publication. There was obviously a break between
the authors who saw the computer as a tool and
the ones who are considering the machine as an
autonomous medium." - Patrick-Henri Burgaud
tells the story of French e-poetry.
http://www.dichtung-digital.com/2002/05-25-Burgaud.htm
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Esther
Hunziker's Project Gallery "un focus"
[German]
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Esther
Hunziker's project un focus is a gallery
of experiments with digital rhetoric: a car
accident, which situates us as spectators in the
car, grainy images of lovers and flashing images
of fighters are simultaneously put in and taken
away, and a "unforgetful" palimpsest.
http://www.dichtung-digital.com/2002/05-10-Simanowski.htm
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Tracing
back: Netliterature and its Pre-(Hi)stories
[German]
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With
reference to Queneau's sonnet combination and
the combinatorical poetry of Barock, Peter
Gendolla and Jörgen Schäfer question
the "media etiological perspective", focused on
the apparatus' disposition, drawing attention to
the classical avant garde as a reference to
computer generated literature.
http://www.dichtung-digital.com/2002/05-08-Gendolla-Schaefer.htm
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Sexy
is Short, Colorful, and Fast. Florian Rötzer's
"Digitale Weltentwürfe"
[German]
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Cyberspace
is to the "technical avant garde of media users"
what America once was to the immigrants tired of
Europe: vanishing point of desire, destiny of
utopias. But this Eldorado was never what it was
presumed to be: the anarchy gives way to the
order of portals, interaction doesn't really
bring freedom to the user, the utopia of
cyberspace democracy is revealed as a mode of
escapism from the public space...
http://www.dichtung-digital.com/2002/05-08-Simanowski.htm
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Visions
about the 21st Century in Nicholas Negroponte's
"Being Digital" [German]
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In the
world of atoms there are books, CDs, video
cassettes, newspapers - things one can touch,
things which have weight, which sometimes have
to be returned and almost always paid for. In
the world of bits products are bodiless,
intelligent, personalized, and can be
manipulated and transformed. Nicholas
Negroponte, advocate of the 'digital revolution'
, explains what the future looks like.
http://www.dichtung-digital.com/2002/05-07-Simanowski.htm
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Building
the Wall and the Tower of Babel in Simon Biggs'
"Great Wall of China"
[German]
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In Biggs'
work the words of Kafka's story are used by a
text generator to create an endless stream of
syntactically correct but semantically
meaningless sentences. A complex setting which
blurs who is actually considered to be the
author here: Kafka, the language machine, its
programmer, or the user? Another
question: Does one need to know Kafka's
original text in order to understand Biggs'
'adaptation'? And how does the wall relate to
the tower? And what is the semantic of all it
anyway!
http://
www.dichtung-digital.com/2002/04-20-Simanowski.htm
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Technology,
Aura, and the Self in New Media Art. Interview with
Simon Biggs [English]
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Biggs'
work has focused its attention to interactive
installation, animation, cd-rom, the Internet
and related media. He has also published
numerous essays on media art. Among his digital
artworks are "The Great Wall of China", "Mozaic"
and "Babel". Roberto Simanowski talked with him
about new media art, about concepts of
technology, about the 'trap of interactivity',
about aura and symbolic value in artifacts, the
author's signature in "The Great Wall of China"
and the self as illusion in
"Babel."
http://www.dichtung-digital.com/2002/04-20-Biggs.htm
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