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Useless
Programs, Useful Programmers, and the production of
Social Interactive Artworks. Interview with Scott
Snibbe [English]
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Is an
interactive installation an experience only of
the body? Are kids who just and immediately have
fun with an interactive installation understand
the piece better than adults who contemplate its
meaning? How does one come to create interactive
art? How can one produce interactive work that
is structuralistic without being boring? Who
wants to buy interactive installations and why?
Roberto Simanowski talked with Scott Snibbe
about kids, parents, Buddhism, benches and
walls.
http://www.dichtung-digital.org/2006/1-Snibbe.htm
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Scott
Snibbe's Deep Walls. A Close Reading
[English]
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Scott
Snibbe's interactive installation Deep
Walls is an example for how deeper meaning
can be found behind the joyful play with the
interface. What does the recording of the
interactor's shadow symbolizes? What does it
actually mean that it is deleted by new
interactors? Roberto Simanowski stepped back
from the installation and contemplated the
grammar of interaction.
http://www.dichtung-digital.org/2006/1-Simanowski.htm
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Camille
Utterback's Series External Measures
[English]
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Camille
Utterbacks work is often discussed solely in
terms of its pioneering approach to
interactivity. For Lisa Dorin it also lays claim
to a rich art-historical lineage of nonobjective
painting, abstract animation, and avant-garde
film.
http://www.dichtung-digital.org/2006/1-Dorin.htm
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The
Audience as Brush. Camille Utterback's
interactive installation Untitled 5
[German]
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After
painting with the artist's entire body or the
body of his assistant now there is painting with
the body of the audience. Who then is the
artist? Who owns the painting? Roberto
Simanowski inquires the sensual and
contemplative effects of Untitled 5.
http://www.dichtung-digital.org/2006/1-Simanowski-b.htm
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Digital
Art as Social Sculpture and Musical Score.
Interview with Richard Rinehart
[English]
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How does
one curate digital art? How can the subject be
defined? What is its state of art? How can
digital art be documented and preserved? What is
"digital literacy"? And how can one sell digital
artwork on eBay? Richard Rinehart, new media
artist and Adjunct Curator at the UC Berkeley
Art Museum/Pacific Film Archive knows the
answers.
http://www.dichtung-digital.org/2006/1-Rinehart.htm
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Code.surface
|| Code.depth
[English]
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How does
code make underlying systematics manifest? Can
the computing operation being traced down to a
core? How are the metaphors of software
engineering used in art? Rita Raley explores
these issues by readings of a Ted Warnell and a
John Cayley poem.
http://www.dichtung-digital.org/2006/1-Raley.htm
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Computer
Games as Narrative: The Ludology versus Narrativism
Controversy [English]
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Is the
concept of narrative applicable to computer
games? Are games therefore part of literature?
Or do they need their own methodological
approach and institutionalisation? In chapter 8
of her book Avatars of Story Marie-Laure
Ryan investigates the battle between
narratologists and ludologists and explains why
a game may not be a story but can be a machine
for generating stories, why the narrative in a
game often is only an affective hook
disappearing once the player is absorbed in the
fire of the action, and why on the other hand
some times the game is just a ludically
organized system for storytelling.
http://www.dichtung-digital.org/2006/1-Ryan.htm
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Event-Sequences,
Plots and Narration in Computer Games
[English]
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Fotis
Jannidis sees a narrative aspect in computer
games which has nothing to do with background
stories and cut scenes. A closer analysis of two
sequences, taken from the MMORPG Everquest
II and the adventure game Black
Mirror, allows to distinguish between the
sequence of activities of the player, the
sequence of events as it is determined by the
mechanics of the game and this sequence of
events understood as a plot, that is as a
sequence of chronologically ordered and causally
linked events.
http://www.dichtung-digital.org/2006/1-Jannidis.htm
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Hypermedia
and the Question of Canonicity
[English]
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Canonizing
hypertext? Or shall hypertext rather be
censored? What chance does hypertext have within
the curriculum? Is there something like
alternative canon? Astrid Ensslin investigates
the subject, advocates an inherently dynamic
canon, which follows the principles of
avant-garde aesthetics, and offers an exemplary
'rule canon' for literary hypermedia.
http://www.dichtung-digital.org/2006/1-Ensslin.htm
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