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www.dichtung-digital.de/Reviews
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Designwriting
and Postliterarism. Mark Amerika's "Filmtext
2.0" [English]
Filmtext 2.0 is
a professionally programmed audiovisual event.
Amerika, who once invented stories and characters,
turned into a data designer and remixes questions
about perception and the possibility of the truth.
The questions are quite old and the design is quite
flashy. Roberto Simanowski wonders whether this
work is just kitschy or a great example of
Amerika's concept of theory-play and
self-promotion.
http://www.dichtung-digital.org/2004/2-Simanowski-c.htm
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Esther
Hunziker's "NORD"
[German]
Gilbert Dietrich discusses NORD by Esther Hunziker
with respect to aspects of digital literature such
as intermediality, interactivity, and performance.
For him, this hyperfiction shows an interesting
convergence between form and content in part one,
looses its narrative function in part two, and
turns into performance in part three.
http://www.dichtung-digital.org/2004/2-Dietrich.htm
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Bill Seaman's
"Exchange Fields" [English]
There are three
ways to experience this piece: 1. Being taken by
the hypnotic composition of visuals, sound, and
material environment, subscribing to the attached
buzzword "interaction". 2. Asking, after having
seen so many interactive installations, with a
weary shrug: So what?! 3. Considering the grammar
of the interface and come to an adventurous
conclusion.
http://www.dichtung-digital.org/2004/2-Simanowski.htm
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"A Tale in the
Desert" [English]
If you could
work together with hundreds of other people to
create a utopian society, how would you go about
it? Adam Kenney holds that the Massively
Multiplayer Online Role-Playing Game (MMORPG) A
Tale in the Desert asks exactly this question and
reports the answers he found.
http://www.dichtung-digital.org/2004/1-Kenney.htm
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Paris
Connection: Antoine Schmitt's vitual entities
[English]
Like Rilke’s panther, Schmitt’s creatures
have the double life of a symbol. They represent
what they are: a panther imprisoned in a zoo and a
programmed creature caught in a box. They also
signify those looking at them, because their
viewers have their own bars. ... Finally we may
come to understand: the point is not that we cannot
free them for their programmer controls their
options; the point is that we desperately hope (or
at least should) he really does.
http://www.dichtung-digital.org/2003/parisconnection/schmitt-review.htm
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Paris
Connection: Servovalve's audio/visual/interactive
work
[English]
As Joan Brooks McLane explains in Early Literacy,
small children do not distinguish between drawing
and writing. The letters are lines and shapes as
well as letters. The teleology of culture demands
that we see the child’s acquisition of
literacy—and therefore her reduction of lines
to letters and depictions to characters—as
progress. ... It is specifically this
“flickering” or “oscillation”
between an inscription’s two distinct
phenomenological modes of being—viewable or
legible—that Servovalve exploits in the work
entitled nurb.
http://www.dichtung-digital.org/2003/parisconnection/servovalve-review.htm
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