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Machine-Mannerism
and narrative patterns. Eckard Kruse's
Text-O-Mat
[German]
Texts from the machine is an old dream known from
Baroque and the Cut-up-Method in 20th century. With
the computer there are new possibilities. Some
products even earned awards. Does prose work as
well as lyrics? Kruse's Text-O-Mat answers by
evasion. Instead of aleatoric texts one finds
preprogrammed patterns with little variations.
However, to understand one can refer to Italo
Calvino, Oscar Wilde, and Novalis.
http://www.dichtung-digital.org/2003/1-simanowski-c.htm
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Texte, Scripts
& Codes
[German]
Xcult has exhibited work with text, language and
typography since 1996: TV-Plots with blurred
pictures, a shaking description of an earthquake,
an essay which is critical towards technology but
falls for its effects. There is a lot of media
criticism in this collection, however, Roberto
Simanowski finally asks about the "l'art pour
l'art" of coding.
http://www.dichtung-digital.org/2003/1-simanowski-b.htm
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Esther
Hunziker's Project Gallery "un focus"
[German]
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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Simon Biggs'
"Great Wall of China" [German]
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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Max Payne
[German]
The essay
examines genre discourses in the action game "Max
Payne" (2001). It draws attention to notions of
space, time, and bodies by positioning the game in
relation to Hollywood action movies. This entails
an examination of the technological specificity of
the cinematic and game apparatus respectively.
Gunzenhäuser argues that gaming technologies
mediate presence in historically and culturally
specific ways, allowing male users to experience
their subject function in distinct ways. Therefore,
an intertextual examination of the computer gaze
allows a reappraisal of computer-generated
environments in terms of cultural constructions of
identity.
http://www.dichtung-digital.com/2002/03-22-Gunzenhaeuser.htm
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