Program, Attendees of the
contribution are German) Newsletter
5/2000 (2.Jg. / Nr. 12) - ISSN 1617-6901
InterSzene - Symposium zu Theatralität und Oralität im Netz: SMServices / Internet und Inszenierung / Scroll-Back A / Das Internet baut die Künste um / Das Larissa-Projekt / Scroll-Back B / Super-Scroll-Back A / Super-Scroll-Back B // Hyperfiktion und interaktive Narration // Hypertext 2000: Reading Room Trip Report // "Dominoa" // Forum "Künstlerische Gestaltungsmöglichkeiten von Hyperfiction und Hypermedia"
activists, and scholars from Switzerland,
Austria, and Germany discuss projects with, in,
and out of Internet with a special emphasis on
authorship, inscenation, and media jump.
Dichtung-digital publishes the symposium's
contribution in its July and September
"SMServices - Text on Demand" - Inter- and Transaction of the project group //theatermaschine. This discusses special projects of //theatermaschine and shows strategies of artistic / theatrical use of digital media, specially the Internet.
Sandbothe: Internet and
Beat Suter scrolls back the first day's presentation and discussion and provides thoughtful and critical comments.
Rotermund: Internet rebuilds art
Hermann Rotermund describes the characteristics of the media shift, discusses the specific language of the net (HTML as new world language) and to what extent Internet changes our perception. In the second part Rotermund introduces the projects of a multimedia cyber opera.
Clas: The Larissa-Project
Detlev Clas recalls the early Internet project Larissa42, an interactive broadcasting thriller by SDR and its listeners in 1995. Clas describes the new ways of communicating and interacting in order to produce the script collaboratively in Internet for 'posting' it on air and reports on the difficulties of such a project for the coordinators.
Guido Graf argues that most of the things we encounter today in the net have their history in traditional media, asks how does a link sound and insists on our not considering technical features of New Media - as links, multimediality, and interactivity - as a remedy of aesthetically despair.
Roberto Simanowski sets out from the keywords of the symposium's first presentation to discuss them in a broader context. The keywords of his little hypertext are for example: webpage as stage, characteristics of media and media jump, levels of authorship, typology of digital inscenation.
Uwe Wirth questions the new in hypertext (nonlinearity, interactivity), draws distinctions in the slogan from the "death of the author" (death of the author, but not of the scribent, the author's reentry as publisher), sheds light on the psychology of chatting (ready wit as exhibitionism), offers a typology of performance and raises questions about the difference between the "authentic" and "fictive link", about the role of corporality in hypertext and about the "performative role" of initiators of Internet projects.
of Beat Suter's thesis on hyperfiction and
interactive narration which describes starting
point, concept, and method of its
Pajares Tosca introduces the hypertexts
presented in the Reading Room of the Hypertext
Conference 2000 in San Antonio /
Texas: Deena Larsen's Dancing in Your
Soul, Robert Kendall's Penetration,
Marjorie Luesebrink's Califia, Jane
Yellowlees Douglas' Uh, dad? and The
Unknown by William Gillespie, Scott Rettberg
and Dirk Stratton.
Simanowski investigates the prize winner of the
Marianne-von-Willemer-Competition for literature
by women on the Net. Whereas this project at the
first look seems to degrade text to a ball in a
card game, at the second look it seems to be a
clever temptation to read. However, at
the third look it still leaves a lot of
questions open. (>>>Abstract)
"Net Communication and its results", carried out
by the International Archive for Social
History of Literature (IASL) and
dichtung-digital, has the following new
Concept, Program, Attendees of the Symposium (all contribution are German)