ed. by Roberto Simanowski
5.Jg. / Nr. 32 - ISSN 1617-6901
Inteview with Noah Wardrip-Fruin | John Cayley's "Overboard" | Configurative Praxis in Computer and Video Games | "First Person" | Interactivity as Aspect of Modern Aesthetics | "Vom Readymade zum Cyberspace" | Amerika's "Filmtext 2.0" | Hunziker's "Nord" | Literature in the Age of Virtual Reality | Seaman's "Exchange Fields"
Wardrip-Fruin has made himself a name as an
author (Impermanence Agent, Talking Cure,
Screen) and a scholar (New Media Reader, First
Person) of digital literature and new media
studies. Roberto Simanowski talked with him
about disappearing, instrumental, fixed, and
responsive text, about text-games, word
pictures, critical technical practices, and the
future of digital literature.
demonstrates 'ambient' time-based poetics: The
text drifts continually in and out of familiar
legibility - sinking, rising, and sometimes in
part, 'going under' or drowning, then rising to
the surface once again. John Cayley describes
and explains his piece (its programming and
rhetorical configuration) in detail.
computer games develop? How can the player
change the game and bypass its rules? Should one
be allowed to sell game characters on eBay? Are
computer games able to serve as means of
political communication? Julian Kücklich
discusses these and other questions.
premise of this collection of essays by new
media practitioners and theorists is that
computer games can be seen as examples of
electronic literature, while other forms of
electronic writing are becoming increasingly
more game-like. Julian Kücklich argues that
the ambitious attempt to map new media from this
perspective ultimately fails due to the othering
of alternative approaches and an unwillingness
to learn from the mistakes made in other areas
of new media research.
to distinguish between real and feigned
interactivity? What meaning does the overused
term actually have? What are the criteria
of interactivity? Elivira Barriga derives the
term from social science, examines its
ideological function in concepts of avant-garde
art and discusses various technical based ways
of participation in media art.
essays in this book introduce to the alliance of
art and media since Dada, compares avant-garde
art (Readymade) with phenomena in mainstream
media (Big Brother), shows how ideas of
avant-garde art have been perverted in mass
media (the concept of interactivity), and
discusses the deeper relationship between
Duchamp's "Large Glass" and Turing's "Black
Box". Roberto Simanowski found a lot of useful
information, some well known arguments
(including their shortcomings), and interesting
perspectives worth further discussion.
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.
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.
Benjamin's analyses of the connection between
technology and capitalistic politics and
Adorno's critic of Kulturindustrie with
respect to digital media still valid? Does the
publishing industry disappear or rebuild itself?
Where is the money in the Internet? Do we need a
theory of literature whose methods meet features
of literature in the net such as intermediality
and interactivity? Sadhana Naithani introduces
her research concept.
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.
ed. by Roberto Simanowski (Editorial)