No. 36
(2006) ISSN 1617-6901
earlier newsletter

ed. by Roberto Simanowski (Editorial)

Interview Scott Snibbe | Snibbe's Deep Walls | Utterback's External Measures Series | Utterback's Untitled 5 | Interview Richard Rinehart | Code.surface | Computer Games as Narratives | Plot and Narration in Computer Games | Hypermedia and Canonicity

Useless Programs, Useful Programmers, and the production of Social Interactive Artworks. Interview with Scott Snibbe [English]

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.

Scott Snibbe's Deep Walls. A Close Reading [English]

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.

Camille Utterback's Series External Measures [English]

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.

The Audience as Brush. Camille Utterback's interactive installation Untitled 5 [German]

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.

Digital Art as Social Sculpture and Musical Score. Interview with Richard Rinehart [English]

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.

Code.surface || Code.depth [English]

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.

Computer Games as Narrative: The Ludology versus Narrativism Controversy [English]

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.

Event-Sequences, Plots and Narration in Computer Games [English]

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.

Hypermedia and the Question of Canonicity [English]

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.

Archive: 2005: 35, 34 | 2004: 33, 32, 31 | 2003: 30, 29, 28, 27 | 2002: 26, 25, 24, 23, 22, 21 | 2001: 20, 19, 18, 17, 16, 15 | 2000: 14, 13, 12, 11, 10, 9, 8 | 1999: 7, 6, 5, 4, 3, 2, 1