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InterSzene -
Symposium on Theatricality and Orally in
Internet
supported by MIGROS-Kulturprozent (look
contributions in Newsletter
July)
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Stephan
Porombka: Tankgirl in digital Terrordrom
(German)
From Tim Staffel's text "Das Mädchen mit
dem Flammenwerfer" a team of three people has
created an ambitious multimedia project about
the pyromaniac Tank-Girl. The story line was not
sacrificed to the pathos of emancipation and/or
to the dogma of interactivity. However, the
spectacle of images has the same weight as the
necessity of imagination in traditional text. It
is an example for how a piece can be translated
into an other medium, following that media's
rules without submitting totally to them.
http://www.dichtung-digital.de/Interscene/Porombka
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Walter
Grond: [krusche*grond*house]
(German)
Grond reflects on the project's function and
explains how he sees it today: the call for
critical consciousness and the melancholic
attitude of literary salons for aged rebels; the
electronic room for people with the
in-between-feeling, who reveal the own in order
to talk about the other.
http://www.dichtung-digital.de/Interscene/Grond
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New
additions to the Praxis-Pool:
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Transactive
Exploration of European Cultural
Heritage
(Europe)
Cyberprose:
Internet-Literature-Workshop
(Endres / Tübingen)
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Forum
"Netcommunication and its impact":
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Avantgarde
as Arrièregard: The Example of
Kolportageroman (German)
Mirjam Storim recalls the beginning of
cultural industry in Germany around 1900. She
shows that the changing of the author and reader
position can already be found then, as well as
phenomena like transversality and
transfugality.
http://www.dichtung-digital.de/IASL-Forum/Storim-18-Aug-00.htm
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Poets-Blackboard
digital - Thomas Hettche's Net-Project NULL as Book
(German)
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From the
first to the last day of 1999, various authors
delivered highly individual stories on different
topics, which were then linked in different
ways. Traditional media misunderstood this
project again and again as the example of
netliterature, as did the project itself, which
now is released as book. Nevertheless, NULL
(English: Zero) is an important example of
literature in the net and can indeed help
netliterature to "shed its baby teeth." Roberto
Simanowksi takes a closer look.
http://www.dichtung-digital.de/2000/Simanowski/30-Sep
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Hyperfiction
pure - Interview with Susanne Berkenheger
(German)
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The 'Grand
Dame' of German Hyperfiction keeps focussing on
word adventures even in times of
multimedia. Roberto Simanowski talked to her
about here award winning Hyperfiction "Zeit
für die Bombe" (Time for the Bomb) and
"Hilfe!" (Help!): about bomb attacks by click,
the reader's observation by the texts, the
transformation of readers into players, and the
author's relation to technology and the
avantgarde.
http://www.dichtung-digital.de/Interviews/Berkenheger-28-Sep-00
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Netliterature
in the literary net - Interview with Hermann
Rotermund (German)
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Hermann
Rotermund was an organizer and judge of the
Pegasus-Competitions for netliterature in 1997
and 1998 and is member of the jury of
E-Book-Awards 2000. Roberto Simanowksi talks to
him about competitions for "net"-literature,
evaluate criteria, the relation of poetry and
technology, his Cyberopera project, and
E-Books.
http://www.dichtung-digital.de/Interviews/Rotermund-26-Sep-00
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Reading
Victory Garden (English)
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Raine
Koskimaa introduces the setting and personage of
Victory Garden and
discusses several issues of this
Hyperfiction: The order of narration;
various ways of ending (i.e. looping as end,
exhausting reading to see each single node); the
idea that everything we encounter in Victory
Garden, including the Gulf War, is just some
kind of virtual reality, fabrications of
paranoid minds; and the inter textual references
and allusions of this novel (Borges' "Garden of
Forking paths", Burrough's cut up technique,
Pynchon's Gravity's Rainbow ).
(>>>Abstract)
http://www.dichtung-digital.de/2000/Koskimaa-12-Sep
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Digital
Literature: From Text to Hypertext and Beyond
(English)
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This is
the abstract of Raine Koskimaa's thesis, which
calls the concept of Hypertext into question,
stressing its printed predecessors and
calling-with reference to Espen Aarseth-for a
cybertext theory that covers functionality
of all texts, printed or digital. Having
done away with the distinction between
hypertext, cybertext, and digital text, Koskimaa
nevertheless sticks to classical research issues
and focusses on hypertext fiction and its
narrative devices as ontolepsis-the
"leaks" between separate ontological levels-and
the use of spatial signification.
Koskimaas prediction: fiction based on
"pure" hypertext may be coming to an end, and
although there are computer games, virtual
realities and other massively programmed forms
towering on the horizon, there is also the
possibility for a new literature.
http://www.dichtung-digital.de/2000/Koskimaa-10-Sep
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Narration
paths in Hyperfiction. Storytelling as road through
the fictional room (German)
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Hypertext
communicates the dimensions of space and time
via the principle of navigation, which must be
fulfilled by the reader herself. Beat Suter
investigates how this vectorial interaction
between reader and text works.
(>>>Abstract)
http://www.dichtung-digital.de/2000/Suter-10-Sep
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Hypertext
2000 (English)
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"A rather
subjective conference report" by Anja Rau
http://www.dichtung-digital.de/2000/Rau-5-Sep
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When
Literature goes Multimedia (English)
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Roberto
Simanowski starts with Robert Coover's warning
about the threat of hypermedia
"suck[ing] the substance out of a work
of lettered art, reduc[ing] it to
surface spectacle" and uses three German
examples to illustrate that this is not the
case.(>>>Abstract)
http://www.dichtung-digital.de/2000/Simanowski/24-Aug
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The
Distributed Author. Creativity in the Age of
Computer Networks (English)
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Christiane
Heibach investigates authorship in digital
works. She stresses that, although it is still
the author who determines the text by designing
the possible paths the reader can take, the
Internet is a sphere where 1) the single creator
is replaced by a collective and communicative
creativity, and 2) a shift takes place from the
completed work to an ever-changing,
never-finished procedural project. Heibach
discusses two forms of cooperation: "weak"
(collaborations of authors and designers or
multiple authors), "strong" (where any Internet
user can participate, as in cooperative writing
projects). Apart from these collaborations,
another form, basically communicative, appears
(realized in Virtual Worlds where people meet to
interact by text and tell each other their
story). (>>>Abstract)
http://www.dichtung-digital.de/2000/Heibach/23-Aug
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Urs
Schreiber's "Das Epos der Maschine" - concrete
poetry digital (German)
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This
telescopic hypertext has been widely praised for
its impressive technical and graphical design.
Roberto Simanowski explores the fourfold syntax
- text, space, time, interaction - and
discusses to what extent the aesthetics of
spectacle (mis)use the text as the effect of its
appearance.
http://www.dichtung-digital.de/2000/Simanowski/23-Aug
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"Das
Epos der Maschine" - Interview with Urs Schreiber
(German)
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The
interview after the review. Roberto Simanowski
talks to Urs Schreiber about the basic idea and
production process behind "Epos", reading
beneath the surf of technical effects, "blood of
letters", and digital concrete poetry.
http://www.dichtung-digital.de/Interviews/Schreiber-23-Aug-00
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Questioning
Digital Aesthetics (English)
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Bo
Kampmann Walther asks: what is the object of
digital aesthetics and how are we to unite
existing interactive computer art with a
speculative, philosophical aesthetic? He
discusses Kant's aesthetics (which build a
critique on an a priori existing order,
the human concept of beauty) and Luhmann's
interferential aesthetics (language of art is
difference, non-identity). Walther depicts the
author of digital art as a unique 'point' from
where the initial form decision is extracted
('artist of the first degree') and suggests that
the aposterioric qualities of digital art events
be considered 'a priori' essentials.
(>>>Abstract)
http://www.dichtung-digital.de/2000/Walther-22-Aug
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"Die
Aaleskorte der Ölig" - Interview with Frank
Klötgen (German)
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The winner
of the 1998 Pegasus-Competition pretended to be
a movie, promised 6,9 billion ways to reading,
and was, all in all, a huge parody of hypertext.
It found only good friends or bitter enemies.
Roberto Simanowski talked to Frank Klötgen
about the Ölig's real problem, about the
aesthetic of ugliness, about insult of and by
the audience, literary models, and the German
netliterature scene.
http://www.dichtung-digital.de/Interviews/Kloetgen-22-Aug-00
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Digital
Art and Culture 2000 (German)
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Roberto
Simanowskis reports on the Third Digital Art and
Culture Conference, held August 2.-4., 2000 in
Bergen / Norway
http://www.dichtung-digital.de/2000/Simanowski/08-Aug
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