www.dichtung-digital.de/Reviews

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Designwriting and Postliterarism. Mark Amerika's "Filmtext 2.0" [English]
Filmtext 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.
http://www.dichtung-digital.org/2004/2-Simanowski-c.htm

Esther Hunziker's "NORD" [German]
Gilbert 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.
http://www.dichtung-digital.org/2004/2-Dietrich.htm

Bill Seaman's "Exchange Fields" [English]
There are 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.
http://www.dichtung-digital.org/2004/2-Simanowski.htm

"A Tale in the Desert" [English]
If you could work together with hundreds of other people to create a utopian society, how would you go about it? Adam Kenney holds that the Massively Multiplayer Online Role-Playing Game (MMORPG) A Tale in the Desert asks exactly this question and reports the answers he found.
http://www.dichtung-digital.org/2004/1-Kenney.htm

Paris Connection: Antoine Schmitt's vitual entities [English]
Like Rilke’s panther, Schmitt’s creatures have the double life of a symbol. They represent what they are: a panther imprisoned in a zoo and a programmed creature caught in a box. They also signify those looking at them, because their viewers have their own bars. ... Finally we may come to understand: the point is not that we cannot free them for their programmer controls their options; the point is that we desperately hope (or at least should) he really does.
http://www.dichtung-digital.org/2003/parisconnection/schmitt-review.htm

Paris Connection: Servovalve's audio/visual/interactive work [English]
As Joan Brooks McLane explains in Early Literacy, small children do not distinguish between drawing and writing. The letters are lines and shapes as well as letters. The teleology of culture demands that we see the child’s acquisition of literacy—and therefore her reduction of lines to letters and depictions to characters—as progress. ... It is specifically this “flickering” or “oscillation” between an inscription’s two distinct phenomenological modes of being—viewable or legible—that Servovalve exploits in the work entitled nurb.
http://www.dichtung-digital.org/2003/parisconnection/servovalve-review.htm