- I 9 I + I new

Paris Connection: Nicolas Clauss' provisory goodbye to painting [English]
The end of painting is verbally expressed in Clauss’s Mechanical Brushes, a moving still life and a revision of a Futuristic gesture. The brush no longer embodies the appropriate tool. It can only serve as a symbol of its own lack of necessity. The brush of digital images is the code; painting, in its materiality, has become text.

Machine-Mannerism and narrative patterns. Eckard Kruse's Text-O-Mat [German]
Texts from the machine is an old dream known from Baroque and the Cut-up-Method in 20th century. With the computer there are new possibilities. Some products even earned awards. Does prose work as well as lyrics? Kruse's Text-O-Mat answers by evasion. Instead of aleatoric texts one finds preprogrammed patterns with little variations. However, to understand one can refer to Italo Calvino, Oscar Wilde, and Novalis.

Texte, Scripts & Codes [German]
Xcult has exhibited work with text, language and typography since 1996: TV-Plots with blurred pictures, a shaking description of an earthquake, an essay which is critical towards technology but falls for its effects. There is a lot of media criticism in this collection, however, Roberto Simanowski finally asks about the "l'art pour l'art" of coding.

Esther Hunziker's Project Gallery "un focus" [German]
Esther Hunziker's project un focus is a gallery of experiments with digital rhetoric: a car accident, which situates us as spectators in the car, grainy images of lovers and flashing images of fighters are simultaneously put in and taken away, and a "unforgetful" palimpsest.

Simon Biggs' "Great Wall of China" [German]
In Biggs' work the words of Kafka's story are used by a text generator to create an endless stream of syntactically correct but semantically meaningless sentences. A complex setting which blurs who is actually considered to be the author here: Kafka, the language machine, its programmer, or the user? Another question: Does one need to know Kafka's original text in order to understand Biggs' 'adaptation'? And how does the wall relate to the tower? And what is the semantic of all it anyway!

Max Payne [German]
The essay examines genre discourses in the action game "Max Payne" (2001). It draws attention to notions of space, time, and bodies by positioning the game in relation to Hollywood action movies. This entails an examination of the technological specificity of the cinematic and game apparatus respectively. Gunzenhäuser argues that gaming technologies mediate presence in historically and culturally specific ways, allowing male users to experience their subject function in distinct ways. Therefore, an intertextual examination of the computer gaze allows a reappraisal of computer-generated environments in terms of cultural constructions of identity.