35 | 2005

Now showing 1 - 4 of 4

How Do I Cool Down the Overheated Medium? Reading Stuart Moulthrop's Hegirascope 2, "the most typical hypernovel"
Lee, Shuen-shing (2005) , S. 1-31
Hegirascope appears to be structurally disorderly due to its disorienting hyperlinks and discomforting temporal pull. We suggest that, to grasp Hegirascope's structure, the first step is to stop it from running automatically. Once the temporal pull comes to a halt, one is able to sort through the content space for narrative threads and non-narrative units. The paper also illustrates the distinctive use of hyperlinks and color tricks, instances that exhibit the fluidity of digital materiality. This maneuvering of links and colors reveals Stuart Moulthrop's meticulous organization, which further posits that order is buried in the disorder of the apparent "narrative confetti." Hegirascope incorporates non-verbal (visual and interactive) elements into the narrative, in ways resonating with one of the print prototype--Laurence Sterne's Tristram Shandy. Based on this observation, the paper contends that Hegirascope is "the most typical hypernovel in digital literature," echoing Victor Shklovsky's statement that Tristram Shandy is "the most typical novel in world literature."
Intercultural medium literature digital: Interview with YOUNG-HAE CHANG HEAVY INDUSTRIES
Yoo, Hyun-Joo (2005) , S. 1-9
The literary praxis and methods for its interpretation are relevant not only within a same language-area, but also as a medium of intercultural understanding. Resulting from the currently deep pervasive medial changes, digital literature comes to this arena. It is necessary for the reception of the digital literature to comprehend particularities of new media, which determines the form of the innovative literature. The media aesthetic, which is positioned in contrast to the mainstream research with more accents on fascination of technical innovations, allows to observe at a distance from its object. This point of view can be applied in the situation of other countries, above all in industrial nations, where there is e an asymmetry between the rapidly developing communication technologies and their philological, media-philosophical discussion. The works of YOUNG-HAE CHANG HEAVY INDUSTRIES, a net art group, which was founded in South Korea and is famous as well in Europe for their provocative digital-poetry, are located just in this area of tension. Their works are expected to function as an intercultural medium with double meanings, on the one hand they activate the unknown subject of digital literature in South Korea, on the other they help to an understanding the strange motives in Europe. Hyun-Joo Yoo talked with the artist duo from South Korea and USA about netart, teamwork, concret poetry, literaure as movie, life and speed, the lack of interactivity and multimnediality and about Sex in Korea.
Stepping Into the River: Experiencing John Cayley's RIVERISLAND
Engberg, Maria (2005) , S. 1-9
In this paper I investigate the emergence of new writing and reading practices under the impact of digital media. Examining Cayley's poetic work riverIsland , I focus on what the poet himself calls “literal morphing.” These transformations of letters constitute, I argue, an important shift in poetic writing whose importance for literary analysis must be acknowledged. I conclude that poetic works in programmable media lead to a rethinking of concepts of surface and depth in relation to writing. Emerging works of art and literature in networked and programmable media receive increasing attention within new media studies communities and other cognate contexts. However, a fewer number of scholars within more established disciplines, such as in my field, literary studies, are simultaneously pushing to include digital forms of literature into their realm of study. Questions arise, however, of how to study them, what concepts, methods, and theories to employ, and, ultimately, how one should define the necessary skills and training of scholars. I will touch upon some of these important and pressing issues in this paper by reading a digital poetic work, riverIsland, by acclaimed poet and scholar John Cayley.
Talan Memmott's "Lexia to Perplexia"
Dreher, Thomas (2005) , S. 1-15
The combination of dynamic screen presentations with integrations of visual and textual ciphers is a characteristic of a net projects´ group in Memmott´s work. "Lexia to Perplexia" (2000) provokes attention as a maturated example of this group. Memmott developed "Lexia to Perplexia" as a hyperfiction combining icons, parts of codes resp. punctuation marks and neologisms via DHTML and Javascript. Users can investigate the possible screen presentations of the ten source codes resp. chapters. Memmott´s combinations of textual parts with pictures reflect relations between users (as "remote bodies"), their screens and networks. This article on "Lexia to Perplexia" explains connections between the internal parts of the project and proposes some clues for the interpretation of (relations between) ciphers in the hope to facilitate reading and deciphering.

Browsing 35 | 2005 by Subject "Digital Poetry"

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