20 | 2001

Browsing 20 | 2001 by Subject "Digital Media"

Now showing 1 - 2 of 2
  • Review
    Web/Fiction/Design: A brief beta-test of this year’s winner of the ELO Awards, Caitlin Fisher’s THESE WAVES OF GIRLS
    Rau, Anja (2001-10-31) , S. 1-8
    A (literature) award usually comes with publicity as well as responsibility. As this year's ambassador of digital literature the US-american Electronic Literature Organization chose a webfiction that does not meet the technological standards of current internet or CD-ROM productions. Neither the rather outdated technique of frames, nor Flash (a program for moving images), nor the embedding of sounds have been implemented in a way that is technologically useful (there's nor debating aesthetics) or ar least more or less correct. About 15 years after the "invention" of digital literature (this date, too, is open for discussion), the technology available has become so sophisticated that a single author obviously can no longer live up to the demands as a lonely creative genius. The quality even of praised digital literature seems to indicate that, caused by the raising of technical standards, the future lies in what collaborative writing in hypertext or online "Mitschreibeprojekte" did not mange to establish: the dismissal of authorship in the traditional sense of authoritiy over the text in favor of a plural, diverse team-work.
  • Article
    WYSIWYG or WYGIWYS: Notes on the Loss of Inscription
    Beiguelman, Giselle (2001-10-16) , S. 1-4
    "Content = No Cache" is a curious tag. Placed in the html code it updates the content of any on line page, erasing what was written before. It attributes a new role for writing. From now on it does not inscribe anymore. It is recycled and fades the idea of the original source. In fact there is not any difference between originals and copies just a continuous movement of reorganization of data and fluxes of information. They are identical resetting of the same informative code. But they are not identical for the experience and this is the fascinating of the clone logic. Its possibility of being identical being different. But all those dynamic elements, no matter if they are images, texts or sounds, are now made to be seen on the move, from inside the car or any other vehicle, on the walls, in moblie phones and PDAs, in accordance to entropy and acceleration logic. And also according to a lack of logic of the market, which makes what it is seen a resultant of traffic path, connection speed, browser... Digital culture does not assure visual unit, that kind of unity that allowed Mallarmé to revolutionize poetry, trusting the materiality of the page. In this sense, the loss of inscription points to shifts in perception, visuality and reading and poses an interesting question: How to deal with an art form conceived to be experienced in between, while doing other things?