35 | 2005

Browsing 35 | 2005 by Title

Now showing 1 - 15 of 15
  • Article
    Art Games as Genre: An introduction
    Ploug, Kristine (2005) , S. 1-7
    The computer game industry is thriving. It is making more money than the movie industry, and games are showing up in more and more contexts. Games are virtually everywhere. But now there are also Art Games. They are made by artists as pieces of art. Some have ulterior motives, mainly political, others are merely a playful piece of interaction with the user. What makes them art and not just games? Kristine Ploug, co-editor of artificial.dk, gives an introduction.
  • Article
    The Art of Mapping Statistics: Interview with George Legrady
    Simanowski, Roberto (2005) , S. 1-10
    George Legrady Studio is a research and production integrated studio for digital interactive installations with recent public projects currently being realized for the Rem Koolhaas Seattle Public Library (2005), the Richard Meier designed Siemens Headquarters in Munich (1999), Ebner Stolz Corporate Offices, Stuttgart (1999), the Los Angeles Metro Rail (2002, 2005), and numerous exhibitions in museums in the US, Canada and Europe. Emphasis is on a systematic approach to permanent embedded architectural works and interactive installations through the implementation of complex technologies for new forms of content, narratives and analysis. Legrady - since 2001 Professor of Interactive Media, with joint appointment in the Media Arts & Technology program and the department of Art, UC Santa Barbara - is one of the first generation of artists in the 1980's to integrate computer processes into his artistic work, producing pioneering prizewinning projects in the early 1990's such as the "Anecdoted Archive from the Cold War" (1993), "Slippery Traces" (1995), "Sensing Speaking Space" (2002), and more recently the internationally traveling "Pockets Full of Memories" (2001-2005). He has recently completed a commission, "Making Visible the Invisible" for the Rem Koolhaas designed Seattle Public Library, was featured in November at the Whitney Museum Artport (http://www.artport.whitney.org). Legrady exhibited worldwide and received numerous awards. Roberto Simanowski talked with George Legrady about his work Making Visible the Invisible, a commission by the Seattle Public Library for their new innovative building designed by Rem Koolhaas, about the revelation and beautification of data, about the negotiation between artist and engineer in mapping art, and about the future of art.
  • Review
    Computerspiele erzählen Geschichten? Klaus Walters "Grenzen spielerischen Erzählens. Spiel-und Erzählstrukturen in graphischen Adventure Games"
    Wenz, Karin (2005) , S. 1-6
    Die Diskussion um die Funktion narrativer Elemente in Computerspielen fokussiert zumeist auf Interaktivitätsmöglichkeiten vs. Zuschauerrollen, die dem Spieler zugewiesen werden. Wobei dem Zuschauer fälschlicherweise eine passive Rolle zugewiesen wird und die aktive, interpretative Rolle des Zuschauers nicht berücksichtigt wird. Natürlich liegt hier ein gradueller Unterschied vor und die Interaktivität eines Spielers und diejenige eines Zuschauers oder Lesers sind nicht einfach gleichzusetzen. Als Ergebnis dieser Debatte werden narrative Sequencen (zumeist in Cut Scenes realisiert) und Gameplay strikt getrennt und als zwei unabhängige Teile in Computerspielen diskutiert. Eskelinen spricht sogar davon, dass Cut Scenes eine reine Verpackung sind, die mit dem Spiel selbst nichts zu tun haben. Verallgemeinerungen sind nicht sehr hilfreich, wenn sie nicht das Genre des Computerspiels mit berücksichtigen. Dieses ist das Ziel der Dissertation von Klaus Walter “Grenzen spielerischen Erzählens”, die spielerische und narrative Einheiten in Adventure Games untersucht.
  • Article
    Editorial
    Simanowski, Roberto (2005) , S. 1-2
  • Article
    Generating Art from a Computer Game: An Interview with Alison Mealey
    Petersen, Thomas (2005) , S. 1-6
    Many artists use various types of processes, events, social patterns etc. as controlling or contributing factors in the creation of artworks. Alison Mealey has chosen to base her art on the computer game Unreal Tournament. More precisely, she lets a number of virtual players play the game for approximately 30 minutes at a time and uses the data from the games to produce complex drawings. These drawings are also based on photographic portraits. Thomas Petersen, co-editor of artificial.dk asked Alison some questions about her art and the processes behind it. Check out Unrealart and Alison Mealey's blog.
  • Article
    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."
  • Article
    Der Hyperlink in der Lektüre: Pause, Leerstelle oder Flucht?
    Suter, Beat (2005) , S. 1-17
    This essay is an extended version of a lecture which was held in Mainz at the Gutenberg University during the symposion «literatur@internet» on january 21 and 22, 2002. An intended publication of all contributions to the event did not manifest. Three years later it may seem odd to publish an essay on reading hypertexts and the functions and meanings of hyperlinks. By now most scholars have "progressed" to researching "other" literary and art-related digital expressions. But the situation in early 2002 was not that much different. The year before scholars of new media and journalists of the old media had announced the death of hypertext and the triumph of multimedia. Everyone seemed to agree on the banality of hypertext and its foremost praised element hyperlink. This was exactly the time when hypertext had in fact just established itself among the masses of electronic network users as a communication standard. They would have needed more support on how to live with hypertext. But since hypertext was now a standard for the masses it seemed no longer of interest to the academic community which prior to this shift was heavily involved in researching literary hypertexts and related digital literature. At that point I tried looking into what had been established by the scholars so far. I put on "Proustian glasses" which according to the introductory quote will be the hypertext, checked if they fitted me and took a closer look at what others don't see anymore – the "important locations in a text", the topoi, the underlined passages, alas: the hyperlinks.
  • Article
    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.
  • Article
    Interkulturelles Medium Literatur digital: Interview mit YOUNG-HAE CHANG HEAVY INDUSTRIES
    Yoo, Hyun-Joo (2005) , S. 1-10
    Die literarische Praxis und die Interpretationsmethode sind nicht nur innerhalb des muttersprachlichen Raums relevant, sondern wirken auch als ein Medium des interkulturellen Verständnisses. Als Folge der gegenwärtigen tief greifenden medialen Veränderungen tritt die digitale Literatur neu in diese Arena ein. Um die digitale Literatur zu rezipieren, ist es aber notwendig, das Spezifikum der neuen Medien zu verstehen, das die Form der neuartigen Literatur determiniert. Die Medienästhetik, die sich im Gegensatz zu der auf die Faszination der Technologie akzentuierenden Medienforschung positioniert, erlaubt eine distanzierte Betrachtung gegenüber seinem Gegenstand. Diese Sichtweise kann auch auf Forschungssituationen anderer Länder angewendet werden, vor allem in jenen Industriestaaten, in denen eine Asymmetrie zwischen einer sich rasch entwickelnden Computertechnologie und deren philologischer und medienphilosophischer Diskussion besteht. Gerade in diesem Spannungsfeld befindet sich die Gruppe YOUNG-HAE CHANG HEAVY INDUSTRIES, die in Südkorea gegründet und wegen ihrer provokanten digitalen Poesie auch in Deutschland bekannt ist. Man kann davon ausgehen, dass ihre Arbeiten als interkulturelles Medium im doppelten Sinne fungieren, einerseits aktivieren sie das unbekannte Thema digitaler Literatur in Südkorea, andererseits helfen sie beim Verstehen fremdkultureller Motive in Europa. Hyun-Joo Yoo sprach mit dem Künstlerduo aus Südkorea und den USA über Netzkunst, Teamarbeit, konkrete Poesie, Literatur als Film, das beschleunigte Leben, den Verzicht auf Interaktivität und Multimnedialität und über Sex in Korea.
  • Article
  • Article
    Reconsidering Database Form: Input, Structure, Mapping
    LeMay, Matthew (2005) , S. 1-10
    In this essay, I argue against Lev Manovich's theorization of the database, and resultant critiques of mapping art. Suggesting that database form necessarily involves intricate interrelations of data in a rigid, predetermined structure, I propose that the general divide between content and form proposed by Manovich is at least an oversimplification, and at most erroneous. I take issue with Manovich's designation of mapping art as "anti-sublime," suggesting that it is instead the inputting of data into a database that can be considered "anti-sublime" in Manovich's terms.
  • Article
    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.
  • Article
    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.
  • Article
    Talan Memmotts "Lexia to Perplexia"
    Dreher, Thomas (2005) , S. 1-15
    Die Kombination dynamischer Bildschirmpräsentationen mit Verschachtelungen von Bild- und Textchiffren ist Charakteristikum einer Werkgruppe in Memmotts Oeuvre, in der "Lexia to Perplexia" (2000) als ausgereiftes Beispiel auffällt. Memmott verbindet in "Lexia to Perplexia" Icons, Code-Elemente bzw. Satzzeichen und Neologismen mittels DHTML und Javascript zu einer Hyperfiction. User können mit Mausbewegungen und Klicks die Präsentationsmöglichkeiten der zehn Quellcodes bzw. Kapitel erkunden. Die Text-Bild-Kombinationen reflektieren Verhältnisse zwischen Usern (als "entfernte Körper"), ihren Bildschirmen und Netzwerken. Zusammenhänge werden vorgestellt und Vorschläge zur Deutung von Chiffren werden angeboten, um die Auseinandersetzung mit "Lexia to Peplexia" anzuregen und zu erleichtern.
  • Article
    Writing on Complex Surfaces
    Cayley, John (2005) , S. 1-18
    Writing in programmable media is theorized in relation to the surface of writing.1 Within the framework of currently dominant cultural and technological formations, the surface of writing is conceptually simple, and this overdetermines practices of writing. As it is typically conceived, the surface of writing is a flatland plane, a 3rd-dimensionless scroll (however segmented or, indeed, fragmented) on which linguistic symbols, similarly dimensionless, are arrayed. Once language has come to rest on this simple surface, any qualities it may possess of temporality or material depth are bracketed. Programmable media problematize this dominant but simple model, and yet, arguably, its depthless, timeless surface misdirects the composition and publication of writing, even writing that is instantiated in programmable media. In the field of poetics, there are traditions for which the surface of writing is complex. Although rarely made explicit, such approaches to the writing surface have enriched the practices of important writers, particularly poetic writers. This essay sets out from one important statement on the complexity of writing surfaces and then pursues three examples of writing on/within/amongst such surfaces, connecting engaged poetic practices with literal art work in cinematic and programmable media. The film titling of Saul Bass is discussed; followed by the author’s series of pieces overboard and translation. Finally, there are remarks on the author’s work-in-progress for Brown University’s four-wall VR Cave, within which the surface of writing is literally, graphically complex. The surface of writing is and always has been complex. It is a liminal symbolically interpenetrated membrane, a fractal coast- or borderline, a chaotic and complex structure with depth and history.