POEM BY NARI visual poetry from the cyberstream |
Komninos, formalcriticalanalysis o s * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *ismerelyanotherformoftheartists/writersselfevaluationp * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *rocess,somethingwealldoaswedevelop.thecomputerhasensur s j u s t o u r s e l v e s , d o e s i t o f f e r o r g i t h e n e w c y b e r a r t . ( b y t h i s i a m n o t s aedthatliteraturehaswellandtruelyenteredthepostmodernph s t u d e n t . u q . e d u . a u / ~ s 2 7 1 5 0 2 / j u k d y i n t h e 2 0 ' s a n d 5 0 ' s a n d 7 0 ' s . i t i saseandwearestartingtoseethesamerestrictiveboundaries,a f o r m a l c r i t i c a l a n a l y s i s i s m e r e l y e r h a s e n s u r e d t h a t l i t e r a t u r e h a s wsearlypostmoderncriticismbegantoseetherestrictionsofmo l i s n o t s o i m p o r t a n t a s t h e s i d e t r i p e r e i s n o t s o m u c h a s e n s e o f j o u r n e y adernistliterature.poststructuralistschallengedtheconce s a s e n s e o f c o n s t a n t v a r y i n g a n d d i f a s e x p e r i m e n t a l a r t i s t s o u r w o r k w iptofauthorasauthority,makingeachreadingare-writingbyth n p o s i t i o n s , t o g a i n a c c e p t a n c e f o r t d a z z l e d b y t h e e a s e a n d n e w n e s s o f tereader.hypertextliteraturegivesthereadernavigationalc a t r e a l i t y i s , i c a n c e r t a i n l y s e e c l e m e n t i o n : . n e t c a t e g o r y : p r i x a r s eontrolthroughnon-lineartexts,allowsforalternateinterpr a r l y p o s t m o d e r n c r i t i c i s m b e g a n t o a l l e n g e d t h e c o n c e p t o f a u t h o r a s a uetations.thenewkindsofartusingtextastheirbasethatweare e d i u m , w h a t d e v i c e s c a n b e u s e d s o t h f e r e n t e x p e r i e n c e s . t h e l u r e s a r e nseeing,hearing,tryingtomakesenseofontheinternet,arethe u t a l l h a v e t o b e s c r i p t e d . w e a r e s t a d w r i t e r s a n d t e a c h e r s o f l i t e r a t u ryliterature?isatamagotchi(computerpet)literature?isaso a p o e t w h i l s t n o t c l a i m i n g t o k n o w w h r i t i n g b y t h e r e a d e r . h y p e r t e x t l i tftwarepoetrygeneratorliterature?isthethreedimensionalm l l b e t r i v i a l i s e d b y t h e e s t a b l i s h e h e w o r k i t s e l f a n d a s k i s i t c o m m u n i covinganimatedtextwearemakingliterature?isamixtureofthe n g w e a l l d o a s w e d e v e l o p . t h e c o m p u t r n p h a s e a n d w e a r e s t a r t i n g t o s e e t hsethingsliterature.ifsowhatdevicesdoesitusetocreateemo t h o r i t y , m a k i n g e a c h r e a d i n g a r e - w e r a t u r e g i v e s t h e r e a d e r n a v i g a t i otion,tellstories,evokeimages?whatneedstobeavoidedinaut y t h e r e a d e r / i n t e r a c t i v i s t ? w h a t r r e w a s a d e p a r t u r e a n d a r r i v a l w i t h ahoringforthismedium,whatdevicescanbeusedsothatmaximume n p o s t m o d e r n l i t e r a t u r e t h e a r r i v a s a n d a l t e r n a t i v e p a t h w a y s b u t s t i lnjoymentisextractedbythereader/interactivist?whatrolew i m p o r t a n t t h a t w e d o n ' t i d e n t i f y w i y i n g w e h a v e n ' t b e e n i n f l u e n c e d b y tillintelligentagents,separatefromwriterorreader,haveon l o o k i n g a t w h a t w e a r e d o i n g , n o t j u s i n g e n o u g h t o m a k e i t a p l e a s u r a b l e edeterminigthenarrative,ofinterpretingthethetext.litera v e s a n d t h e w a y t h e y r e l a t e t o t h e p e o l w a y s a t t h e f o r e f r o n t o f m a j o r u p h eturehasbeenseenassomekindofjourneyinthepast.inmodernis o l e w i l l i n t e l l i g e n t a g e n t s , s e p a r l a f o r w a r d m o v i n g s o r t o f j o u r n e y . itliteraturetherewasadepartureandarrivalwithafairlyline a n o t h e r f o r m o f t h e a r t i s t s / w r i t e r x t a s t h e i r b a s e t h a t w e a r e s e e i n g , harjourneyinbetween,inpostmodernliteraturethearrivalisn e i n t e r n e t , a r e t h e y l i t e r a t u r e ? i s u n d f o r a w h i l e , w h e t h e r t h a t r e g i m eotsoimportantasthesidetripsandalternativepathwaysbutst d n o t r e p e a t w h a t h a s b e e n d o n e a l r e a o t h e y l e a r n a n y t h i n g a b o u t t h e m s e lillaforwardmovingsortofjourney.incomputer/internetlite e a r l y a n d c a n h i g h l i g h t t h e i n t e r f a s e e t h e r e s t r i c t i o n s o f m o d e r n i s t lraturetheactionsortofsurroundsthereader/interactivista a t i o n s . t h e n e w k i n d s o f a r t u s i n g t e l s t o r i e s , e v o k e i m a g e s ? w h a t n e e d sndtheyreturntothesamespotonlytobeattractedbyanotherint e e n s e e n a s s o m e k i n d o f j o u r n e y i n t h e p a s t . i n m o d e r n i s t l i t e r a t u r e t h eerestingactioninacompletelydifferentdirection.sotheeis a v a l s o f a r t / s o c i e t y s t a n d a r d s b e c p l e a r o u n d t h e m ? i m a y n o t k n o w t h e a bnotsomuchasenseofjourneyasasenseofconstantvaryinganddi c e b e t w e e n c o n f l i c t i n g c o n s t r u c t e a t a m a g o t c h i ( c o m p u t e r p e t ) l i t e r afferentexperiences.theluresarenotonlytextual,theyareau a t m a x i m u m e n j o y m e n t i s e x t r a c t e d b * * * * * * * * * * * * k o m n i n o s ' s c y b e r p o eral,visual,andkineticvisualinnature,butallhavetobescri s s e l f e v a l u a t i o n p r o c e s s , s o m e t h i p l e t e l y d i f f e r e n t d i r e c t i o n . s o t hpted.wearestartingtoexplorethisnowinourwork.avantgarde t h t h e s e m o v e m n e n t s t o v e r i f y o u r o w e w r i g g l i n g , i w o n d e r i f a n y o n e h a s t,experimentalartisalwaysattheforefrontofmajorupheavals e a r i n g , t r y i n g t o m a k e s e n s e o f o n t h h e s o f t w a r e b u t t o l o o k d e e p e r i n t o tofart/societystandardsbecausewearealwaysupagainsttheri v e a n y t h i n g t o t h o s e w h o e n g a g e i t , d e b e s t d o n e b u t i d o k n o w t h a t w h a t i k ngidruleswhenoneregimehasbeenaroundforawhile,whethertha . a v a n t g a r d e , e x p e r i m e n t a l a r t i s a i s a n a r t f o r m o r a p o l i t i c a l s y s t e m .tregimeisanartformorapoliticalsystem.asexperimentalart h e i r l a s e r t o o t h p i c k r e a d y ? k o m n i n e b o x . h t m l c y b e r p o e t r y s i t e : f i n a listsourworkwillbetrivialisedbytheestablishedwritersand t u r e ? i s a s o f t w a r e p o e t r y g e n e r a t o t h i n g s l i t e r a t u r e . i f s o w h a t d e v i cteachersofliteratureandtheory.itisimportantthatweknoww e s d o e s i t u s e t o c r e a t e e m o t i o n , t e l a t e f r o m w r i t e r o r r e a d e r , h a v e o n d ehathaspreviouslybeenachievedbyavantgardsartmovements,a t e r m i n i g t h e n a r r a t i v e , o f i n t e r p r n c o m p u t e r / i n t e r n e t l i t e r a t u r e t hndnotrepeatwhathasbeendonealreadyinthe20'sand50'sand70 i d r u l e s w h e n o n e r e g i m e h a s b e e n a r o x p e r i e n c e f o r o u r a u d i e n c e a s w e l l a's.itisimportantthatwedon'tidentifywiththesemovemnents s o l u t e t r u t h , n o r k n o w h o w t h i n g s a r u / ~ s 2 7 1 5 0 2 p o e t r y j u k e b o x h t t p : / /toverifyourownpositions,togainacceptanceforthenewcyber i t e r a t u r e . p o s t s t r u c t u r a l i s t s c h n g l i t e r a t u r e ? i s a m i x t u r e o f t h e s eart.(bythisiamnotsayingwehaven'tbeeninfluencedbythem). a u s e w e a r e a l w a y s u p a g a i n s t t h e r i g e a n d t h e o r y . i t i s i m p o r t a n t t h a t w eibelieveitistimewestartedlookingatwhatwearedoing,notju v e d b y a v a n t g a r d s a r t m o v e m e n t s , a n e o p e n e d m a n y c a n s a n d m a n y w o r m s a r tstdazzledbytheeaseandnewnessofthesoftwarebuttolookdeep t r y s i t e h t t p : / / s t u d e n t . u q . e d u . a s i t e : a t o m a w a r d s : 1 9 9 7 . h o n o u r a b lerintotheworkitselfandaskisitcommunicatinginabetterway e l l a n d t r u e l y e n t e r e d t h e p o s t m o d e t s , a l l o w s f o r a l t e r n a t e i n t e r p r e t,isitstimulatingenoughtomakeitapleasurableexperiencefo r l i t e r a t u r e ? i s t h e t h r e e d i m e n s i o n a l m o v i n g a n i m a t e d t e x t w e a r e m a k irouraudienceaswellasjustourselves,doesitofferorgiveany e t i n g t h e t h e t e x t . l i t e r a t u r e h a s b r / i n t e r a c t i v i s t a n d t h e y r e t u r n t othingtothosewhoengageit,dotheylearnanythingaboutthemse a n o t h e r i n t e r e s t i n g a c t i o n i n a c o m o t o n l y t e x t u a l , t h e y a r e a u r a l , v i slvesandthewaytheyrelatetothepeoplearoundthem?imaynotkn r t i n g t o e x p l o r e t h i s n o w i n o u r w o r k h e m ) . i b e l i e v e i t i s t i m e w e s t a r t e dowtheabsolutetruth,norknowhowthingsarebestdonebutidokn o w c a n b e c o n s t a n t l y i m p r o v e d a n d a s l e c t r o n i c a : a u s t r i a : 1 9 9 7 . * * * * * *owthatwhatiknowcanbeconstantlyimprovedandasapoetwhilst n a l c o n t r o l t h r o u g h n o n - l i n e a r t e x t o b e a v o i d e d i n a u t h o r i n g f o r t h i s mnotclaimingtoknowwhatrealityis,icancertainlyseeclearly f a i r l y l i n e a r j o u r n e y i n b e t w e e n , i e a c t i o n s o r t o f s u r r o u n d s t h e r e a d eandcanhighlighttheinterfacebetweenconflictingconstruct d r e a l i t i e s t h r o u g h m y p o e t r y . i h a v e s a m e r e s t r i c t i v e b o u n d a r i e s , a s eedrealitiesthroughmypoetry.ihaveopenedmanycansandmanyw u a l , a n d k i n e t i c v i s u a l i n n a t u r e , b k n o w w h a t h a s p r e v i o u s l y b e e n a c h i eormsartewriggling,iwonderifanyonehastheirlasertoothpic i s t : m o s t c r e a t i v e / i n n o v a t i v e w e b a t i n g i n a b e t t e r w a y , i s i t s t i m u l a tkready? t h e s a m e s p o t o n l y t o b e a t t r a c t e d b y * * * * P b Nkomninos CREAM Komninos Zervos: Fun Park |