In reading the five digital narratives for this weeks discussion, I found that the conceptual frameworks for the stories were made up by a combination of things. Most of the stories developed through hypertext and remixes, and I also found that they were all very much like reading a diary. So much so in fact, that at times I became uncomfortable watching these personal secrets unfold with the mere click of a mouse. However, I also believe that this was each of the net artist’s intentions. Each conceptual framework was uniquely and strategically chosen to make the reader feel a certain way. For instance “Six Sex Scenes” by Adrienne Eisen, begins with a captivating piece of Eisen’s autobiography. With successful attempt at intriguing the reader to continue, she conveniently leaves links placed along the bottom of the screen; thus allowing the reader to decide which direction the story should go in next. Frustrating too however, was the way this hyper-textual story telling was set up. As a reader I wanted the story to maintain a rhythmic flow within the time line, yet with each click of my mouse I only found myself arriving at sporadic allotments of Eisen’s life. Determined to find the least round-about way to get from start to finish, I began rapidly clicking only to find it would be impossible to read this series of events in a linear fashion.
On the other hand, in Tina LaPorta’s “Distance”, you are allowed a linear perspective. With every click the reader learns more about LaPorta’s perspective on internet communication and long distance relationships. Though the author is not writing in complete sentences, and though some of her sentences are actually questions, the message which the author intends to get across is immediately understood. What might not be so clearly defined however, is whether LaPorta is simply playing a character in her net art work or whether the net art work is actually the “real” story of LaPorta herself. After reading “Distance”, I believed LaPorta was speaking of herself, though in story form. This again relates back to how each of the five artists used conceptual frame-working to enhance the overall impact of the story. By listing questions such as “is technology a veil?” and “is the virtual real?”, LaPorta is without a doubt aiming to stimulate new thoughts and feelings within the reader. We all use some form of technology, and most of us use some form of digital-networking, but LaPorta displays her emotions in such a way that it makes everyone step back and look at technology, specifically the internet, in a different way.
Then there is the story “Dakota” which is perhaps the most frustrating to read of them all. Though the flashes of words are perhaps written linearly, it is hard to determine what the story is actually written about. From what I could read, I think “Dakota” was about the emotions of dying young. With the help of data manipulation (i.e. the flashing of words and phrases) Young Hae-Chang Heavy Industries was successful at pulling forth emotions, even without complete understanding of what was going on.
Overall, what stood out the most to me throughout these stories were the different link strategies and conceptual framing used to manipulate data. I enjoyed reading in this new medium but at times also found it frustrating and anxiety inducing. I found that I am a linear thinker and that the lack of order left me feeling anxious and out of control.
On the other hand, in Tina LaPorta’s “Distance”, you are allowed a linear perspective. With every click the reader learns more about LaPorta’s perspective on internet communication and long distance relationships. Though the author is not writing in complete sentences, and though some of her sentences are actually questions, the message which the author intends to get across is immediately understood. What might not be so clearly defined however, is whether LaPorta is simply playing a character in her net art work or whether the net art work is actually the “real” story of LaPorta herself. After reading “Distance”, I believed LaPorta was speaking of herself, though in story form. This again relates back to how each of the five artists used conceptual frame-working to enhance the overall impact of the story. By listing questions such as “is technology a veil?” and “is the virtual real?”, LaPorta is without a doubt aiming to stimulate new thoughts and feelings within the reader. We all use some form of technology, and most of us use some form of digital-networking, but LaPorta displays her emotions in such a way that it makes everyone step back and look at technology, specifically the internet, in a different way.
Then there is the story “Dakota” which is perhaps the most frustrating to read of them all. Though the flashes of words are perhaps written linearly, it is hard to determine what the story is actually written about. From what I could read, I think “Dakota” was about the emotions of dying young. With the help of data manipulation (i.e. the flashing of words and phrases) Young Hae-Chang Heavy Industries was successful at pulling forth emotions, even without complete understanding of what was going on.
Overall, what stood out the most to me throughout these stories were the different link strategies and conceptual framing used to manipulate data. I enjoyed reading in this new medium but at times also found it frustrating and anxiety inducing. I found that I am a linear thinker and that the lack of order left me feeling anxious and out of control.
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