Monday, November 14, 2005

Simulating a state of mind induced either by ten to twelve hours on the net a day and/or by a vulnerability to "flesh time", the epic cyberpoem The Roar of Destiny combines "flooding" of memory flashbacks with a heightened awareness of background noises and an intertwining of significant and insignificant life details. The opening interface is unstable. To follow a semi-coherent path, you must immediately click.
The primary structural device is this dissolving and reassembling interface that was derived from information overload induced by too many hours on the net. Radiating from this primary interface, each lexia is then built from a "frozen interface" composed of relevant words that sometimes run rigidly, under control down the sides and across the bottom of the primary text and sometimes fragment or are merged with the primary text.

It is suggested that the reader follow the text in the story-bearing lexias by reading the bolded words -- while at the same time viewing the relevant words and links peripherally, as one does with the links in online newspapers.

The first person, the "I" of the narrative, is a way of connecting the reader to the narrator. It leads the reader into the details of the narrator's immediate environment -- the small things, the seemingly inconsequential events that trigger memories and thoughts. In the Roar of Destiny, the narrator's name is Gweneth. I am her when I am writing her words. However, she is not me. This is a work of fiction.

Five primary strains run through the work -- a series of flashbacks to the home of a modernist sculptor somewhere in Arizona; the cabin on the southside of the Colorado rockies that is Gwen and Gunter's home at the time of the telling of the story; elements of Gwen's virtual workplace; a series of yellow screens on the borderline between normal and abnormal; and disordered flashbacks to predominantly nonlucid periods. These flashbacks are characterized by a black "background", by schizophrenic language breakdown, and by an appropriately hypertextual paranoia. The sixth collection of lexias is a fragment of a story that the narrator Gwen is creating about another place and time.

Integrating visual components, The Roar of Destiny represents these strains (that diverge, combine, diverge) using a combination of color and screen design shifts.

The reader, like the narrator, is involved in a continual interior struggle between the "real" and the "virtual", between the murky, stark black-backgrounded paths and the bluegreen-backgrounded paths beside clear mountain streams.

Begun in December, 1995 this work of public literature was in flux for four years. New screens were slowly added and, with every addition, the links on other screens were changed so that a reader returning to the work may have found the paths by which he or she previously navigated the work to have disappeared, been diverted and/or augmented.

The Roar of Destiny Emanated from the Refrigerator. I got up to get a Beer was completed in 1999.

Set in a different time and place, it is a sequel to l0ve0ne.

Thursday, November 10, 2005

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Artists books: These books combined images and text in non-sequential ways, and they were the forerunners of the web-based works that I now create.

Sculptures: Free Values, 1988
Performed on the streets of San Francisco on Nov. 8 - election eve, 1988, this sculpture/performance used information to examine political distortion of moral values using quotes such as George Bush: "If I had known the microphone was on, I would not have taken the Lord's name in vain", CBS News 1/27/1988 and Oliver North: "And if the Commander in Chief tells this Lt. Col. to go stand in the corner and sit on his head I will do so"

Installations: Bad Information, Somar Gallery Space, San Francisco, 1987

Performances: Performances
The OK Genetic Engineering Company Car, Berkeley, CA, 1983

Super Lucy, 1982-1983, performed at The University Art Museum, Berkeley, CA; Target Video, SF, CA and many other places

Friday, November 04, 2005

This is some info I want to use for my presentation.

Hypernarratives imitate the associative, contingent flow of human thought and the unpredictable progression of our lives. Using the computer's capability of mimicking our disordered yet linked thought processes, I strive to put the reader in the narrator's mind. I want the reader to look at the world through her eyes, to move in her memories.
I use the first person in many of my works --- such as its name was Penelope; The Roar of Destiny; and Dorothy Abrona McCrae --because it is a way of connecting the reader to the narrator and because it allows me to focus on the details of the narrator's immediate environment, the small things, the seemingly inconsequential events that trigger memories and thoughts. Or in works such as Ask for Sanctuary, the narrator can speak freely in a situation where she does not know for whom else she speaks.

My female characters are primary because they tell their story themselves. Like an actor studying a role, I put myself into the mind of a narrator as I write. I am her when I am writing her words. However, she is not me. These are works of fiction. The many individual narrators I have created speak for themselves, and their opinions do not necessary reflect those of their creator.

Writing on the web, I think of my words as "public literature". I am also aware of the work's existence in the wider whole of the web. There is a powerful consciousness of the unseen audience accessing the work night and day around the world.

Like many artists, my work looks at society in multiple ways -- ranging from the bawdy feminist take on office politics in 500 3X5 Cards and Other Stories to the poetic sorrow expressed in Ask for Sanctuary. For all societies -- from ancient Greek to contemporary times -- the freedom to make art in such diverse ways is of primary importance in the creation of vibrant and lasting cultures.

There are many different links for one "story." While you are in the story if you click on a different picture it will bring you to something else to read. If you click on the same picture or one that was in the same place it doesn't bring you back to where you just were it brings you to something compleatly different.

Quote from a hyperlinks: Having sex after several years without is like riding a bicycle." Marietta had said last time I saw her. "You think you won't remember how but you sit down on the bicycle. Feet on the pedals. Hands on the handlebars and away you go, tooling down the road the way you always did."From Part Two: Interlude- Dorothy and Sid.

I drank too much red wine.
The Broadthrow's party is looping in my mind,
nested with brief dreams and nightmares.

I dreamed that Jeff and I were in bed.
He was running his hands up and down my body.
He put his tongue in my mouth. His hands
were on my breasts. He ran his fingers
down the inside of my thighs.
We made love.

In the morning, he suggested a cheese omlette,
but I didn't have any cheese.

How I react to Sama's husband's presentation:

Joint piece with music and imagery, I didn't understand some of it until it was explained. I did enjoy that section where there was dancing and movement. I liked the way the movement of up and down and arms moving in different ways left the image behind when the movement changed.

He showed another piece that was a hiphop mix with imagery of graffiti. I can appreciate it but nether one are something that I am really in to.

Friday, October 14, 2005

This is my friend Stacey and my first project for Computer Imaging. We had to do at least two Ad Buster ads. We have a few things to touch up on to fix them, but these things were the two subjects we wanted to touch on.

Just in case you can't read what the ad says here it is: Top- If you want to be as swingin' as I am baby... Trydrinking multiple cups of the "love Juice." What I like to call "Coffee." Bottom- With a coffee shop on every corner, I can keep my mojo working overtime. Oh, behave. Got Coffee?

Friday, September 30, 2005

Well this is my first post. As I was looking for a digital media artist to do my research project on I came across this image by Lynn Hershman titled Phantom Limb #3. My first responce was as though I was looking at myself. I once tried to draw a self portrait of myself and instead of drawing a face I replaced it with a camera. My thought behind that was because I am concentrating in photography and I like to see the world through the lens of the camera. Things can look so different than with the eye alone.