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Lorna Mills and Sally McKay
Digital Media Tree this blog's archive OVVLvverk Lorna Mills: Artworks / Persona Volare / contact Sally McKay: GIFS / cv and contact |
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Sorry, folks, for my recent (ongoing as it turns out) inactivity here on the blog. It's due to a combination of family trouble and also some subsequent dear friend trouble and a massive big work gig. I'll be back sometime soonish.
Digital Twist by Johannes Zits at SPIN until April 8th, 2007.
Digital Twister™ 2007 Performance documentation at SPIN
Digital Twister™ 2007 Documentation of the very happy women in the audience
Locker Room 2007 Digital Print
Confrontation 2007 Digital Print
The Couple 2007 Digital Print
Rebecca Diederichs
Where Impact Occurs 2005 (1 in group of 7 images) laminated digital print: 182.9 x 182.9 cm
Where Impact Occurs 2005 (1 in group of 7 images) laminated digital print: 182.9 x 182.9 cm
Where Impact Occurs 2005 (1 in group of 7 images) laminated digital print: 182.9 x 182.9 cm
Where Impact Occurs 2005 installation view at the Art Gallery of Sudbury
CYCLONE 2004/2005 laminated digital print: 128 x 197 cm
BRUTE 2004/2005 laminated digital print: 128 x 197 cm
BLAZE 2006 Installation view at YYZ Gallery
Witching Hour 2007 cut paper & ice installation by Ed Pien at Off The Map Gallery
Promise of Solitude 2005 cut paper installation detail by Ed Pien at The Koffler Centre until April 29.
Found Theory #1: this piece of paper was on the sidewalk...
What do you like better, narratology or ludology?
Excerpt from Espen Aarseth's "Genre Trouble: Narrativism and the Art of Simulation" in the 2004 MIT publication First Person edited by Noah Wardrip-Fruin and Pat Harrigan...
Underlying the drive to reform games as "interactive narratives," as they are sometimes called, lies a complex web of motives, from economic ("games need narratives to become better products"), elitist and eschatological ("games are a base, low-cultural form; let's try to escape the humble origins and achieve `literary' qualities"), to academic colonialism ("computer games are narratives, we only need to redefine narratives in such a way that these new narrative forms are included"). At a recent game conference, it was stated that the difference between films and games was simply the "interactivity" of the games.
This latter motive, the only one of the three mentioned before to concern us here, seems to me to spring out of a certain ideology, much practiced by humanists, and also well beyond our ivory towers; an ideology that we might call "narrativism." This is the notion that everything is a story, and that story-telling is our primary, perhaps only, mode of understanding, our cognitive perspective on the world. Life is a story, this discussion is a story, and the building that I work in is also a story, or better, an architectural narrative. Ironically, most proper narratologists, who actually have to think about and define narratives in a scholarly, responsible, and accurate way, are not guilty of this overgeneralization.
Yet among anthropologists, business people, technologists, visual artists, media theorists, and other laypersons, this ideology -- or what Alan Rauch once fittingly called story fetishism -- is strong and uncontested. And to us humanists, the (let's face it) lowest caste of the academic world, it is nice to feel important again, for once. Finally, our expertise matters! We don't know much about technology, or biology, but we do know stories and storytelling. So why be critical when we can be important instead?