Digital Narratives

In considering the framework of a digital narrative, the automatic comparison to a book came to mind. In the same way that Bush's predictions of the Internet resembled a digital file cabinet, I began to consider the computer in comparison to a book. The hard back and spine of the book's contents are carried through the user's computer. The pages translate to the pages explored within the Internet. However, I find myself struggling with the satisfaction of the tactile experience of reading a traditional narrative contained within a book as conveyed through a digital, interactive narrative.

In Leischman's "redridinghood," I found myself a bit over stimulated by the interactive component. The work felt much like a video game, but did not drive my engagement as a viewer in a way that kept my interest. This version of the classic story did not give much more in terms of depth, even through the stimulating presentation. I searched for reasons why this story needed to be portrayed in such a fashion, somewhat like when a book becomes a movie and the movie does not offer anything more than the original text.

As noted within my previous blog, I am increasingly aware of the lack of physicality that is inevitable within the world of technology. While it seems that the digital age has brought with it possibilities for staying closely connected with others, the genuine experience of being in touch and intimately relating with others feels disconnected. Laporta's "DISTANCE" reveals the issues of immediacy and a virtual presence with another person. This virtual presence is counteracted by the notion of real time and space. Laporta's piece offers narrative through text and recorded online video images, which describe the dual nature that technological advancements have on communication and the relationships that exist within.
Some of the narrative words that struck me and spoke to this duality follow:

IMMEDIACY, INTIMACY, RESPONSE, IMAGINE, TECHNOLOGY, VEIL, REFLECTING, PRESENCE, GAZE, TIME, SEARCHING, FUTURE, VIRTUAL, REAL, CLOSER, FURTHER

Young Hae-Chang Heavy Industries' DAKOTA reveals an captivating play on text and viewer comprehension. I found this digital narrative most compelling. It allows both space and clutter to activate the words of the narrative script. It made me reflect on a recent visit to the International Center for Photography in New York. The exhibit, "For all the World to See: Visual Culture and the Struggle for Civil Rights" was of particular interest. I especially enjoyed the straightforward use of text on the civil rights movement posters that were included in the exhibition. I have been reflecting on text as a tool for mass communication, which relates to the widespread use of the Internet and digital tools for communication. It seems that these practices aim to reach a wide population through its accessibility.

I can't help but consider the human populations that do not have access to the Internet and others forms of technology. I question if they are really missing out on anything. So often, we see charity work that aims to help underdeveloped countries and I wonder if is actually helping or taking away from these cultures. The self-important focus of the Internet forums seem out of place in cultures where community is interwoven into basic needs for life. This way of life seems to promote a more genuine form of connectivity to me.


Barbara Kruger's work uses text to speak about the influences of mass media on the public.


Lawrence Weiner's work uses language as a sculptural material. He makes work that is designed to be translated.


"Dakota" also recalled John Cage's experimental work in performance and printmaking. I made another connection to the Beatniks (Beat generation) due to the rejection of materialism that I percieved in Young Hae-Chang Heavy Industries' piece.