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[…]“us” to write this “interface,” which was, in the end for me, as if my own place was [too] strange [to speak of]). (Here, in my writing-world, I have used the letter “U” and the word “you” [“U can get under my skin”]; [“my take on you”]). The sound of each is the same of course, and yet in appearance and sense each is completely different; it is simply a compositional move to bring them face to face, to the edge of an interface: U/you. The letter “U” stands in for Ulmer (as an addressee); this writing imagines a direct-line […]
[…]the crossing of chance and necessity, whose nature may be discerned only indirectly in the names [and I would add, the ideas and associations] generated by a puncept rather than as a concept (or paradigm) [….]” (2001: 332). Coincidence must be loved, received, treated in a certain way. The question is, in which way? Coincidence must be respected, though it is not easy. Such respect demands an orientation, a disposition and exercise to respect the important aspects of the coincidence. (Derrida, 1987:172) In the present context, then, what might this disposition be? The following preliminary observations provide a useful initial […]
[…]poem” (xxi) against both the poetry “of Raworth’s closest poet-friend, the American Ed Dorn [and] the ‘domestic’ lyric of his British contemporaries” (xxi). She specifically relates it to Philip Larkin’s “Home Is So Sad,” the very title of which gives its conventionally lyrical game away. Perloff’s reading takes account of all the details, especially how “every word and morpheme… is carefully chosen” (xxii), how internal rhyme and alliteration give the poem its characteristic movement. Her reading of this one poem leads to some comments on Raworth’s later poetry and how it works. The whole small commentary sets the stage for […]
[…]black women; and second, that such an aesthetic posited specific, preformulated relations to community, the past, and subjectivity through the privileged genres of poetry and drama, relations questioned by black women novelists who explore the other sides of these binaries. Her feminist claim was that black women writers address African American subjectivity with many of the social and aesthetic concerns shared by black male writers, but that the women also claim a unique female relation to these questions. Her distinctly postmodernist move was to situate black women’s fiction in a relation of negotiation rather than opposition to the essentialisms undergirding […]
[…]caress of tiny spider-legs on your hackles? Have you noticed time has changed, slowed to a tortoise-crawl or speeded up to a cheetah-run? The air in your nostrils and the water in your mouth taste different. There’s an electric tang, a supple thickness, a kind of a rush. If you come through the shade whole, you’ll want to scurry back to the light, back to the path. Most people have an amazing ability to pretend things didn’t happen, to wish so fervently that things were otherwise they can make them so, unpicking elements from their past and forgetting them so […]
[…]During scenes, events happen, with “downtime” between them. These scenes group naturally to form stories, delimiting a meaningful series of events. Context: An Example – Having determined that there is a place beyond the world, by the grace of the shinma, the Storyteller sets up a waypoint space. This is a set of waypoints, journeys, and the connections between them. This is the setting of the game. Each scene of play takes place in a waypoint; unremarkable travel occurs on the journeys. 6. Game Structure Having defined the Wyld as a waypoint space abiding by certain tenets, the players need […]
[…]mistake that could happen to anyone. • The villain: The Vizier who manipulates the hero into opening Pandora’s Box (the giant hourglass that contains the Sands of Time) for his own nefarious ends. Having done this, he whisks the hourglass off to the top of the palace’s most inaccessible tower, thus providing the player with a physical destination and goal to justify all the getting from Point A to Point B. • The girl: Farah is at once a love interest, an action sidekick, and the character who stands for what is good and right. As the only human survivor […]
[…]form. Of course, interactivity is difficult to understand, especially when we have so few models to guide us. Computer games offer lots of interactivity, but they are so drenched in violence and puerile fantasy that it’s difficult to generalize from them. Another reason for the dearth of artistic interactivity lies in the intrinsic abstractness of interactive design. Every other art form communicates its message through a specific instance of the message. Let’s take the theme of pathos from loss of a child. Michelangelo created a magnificent instantiation of this theme in his Pietà. Countless paintings addressed the same theme, with […]
[…]the little box you had been using to control the Marquis’ snuffbox (so it would refuse to open when he tried the little one-handed flick he was so fond of, and then pop open of its own when he set it down . . . ). “Why NOT?” you demanded, twisting under the painful grip he had on your shoulder. “You don’t mind if I play with the servants.” “First,” said the Count, clearing the links from the box with a brush of his fingers, “I hope you do not play anything malicious on the servants; it is only all […]
[…]map directs the participant’s first movements through the Newbury Street shopping district to Commonwealth Avenue where the first spoken word passage begins. As Commonwealth Avenue opens on to the Public Garden, the wanderer typically moves through the garden, making their way to the remaining areas of the installation on the other side. The rest of the installation is spread through the entire downtown area and can be accessed via any number of exits from the Public Garden; none is dictated or assumed. The entire piece takes approximately two hours to fully experience at a relatively steady pace. It is intended, […]