Shelley Jackson's MY BODY
Tina Laporta's DISTANCE
Donna Leischman's redridinghood
Young Hae-Chang Heavy Industries' DAKOTA
- what is the conceptual framework for these stories, i.e. how do the
artists create a context for their stories to develop in? are they "coming of age" stories, photo-books, hypertexts, remixes, diaries, what?
- how do some of these net artists blur the distinction between autobiography and fiction? how do they "manipulate the data" (to borrow Bush's concept) of their lives to create an alternate persona?
- are there other examples of (online) digital narratives you know of that do things differently than the artists I linked to?
- Some other things to consider in these digital narratives: regarding this blurred line of distinction between autobiography and fiction, is there any point in the Jackson piece where the work becomes extra-real, where the autobiography is no longer believable but now a fantasy? In Laporta's "Distance," is Laporta herself playing a character in a net art work about a long-distance relationship or is this just the "real" story of artist Tina Laporta? Is there a difference anymore? In Leischman's "redridinghood" why do you suppose she uses the old children's story as a conceptual framework to tell this new story about contemporary relationships?
The Electronic Literature Collection is located here.
You can also find digital narratives created by Art and Art History Students here.
Introduction To Net Art
Jenny Holzer: original / lcd / public / vegas / net / twitter
jodi at adaweb
More jodi.org: first wwwwwwwwwwwwebsite / text / asdfg
DIGITAL STUDIES: BEING IN CYBERSPACE
History of Art for Airports
386 DX - Cyberpunk Rock Band
Natalie Bookchin's THE INTRUDER
Own, Be Owned, or Remain Invisible
The Essence of a Nation: Chinese Virtual Persons on the Net
Hans Hoogerbrugge's Modern Living
Brian Kim Stefans's The Dream Life of Letters
Joel Swanson's Letters to Frankenstein
Judd Morrisey's The Jew's Daughter
Motomichi Nakamura's QRIME