Tuesday, October 30, 2007

'String' Thread on [iDC] List

Relevant and interesting thread on the [IiDC] mailing list (Institute for Distributed Creativity) that explores narrative in distributed environments/with situated technologies, cybernetics, systems... (hard to encapsulate -- this thread covers a lot of territory, no pun intended).

[iDC] how long is a piece of string?


Katharine Willis
https://lists.thing.net/pipermail/idc/2007-October/002878.html

Mark Shepherd
https://lists.thing.net/pipermail/idc/2007-October/002883.html

Katharine Willis
https://lists.thing.net/pipermail/idc/2007-October/002891.html

A narrative is essentially a piece of information undergoing change. A story unfolds and ideally the process of unfolding is interactive - the storyteller reacts to an audience or weaves in pieces of information that tap into people's memories or hopes. So, as you say, it responds to the condition of in-betweenness (for more on this topic and how it applies to public spaces see karen martin and colleague's workshop on inbetweeness http://www.inbetweeness.org/) .

Mark Shepherd
https://lists.thing.net/pipermail/idc/2007-October/002896.html

[Pask's] Conversation Theory may be worth revisiting for a way of thinking through how the act of story-telling–as something that unfolds over time–produces a "shared" space "between" actors resulting in "outcomes" to which neither can lay claim to exclusive authorship.


Peter Timusk
https://lists.thing.net/pipermail/idc/2007-October/002897.html

Brian Holmes
https://lists.thing.net/pipermail/idc/2007-October/002892.html

Brian Holmes again
https://lists.thing.net/pipermail/idc/2007-October/002898.html

1 comment:

angela said...

Well, yes. Along these lines, I've been reviewing Austin's theory of performative and constatative language and Goffman's dramaturgical sociology.

The print medium does have an interesting effect of narrative.

For instance, it's interesting to see how much of a story can be left out by working with the mind map process we've been using in class.

After working through a few blocks of the plot, you're immediately aware how much writing was simply used to link sentences on the page, in other words, while it's true that a book is like a database and can be read in any order the reader chooses, a good deal of a story gets written so that it can be read or represented as linear.

Winter's Night is a great example. Some of the text could have simply been left out had Calvino written as a hypertext.

Whereas The White Album, I think, probably already is a hypertext. Still, it's interesting to think about what Didion would have linked had she coded The White Album rather than typed it.