//preliminary notes...//

(this is a work in progress by acracia and xname)

a story recorded with webcams

something that reflect also on the trick of time in the net

sometimes there is impression of deformation of time on line

there is peculiar perception of contemporary and now with back and forth

this interaction between the distorsion of the time in a script and the distorsion of time in the net can be a generative input that starts the plot

the story can be a game that has to happen

just write the file of the streams and edit them together

the story is not only in one place so you edit streams coming from different places

we can do some live editing with 2 usb cams and a patch with a mixer

//what has to be edited or put together happens on the time of the story//

(real time is not fiction!) we will basically edit A+B+C for exampleA is stream

from place A and B from place B and so on

in the story the places are narratively connected, place B reacts to place A

determine the tales, the mood, the texture

- scratching time - stop motion - low resolution



In this instance, cyberspace denotes the often tangible but mostly ethereal sense of 'otherworldliness' that may be experienced by users of various electronic mediums - such as communication devices like email programs, International Relay Chat (IRC) and world wide web browser chatlines. It can be a shared psychic and mental experience, for example 'talking' in a 'chatroom' actually involves users at their terminals writing lines of text as each reply is sent to each users' screen.

William Gibson (cyberfiction author extraordinaire) during the writing of his first novel Neuromancer"...assembled the word cyberspace from small and readily available components of language...{through a}...neologic spasm: the primal act of popular poetics"4. His novels are essentially revamped 90's detective/thriller novels, which employ weird plot divergences and characters caught up in 'the matrix' - a term commonly interchanged for cyberspace. When a Gibson character 'jacks into' the matrix, donning obligatory headgear and virtual reality glove as he does so, the cowboy (for inevitably the hero is mostly male) has to battle a corporate entity and regain his position as an information paragon. He ultimately achieves this aim, albeit in a convoluted fashion, and reinstates his own hero status. This template of the machismo cyberjock completing their own version of the traditional hero's journey narrative is one that cyberfeminists object to, and combat within their own art practices.

MouseCam (last edited 2008-06-26 09:59:06 by anonymous)