The Forever Club is an ensemble web comedy using a mash-up of videos, texts, interactive elements, animations, audio, memes, and visual remnants of social media.
(Source: http://thenewriver.us/the-forever-club/)
A parallel component of the project is the companion website. TheForeverClub.com provides synopses and links to the episodes; biographies of the actors; idiosyncratic notes from the Director about the project (including a number of interactive features); a “FanFeed” for audience comments; and a contact page. This website complements the episodes and offers a fictional backstory to the episodic action and the project’s history.
På denne siden kan du følge alle de fiktive karakterene fra SKAM.
Du kan følge serien hver dag på skam.p3.no, og på alle karakterenes sosiale medier kontoer.
Hver fredag samles også alle ukens filmer i en episode som kan sees på skam.p3.no eller i NRKs nett-tv
Skam er en dramaserie og alle karakterene og profilene i serien er fiktive.SKAM sine sosiale medier-kontoer finnes på Profiler-siden.Anbefalt målgruppe er 15 år
Text world created as part of the Oz project.
hektor is one of the main characters in the non-aggressive narrative - a mode of Benjaminian storytelling. The NAN proposes the "continuation of a story which is just unfolding." I use digital and traditional media to create encounters between an ambiguous 'I' and potential 'You.' By embracing memory as a collage in motion through multiple characters, the NAN implies an origin story that may or may not have occurred. You are invited to co-invent this unfolding 'past,' and its openness suggests possibility and multiplicity. In a 1965 interview with Michael Kirby, John Cage said that theatre is not done to its viewers; they do it to themselves.
The NAN depends on that. As viewers re-member along with the narrative, they complete / become the work of art. Alongside the NAN, the self ('You' and 'I') is unfolding and in process. hektor.net is hektor's navigable artsite of photography, spoken word and video poetry. While viewers surf the site, hektor attempts to re-member: embody a past in the present. Floating memories, re-presented as art pieces, congeal in different patterns; from the "ruins of memory," viewers re-invent the past and its meaning, piecing together a story for themselves. However, similar to Julio Cortazar's Hopscotch, where readers can tackle any chapter, in any order, to assemble a whole story, this narrative is built by the listener, according to which pieces they have seen, in what context, and in which order. Viewers continually bring new insights to possibility by juxtaposing visited and revisited pieces and ideas several times over.
(Source: 2002 ELO State of the Arts gallery)
Crossed Lines is a multiform (or multiplot) film telling the stories of nine characters in a way that the viewer can constantly explore and switch between all nine forms, and can simultaneously witness all sides of the characters’ exchanges which are taking place between the nine remote locations. The starting point of the piece was to conceive a series of narratives that could be viewed as individual stories, but would also reference and link to the other stories, as is the case of the multiplot film genre. As McKee has noted ‘multiplot films never develop a central plot; rather they weave together a number of stories of subplot size’. (1998:227) The difference with Crossed Lines is that it is delivered through an interactive interface paradigm, meaning that the viewer has the power to navigate and order the stories themselves, and to create a story of varying complexity depending on the number of different characters which are selected through the interface.
This panel will examine the textual (verbal and non-verbal) construction of characters as the key to representation and identity in cyberspace. The concept of “character” is not established a priori, but comes into being as participants in the digital world or text render words, images and movements into a perceived identity.
The panellists will address questions of representation, fiction and reality as well as discussing techniques, patterns and codes used in creating and interpreting digital characters. Is it possible to represent oneself realistically in cyberspace? What is the relationship between realistically intended projections of ourselves and make-believe or fantastic characters? What are the relationships between the construction of characters in narrative and dramatic fiction and in computer games and online communities?
In four complementary and interlinked perspectives on characters in digital environments, we will discuss how real and fictional people are represented and/or represent themselves in the varied contexts of online communities, computer games, hypertext fiction and artificial intelligence.
Lisbeth Klastrup´s paper examines how in some digital fictions and/or worlds, the programme is brought to the centre of the stage of action as a “character.” Represented as a perceptible subjective consciousness or “implicit narrator,” this character is made explicit through the way it manipulates the interface, comments on the ongoing action, etc. In these instances, the programme is “perceiving” us at the same time as we as characters/readers perceive “it.” Can these examples point toward an alternative way of thinking about character representations and their mediation in digital environments?
Susana Tosca´s paper discusses different sorts of computer games to see what kind of characters they propose the user to identify herself with. It considers the range of actions that users are asked/allowed to perform as well as the prior narrative construction of the "user-character." These two factors will give an idea of the nature and degree of the users activity, raising questions of narrative and psychological identification, representation, involvement, catharsis and ultimately the cultural importance of games. Who are we when we play digital games?
Jill Walker´s paper explores the concept of “character” in a MOO, examining the relationship between traditional notions of character, as we are familiar with them from literature, drama and cinema, and players' presentation of themselves as make-believe or realistic characters in a MOO. In analysing specific examples of characters and “bots” in MOOs, this paper examines how we can use existing and emerging theory to understand digital characters.
Elin Sjursen´s paper investigates how the creation of identity/character is flavored by the user’s implementation of textual and visual codes in "interactive" environments like MOOs and cybertexts. Without help from facial expressions, body language and tone of voice, how does the reader interpret the writer while they chat together, how does the writer reveal herself to the reader? Can any of these codes help create better and more believable bots?
ABOUT THE PRESENTERS:
SUSANA PAJARES TOSCA is writing a PhD thesis on Literature and Hypertext in the Complutense University of Madrid. She has published articles and given talks on humanities computing and cyberculture in general both in Spain and abroad.
LISBETH KLASTRUP is writing a PhD thesis on MOOs and other on-line Communities as Fictional Worlds. As the first PhD at the recently established IT-University in Copenhagen (Denmark), she is much engaged in the founding of the interdisciplinary ITU Research School. She has written articles on on-line fictions, film and cyberspace.
JILL WALKER is currently researching a PhD at the University of Bergen (Norway), where she will compare hypertext fiction and MUDs. She has published several articles on hypertext fiction, both in print and as hypertexts, and has extensive experience with building and living in MOOs.
ELIN JOHANNE SJURSEN is writing her graduate thesis on the merging of text/image/sound in cybertext poetry at the University of Bergen (Norway). As a multimedia artist she has presented her work at several conferences.
This haunting narrative about a summer vacation turned tragic uses a slim strip of moving images as the background for a stream of language flowing from right to left as a series of voices tell a piece of the story. The sound of waves on the shore serve as a soothing aural backdrop to each character’s whispered voices, perhaps suggestive of what happens when the sea raises its voice. Each character involved with the tragic turn of events brings a different perspective to the situation, yet they are all so involved in their own affairs, much like the ending of Robert Frost’s poem “Out, Out.” In the final lines of the poem, as the speaker (whisperer) seeks to tie up the events in a neat little package that can provide closure, we realize that closure eludes all the characters in the story, who must continue to live on haunted by their memories and regrets.
(Source: Leonardo Flores, I ♥ E-Poetry)
Flash
"Pax" is a lesser apocalypse that began to unveil itself one stormy spring day near Dallas when someone closed the terminal and the guns came out. It's about flying and falling, truth and desire, nakedness, terror, and the home land. While some may find these themes all too American, they are as Chekhov might have said originally Russian: recall what happened to those cosmonauts who took off from the USSR and landed in the CIS, displaced by a trick of history, discovering (as we all must) that we travel through time as well as space. It's become a common experience these days, this journey to another world, this never coming home. Especially when the guns come out.
As will be apparent, this is not a work of literature in the ordinary sense; neither does it have the formal properties of a game, though it is meant to be be played as well as read. Taxonomic questions--whether this text is hyper, cyber, techno, or oulipo, indeed whether it is "text" at all--I leave to those who care about such matters. Some years ago and in another world, John Cayley pointed out that we play many things besides games--for instance, musical instruments. He went on to wonder if we could create textual instruments, rule-governed systems for producing patterns in which the element of configuration or play is highly prominent. Though it is probably not what Cayley had in mind, the form of "Pax" began as an attempt to realize his suggestion.
(Source: Author's description on About Pax page)
