Dutch

Description (in English)

A poem in 3 languages with an equal number of voices and an infinite number of experiences. Part games, part story, within this 'Pulp Culture' experience, the abstract behaviour of verbal form leaves space for various interpretations of the text. Depending on the user, www.onderhandelingen.com is a multivocal monologue or a dialogue. Due to the different sequences and conjunctions of sound and typography, the manuscript of Tsead Bruinja is different every time: Lit de ûnderhannelings begjinne! Laat de onderhandelingen beginnen! Let the negotiations commence! (a word game by the Frisian Tsead Bruinja, the American Ryan Pescatore Frisk and Dutch Catelijne van Middelkoop) (Translation Description on Literatuur Op Het Scherm)

Description (in original language)

Een gedicht in 3 talen met evenveel stemmen en een oneindig aantal ervaringen. Deels een spel, deels een verhaal, binnen deze 'Pulp Culture' beleving laat het abstracte gedrag van de verbale vorm ruimte open voor verschillende interpretaties van de tekst. Afhankelijk van de gebruiker is www.onderhandelingen.com een meerstemmige monoloog, dan wel dialoog. Door de variabele opeenvolging en samenspraak van geluid en typografie is de beleving van het manuscript van Tsead Bruinja steeds weer anders: Lit de ûnderhannelings begjinne! Laat de onderhandelingen beginnen! Let the negotiations commence! (Een woordspel van de Friese Tsead Bruinja, de Amerikaanse Ryan Pescatore Frisk en de Nederlandse Catelijne van Middelkoop) (Description on Literatuur Op Het Scherm)

Description (in English)

“Blind Side of a Secret” consists of three audiovisual variations, created individually by Mühlenbruch, Sodeoka, and Nakamura, on words written by Thom Swiss. The work could be considered remix culture in action, overlaying and cutting up an underlying tale—which is never given entirely as a whole, though many sections are held in common—about the unspoken parts of relationships, of coming and going. In all three pieces, alternating third-person voice-over narration by a man and a woman forms the bulk of the audio portion, and it includes parts in English, French, and Dutch. The three collaborators approach the material in sharply contrasting ways: the horizontally scrolling, black-and-red fluidity of Nakamura's animation tells the tale in the most linear fashion, with no interruptions or breaks in the audio and no interaction; Sodeoka takes a DJ's approach, carving up the audio into rhythmic segments and pulsating images that recall song more than narrative; and Mühlenbruch turns it into an interactive flash animation, where an image based on the narrative forms a template that a user can click on to follow the individual narrative threads of the voice-over or run them over each other concurrently. Taken together, and given the absence of the source text in the final presentation, the work suggests that the plethora of angles from which to approach the idea of remix in digital art need not conflict, while at the same time suggesting that nostalgia for an “original work” is perhaps secondary in some respects to the artistic potential of collaboration and redistribution.

(Source: Electronic Literature Directory entry by Rob Schoenbeck)