The user is in the skin of a researcher who must enter into a mansion to solve the mystery of a suspicious death. Through the exclusive options the user moves forward in the investigation, but he has to be cautious or the detective will die before solving the case.
El usuario se mete en la piel de un investigador que debe introducirse en una mansión para resolver el misterio de una sospechosa muerte. A través de opciones excluyentes el usuario avanza en la investigación, pero debe ser cauteloso o el investigador morirá antes de resolver el caso.
In Escrituras nómades, Belén Gache has created an encyclopaedia that presents in a pleasant and documented fashion several centuries of game and experimentation with the text. Some of the sections are 'Conjuros', 'Espacialidades', 'Signos' and 'Temporalidades'. For Belén Gache writing is in a constant shift; revolving in a material formal, playing with it, living in the new electronic limbo (Translated by Maya Zalbidea) (Source: El País)
La autora estudia la práctica de las literaturas no lineales a lo largo de la historia de la literatura. Si bien mucho se ha hablado sobre literaturas no lineales desde contextos cercanos a las teorías de los nuevos medios, este libro acentúa la continuidad de estas prácticas a lo largo de la historia de la literatura. Los nuevos dispositivos de escritura, surgidos a partir de tecnologías digitales, permiten alcanzar dimensiones antes no previstas en estrategias tales como la no linealidad de las tramas, la interactividad o el reparo en el aspecto perceptual de los signos. Sin embargo, este tipo de experiencias no son nuevas en el campo literario. Desde los "Carmina Figurata" hasta los poemas dadá, desde el "Tristam Shandy" de Lawrence Stern hasta los viajes africanos de Raymond Roussel, desde el "Coup de dés" de Mallarmé hasta el "Nouveau Roman", desde la verbivocovisualidad joyciana (Finnegan's Wake) hasta el concretismo, desde los lenguajes inventados por Velemir Khlebnikov hasta los "event scores" de Fluxus se han buscado formas de decir y de narrar que escapasen a modelos canónicos y automatismos lingüísticos.
Interculturas-transliteraturas tries to answer to the development that the concept of interculturality has had in the last decades. Product of demographic evolution, social and cultural in our world, the world "interculturality" has suffered from overuse. This book intends to turn on the light of theoretical and metodological objectives that have been supported for the use of the term as well as for its criticism and recovery in an area necesarily open that goes from the origins of Sociology and Philosophy, to the developments of the field of literary criticism (Translated by Maya Zalbidea)
In the hypertext story La hermandad de los escribanos the reader becomes the main character. The story is in a folder that can be directly downloaded from the website. A fraternity founded in the Middle Ages takes control of the user and he must read the narrative in a determinate time with enough attention to answer to a number of questions. The work combines text with multimedia elements once it is incorporated characteristics of interactive games. It is different from a game in the fact that the most important thing is the story and not the interactivity. It is a narrative in which everything is put in the right order and apart from the interactivity it can be read coherently.
The reader finds, in the first level of reading a letter of Eugenia Vilasans, overlapped with a photography of her. The letter was written in 1926 and stayed hidden until she died, she confesses her adulturey in the letter. After this introduction a link invites to recompose her story, there are disorganised fragments. The image is a metaphor of the hypertext: postcards, newspapers cuts, pages from personal diaries of different dates, letters of the lover conforming the plot. It is an epistolary story that must be assembled like a puzzle.
El lector se encuentra, en un primer nivel de lectura con una carta de Eugenia Vilasans, que se superpone a una fotografía en sepia de ella. La carta fue escrita en 1926 y permaneció escondida hasta que muriera la autora, quien confiesa la historia de su adulterio. Después de esta introducción, un link invita a acudir al escritorio de Vilasans para recomponer la historia, en donde se exponen, a modo de papeles sueltos, los fragmentos dispersos. La imagen resulta una buena metáfora del hipertexto. Postales, recortes de periódicos, hojas de diarios personales con diferentes fechas, cartas del amante, conforman la trama. Un relato epistolar que debe ensamblarse con un puzzle.
Memory weaves is a dynamic work that incorporates input by the users, resulting in more dynamic content. It explores the topics of human rights, poverty and social inequality, providing access to videos, statistical information, graphics and images in an intuitive way. It provides a space that reveals itself subtly, in veiled layers that can be reorganized, forming a non-linear narrative that seeks to evoke the paths of memory. Memory that can be read as a “weave” that constructs and reconstructs our present (Source: efagia.org).
Going through markets and bazaars of antiquities in Mexico, the photographer Iris Talbot discovers the diary and the Alebrije -a wood fantastic figure-of the traveller Santiago Lince. Iris starts to study and search for documentation about the characters and events that are told in him, conforming a bestiary of beings from chaos and an encyclopaedia that illustrates the fantastic and long story of the man in search of the conscience, while he goes across a contemporaneous Mexico full of magic and colourful contradictions, infested by voices of calacas -skeletons- and alebrijes.
The proyect "El Alebrije" gathers artistic disciplines such as literature and script, acoustic programmed music, electronic, animation and photography, to achieve as a result a multimedial project whose aim is to integrate a nonlineal interactive narrative on a Web format.
Recorriendo los mercados y bazares de antigüedades de México, la fotógrafa Iris Talbot descubre el diario y el Alebrije del viajero Santiago Lince.
Iris se da a la tarea de estudiar y documentar los personajes y sucesos que en él se relatan, conformando así un bestiario de seres del caos y una enciclopedia que ilustra la fantástica y larga historia del hombre en busca de la conciencia, mientras recorre un México contemporáneo lleno de contradicciones coloridas y mágicas, plagado de voces como las calacas y los alebrijes.
El proyecto “El Alebrije” reúne disciplinas artísticas tales como la literatura y el guión, la música acústica programática, la electrónica, el video, la animación y la fotografía, para lograr como resultado un proyecto multimedial cuya finalidad es integrar una narración no lineal de carácter interactivo con soporte Web.
Bacterias argentinas is a dynamic model of autonomous agents that recombine genetic information eating one each other and where the genetic information is a narrative. The energy and staff circulate. Word is energy. A version of this model was used in the exhibition Juego doble (Double Game) in Mexico D.F. (Source: Maya Zalbidea) In bacterias argentinas Colombian digital artist and data visualization developer Santiago Ortiz creates a linguistic-multicellular environment that models the interactions between basic organisms in a virtual ecosystem. In Ortiz’s words, it is “a dynamic model of autonomous agents that remix genetic information by consuming one another, and in which genetic information is narrative.” In this Flash work, Ortiz explores the question of life as information by mapping linguistic elements onto color-coded “bacteria” that circulate freely in this bio-linguistic ecology. These bacteria carry changeable fragments of sentences as “genes”—they exchange genetic material upon accumulating or losing energy through phagocytosis (the feeding method of many microorganisms)—and their feeding redistributes energy in the community, since the consumed bacteria cedes its energy (measured here in terms of the length of its genetic code) to the bacteria that consumes it. In this way, the interaction between bacteria, whose feeding strings together narratives within the bacterial community, provides materia prima for metabolic processes that write narratives and also for the decomposition of bacteria whose genetics are not favorable for the narratives, thus constituting a kind of “natural” selection. This is, however, an “un-natural” selection process, according to Ortiz, since it models a principle of “infinite injustice” that Ortiz equates with neoliberal political and economic policies. It is significant that the bacteria are “Argentine,” recalling that country’s devastating 2002 financial crisis. The user can confirm their nationality by moving the cursor over each bacteria, hearing the constructed narratives recited by the Argentine “storyteller” Edgardo Franzetti. (Source: ELC 3)
