Young-Hae Chang Heavy Industries

Kunstnerduoen YOUNG-HAE CHANG HEAVY INDUSTRIES
har efterhånden produceret over 40 flashtekster udformet i samme jazzede minimalistiske stil der ligner ældre kunstformer som konkret poesi og eksperimenterende film. Værkerne leger med den animerede tekst narrative muligheder og animationens slægtsskab med musikken, men er samtidig set fra new media art-vinklen primitivt enkle og gammeldags. Ingen klikken, ingen læservalg, ingen faren vild i det ergodiske trafikkaos. Man læner sig dovent tilbage og lade sig udstoppe som en foisgrasgås med ord og atter ord, akkompagneret af sort jazz og ofte af Victorias kælne computerstemme.

Pull Quotes

Værkerne leger med den animerede tekst narrative muligheder og animationens slægtsskab med musikken, men er samtidig set fra new media art-vinklen primitivt enkle og gammeldags. Ingen klikken, ingen læservalg, ingen faren vild i det ergodiske trafikkaos. Man læner sig dovent tilbage og lade sig udstoppe som en foisgrasgås med ord og atter ord, akkompagneret af sort jazz og ofte af Victorias kælne computerstemme. “Simpelt-fedt” som jeg hørte en af børnene på vejen sige forleden.

For ordene og deres betydning forsvinder næsten før man har opfanget dem - og så er det er bare too late. Skærmlæseren er her som en astronaut for hvem alt afhænger af hast og orientering mod et mål.

Read more about Læsetrance - tempo og tvang hos YHCHI

Creative Works referenced

Bust Down the Doors!

Bust Down the Door Again! Gates of Hell-Victoria Version

By Audun Andreassen, 10 April, 2013

Missed Collections: Away From the Canon, Toward the Archive

Author

Dana Solomon

Publication Type

Conference paper or presentation

Language

English

Year

2010

Presented at Event

Electronic Literature Organization 2010: Archive & Innovate

Record Status

Abstract (in English)

This paper expands on some of the questions raised by my presentation at the 2009 Digital Arts and Culture conference, held last December at UC Irvine. While examining the work of Young-Hae Chang Heavy Industries (YHCHI), I asked what it might mean for a new media practitioner to intentionally disregard or shun many of the medium’s inherent capabilities. I was interested in the way in which YHCHI seemed to be protesting some of the assumptions or characteristics of the nascent canon of electronic literature, i.e. that works of new media are inherently multidirectional, adaptive, non-linear, etc.

With this paper, I turn from interrogating specific works of electronic literature to perform a broader analysis of the ideology that underpins (e-) canonicity. This paper responds to the Electronic Literature Organization’s conference theme “Archive and Innovate,” by positing that it might now be possible to move away from the rather exclusive notion of the canon, complete with its ideological, print historical baggage, and move toward a more inclusive, “open-source” mode of textual preservation: the archive. Building on Matthew Kirschenbaum’s quick nod to Freud’s Archive Fever as well as Lev Manovich’s discussion of the database as a “symbolic form,” I flesh out some of the significant differences between the traditional notion of the print canon and the innovative model of the digital archive. What might new modes of preservation, such as the Electronic Literature Organization’s online collection, offer that traditional modes of collection and storage do not? What could an electronic literary archive or database do at a conceptual level that might impact the way we write, access, or read these types of texts? In attempting to answer these questions and a few others, I hope to further encourage our discussion of (e-) textual preservation and storage.

(Source: Author's abstract for ELO_AI)

Read more about Missed Collections: Away From the Canon, Toward the Archive

Critical Writing referenced

Electronic Literature Collection, Volume One