Im frühen 20. Jahrhundert begeisterten sich die Menschen für Rekorde aller Art, für die Geschwind... more Im frühen 20. Jahrhundert begeisterten sich die Menschen für Rekorde aller Art, für die Geschwindigkeit der Eisenbahn, des Autos: schneller, schneller ... in die Zukunft. Die Futuristen riefen: "Wir erklären, dass sich die Herrlichkeit der Welt um eine neue Schönheit bereichert hat: die Schönheit der Geschwindigkeit". Der sonderbare Eindruck des Rückwärtslaufens der Eisenbahnräder in der filmischen Aufnahme, der die menschliche Wahrnehmung verunsichert, traf im Kino auf die Freud'sche Traumanalyse. Traumbilder und Projektionen im Kinosaal formten ein neues Erzählmantra. Das große Versprechen des 20. Jahrhunderts war der Kommunismus - ein Kinotraum. Heute scheint es, dass uns die Geschwindigkeitsfantasien des 20. Jahrhunderts überholt haben. Während sich zwischen den Jahren 1500 und 1900 das Wissen der Menschheit nur etwa alle hundert Jahre verdoppelte, geschieht dies heute alle fünf Jahre - Tendenz steigend. Datenströme fließen in Echtzeit, Verkehrsströme haben sich ve...
Based on studies of affect, and on theoretical works concerning spatial semantics by Yuri Lotman,... more Based on studies of affect, and on theoretical works concerning spatial semantics by Yuri Lotman, Mikhail Bakhtin, Michel Foucault and others, spatial story design provides a seven step algorithm of story development for interactive audio-visual narrative. Following spatial semantics and its application in interactive storytelling, the author no longer creates the protagonist, his or her want or need, nor controls the story arc. Instead, spatial story design allows the author(s) to make the formative creative decisions by designing a narrative space, and spatial dynamics that then translate into user generated storylines. Spatial story design serves as a framework for interdisciplinary collaborations, and can be used to not only create interactive digital narrative but also screenplays, improvisational theatre, 360° films, and walk-in story world experiences for a number of users in either live or holographic virtual reality spaces. Spatial story design could inspire creators of int...
In Schulen und Hochschulen wird Lehre zum grosen Teil in mundlicher Form abgehalten. Zuhoren ist ... more In Schulen und Hochschulen wird Lehre zum grosen Teil in mundlicher Form abgehalten. Zuhoren ist vielleicht der wichtigste Aktivposten fur akademisches Lernen, aber anders als Lesen und Schreiben wird Zuhoren praktisch nicht unterrichtet. Zuhoren ist mehr als zu horen; es ist ein aktiver Prozess, dem Gehortem Bedeutung zu geben: durch Vergleich, Bewertung und Speicherung im Korper. Das Leben des Wortes besteht in seiner Ubertragung von einem Mund zum anderen und ubertragt einen Kontext in einen anderen Kontext.
Este ensayo explora la relación entre la estructura narrativa y los sistemas de poder. Demostraré... more Este ensayo explora la relación entre la estructura narrativa y los sistemas de poder. Demostraré que cada historia escrita hasta ahora sirve para defender o derrocar las relaciones de propiedad y el discurso de la familia. Durante la revolución neolítica, el proceso cultural que se desarrolló en la sociedad patriarcal generó estructuras narrativas, sobre todo tragedias, para canalizar el trauma causado por la agresión y el sometimiento sistémicos. Sin embargo, las narraciones prepatriarcales, como las que se han encontrado en las pinturas rupestres y en los residuos de los mitos contemporáneos, sugieren una forma potencial diferente y atestiguan la existencia de otra estructura de poder que afecta tanto al género como a la propiedad. Después de abordar brevemente la historia de las narrativas y analizar las contradicciones actuales entre las relaciones sociales y los problemas formales en la narración, argumentaré que la narración en serie y los juegos podrían fusionarse para conve...
Advancements in technology are often perceived as drivers for social progress. At the same time, ... more Advancements in technology are often perceived as drivers for social progress. At the same time, technology frequently enables a minority to wield power over non-Western, non-white, and non-heteronormative masculine communities that have only limited access to advanced technologies. The-in François Lyotard's term-phallocracy of high tech disenfranchises most of the world's population while putting forth an ideology of superiority. Under the pretense of data neutrality, superior intelligence, and high-tech mastery, this ideology prevents 'other' voices from being heard. As a potential antidote, I suggest a user-centric and lo-fi approach towards a mastery of sharing focusing on three qualities: one, the mastery of sharing of space in border zones, the mastery of sharing of dissenting ideas through in a low-fi environment, and the mastery of sharing of the task through collaboration. The narrative forms produced in a low-fi environment shall be perceived as temporal perfections. Low-fi is participatory, fast, and allows for unalienated creation. It is participatory by avoiding the intimidation of high tech and expert cultures, as well as the economic restriction of access to expensive technology. It is fast by allowing for a rapid creative response to social contradictions of the moment. It is unalienated because it enables the creator(s) to understand and perform each step of the production process. Free from isolating divisions of labor and the fragmentation of the creative process in hierarchical production, low-tech/low-fi cultures offer a practice of collaborative and participatory approaches.
In diesem Essay untersuche ich Perspektiven seriellen Erzählens. Ich argumentiere, dass die serie... more In diesem Essay untersuche ich Perspektiven seriellen Erzählens. Ich argumentiere, dass die seriellen Erzählformen zur Zeit unter anderem deshalb so erfolgreich sind, weil sie als immerwährendes Präsens besser als jedes andere Narrativ unser gegenwärtiges Zeitempfinden abbilden. Nach einem kurzen Abriss der Geschichte seriellen Erzählens, gebe einen Ausblick, wie sich serielle Erzählformen mit den Games und dem Internet zum Medium des 21. Jahrhunderts verbinden könnten.
In 1979 at the New York University, a feminist conference took place commemorating the thirtieth ... more In 1979 at the New York University, a feminist conference took place commemorating the thirtieth anniversary of Simone de Beauvoir's “The Second Sex” of 1949. One of the invited speakers was Audre Lorde, a black, lesbian poet and literature professor. In her remarks, she called out the conference's white demographics and refused to participate in a feminism as a predominantly white movement. Turned into an influential essay entitled "The Master's Tools Will Never Destroy the Master's House," Lorde was responding to white feminism in its institutional context, tying universities and academic conferences to the house of the master. Now forty years later, in Cologne in 2019, another conference takes place at an academic institution to address diversity. Questions of diversity are often–perhaps always–institutional ascriptions of identity. In my talk, I will refer to Robin DiAngelo’s 2018 book “White Fragility,” and to Kimberly Crenshaw’s seminal essay “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Anti-discrimination Doctrine, Feminist Theory and Antiracist Politics" published in 1989. Following Crenshaw, I will discuss the intersectionality of race, ethnicity, class, and gender, and offer my read of DiAngelo’s analysis of her work as a diversity trainer as a form of identity disruption. I will argue that diversity cannot be separated from structural racism, structural sexism, institutional classism, and ableist behavior that is inherent to our institutions.
keywords: white fragility, male fragility, white privilege, intersectionality
In the course of the Neolithic revolution, the cultural process that developed in patriarchal soc... more In the course of the Neolithic revolution, the cultural process that developed in patriarchal society spawned narrative structures, most notably tragedy, to channel trauma caused by systemic aggression and subjection. Yet pre-patriarchal narratives, as found in cave paintings and in residues of contemporaneous myth, suggest a different form potential and attest to the existence of another power structure effecting both gender and private property. Just like the pre-patriarchal narratives in cave paintings, new media narratives are rarely based on written language but on images and the perspective of the I. The omnipresence of selfies and self representation on one hand, and radical subjectivity in p.o.v. operated games may form a narrative turn, and point to a fundamental patriarchal crisis.
This essay explores the relationship between story structure and systems of power. I will demonst... more This essay explores the relationship between story structure and systems of power. I will demonstrate that every story written so far serves to either defend or overthrow property relations and the discourse of family. In the course of the Neolithic revolution, the cultural process that developed in patriarchal society spawned narrative structures, most notably tragedy, to channel trauma caused by systemic aggression and subjection. Yet pre-patriarchal narratives, as found in cave paintings and in residues of contemporaneous myth, suggest a different form potential and attest to the existence of another power structure effecting both gender and property. After briefly addressing the history of narratives and analyzing current contradictions between social relations and formal problems in storytelling, I will argue that serial storytelling and games could merge to become a new form of audio-visual narrative by combining empathy-driven dramatic storytelling and interactivity.
Im frühen 20. Jahrhundert begeisterten sich die Menschen für Rekorde aller Art, für die Geschwind... more Im frühen 20. Jahrhundert begeisterten sich die Menschen für Rekorde aller Art, für die Geschwindigkeit der Eisenbahn, des Autos: schneller, schneller ... in die Zukunft. Die Futuristen riefen: "Wir erklären, dass sich die Herrlichkeit der Welt um eine neue Schönheit bereichert hat: die Schönheit der Geschwindigkeit". Der sonderbare Eindruck des Rückwärtslaufens der Eisenbahnräder in der filmischen Aufnahme, der die menschliche Wahrnehmung verunsichert, traf im Kino auf die Freud'sche Traumanalyse. Traumbilder und Projektionen im Kinosaal formten ein neues Erzählmantra. Das große Versprechen des 20. Jahrhunderts war der Kommunismus - ein Kinotraum. Heute scheint es, dass uns die Geschwindigkeitsfantasien des 20. Jahrhunderts überholt haben. Während sich zwischen den Jahren 1500 und 1900 das Wissen der Menschheit nur etwa alle hundert Jahre verdoppelte, geschieht dies heute alle fünf Jahre - Tendenz steigend. Datenströme fließen in Echtzeit, Verkehrsströme haben sich ve...
Based on studies of affect, and on theoretical works concerning spatial semantics by Yuri Lotman,... more Based on studies of affect, and on theoretical works concerning spatial semantics by Yuri Lotman, Mikhail Bakhtin, Michel Foucault and others, spatial story design provides a seven step algorithm of story development for interactive audio-visual narrative. Following spatial semantics and its application in interactive storytelling, the author no longer creates the protagonist, his or her want or need, nor controls the story arc. Instead, spatial story design allows the author(s) to make the formative creative decisions by designing a narrative space, and spatial dynamics that then translate into user generated storylines. Spatial story design serves as a framework for interdisciplinary collaborations, and can be used to not only create interactive digital narrative but also screenplays, improvisational theatre, 360° films, and walk-in story world experiences for a number of users in either live or holographic virtual reality spaces. Spatial story design could inspire creators of int...
In Schulen und Hochschulen wird Lehre zum grosen Teil in mundlicher Form abgehalten. Zuhoren ist ... more In Schulen und Hochschulen wird Lehre zum grosen Teil in mundlicher Form abgehalten. Zuhoren ist vielleicht der wichtigste Aktivposten fur akademisches Lernen, aber anders als Lesen und Schreiben wird Zuhoren praktisch nicht unterrichtet. Zuhoren ist mehr als zu horen; es ist ein aktiver Prozess, dem Gehortem Bedeutung zu geben: durch Vergleich, Bewertung und Speicherung im Korper. Das Leben des Wortes besteht in seiner Ubertragung von einem Mund zum anderen und ubertragt einen Kontext in einen anderen Kontext.
Este ensayo explora la relación entre la estructura narrativa y los sistemas de poder. Demostraré... more Este ensayo explora la relación entre la estructura narrativa y los sistemas de poder. Demostraré que cada historia escrita hasta ahora sirve para defender o derrocar las relaciones de propiedad y el discurso de la familia. Durante la revolución neolítica, el proceso cultural que se desarrolló en la sociedad patriarcal generó estructuras narrativas, sobre todo tragedias, para canalizar el trauma causado por la agresión y el sometimiento sistémicos. Sin embargo, las narraciones prepatriarcales, como las que se han encontrado en las pinturas rupestres y en los residuos de los mitos contemporáneos, sugieren una forma potencial diferente y atestiguan la existencia de otra estructura de poder que afecta tanto al género como a la propiedad. Después de abordar brevemente la historia de las narrativas y analizar las contradicciones actuales entre las relaciones sociales y los problemas formales en la narración, argumentaré que la narración en serie y los juegos podrían fusionarse para conve...
Advancements in technology are often perceived as drivers for social progress. At the same time, ... more Advancements in technology are often perceived as drivers for social progress. At the same time, technology frequently enables a minority to wield power over non-Western, non-white, and non-heteronormative masculine communities that have only limited access to advanced technologies. The-in François Lyotard's term-phallocracy of high tech disenfranchises most of the world's population while putting forth an ideology of superiority. Under the pretense of data neutrality, superior intelligence, and high-tech mastery, this ideology prevents 'other' voices from being heard. As a potential antidote, I suggest a user-centric and lo-fi approach towards a mastery of sharing focusing on three qualities: one, the mastery of sharing of space in border zones, the mastery of sharing of dissenting ideas through in a low-fi environment, and the mastery of sharing of the task through collaboration. The narrative forms produced in a low-fi environment shall be perceived as temporal perfections. Low-fi is participatory, fast, and allows for unalienated creation. It is participatory by avoiding the intimidation of high tech and expert cultures, as well as the economic restriction of access to expensive technology. It is fast by allowing for a rapid creative response to social contradictions of the moment. It is unalienated because it enables the creator(s) to understand and perform each step of the production process. Free from isolating divisions of labor and the fragmentation of the creative process in hierarchical production, low-tech/low-fi cultures offer a practice of collaborative and participatory approaches.
In diesem Essay untersuche ich Perspektiven seriellen Erzählens. Ich argumentiere, dass die serie... more In diesem Essay untersuche ich Perspektiven seriellen Erzählens. Ich argumentiere, dass die seriellen Erzählformen zur Zeit unter anderem deshalb so erfolgreich sind, weil sie als immerwährendes Präsens besser als jedes andere Narrativ unser gegenwärtiges Zeitempfinden abbilden. Nach einem kurzen Abriss der Geschichte seriellen Erzählens, gebe einen Ausblick, wie sich serielle Erzählformen mit den Games und dem Internet zum Medium des 21. Jahrhunderts verbinden könnten.
In 1979 at the New York University, a feminist conference took place commemorating the thirtieth ... more In 1979 at the New York University, a feminist conference took place commemorating the thirtieth anniversary of Simone de Beauvoir's “The Second Sex” of 1949. One of the invited speakers was Audre Lorde, a black, lesbian poet and literature professor. In her remarks, she called out the conference's white demographics and refused to participate in a feminism as a predominantly white movement. Turned into an influential essay entitled "The Master's Tools Will Never Destroy the Master's House," Lorde was responding to white feminism in its institutional context, tying universities and academic conferences to the house of the master. Now forty years later, in Cologne in 2019, another conference takes place at an academic institution to address diversity. Questions of diversity are often–perhaps always–institutional ascriptions of identity. In my talk, I will refer to Robin DiAngelo’s 2018 book “White Fragility,” and to Kimberly Crenshaw’s seminal essay “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Anti-discrimination Doctrine, Feminist Theory and Antiracist Politics" published in 1989. Following Crenshaw, I will discuss the intersectionality of race, ethnicity, class, and gender, and offer my read of DiAngelo’s analysis of her work as a diversity trainer as a form of identity disruption. I will argue that diversity cannot be separated from structural racism, structural sexism, institutional classism, and ableist behavior that is inherent to our institutions.
keywords: white fragility, male fragility, white privilege, intersectionality
In the course of the Neolithic revolution, the cultural process that developed in patriarchal soc... more In the course of the Neolithic revolution, the cultural process that developed in patriarchal society spawned narrative structures, most notably tragedy, to channel trauma caused by systemic aggression and subjection. Yet pre-patriarchal narratives, as found in cave paintings and in residues of contemporaneous myth, suggest a different form potential and attest to the existence of another power structure effecting both gender and private property. Just like the pre-patriarchal narratives in cave paintings, new media narratives are rarely based on written language but on images and the perspective of the I. The omnipresence of selfies and self representation on one hand, and radical subjectivity in p.o.v. operated games may form a narrative turn, and point to a fundamental patriarchal crisis.
This essay explores the relationship between story structure and systems of power. I will demonst... more This essay explores the relationship between story structure and systems of power. I will demonstrate that every story written so far serves to either defend or overthrow property relations and the discourse of family. In the course of the Neolithic revolution, the cultural process that developed in patriarchal society spawned narrative structures, most notably tragedy, to channel trauma caused by systemic aggression and subjection. Yet pre-patriarchal narratives, as found in cave paintings and in residues of contemporaneous myth, suggest a different form potential and attest to the existence of another power structure effecting both gender and property. After briefly addressing the history of narratives and analyzing current contradictions between social relations and formal problems in storytelling, I will argue that serial storytelling and games could merge to become a new form of audio-visual narrative by combining empathy-driven dramatic storytelling and interactivity.
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keywords: white fragility, male fragility, white privilege, intersectionality
keywords: white fragility, male fragility, white privilege, intersectionality