![]() ![]() ![]() Such vivid, unifying, and defining elements produce scenarios of unexpected iconic associations, interactive storytelling, multimedia essays, and encyclopedic imagery, where the reader’s engagement with Clark’s works is driven by the dynamics of history, language, and knowledge. As we can observe, Clark’s net.art projects distinguish themselves because they spring and spin creation from two axes: (1) specific objects or ideas, and (2) facts and stories of our world. Each constellation is pictured as a possibility of thought, a labyrinth of myths, a rhetoric riddle, a musical score, or a new set of philosophical propositions. Lastly, 88 Constellations for Wittgenstein (to be played with the Left Hand) (Clark 2008) (hereafter 88C) is a web-based Flash creation that explores the life and works of Austrian-born philosopher Ludwig Wittgenstein mingling philosophical concepts, secret logic, language games, and interconnected narrative stars. Sign After the X (Clark 2010) is an interactive encyclopedia around the letter X that ingeniously allows the viewer to browse through symbolic associations, ideas, and mysteries attached to this letter: the X-Ray history, the X-men comic book, the X chromosome, the generation X, John Singer Sargent’s The Portrait of Madame X, among others. The work puts into question the relationship between our existence and our perception of the world, or as the narrative voice puts it, how “the tyranny of images” affects our perception of the world. Among which we can find, A is for Apple (Clark 2002), a hypertextual linking and interactivity piece that interconnects the variety of associations surrounding a single object: “the apple” by knitting secret correspondences among Newton’s apple, Magritte’s apple, Adam’s apple, Apple Computers, the Big Apple, to name but a few. We consider that Clark’s electronic literary work is a great example of Canadian digital poetics because (1) it proposes a labyrinth-like poetic of navigation based on a highly intellectual dialogism of media, (2) it shows the aesthetic advantages of mingling electronic literature, film, music, and philosophy and lastly (3) it tests the aesthetical engagement of the reader by crossing click by click generic boundaries.ĭavid Clark’s net.art works include various web-based projects of different natures and textualities. This chapter explores how David Clark’s net.art piece 88 Constellations for Wittgenstein (to be played with the Left Hand) (2008) stands as one of the digital torches of this on-going definition path within the Canadian landscape. The continuous production of literary objects shows that as the field of e-lit constantly expands around the world, national literary frameworks begin to emerge in diverse digital creation latitudes. The Canadian bilingual landscape of electronic literature is composed of multiple artists and creators whose works have become important first stones in shaping the country’s e-literary history mosaic. Ludwig Wittgenstein, Philosophical Investigations “Uttering a word is like striking a note in the keyboard of imagination” ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |