dichtung-digital.de/2004/3/Landow/index.htm Em 2004 George Landow descreveo o Cd rom Interpoesia de autoria minha e de Phladelpho Meneses como um trabalho radical: More radical experimentation with animated text appears in Philadelpho Menezes and Wilton Azevedo’s Interpoesia: Poesia Hipmedia Interativa (1998), in which elements (or fragments) of both spoken and written words react to the reader’s manipulation of the computer mouse. Letters move, parts of words change color or disappear, and sounds become layered upon one another as the reader essentially performs the text using the sounds provided. Moving text on screen, which has only become possible for most users with the advent of inexpensive computing power and broad bandwith, has had an effect on digital literary arts almost as dramatic as that of word-processing upon academic institutions and the workplace. But are such projects hypertextual (and does it matter)? In one important sense, these projects, like Branded, appear essentially anti-hypertextual. If one takes hypertext to be an information technology that shares at least some of the author’s power with the reader, thereby producing what some theorists have termed a “wreader,” then these animated texts enforce the opposite tendency. In contrast to hypertext, they demand the reader assume a generally passive role as a member of an audience, rather than someone who has some say in what is to be read. They add, in other words, to the power of the author —or at least to the power of the text— and deny the possibility of a more empowered reader. George Landow, 2004 Web 2.0
Posted on: Fri, 21 Nov 2014 00:02:21 +0000
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