Mensaje 4/4 ( 3K).
deena larsen <firstname.lastname@example.org>
Mon, 14 Apr 2003 13:38:03 +0800
This may be a second message: I am not sure I sent one off and
reconstruct my message.
First, my new home page is up at http://www.cddc.vt.edu/host/deena/
(will be on http://www.deenalarsen.net) when I can figure out how to
update that site. I have reorganized my works, which may help you with
the third question, how to read my hypertexts.
- What do you want to transmit with this
- What about the shape?
- Why do you use this configuration?
Children's time is one of about 10 kanji-lkus. In all my
explore the way that the shape of the Japanese word means, how it fits
together. I want to bring out subtleties in the shape and structure of
the word itself. In Father figures, for example, I juxtaposed the two
crossing sides with a flashback to the past about the father and what it
means in the present to be a father. In Children's Time, the
outstretched arms suggest to me a child running, an exuberant play.
What does the shape suggest to you? How do you see the colors in the
kanji interacting with the story about children playing in the pool?
What does the language suggest about the shape?
- How shoul we read your hypertexts in general?
I write for three audiences:
People who are approaching
hypertext for the first time.
I try to give
them something to enjoy, to get their feet wet and something they can
People familiar with hypertext/elit.
I want to give them some meat,
something to discuss and explore with narrative and structural
Scholars and analysts: If
you look deep in my works, you will often find
a hidden space or meaning. Scholars love these types of things. Keeps
- Why do you write hypertexts?
I write hypertexts because I love the possibilites inherent in
media. Every piece is a new genre, a new way of seeing the world.
- How long did you use to write "Children´s time"?
This is a trick question! Every piece takes its own amount
Children's time is a shorter piece, not as involved as Disappearing
Rain. I took a 3 month sabbatical to work on Disappearing Rain, and I
worked on it for over 2 years. Marble Springs took me the longest of
any of my published work: 6 years. I've been in labor with Stone Moons,
my unpublished baby, for 8 years.
Best of luck with your piece.
Thanks for your help. If you were interested in my analysis, you
see it in: http://mural.uv.es/fersam.
Cristina Fdez de Gorostiza Samper