Missatge
42/44 (<1K)
Marques:
Assumpte: About Twelve Blue
Per a: mijoyce@vassar.edu
De: <naquinmo@alumni.uv.es>
Data: Tue, 9 Dec 2008 12:57:37 +0100 (CET)
Dear Michael Joyce,
My name is Natalia
Quintana Morán. I'm from Valencia's University
in
spain. I´m studying English Philology.
One of my subjects for this year is Narrative and I have
choosen one of
your works, 'Twelve Blue'because I think it is an
interesting hypertext.
My work is about the
'Space' and I'm a little bit lost.
I would be really thankfull if you could help me with this
sending me
any information about yourself and the 'Space' you were
writing it.
Sincerelly
Natalia Quintana Morán
Missatge 587/590 ( 98K).
Marques:
Assumpte: Re: About Twelve Blue
Per a: naquinmo@alumni.uv.es
De:
Michael Joyce <mijoyce@vassar.edu>
Data: Tue, 09 Dec 2008 09:18:47 -0500
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Estructura
del missatge i adjunts:
1.1
TEXT/PLAIN 2470 bytes, "", "" Adjunts mostrats baix
1.2
TEXT/HTML 3732 bytes, "", "" Adjunts mostrats baix
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APPLICATION/MSWORD 92064 bytes, "", "6CafeCulDeSacIowa.doc"
Dear Natalia,
Thanks so much for your interest in my work and ideas of
space. By far the best reading of 12
Blue comes from the wonderful critic, N. Katherine Hayles in her recently
published book, Electronic Literature:
New Horizons for the Literary, http://undpress.nd.edu/book/P01247 The following will give you some sense of her
analysis, which I urge you to read:
The player who comes to Twelve Blue with expectations
formed by print will inevitably find it frustrating and enigmatic, perhaps so much
so that she gives up before fully experiencing the work. It is no accident that compared to afternoon,
Twelve Blue has received far fewer good interpretations
and, if I may say so,less comprehension even among people otherwise familiar
with electronic literature.
Like sensual love-making, the richness of Twelve Blue takes
time to develop and cannot be rushed.
Let us begin, then, with a
leisurely embrace that wants to learn everything it can about this
textual body, with an intention to savor rather than attack or master it.
The surface that first presents itself already invites us
to play, for it consists of twelve colored threads in different hues,
predominantly clustered at the blue end of the spectrum, against a deep blue
background. The threads, which are
interactive and change orientation according to how we play them, are divided into eight
"bars," suggesting the measures of a musical score. By playing this score we are also weaving the
threads into patterns, a metaphor not so much mixed as synesthetic, for sight
is in-mixed with sound, texture with vision.
As we open the screens by clicking on the threads or choosing to play
one of the bars, the mix we have chosen is imaged on screen left, representing
the orientation the threads have in that bar. .The URL, shown at screen bottom,
indicates the bar and thread respectively of that sequence (for example, 4_10).
Repeated exploration couldtheoretically locate each sequence within a
two-dimensional grid indicating its position in time (the bar number) and space
(the thread number).
I'm also attaching the text of my essay@vassar.edu,
"Café Cul-de Sac: made up spaces," The Iowa Journal of Cultural
Studies, Fall 2003, where I talk about the work.
All best wishes
Michael
Adjunt mostrat: 1.2
Dear Natalia,
Thanks so much for your interest in my work and
ideas of space. By far the best reading of 12 Blue comes from the
wonderful critic, N. Katherine Hayles in her recently published book,
Electronic Literature: New Horizons for the Literary, http://undpress.nd.edu/book/P01247
The following will give you some sense of her analysis, which I urge you to
read:
The player who comes to Twelve Blue with
expectations formed by print will inevitably find it frustrating and enigmatic,
perhaps so much so that she gives up before fully experiencing the work.
It is no accident that compared to afternoon, Twelve Blue has received far
fewer good interpretations and, if I may say so, less comprehension even among
people otherwise familiar with electronic literature. Like sensual
love-making, the richness of Twelve Blue takes time to develop and cannot be
rushed. Let us begin, then, with a leisurely embrace that
wants to learn everything it can about this textual body, with an intention to
savor rather than attack or master it.
The surface that first presents itself already
invites us to play, for it consists of twelve colored threads in different
hues, predominantly clustered at the blue end of the spectrum, against a deep
blue background. The threads, which are interactive and change
orientation according to how we play them, are divided into eight
"bars," suggesting the measures of a musical score. By playing
this score we are also weaving the threads into patterns, a metaphor not
so much mixed as synesthetic, for sight is in-mixed with sound, texture with
vision. As we open the screens by clicking on the threads or choosing to
play one of the bars, the mix we have chosen is imaged on screen left,
representing the orientation the threads have in that bar. .The URL, shown at
screen bottom, indicates the bar and thread respectively of that sequence (for
example, 4_10). Repeated exploration Could theoretically locate each sequence
within a two-dimensional grid indicating its position in time (the bar number) and
space (the thread number).
I'm also
attaching the text of my essay@vassar.edu, "Café Cul-de-Sac: made up
spaces," The Iowa Journal of Cultural Studies, Fall 2003, where I talk
about the work.
All best
wishes
Michael
Academic
year 2008/2009
© a.r.e.a./Dr.Vicente Forés López
© Natalia Quintana Morán
naquinmo@alumni.uv.es
Universitat de Valčncia Press