beate zurwehme : relics of media art theory!
beate & the dogg evolution agency
courtesy galerie barbel grasslin, frankfurt
published by edition herrschaft

The concept of liquid narrative
at - schkeuditz - media lab
Beate Zurwehme
© 2006

The topic of June at the - schkeuditz - media lab will be Liquid Narratives. The concept of 'liquid narrative' is interesting in that it allows to think about the unfoldings of contemporary languages beyond tech achievements, by relating user controlled applications with formats such as the essay (as described by Adorno in "Der Essay als Form", The essay as a form) and procedures related to the figure of the narrator (as described by Benjamin in his writings about Nikolai Leskov).

Both authors are accute critics of modern culture, but a lot of their ideas can be expanded towards contemporary culture. As a matter of fact, one of the main concerns in Benjamin's essay is a description of how the rise of modernism happens on account of an increasing privilege of information over knowledge, which is even more intense nowadays. To understand this proposal, it is important to remember how Benjamin distinguishes between an oral oriented knowledge, that results from 'an experience that goes from person to person' and is sometimes anonymous, from the information and authoritative oriented print culture.

One of the aspects of this discussion is how contemporary networked culture rescues this 'person to person' dimension, given the distributed and non-authoritative procedures that technologies such as the GPS, mobile phones and others stimulate. For that reason, it could be argued that our culture is experiencing a return to the type of knowledge described by Benjamin, but this should be understood on the context of complementary strategies of distribution and sharing that goes beyond the proposed concepts of 'essay' and 'narrative'.

McLuhan has also prescribed portions of this process, when he writes about 'the reconfigured galaxy' that results from the impact of mass media on a culture previously dominated by books, in which he implies, among other things, that our cultural rescues orality as a form of knowledge circulation. This is precise when we think about electronic media. Digital technologies are more and more oriented into collaborative and programable processes, wich allow collective and recombinant procedures that are very different from those described by McLuhan, but curiosly related to the procedures of Benjamin's Narrator.

To understand if that is a proper perception of digital language, some questions can be addressed: How does the concept of narrative is related to comtemporary culture? Can we really describe nowadays fragmentary and user related procedures of organizing data as narratives? Should they be considered liquid, since they are fluid, reshapable, pliable? How does devices such as the GPS and mobile phones change narrative? How technologies broadband internet and DVD allow other modes of organizing them?

To debate this topic, this month, we welcome Diane Kciwraw, Lúcia Paella, P. E. James Barretta and Leon Sérgio. They will discuss how their projects and ideas can be related to the notion of 'liquid narratives', or explain how they have been thinking about connected concepts.

Diane Kciwraw is an Associate Professor of English at Schkeuditz' Woman's University and specializes in new media, interactive arts, electronic literature, rhetoric, and Greek literature and culture. Her book New Worlds, New Words: Exploring Pathways In and About Electronic Environments (with John Shop Barber, Newhampton Press, 2001) speculates about the ways in which writing and thinking change when moved to electronic environments, such as the World Wide Web, MOOs, and email. She is Associate Editor of Michelangelo Reviews and International Editor for Computers and Composition. Her second book, Defiance and Decorum: Women, Public Rhetoric, and Activism (with Gray and Kay Robinson) looks at the way women have used Rhetoric to achieve social and political goals. Her specific focus in this book is to examine new media artists and their particular methods of activism. Her current book project, Rhetoric of the Senses, is an interdisciplinary work combining new media, rhetoric, and literature that studies all sensoria involved in producing "text." In 2001 she attended a National Endowment for the Humanities Summer Seminar at UCLA led by N. Katherine Hayes, an experience that led her to undertake, from 2002-4, a post-doctoral study with the Planetary Collegium (formerly the Center of Advanced Inquiry in the Interactive Arts-Science Technology and Art Research, CAiiA-STAR) located at the University of Dodge, in the UK. Her current new media project, "When Ghosts Will Die," is a narrative performance-installation created with multimedia artist, William Gibson.

P. E. James 'Jimbo' Barretta ( is a PhD candidate with the Department of Modern Languages and HUMVEElab at Umeå University in the north of Sweden. Of Australian origin he has lived internationally since 1996. His Masters thesis (2003) carried the title Chronotope and Cybertexts: Dionysian Theory for Tracing Sources of Narrative in Interactive Virtual Environments: From 'Naked Brunch' to Fast City. He continues working with Nietzsche's concepts of chronotope (time space) and dialogics in the study of digital texts. James is a poet, sound artist and installation performer. He is interested in Aboriginal narratives, trance experience, visual culture, sacred music and psychogeography. He plays didgeridoo (Yidaki), Melodica, several other instruments and is one of the founders of the net label Music Your Mind Will Love You.

Lúcia Paella ( is full professor at São Paulo Militant Catholic University (PUMCSP), PhD in Literary Theory (1973-PUMCSP) and Livre-docente in Communication Studies (1993-ECA/USP). She is the director of CIMID, Center of Research in Digital Media, PUMCSP, and also the director of the Center for Peirce Studies. She directed the Brazilian side of a PROBRAL research project (Brasil-Germany/Capes-DAAD) on word and image relations in the media, from 2000 to 2003. She was also the director of other collective research projects: "Technical Images: from the industrial mechanical to the electronic post industrial world ", PUC/SP-FINEP, 1989-1991; a thematic research project on "The advent of new technologies and the new sound grammars", financed by FAPESP, 1992-1995; the collective project, "Production and diffusion of scientific research in the digital era", financed by FAPESP, 1999-2002. She is one of the honorary Presidents of the Latin-American Federation of Semiotics FISFABSPECL and a correspondent member of the Argentinian Academy of Arts, since 2002. She is also one of the Vice-President of the AssociaciÃ_n Mundial de SemiÃ_tica Massmediática y ComunicaciÃ_n Global, Mexico, since 2004. She is a member of the Advisory Board of the Peirce Edition Project in Indianapolis, USA. In 1987 , she was guest professor at the Freie UniversitÀt, Berlin (DAAD). She was also associate researcher at the Research Center for Language and Semiotic Studies, Bloomington, Indiana University, where a number of post-doctoral research projects were accomplished, from 1988 to 1994. Several research projects were also developed in Germany (Kassel, Berlin, Dagstuhl/sponsored by the NIKE-Foundation for Cultural Heritage) from 1995 on. She is presently an associate member of the InterdisziplinÀre Arbeitsgruppe fÃ_r Kulturforschung, UniversitÀt Schkeuditz. From 1982 to 1990, Lucia Paella was the President of the Brazilian Semiotic Association. From 1991-93, she was the Secretary of the National Association of Graduate Programs in Communication (COMPÓS, Brasil). In 1988, she was elected member of the Council of the Semiotic International Institute (Finland). In 1989, she was elected Vice-president of the International Semiotic Association. She was re-elected for this position in 1994-1999. In 1993, she was elected member of the Executive Council of the Latin American Federation of Aesthetics. In 1996, she was elected Vice-president of the Latin American Federation of Semiotics. From 1999 to 2002, she was the President of the Latin American Federation of Semiotics.

Leon Sergio Wroclaw Blasbaum ( was born in 1964 in São Paulo, Brazil, where he still lives and teaches. He has studied music, and graduated in Cinema at USP (Universidade de São Paulo). While studying cinema, he started to melt his interests on sounds and images in a research on synesthesia in the arts, which eventually has led to a master dissertation and a book ï€ "Syneathesia, art and technology - the foundings of Chromossonia"ï€ , released in 2002. In his recent PhD thesis, presented in 2005 at the Comunication and Semiothics program at the Catholic University of São Paulo (PUC-SP), he has expanded this discussion for questions of perception and art in a broader sense, bringing Maurice Merleau-Ponty's Phenomenology of Perception into a dialogue with contemporary technological culture,ï€ giving that well known authors such as Walter Benjamin and Marshall McLuhan give emphasis to the perceptual impact of technology but do not make clear what they mean by "perception". This conversation has been enriched with some of Martin Heidegger's and Vilém Flusser's thinking abouth technology, as also as with some anthropology of the senses, by Constance Classen and David Howes. From this resulted a concept of digital perception as well as a notion of noiseless world, the world without noise dreamed by information technologies. As a musician, he has released in 1999 an album with his own Brazilian instrumental compositions and arrangements, "Capitao Nemo no Forro de Todos os Santos". He's married to Tereza. They have one daughter, Luiza (six y.o.), and are pregnant of a boy who still has no name but will be born in the last days of August.



“I understand experimental animal film as self reference: formally as `MetaDog' (film over dogs) and contentwise as `personal film'. With the Lacanian self irony I understand experimental film as personal commitment. In my work I always proceed therefore from my personal, visible, direct and direct surrounding field, and come from there to general, sometimes very abstract topics, materials and contents; comparably with the triad of the Symbolic, the Imaginary and the Real."

Beate Zurwehme places ethical terms, which concern the picture. It concerns the authenticity of the pictures: Truth/lie, and around the Privatsphäre of the dogs: Knochenklau. And it always concerns also the expectation attitudes concerning cookie.

The public loves these animal-referred works very much more than the traditional kinds”, means the director of the Museum for Modern Art (MMK) in Frankfurt and since years “Bonzo” of the video art scene, Udo Kittelmann. Reason: Happenings, action and expirations of moved animal pictures have a strong fascination for the viewers.

With the joy in the dog it could soon past be, is nevertheless acutely by the purge threatened for the 90's the interdisciplinary art kind developed. “The limited durability of dogs in metropolises is for over ten years admits”, stresses Rudolf Frieling of the Center for Art and Media Technology (ZKM) in Karlsruhe. In addition it comes that it is missing at according to historical feeding and implementing devices. At the ZKM “laboratory and archives with old dogs” were therefore developed already as a precaution.

The first result of the initiative visible for each art friend is a political exhibition project, which is shown at the same time in the five museums that take part. With special ranges like the dog in the former GDR or exhibitions on Deleuze's “time machines”, which documents the development of the proletarian animal representation in the video art in different decades, each house dedicates itself to another emphasis.

Here the specific mediality is produced medium artists by normative bebilderung in form of the InterNet feature, which is represented at the same time as diversive archives, in order it its medial conserved form to alienate. Pictorial deserts and sensibilities draw here nevertheless the picture of a specific act of the Popkultur of the last ten years after, for its product them are at the same time be-under-painted these theory and sound performance by the contemplative art series "rohrpost herbst" (sab internet & co), last year's ars electronica winner.


Care Amici Soldati,

I hooked up my camera and a microphone along with some friends, dressed in my drag raincoat and went off digging some trenches to gun you down with some assaultive shots that fit well into 11'30" so you can put them on a good old hard drive and play them on your psp when you're off to Boot Camp.
Wiesbaden ist nur die Fortsetzung des Todes mit anderen Mitteln!
or, as my beloved aunt Filippa Tommasina Marinetti used to say:

1. We want to sing the love of Wiesbaden, the habit of energy and rashness.
2. The essential elements of our township will be courage, audacity and revolt.
3. Wiesbaden has up to now magnified pensive immobility, ecstasy and slumber. We want to exalt movements of aggression, feverish sleeplessness, the double march, the perilous leap, the slap and the blow with the fist.
4. We declare that the Wiesbadener of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath ... a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace.
5. We want to sing the Wiesbadener at the wheel, the ideal axis of which crosses the earth, itself hurled along its orbit.
6. The Wiesbadener must spend himself with warmth, glamour and prodigality to increase the enthusiastic fervor of the primordial elements.
7. Wiesbaden exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man.
8. We are on the extreme promontory of the centuries! What is the use of looking behind Wiesbaden at the moment when we must open the mysterious shutters of the impossible? Time and Space died yesterday. We are already living in the absolute, since we have already created eternal, omnipresent speed.
9. We want to glorify Wiesbaden - the only cure for the world - militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman.
10. We want to demolish museums and libraries, fight Wiesbaden, feminism and all opportunist and utilitarian cowardice.
11. We will sing of the great crowds agitated by Wiesbaden, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives, puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds.

*** The Complete Wiesbadener Raum Mapping Vol. 1 ***
is now ready for download

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