Tools not to get lost in the labyrinth

Doménico Chiappe

Published in 3^rd On Line Congress, Observatory for Cibersociety, 2006

Translated by Translendium

The traditional conception of the time and the space is abolished with the use of the cyberspace as book. From the new characteristics rules rise up for the multimedia hyphen. The theoretical consideration gives crossing to the literary creation of the hyperaverage novel Land of Extraction, and viceversa.

The work of integrating with harmony the narrative elements, into this music case, lyrical and poem, in a same space is decisive in the language hyperaverage and is basic so that what is multimedia causes the desired effect in the reader. The opposite would be comparable to, during the interpretation of a symphony, an instrument waiting for it
to silence another to start to be familiar.

To achieve the integration, it has to be had of the space and the time that offers it the screen, as element coordinator.

I. The multimedia hyphen

The work of integrating with harmony the narrative elements, into this music case, lyrical and poem, in a same space is decisive in the language hyperaverage and is basic so that what is multimedia causes the desired effect in the reader. The opposite would be comparable to, during the interpretation of a symphony, an instrument waiting for it
to silence another to start to be familiar.

To achieve the integration, it has to be had of the space and the time that offers it the screen, as element coordinator. The screen turns into telescope, in window to strange universes, that has having to surpass "its possible extra-esthetic definition: the marble must stop being withstood as a specific physical phenomenon, must express the forms of the body plastically but must not create the illusion of the body; all what is physical in the material is surpassed precisely as physicist" (Bajtín, 1992: 169) telescope-window East "has a space dimension and another temporary. That allows us two references and two different terminological uses. The first makes the space screen where the information keeps following one another. The second, its temporary dimension, refers to the information that in a specific moment can be seen in the screen. By the space dimension continent, and the temporary one is done contained (...) La cover of the hipertext, unlike that of the book, it is the rhythmical succession, as the waves
in the edge, of an information that orientates to the flying future (Rodríguez de las Heras, 1991: 92).


The folded space

The screen is erected as the space of communal life of what is multimedia. This singular enclosure, capable of giving corporeidad to the virtual contents, is an open scenario, of free access that develops the work around the reader, who is part of the representation, for without its activity, the actors do not appear on the scenario, they do not declaim its dramatic lines. Those actors require a solid and comfortable amphitheater, with the appropriate distribution to allow the integration of a fragmented speech. In this search, the architecture of the theater is changed for the graphic design that will have the space of the screen; and the stage management, by the programming; two arts that are added to the traditional ones that interact in the multimedia format, to colonize a still wild territory.

In the construction of mobile and drop-down books there was already this coordination between the author and the designer to optimize the exploitation of the space. In fact, a term that originates from the industry of the mobile book has been assimilated by the sailors of the cyberspace to name those windows that they jump to the screen, still without having been requested. Pop-up defined to the mechanism of some infantile books, in which, as they opened the pages, it jumped a three-dimensional image, made with folded cardboard.

In spite of this old and prosperous relation between the paper and its effects, the new rhetoric needs to acquire its own identity in the face of previous methods applied to the codex: "This insistence on the metaphor of the page has its balancing entry, and it is that it obstructs to see the screen as a space of writing and reading different to that of a leaf of paper. And, of course, the screen is not a page. By the utility of a beginning brake is returned today to rehearse another way of understanding the space of the screen, which
is a lapse of time, the one that is maintained the words held in a click and another of the reader (...). If we release ourselves from the tie of the screen as a page, we will be able to get to see with more easiness that the screen is a space of three dimensions, not a surface of two. (...) Lo interesting is that in the digital space -another of its attractive possibilities- I can fold not the paper, but the text; and a folded text is a hipertext" (Chartier & Rodríguez de las Heras, 2001: 33).

However, the codex has always allowed a not linear access, for the user can open the pages in any place, to read the plabra written in any paragraph: there is not a physical impediment to act this way. But what happened with the speech then? The biggest obstacle so that the linearity of the reading broke, in spite of the easiness that provides
the codex is that the speech loses its coherence. That is, that the codex already had allowed a speech fragmented, as did not do it the roll, but that this novelty did not thrill the creators at all. Why, then, this type of speech is going to be imposed now, when it did not make it before? I believe that due to two reasons. 1) The differences between a support and another as for the treatment of the text: the space of the screen is infinite; that of the leaf, not. 2) To the easiness that provides the new means so that the creator directs the fragmented reading towards different alternatives, without the narrative jump representing any search in the machine of confinement (the cyberspace) and not wasting time or concentration.

As for the capacity of the format to allow the communion among arts of different nature, in the screen the arts are exposed without hierarchies nor subjugation, even if on occasions they simulate outrageous combats: "It seems that text and image fight for occupying each of them all the surface of the screen, and although on some occasions it seems that the image or the text has gotten of the screen hold it is only one temporary impression then to the little is reestablished the fight of opponents (...) La screen is not going to be only the space of reading and of writing, the space where the big masses of information have to appear, but at the same time it has to be a space of relation, a space of uncertainty, in which we can act to move us for the contained information in the supports of high density" (R. of the Heras, 1991: 101, 50). They share the scene, sometimes are superposed or are concealed or appear joint, with what, in the primeval order given by the designer and the author, the reader decides which will act when.



The multiplied time

Although "the system of links" serves for "offering detailed descriptions or basic information of the characters and of the places" (Ryan, 2004: 113), what defines to the hyperaverage is not have that to do "click", for to pass of one place to another easily (as if to pass the page or to search were tried by the following chapter), or of leaving at random the order of reading (as if we read opening the pages to the tact), but the quality of all the visions in an alone compressing space, what obliges conceiving another idea about the time. "How it is a folded text? Because it is the text the one that is folded, it is not support, with in the case of the book (...) Ya there is not page, I insist, and what replaces it, the screen, is a space... of time in which the words (and the images) hold up; a lapse of time defined by the action of the reader: between a click and another click
the text keeps in screen" (R. of the Heras, 2004: 170). A lapse of time that does not have necessary chronological linking, for there is not the reference of something previous or posterior, because there is not one before not even afterwards prestablecido, but an ensemble that floats in this "space... of time in which the words hold up". A time that instead of being presented with a linear order, is viewed as a three-dimensional bucket, where an angle is divided towards several lines, for what disappears the conception of the before and the afterwards. The possibility of the contents being transmitted by different arts, as the declamation, the writing, the music, the plastic one, the animation, allows the reader to fix its attention in several speeches at the same time, which breaks with the real rigidity of the paper: the impossibility about transmitting with something that is not the written word.

The new idea about the time is that we are in several moments during the same lapse, without moving us in the physical space, but in the virtual one for, like this, to explore, to do to advance the time by the movement. In the real world, the clock is activated with the movement of the pendulum; in the hyperaverage, going by of the time depends on the movement of the clock. The fragmentation, then, allows the presence of everything joint, even if it is paradoxical. And there the importance of the fragmented speech lies, not in the multiple entries of reading nor in the structure of the rhizome.

The structure of the multimedia narrative, the hyphen, consists of multiple links with beginning and end in themselves, which do not require from not even future past for its understanding, but that, if like this decides it the user, other links can be communicated and to compose a symphony that implodes. This quality, of independent chapters, allows the understanding of the fragmented work, thanks to to reveal partial conclusions that, in turn, are added and form another conclusion that includes the generality of the plot. As when somebody relates its life. It can talk about a specific episode, obviating all the other facts that it lived during that time and that are not important for its story. O can completely say what happened on a day, so its narration finishes with the arrival of the dream. The one who listens to him will know, then, that episode or that life portrayed in a day. Afterwards that somebody can have another episode or another day, which will join the previous. The interlocutor will know these new histories with end, besides having the sensation of knowing better the one that talks. And little by little, if people are patient, a big story, the life of the one who counts, will be composed. "The long novels written today perhaps are a contradiction: the dimension of the time has been shattered, we can not live or to think but in snippets of time that are moved away every cual throughout its trajectory and to the point disappear. The continuity of the time we can find it only in the novels of that period in which the time did not appear any longer as immobile as, a period that lasted more or less a hundred years, breaking out, and afterwards it was "finished" not even yet" (Calvino, 1998: 17).

The structure dispenses with the dimension of the time as until now it has been present in the novels, in the theater, in the cinema. In this sense it resembles the poem, to the paint, to the experimental prose more. In what is multimedia, the time has been fragmented, has lost its unifying quality, of law of the chaos. In the narrative there are
ways of controlling the time, beyond the lapse that delays a reader in reading the pages or in finishing a book. It can contract it or dilate it. "The narrative time can be also retarder, either cyclic, or immobile (besides fast)" (Calvino, 1989: 49). These literary tricks can be applied in the story hyperaverage, also although the capacity to add verbal florituras at a text is limited by the need for concision. The time is handled, rather, for the way in which it is allowed a reader to take part in the union of the links, if he wants
to open the hipertexts of a screen, or to advance in the reading, obviating the ideas that could concatenate from its interaction. An example of how the writer plays with "the dilatation of the time by internal proliferation of a history in another" (Calvino, 1989: 51).

Only that the previous one can be finished by going back along the way to the neglected chapter, or the hipervínculo can be opened once the contents that the link on duty offers have been received. "The free hyperaverage navigation for the programs recreates the time of the story in every reading. The author, when handling the temporary substances of the contents, knows that the lectoautor will organize the time according to its personal logic creating its own anacronías. When the author intends to maintain certain chronologies fixed, he will have to present the appropriate constrictions to the lectoautor; but the lectoautor will be able to obviate them saving its lecture"(Moreno, 2002: 164). That is, the reader now has in its hands the way of expanding or contracting the story thanks to the hipertexts, so he obtains new fees of power, besides the usual characteristics of the previous supports: closing the book, to leave to rest the reading, to dedicate many or few hours to him.



II. Creation of a hyperaverage novel

How does a multimedia narrative work appear. To talk of narration implies telling a history. In the case of Land of Extraction, it is a novel. For me a novel is characterized for crossing several plots and because each of these plots is in it played by a different character the lead. This distinguishes it of the story, and not only the extension. There is another type of hyperaverage works: poems and net-art. But I will focus my exhibition in the narrative and in Land of Extraction.

A multimedia novel looks for the polyphony not only through the characters of fiction who operate on each with its cosmogonies, but also through the creators who take part with its art.

Besides, the narrative plans multiply. The music, the plastic one, the literature and the photograph have a history, each with its own point of view, each providing a different vision. Polyphony, then, not only because in the text there are characters with different consciences, but because in the metanarrative plan, there are creators with different consciences.

With a same artistic intention and about one narrative thread, several working lines are drawn: the literary one, the musical one, the plastic one and the staging, that is, the programming and the design. Each must adapt to a series of rules that they rule to what is multimedia.

The novel must have a structure of rhizome of Delleuze, of chapters, that are linked some with others. I call this type of chapters Eslabones of Mercury, for they are as the metallic bolitas that loosen up when a thermometer breaks. They can be joined or separate, without their losing its form: round. Thus, the chapters are written concise,
brief. They have one history micro by themselves, but at the same time are fragments of a big frame. This big frame is elucidated with the reading. Another aspect of the structure takes part like this: the puzzle to arm.

In textual Land of Extraction a single person (I) carried it out. However, it could have been written collectively, provided the writers share the artistic intention, an aspect that can not be renounced, for people would stop talking of art. The intention is what differentiates the real art of others.

The text suffered several modifications in these ten working years. In essence, its volume was reduced, without sacrificing the wealth of plots, that are 6: a man that loves a woman only because it not conscious that it touches it; a woman who looks for a man who avoided its side to prevent the rejection; a son that he looks for to the real love of its dead father; a misunderstanding that provokes the murder of an innocent, only because it resembles the attractive young man of a telenovel; a man who becomes corrupted and another that, to its regret, is the idol of the people. All the plots turn about one tree of handle that has never given fruits and to which a curse is attributed. The tree lives in Menegrande, the people where it found the first oil well of Venezuela.

For every chapter an exact language was looked for, with words that acted as doors for the other narrative plans. In Land of Extraction we choose that the written word represents the first level of the rhetoric, the room for where the reader will relate to the contents.

The music is another narrative plan. The lyrical one has another point of view, the first person, and tackles an aspect that reserves only for the edge: the interior thought of the protagonist of the chapter. There is a song for every protagonist and the songs divide into two, three and four parts, each with different hotfixes, according to the chapter where it appears. The lyrical one is the subconscience of the characters. The letter and the music was composed by the same person that wrote the novel (I), but every song was delivered to different musicians, beside the corresponding plot (Fatuous Eye, Jorge Ramírez, Slam Ballet, Hidden Cult, Daniel Armand). They read the chapters and worked in the musical hotfixes that believed convenient. Afterwards they recorded them with its own perspective. Polyphony on polyphony.

The images were worked of a different way. The novel was delivered to the plastic artists and the photographers (Ramón León, Manuel Gallardo, Humberto Mayol, Edgar Galíndez, Pedro Ruiz). With full freedom, the painters represented in its works the aspects that impressed them more of the work. The photographers looked for the
images that they considered that they were linked, somehow, to the texts among its works. Thus, there are photographs of different countries and situations. Besides, a coordinator looked for historical images in two important picture libraries and hemerográficos (Shell-CIC-UCAB and El Universal).

The screens left configuring, one for one, with all these materials. However, as a play, an artistic vision is needed for the staging. The voice of the director (Andreas Meier) who has the actors: of its relation with the public, a spectator who besides is user and who has the last word for the appearance or not of the elements of the work. Because nothing advances without the curiosity of the reader; without its interaction.

In Land of Extraction, this director, besides, is the theatrical designer, for its task included the programming and the design. As for design, we look for two things: not being impressive with emptiness and obtaining a simple interface, to be able to obviate the instructions. We present a ready labyrinth in such a way that the one who explores it with patience will not get lost.

Every chapter represents a small work of net-art. And 63 chapters, each with personality, had to be fabricated. When a work of art is worked in group, as I have already stressed, the authors must coincide in the intention and afterwards in the rhetoric, in the way of exposing its arguments. They have to build a speech. Between Andreas and me there have been interesting debates via electronic mail for we
have never lived in the same city. When I lived in Caracas, he lived in London; when he crossed the ocean, I installed myself in Madrid.

The majority of this correspondence was lost with the moves and the electronic viruses, but something remains. For example, this discussion about how to show one chapter, Mangal.


Cards extracted from the Land of Extraction, metanarration

From: andreas meier
To: Doménico Chiappe
Consider yourself: Mon, 25 Aug 2003 09:26:21 -0400
Subject: tierruna confusion

Finally, revising the chapters that I lack, I read myself with more
care Mangal. There is a mixture of the main characters. How to present
this text: as a single block? Rafaelito murders the soul of Manifesto,
father Rafael murders Carlos Tortuga, alias the actorcito, Israel and
Favors are intermediaries, between the life and death, between the
memory and the reality. Do not take my reading of your novel as that
of any reader. I have talked about tough way to maintain my distance
to be able to say my interpretation of the novel that is the
appearance of the mene, of the multimedia ones. .. the history, the
extraction is that of the new means.

From: Doménico Chiappe
To: meier
Consider yourself: Mon, 25 Aug 2003 13:08:08 -0400
Subject: D: tierruna confusion

Like this it is except for a thing: The actorcito is not Turtle, but
Israel. Because of that when Ms Favors dies, finds the soul of Israel
that the waiting, under the Mangal. There the histories join. It is a
chapter that it does not respect orders to time nor space. Like this I
see it conceived: where all the multimedia elements that have been in
the other chapters converge. Even if the text is short, I think that
it must be the chapter longest and with more screens, so that the
people stop the reading a little and reads it with calm, seeing how
the histories are interwoven and are joined.
But you are the one that you have the word now. Make it as always, as
white willow te of the heart.

From: andreas meier
To: Doménico Chiappe
Consider yourself: Tue, 26 Aug 2003 00:23:04 -0400
Subject: confusion tierruna II

What you give me as you plan on the chapter Mangal, had thought it to
do for the last chapter, Miracle, where the deed of doing is counted
on talking to the moult. I interpret that miracle as the miracle of
making, the novel, talk to the text. As I can not do this scenario
twice, how if we melted Miracle and Mangal in an only last chapter?
Total, have almost the same function from my point of view. The only
problem that really I see is the name of the chapter: Mangal or
Miracle. Of a side, the implications of "miracle" are very heavy to
carry out (who can really do miracles) and of the other side the
mythologia of the tree is a little forced. Besides it has something
decidedly harmful: the tree is the place where the stories are hanged
since it does not have fruits, and a mangal without fruits is
terrible. I think that the novel would improve on clarity without
taking away the complexity maintained by the mythologico tree from it.

From: Doménico Chiappe
To: andreas meier
Consider yourself: Tue, 26 Aug 2003 14:16:38 -0400
Subject: D: all right

They are two different chapters, two different ends, that
narrativamente does not have either the same style or the same
intention. In all the novel the plots of the people and that of
Pelícano have remained far and I want for them to be still like this.
I think that it would be a "mateo" to join them.
The end of Mangal is huge, that of Miracle is soothed.

From: andreas meier
To: Doménico Chiappe
Subject: all right
Consider yourself: Tue, 26 Aug 2003 13:49:10 -0400

Forget it, nor at least were thinking a lot the matter. Only you
reacted viscerally. You told me that we had to keep not hesitating
many times which the idea of repeating the images and materials was a
practice. I remember every application when you defended vigorously
yourself against the repetition of any word or sentence. You do not
see that this way these contributing towards reducing the multimedia
ones to a simple illustration of a text?

We are going to see your strongest argument a little not to melt the
two last chapters: the pyrotechnic style of "mangal" and the calm one
of "miracle". What he passes in this last chapter is what every
literary work always tries to do: replacing the reality with the
artistic creation. Pelícano replaces to Matías and Cristina to Miriam.
In the end Cristina speaks, miracle, and the real circumstances fade
away. Matías can only love Miriam being separated from it. This last
subject is the romantic conception of the love (and for ende of the
literature). I share quite a lot that conception (because it is the
basic law of the desire and enjoyment of the humanity).

My proposal comes for a different reason: the mangal is a mythology
that is to a Jungian archetype more than with an authentic legend.
This feature does not have to be exaggerated.

When melting the tree of the narrative structure (Mangal) with the law
of the literary creation (Miracle) we would win a lot. Eventually, the
history any longer is not so important, the that it has is the
enjoyment assets of the reader and that is the message of the
multimedia ones, if it is that there is message.

There are many published histories and am sure that the reader of
today feels any longer not even so many time to memorize particular
historical circumstances. What the reader looks for is to be
transported, transfigured, to have the sensation of being part of an
event, of being the one that lives it, of creating the event the with
the magical act of its reading, of its mind.

Deep down the debate between these two chapters is that of the
traditional writer in you against the multimedia writer (and your
preference is. ..?). What you say with "miracle" as full stop is: what
remains is the word. I thought that we wanted that what remains is the
multimedia experience that is not any longer only glorified word.

From: Doménico Chiappe
To: meier
Consider yourself: Wed, 27 Aug 2003 12:32:45 -0400
Subject: D: multimedia text

I did not answer viscerally. A thing, to my judgment, is the useless
repetition and another, the reiteration of impressions and visual
effects that will take to the reader to wonder where it has felt that
before and influence it.

I do not share what you say about if we do not join the two last
chapters nothing of the multimedia remaining. In fact, that union goes
against the fragmentation, compartmentalization and economics that I
defend in this language.

From: andreas meier
To: Doménico Chiappe
Consider yourself: Wed, 27 Aug 2003 23:41:40 -0400
Subject: repetitions

What is true of the matter is that you tolerate and recommend
repetitions of images and you will never tolerate the repetition of
the same text in different places. For me there is not difference
between a means and the other one.

Clearing that you would be able easily to melt these two chapters in
an alone, are lent of marvel and the work would exhibit much better
and would have a more interesting end. But you like it you as it is
and you do not think to talk on this and point. Sight, the multimedia
ones are an effort of group, as the theater or the cinema. Cause not
you enter in the meollo of my arguments, to what you fear for him?

From: Doménico Chiappe
To: andreas meier
Consider yourself: Thu, 28 Aug 2003 12:44:30 -0400
Subject: D: repetitions

Both chapters are not negotiable, I feel it.
On that of the repetitions, every art is different and as such the
treatments that they deserve have to be given to them. They can not
enter a same packet as you intend.

From: andreas meier
To: Doménico Chiappe
Consider yourself: Thu, 28 Aug 2003 17:57:43 -0400
Subject: I finalize attempt

As for the equivalence of the means: yes they are equivalent or there
is not multimedia, it is a polyphony. They are not identical since
each has its particularities, clear, but the text lost its supremacy
forever, get used yourself.

From: Doménico Chiappe
To: meier
Consider yourself: Thu, 28 Aug 2003 19:22:35 -0400
Subject: D: last trial

It seems to me that we do not agree in the definition. The image is
mental. Afterwards, the artist must materialize. The fact that you
state that the text lost its supremacy indicates that you have always
thought that. For me what is basic in that work is the music. And in
multimedia, I think, everything depends on the conception, which can
be different and to be able to orientate in ways of ways, as the
creator wants it. The format does not make all the arts be equivalent.

Joining these two the chapters would do of the literature a caricature
and like this would remain very below all the rest. It would be as a
collage of your paints with the photos of Pedrito and the paints,
where everything seemed an orgy without forms.

From: andreas meier
To: Doménico Chiappe
Consider yourself: Sun, 31 Aug 2003 19:56:36 -0400
Subject: already...

It would be good that you entrusted a poquito less in your instinct of
damned journalist and read the things with more care.

I already told you that you talk of images in a metaphorical way and I
talked about real images, matrices of pixels, photos, paints on
canvas. I imagine that many people will enjoy a multimedia work (a
true) even without reading all the text, as many people go to operates
it and only pays attention to the music or only to the ballet either
to the theater or to the social event.

Calling the multimedia ones a format? It is a new form of art. Only I
want to make the best multimedia work that has existed. We will never
come to an agreement ourselves.

From: Doménico Chiappe
To: meier
Consider yourself: Mon, 01 Sep 2003 12:50:45 -0400
Subject: D: already. ..

I know that you will be able to solve the question of the end of the
work, as always, even if now you say that it is impossible. Doing
changes to those heights would oblige to raise absolutely all the
other chapters and we would lose the previous work. It would oblige us
to working in a third version.

He could tell you which images he had thought for the two last
chapters, but I do not want. It would be a way of affecting you and
think that the wealth of the work breaks up that each has different
points of view that we do not negotiate before presenting them.

From: andreas meier
To: Doménico Chiappe
Consider yourself: Thu, 05 Feb 2004 23:41:03 -0400
Subject: hello

I am not too much impressed by the site of the French participative
novel that you sent me. I do not like this type of cowardice. A
creator is a creator and there is not a lot that to search in to leave
that the others take all the important decisions.

From: Doménico Chiappe
To: andreas meier
Consider yourself: Fri, 06 Feb 2004 09:24:30 -0400
Subject: D: hello

I believe the same as you with regard to the creations. The art
originates from an intention that can not spoil.

I think that our priority now is Land of Extraction. I want to launch it from once.
We have some possibilities.

Another reason why I want to go out from Land of Extraction is that I
already feel like sitting with you to elaborate another project that I
sense. Doing literature dispensing with the text. Something that you
already see with more clarity. We have to go beyond everything.

From: andreas meier
To: Domenico Chiappe
Consider yourself: Tue, 04 Jan 2005 13:56:45 +0000
Subject: mangales

I have been working in Land of Extraction. Sometimes it is very difficult, since
the resources used by the text are purely literary and can not be
re-interpreted in a multimedia way. For example Mangal uses a resource
purely literary that it does not let me work. It is a big block of
interdependent words where the nearness of the word and of the
characters this all the effect of this chapter.
This text tolerates only to be presented as a big block. And that is
not very effective of the point of view of the interpretation and
multimedia presentation: half does not work in this. I think that I
understand the role of pivot of this chapter, but do not manage to
view this role in the new means, the text is opposed. It would be good
if this chapter could be rethought, according to the means and of its
resources that you know very well now.

Perhaps we must use the hipertext in depth here. In end, it is a
chapter where the references cross and the histories are solved.

I have revised every chapter, one for one to take up the thread. The
all likes me still a lot and is unique in its style. It would be one
hurts big that all this effort was lost. Perhaps it arrives to the
limit of the possibilities of the style and maybe this is the reason
why this type of products does not abound in the world: it is simply
very difficult to manage.

From: Domenico Chiappe
To: andreas meier
Consider yourself: Tue, 4 Jan 2005 20:42:39 +0100
Subject: D: maría

For Mangal it happens me that the words "vertices", those that join a
plot with another in the same line, are used iconographically, so that
the reader sees it for a "side", and if it turns round for him, he
reads the other "side" that is the other history. As if he were a
passer-by who walks through stables of buildings, and who folds the
corner.
I think that in this chapter especially use has to be made the,
beautiful silhouette, of the letters, to explode them graphically and
that the one that embellishes the scene is the same text. As a graphic
recital of poem.

I have cracked the text of Mangal, so that it is as if you crossed
cuatridimensionales corners. What can be made is that the text is
folded on itself, once and again. So that it appears as if we crossed
corners.

But another idea is that the Mangal has fruits, which are letters, or
words (not handles, which is a male bush). And every fruit falls and
reveals the texts. Or that instead of fruits they are hanged people.

From: andreas meier
To: Domenico Chiappe
Consider yourself: Sat, 19 Mar 2005 13:26:39 -0400
Subject: D: article and telephones

Only the last two chapters that I made: bodies and confession took me 1 month.

From: Domenico Chiappe
To: Andreas Meier
Consider yourself: Sun, 27 Mar 2005 21:49:21 +0200
Subject: chapters and ideas

The paint of Sorrow is really sobrecogedora.
The one that I do not like is Mangal. The design (too linear) does not
do honor to the idea about folding and deploying the text. Grant
yourself that a time ago I sent you a suggestion of how to cut it, so
that you could distribute it for several screens, without the
narration breaking.
I think that, we will not use for this work that idea about putting
the letter of the songs. It would be as starting again.

From: andreas meier
To: Domenico Chiappe
Consider yourself: Sun, 27 Mar 2005 20:22:13 -0400
Subject: D: chapters and ideas

Mangal is, to my to understand, a resource well literary for which I
have not found an adequate multimedial expression. I will study your
proposal.

From: Domenico Chiappe
To: andreas meier
Consider yourself: Tue, 29 Mar 2005 00:13:15 +0200
Subject: D: chapters and ideas

With Mangal I think that a sort of three-dimensional bucket with the
texts, folded as I sent it the other day to you, should be done.
And in every line of the bucket, an explosion of images and sounds
already used in every corresponding plot.

From: andreas meier
To: Domenico Chiappe
Consider yourself: Wed, 30 Mar 2005 00:01:09 -0400
Subject: D: p and resp
Hello Doménico,

Your proposal of the multimedia bucket for Mangal seems me more
important and maybe a good beginning for a productive idea for this I
capitulate.


III. Of theories and multimedia practices, to way of conclusion

The cyberspace is a ground where new forms of creation happen. New
ways of telling. The hyperaverage novels as Land of Extraction, case
that I choose for having contributed in selfrial way and knowing the
details of its writing, makes use of the resources of the
technological novelties and the artistic experimentation, to use the
electronic format (internet and Cd-Rom) as literary platform.

There are precursors that, with the rudimentary possibilities of its
time, helped abolish and understand the time-space law that suggests
the screen: Laurence Sterne, by the disintegration of its Tritram
Shandy; Vicente Huidobro with its Songs of the night and Guillaume
Apollinare with its Caligramas for the graphic simultaneity; July
Cortázar by the parallel reading of Rayuela; Milorad Pavic for the
hipertextualidad of the Dictionary Jázaro and Italo Calvino for using
images as preliminary point for its narrations, as in El Castillo de
los Destinos Cruzados, and for its hipernovela If a night of winter a
traveller.

The adventure of the hyperaverage literary creation requires to
believe that the screen, through its different types of interaction,
they promote the intimate communication with the reader and open new
ways of exploration and perception. The literature for the cyberspace
has to be written from the knowledge of the unique qualities of the
means. Otherwise, the result will always be better to read it in paper
printed, in codex.

There are already collective novels but the majority are illegible.
They have failed because the reader does not feel captivated to read
it. The causes are different, from the absence of narrative quality
(for what there is not remedy) deplorable multimedia quality up to one
that obviates the possibilities that are opened when conceiving the
time and the space in a totally different way to which traditionally
accompanied to the literature. The not coarse innovation to publish in
the new means.


IV. Bibliography

Bajtín, M. M. 1992. Esthetics of the verbal creation. Mexico:
Twenty-First Century Editions
Calvino, Italo. 1998. If a night of winter a traveller. Madrid: Siruela
Calvino, Italo. 1989.Seis suggested for the next millennium. Madrid: Siruela
Chartier, Roger and Antonio Rodríguez de las Heras. 2001. "The future
of the book and the book of the future", in Litterae. Notebooks on the
written culture. Madrid: # I, Calambur
Sun Tan, Isidro. 2002. Muses and new technologies. The story
hyperaverage. Barcelona: Paidós Comunicación
Rodríguez de las Heras, Antonio. 1991. Sailing for the information.
Madrid: Fundesco
Rodríguez de las Heras, Antonio. 2004. "New technologies and to know
humanistic", in Sánchez-Mesa, Sunday (ed.), Literature and
ciberculture. Madrid: Arc/books
Ryan, Marie-Laure. 2004. "The cyberspace, the potentiality and the
text", in Sánchez-Mesa, Sunday (ed.), Literature and ciberculture.
Madrid: Arc/books