Keith, Re your Derrida quote:
The question seems to me to go beyond one of authorial rights to one where
the act of authorship itself is implicated, hence Drew's discomfort, of
course.
There's a reference I'd like to use here, which I would in conversation
and not in writing since I can't remember the name of the writer/source,
but it's in Zone Magazine issue 1 (Johns Hopkins UP), so that's
appropriately half-way enough, maybe?: Anyway, speaking of Blade
Runner's constant and ubiquitous giant screens, he suggests that there's
no need for Big Brother to watch you as long as you're watching him; the
content being largely irrelevant to the power-structure. Doesn't
participation in the e-net involve a similar reversal, or subversion of
the role of subject?
It's appropriate that the "speaker" at John Cayley's "address" is
proliferating at this point, both nominally and stylistically. Gary
Larson cartoon: "On the Internet nobody knows you're a dog." What side of
the writing is the fictional space on? The net copyright question I've
been most aware of is the one where "a famous Knightsbridge store" is
fighting for the right to its name.
Though, taking that fictional possibility further, In a conversation
yesterday (using my voice) re MUDs and how participants create their own
legal systems etc, I was disappointed in their pedestrian
imitation of this (voice and body) world alongside a professed prohibition
of the aesthetics of this one; and a conservative insistence on
consistency. Said speaker was excited about how she had spent two hours
in conversation exactly like a real one (in silence); there are even 20
emotion-codes, with which to frown, boggle etc. No wonder poetry's
more interesting than fiction.
And, to JDCAllison: I see no reason at all why performance is more suited
to a one-to-many model. Do you only go to solo performances? This is
precisely where the spatial dimension can make performance an art of
relation, in more than one direction. And your sources's dependence on
dyads of interaction seems pretty limited, fixed passive-active models.
The other is also context. And what about multi-participant
conversation?
From, Your Saturday movie and cartoon club (with ad)
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