[-empyre-] a first post/narration

["Carlos Henrique R Falci" <chfalci@uol.com.br>]

Well, first of all, thank you, Marcus, to your invitation to participate of
this discussion. It's an honor to be together with all of Empyreans, with
other guests and I expect contribute with some questions that lead my
current research about time, cybernarratives and immersion.

Before comment the posts that had already been made, I would like to present
my current hypothesis of work: cybertextual narratives demand, by the
reader, the fisical construction of the time that will be told. These
narratives are like stories not told yet. In this sense, they present a
pre-appeared time, a time not told yet. Cybertextual narrative doesn't allow
a direct access to the time pre-appeared, but demands, before everything,
the configuration of the time by the reader.

For this discussion, I use concepts like temporality, based on
phenomenology; temporal layers, based on a discussion of Paul Ricouer (Time
and narrative); cybertext, a classical concept of Espen Aarseth; and
collaborative production, that emphasizes the process of creation of a
literary work.

Cybertextual narratives, like other kind of narratives, permit the
experience of a time pre-appeared by your configuration in a form of
appeared time. The reader of a traditional narrative reconfigures time and
narrative by means of a configurated time created by the author. My
hypothesis is: true cybertextual narratives are different because they
demand an immersion on a pre-appeared time by the reader. He needs to
construct the time that will be told, that is, he needs to construct the
narrative himself before he reconfigure this narrative. But this difference
between cybernarratives and non-cybernarratives isn't onthological, this is
really important here.

In collaborative production of cybernarratives the process of construction
of a pre-appeared time is augmented and this is the reason that I think
collaborative process fundamental to discuss liquid narratives.
Collaborative production emphasizes ephemeral existence of any kind of
literary work. The real basis of these productions are your transitory
character. In collaborative cybernarratives the work presents itself like a
non-constructed work, like a set of possibilities. These possibilities allow
various combinations, but what really matters here is the process of
combination. When the "reader" do these combinations, he experiments the
true cybernarrative. So, I think liquid narratives, in a cybertextual
manner, are those who demand collaborative process. Works like
Circ_lular/Mob_ilizing (Giselle Beiguelman, Marcus Bastos and Rafael
Marchetti) - http://www.pfebril.net and Pianographique (Jean-Luc Lamarque) -
http://www.pianographique.net are two examples of what I consider true
cybernarratives.

But, collaborative process aren't the only requirement to think about liquid
narratives, or cybertextual narratives. Beyond the fact that we need
conjugate video, sound, text, images, I think that the trully digital
writing is the writing with the digital code. That is, we need consider
bits, hexadecimal codes like our material of writing. To illustrate this
hypothesis, I suggest experiment Code_UP, of Giselle Beiguelman
(http://container.zkm.de/code_up/). To me, this is a kind of work that
points out a way to create liquid narratives.


Well, for start, that's it.

Carlos