Robert Seidel: _grau is a personal reflection on memories coming up during a car accident, where past events emerge, fuse, erode and finally vanish ethereally. various real sources where distorted, filtered and fitted into a sculptural structure to create not a plain abstract, but a very private snapshot of a whole life within its last seconds...
The living paintings (Tableaux Vivants) of growing structures branch out over 10:01 minutes (a reference to the binary system by Gottfried Wilhelm Leibniz, where he ascribes 1 to god and 0 to the devil) without ever reaching pure black or white respectively. Every element originates from real experiences and is adapted from my sketches, my own body fragments or scientific visualization methods. For example the first, still colored seconds are the prismatic halos of the collision fading into gray ("grau" in german)... The musical framework connects the memories born out of the dramatic moment to clusters. These are unleashed from the image flux partially - to ease the desired, free associations of the beholder...
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It's a Mud, Mud, Mud, Mud World
Exploring Online Reality
by Erik Davis
Originally appeared in The Village Voice, February 22, 1994
In our media-primed brains, the phrase "virtual reality" triggers off images of Robocop helmets, studded gloves, and 3D Nintendo. VR is seen as the scuba gear for the seas of simulation, a purely technological means of tricking the central nervous system into inhabiting a digitally concocted space.
from Computer-Mediated Communication Magazine / Volume 1, Number 3 / July 1, 1994 / Page 7
The Common Place MOO: Orality and Literacy in Virtual Reality
by Don Langham (langhd@rpi.edu)
In the Phaedrus, Plato has Socrates deliver what may be the earliest protest in Western history against the dehumanizing effects of "modern" technology. With the benefit of our literate perspective, it is easy to say that with his condemnation of writing, Plato establishes Socrates as the earliest Luddite. Yet, as modern critics acknowledge, writing is not without its dehumanizing qualities insofar as it encourages the isolation of the individual from community. Today, there is enthusiasm for computer-mediated communication's potential for ameliorating the divisions and isolation of print. For some rhetorical theorists, computer media promise to revitalize rhetoric by reintroducing the forgotten canons of classical rhetoric, memory and delivery. Among composition theorists, computer-mediated communication promises to move the writer out of the isolation of print into a hyptertextual network of readers and writers (Barker and Kemp, 1990). Whether or not CMC will have the democratizing, liberating effects its enthusiasts believe remains to be seen. But from the outset there is reason to believe that CMC may alter the nature of human interaction as fundamentally as writing and print have, perhaps producing a new way of "being" in the world.
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