Virtual Narrations

via networked performance comes a link for Söke Dinkla’s essay Virtual Narrations which explores artistic approaches of narrative structures in the west starting with a stated crisis around 1900 to digitized versions of the modern area of the 80s and 90s.


At the same time, modified forms of narration pay tribute to the transformation of media, because they no longer rely on conventional production methods to supply meaning. They attempt instead to create meanings that are autonomous and do not possess any clear reference in reality. In their strategy they take into account the altered character of the digitally encoded information that today determines our reality: digital data in principle has no reference in the physical world and has therefore lost its representational character. By contrast with traditional analogue reproduction processes, the digital image can be reduced, regardless of original medium, to endless variations on the binary signs 1 and 0. These signs refer to nothing but themselves —they are self-referential. Without this media background, current forms of narration as a contemporary expression of the change in reality cannot be understood. It is only the transformation from analogue to digital medium that makes the fundamental doubt of what is real and the search for modified options for representation comprehensible. ….

Her view is an interesting following through of artistic expressions, which attempt to deal with the ‘insecure’ image in a secured space. Nevertheless I would think that one has eventually take into account a reassessment of the digital and its re/productions which it has to undergo through the overall and daily appearance of this new endless floating chain of images occuring on mobiles, the net .. into the press (.. as with Abu Grahib .. etc)

… The new dimensions of the real that emerge thereby are not fixed but in motion and can continually change their constellations. A space ripe with possibilities opens up—a space for playing with potential, with virtual narrations.

The occurance of the digital expression became much more ambivalent though as it starts to dominate the everyday creation of reality. The confusion evolves through the underlying discrete principle allowing expressions in, but equally open to interpretations. Examples might be images like the ones from Abu Grahib were digital, which found a gap to move between the frontiers and occur in a reality, where they should not have been seen … Thus a wider interpretation of the narrational principle of the digital transformed into the everyday plays out in two directions …

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