Radikal Karaoke by Belén Gache

 

Open 'Radikal Karaoke' by Belén Gache
Open ‘Radikal Karaoke‘ by Belén Gache

Radikal Karaoke, by Argentine author Belén Gache, is an online piece combining text, still and moving images, sound files and user-activated effects. In this work, the reader-user is invited to read out loud poems composed of fragments of political discourses, at the same time as activating a series of videos and special effects. Gache describes Radikal Karaoke as a ‘conjunto de poesías que se apropian de la retórica de la propaganda política’ [‘collection of poems that appropriate the rhetoric of political propaganda’], but the notion here of ‘poetry collection’ is not in the conventional sense of a printed text that brings together several individual poems under into one volume. Instead, the ‘conjunto’ refers to the very creative process of the poetry itself, since the poems are composed of the re-mixing and re-combinations of found texts.

Belén Gache is one of the leading authors of experimental fiction in the Hispanic world, and has published to date a variety of literary works, both print and electronic, that engage in experimental practice. Her oeuvre is frequently characterized by an intertextual play with pre-existing literary genres, authors and texts, set in a creative dynamic with digital technologies, and Radikal Karaoke is no exception.

Radikal Karaoke opens on an interactive interface that displays, in the main part of the screen, a video in black and white which shows rows of spectators, applauding, set on a continuous loop and speeded up. Beneath the video lies the control panel of the work, consisting of firstly a row of buttons each identified with letters, and, beneath these, the lines of text we are invited to read.

In this work the user has to take on an active role in the execution of the poetry, both through our reading of the text out loud (as in karaoke), and through the activation of the visual poetry of this work. The visual poetry is created by the reader-user as s/he presses the various keys of the control panel, some of which produce modifications in the video in the main screen, changing its colour or speed, and others change the video file completely, and replace it with a new moving image.

Gache’s insistence on the ‘retórica de la propaganda política’ clearly indicates that her poetic endeavour has an ideological stance, and she encourages us to deconstruct the empty discourses of political rhetoric by means of parody, and through the shock contrast of sound, image and text. The videos function as a sort of meta-poetic commentary that makes us question the text that we read out, and interrogate political rhetoric, the powers of large corporations, and the indiscriminate consumption of social media.

But it is, perhaps, the very last button of Gache’s control panel –button V7 – which turns out to be the most shocking and disturbing for the reader-user. For, after having passed through a series of videos showing slaves, aliens, and cybernetic entities in thrall to the neoliberal system, the final button shows us… well, try it out for yourself, and see how you are implicated in this video.

 

“Eveline, fragmentos de una respuesta” by Marina Zerbarini

Open "Eveline, fragmentos de una respuesta" by Marina Zerbarini
Open “Eveline, fragmentos de una respuesta” by Marina Zerbarini

Eveline, fragmentos de una respuesta [Eveline, Fragments of a Reply] (2004) is a hypertext narrative by Argentine author Marina Zerbarini. It takes its inspiration from two short stories by James Joyce – ‘Eveline’, and ‘A Painful Case’ (1914) – which Zerbarini uses as a springboard for creating a multimedia narrative that brings together photographic images, videos, animations and sound files. Marina Zerbarini, is a leading digital artist from Argentina who has worked across several media, including photography, painting, objects and installation art for some decades, and whose electronic works include some that fall into the e-lit category, whilst others are more properly net art. She created this work in Macromedia Flash, using the ActionScript programming language. Each time we open Eveline, fragmentos de una respuesta different interfaces are loaded, these ranging from bleached-out images of sheets, to extreme close-up photographs of part of a human face or hand, with the image pixelated such that the individual pixels are visible. The cursor takes the form of a butterfly, and, by clicking on buttons that appear across the various interfaces, we activate different content files, including images, excerpts of text, and sound files (these latter containing excerpts mostly of electronic or orchestral music).

Butterfly cursor over pixelated close-up in Eveline, fragmentos de una respuesta
Butterfly cursor over pixelated close-up in Eveline, fragmentos de una respuesta

The chronological order of the files is not pre-set, and instead, the reader has to piece together the story from multiple stimuli, as s/he reads disparate blocks of lexia, views images, watches videos, and listens to sounds. The two source texts which are the inspiration for this work provide clues as to its possible interpretation. In Joyce’s original short stories, endings are unexpected, and questions left unanswered; in Zerbarini’s narrative, this sense of uncertainty, and of searching for meaning, is re-enacted procedurally, as the reader has to undertake a journey through these multiple sources to piece together the narrative. But more than just a re-telling of Joyce, Zerbarini’s narrative invites us to explore the nature of hypertext narrative and our embodied relationship to it as reader. The foregrounding of the human body through the extreme close-ups means that we have to think through our own affective relationship to the work as we navigate it. And yet… through the overt pixelation, Zerbarini makes us question our own status as human. Is it perhaps our possible transformation into cyborgs as we engage with electronic literature that Zerbarini is encouraging us to reflect upon here?

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