Marjorie Coverley Luesebrink, The Quaker Oat Box – Infinite Regress
By the end of
the nineties, technology was allowing more elaborate graphics, real
sound (rather than just midi files), and more sophisticated screen
vocabulary. Pieces such as
Reiner Strasser’s *The Doorman Passing*, Talan Memmott’s *Lexia to
Perplexia*, and Caitlin Fisher’s *These Waves of Girls* look remarkably
recent. To some
extent, the authors of these pieces have been responsible for re-framing
and keeping these pieces available – but the works of the turn of the
century (ha!) – are now more than 12 years old – a long time in
tech-dog-years; they not
only entice, but look as though they could have been created this year. What was
clear in reviewing two dozen or so pieces is that it might not be the
visual/design aspects of any of the early e-lit that imparts an
exaggerated nostalgia – but rather, those pieces may look aged which
have been most constrained by the hardware or the authoring software
with which they were created.
Just to take a quick swing back – the hardware from a few years
ago looks much more distant in our rear-view mirror than does the actual
work. |
Reiner Strasser's *The Doorman Passing*
Talan Memmott's *Lexia to Perplexia*
Caitlin Fisher's *These Waves of Girls*