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...avant-garde language experimentalism. The Internet has rendered that tradition obsolete. It has disrupted the connection between narrative/aesthetic convention and capitalism/totalitarianism decried by the modernist avant-garde. I've never seen myself as a technological utopian, but things have changed so much--in both the developed and the developing world-since the advent of the Internet and "intertwingled" commu-tainment devices like PDAs, cellphones and iPods. Perhaps most notably, a global audience is no longer the prize it once was. Narrative conventions are no longer the property of the big television networks and film studios. Now they're in the hands of the little millions, a vast number of people (many of them teenagers) who are rewriting them every day--often badly, but always according to their own needs.
Before the advent of ubiquitous computing, the mode of popular rhetorical dissemination was best described as one-to-many. Now it's best described as peer-to-peer. This radically changes what we need from experimentalism. It's no longer about creating a critique of forms of representation, because the forms are no longer controlled absolutely from the top down.
It's like the Situationists said about walking: a path (be it neurological, aesthetic or geographical) is created through use and is always subject to alteration through use. That's what's happening to narrative and aesthetic convention every day on YouTube, in blogs, on Google Video. There are currently 70 million blogs online. That's 70 million individual voices, each of them reaching some kind of audience.
THE PROJECTS
In her projects Murphy Canyon Choir, Songstress and A Memory Lasts Forever, Althea Thauberger is working in the mode of certain genres now...
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